Starring: Dakota Gorman, Todd Terry and James Austin Johnson
Directed by: Brock Bodell
Rated: R
Running Time: 91 minutes
Shudder

Our Score: 1.5 out of 5 Stars

Lena (Dakota Gorman) awakens to a trailer park nightmare. She’s alone in the back of a speeding trailer, able to make out little more than the shadows of the surrounding woods as they race down the highway. Various intercoms scattered throughout the trailer project the voice of Clive (Todd Terry), who tells Lena she’s infected after a night of camping and that he’s taking her to a hospital for treatment. That’s basically all we know. 

For a while, that’s thrilling.The claustrophobic setting, Lena’s complete disorientation and an obviously untrustworthy Clive immediately hook you because “Hellcat” could go almost anywhere. Unfortunately, the more we learn, the smaller those possibilities become until the mystery feels about as confined as the trailer itself.

We get moments of exposition revealing that Lena is grieving, Clive is a conspiracy theorist and something supernatural may be happening. The problem is that “Hellcat” telegraphs its eventual reveal so aggressively that figuring it out feels less like solving a mystery and more like waiting for the movie to catch up. Once I understood what kind of story I was watching, I kept waiting for the other shoe to drop. It never really does.

The film should hinge on Terry and Gorman’s chemistry, and thankfully, they have it. Gorman does an admirable job making Lena interesting even when “Hellcat” struggles to give her an interesting arc. Terry brings an appropriately unsettling ambiguity to Clive, but the dialogue repeatedly works against both performers. Every other line from Clive seems to reiterate that he’s a good man, while Lena is frequently tasked with delivering exposition between potential escapes that inevitably fail.

That’s especially disappointing because “Hellcat” eventually slides into a supernatural genre with decades of mythology to play with. I don’t need the film to follow established rules or regurgitate what countless movies have done before it. Quite the opposite. I wanted the movie it promised during those opening minutes: something as strange, unpredictable and unique as waking up inside a speeding trailer with absolutely no idea what’s happening.

Instead, the melancholy feels unearned, the mythology underdeveloped and the tension slowly evaporates. A single-location thriller should make every inch of its confinement matter. Every noise outside should create another possibility. Every conversation should change our understanding of who’s in danger and who can be trusted. “Hellcat” gradually does the opposite.

The right pieces are here for a taut, tense and claustrophobic 91 minutes, but “Hellcat” rarely capitalizes on them. The trailer stops feeling like a place filled with terrifying possibilities and simply starts feeling small. Unfortunately, so does the movie.

• SUPERGIRL
• Starring:  Milly Alcock, Eve Ridley and David Cornsweat
• Directed by:  Craig Gillispie
• Rated:  PG 13
• Running time:  1 hr 48 mins
• Warner Bros

Our score:  2.5 out of 5

It was good while it lasted.  The James Gunn-led era at DC Studios started out well last summer with the latest tale of “Superman.”  That filmed ended with a fun teaser featuring Kara Zor-El, better known to comic book fans as Supergirl.  I don’t know what happened between the time they shot the teaser clip and the feature film, but the girl certainly deserves better.

We meet our heroine (Alcock) in the middle of an alcoholic bender.  Since her powers are only activated thanks to the yellow sun of Earth, she has chosen to live on a planet with a red sun, choosing to blend in with the rest of humanity.  She is accompanied by her dog, Krypto and occasionally chats with her cousin, Superman (Cornsweat), looking very uncomfortable, as if they snuck this film into his contract.  Meanwhile, a band of baddies kill the family of a young girl (Ridley), who now swears revenge on Kren, the main villain (Matthias Schoenaerts).  Oh, and Jason Mamoa shows up, but he’s NOT Aquaman.  What a mess.

Though the film tries to remain faithful to the comics (we see how the City of Argo is saved from the destruction of Krypton) more often then not, the filmmakers decided to just ignore important things like the script and plot points and just throw non-stop action at the audience.  The mood is dark, as if the idea was to make a film like “Logan,” but decided half-way through production to go in a different direction.

It’s not the cast’s fault.  Alcock and Ridley have a great big sister/little sister chemistry and Mamoa chews the scenery and spits it out as Lobo.  But, again, it’s Jason Mamoa.  Aquaman.  I don’t know if DC thought that since Robert Downey, Jr is going from playing Iron Man to Dr. Doom led the filmmakers to cast Mamoa, but RDJ is playing complex characters.  Mamoa is basically playing Aquaman on a motorcycle.  It’s as if director Gillespie showed Mamoa all the scenes from “Raising Arizona” that featured Randall “Tex” Cobb and said, “do that.”

The visual effects are well done, even though it appears that on whatever planet she’s on, Kara can’t find a hairbrush!  If they find one, they should put the filmmakers over their knee and give them a few whacks with it.  It worked on me when my Aunt Mildred did it!

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

• SPIDER-MAN:  BRAND NEW DAY
• Starring:  Tom Holland, Zendaya and Jon Bernthal
• Directed by:  Destin Daniel Cretton
• Rated:  PG 13
• Running time:  2 hrs 25 mins
• SONY Pictures

Our score:  4 out of 5

I’ve always been a Spider-man fan.  Even though, as a kid in the 1960s, I was primarily a “DC” guy – I read every Batman and Superman comic book I could find, even enduring issues of “Superman’s Pal – Jimmy Olsen.”  But whenever the chance arose, and if I didn’t have to use my allowance to buy it, I would read the latest adventures of Spider-man.  While I enjoyed the earlier films that featured Toby Maguire and Andrew Garfield as the webslinger, it wasn’t until Tom Holland came along that the Marvel Cinematic Universe (MCU to save space) hit cinema gold.  Through three dedicated films, and numerous appearances in other films in the MCU, Holland’s portrayal of Peter Parker/Spider-man has always been a high point.  I’m happy to say that with the latest adventure, “Spider-man:  Brand New Day,” that streak continues.

When we last saw Peter Parker (Holland), he had just saved the day at an enormous expense by having Doctor Strange cast a spell that made everyone who knew he was Spider-man forget that fact.  This included the love of his life, MJ (Zendaya) and his best friend, Ned (Jacob Batalon).  Four years later we find him living alone and dedicating all his time to fighting crime.  He keeps an eye on his friends from a distance but can’t bring himself to tell them the truth.   But, because this is a superhero film, he has a lot more to worry about.

Like recent MCU films, “Spider-man: Brand New Day” peppers itself with other characters who may or may not be familiar to fans, among them the Punisher (Bernthal), who appears in his own series on Netflix.  I’ve never watched the show but, as I am familiar with the character, I knew who he was.  Newcomers to the film series may not.  The film also gives Mark Ruffalo a spotlight to shine in as Professor Bruce Banner, aka the Hulk.  The Banner character is criminally underused in the various “Avengers” films, with filmmakers apparently assuming that people are just there for the “Hulk SMASH!” sequences.  But with an actor as good as Ruffalo is, I think audiences would welcome the chance to spend more then a few minutes with the Professor.  Though I’m afraid that, as far along in the MCU as the films are they couldn’t do a proper Hulk origin story I do hope we get more of Banner in upcoming films.

Like all of the films in this series, the cast has a genuine chemistry and the emotional ride Peter Parker takes is a rough one.  Holland, who is also a major asset in the currently showing “The Odyssey,” continues to grow in the role, just as Peter is growing as a young man.  Zendaya is her usual tough but caring self and Batalon’s Ned (probably my favorite character in these films – he is “the man in the chair” – has always been the glue that holds these friendships together.  There are also a few new surprises here leading up to December’s big Avengers film “Doomsday.”

On a scale of zero to five, “Spider-man: Brand New Day” receives ★★★★  

While still selling out on stage in New York City, HADESTOWN, has been faithfully filmed and showing on cinema screens this week only.  Winning 8 Tony Awards in 2019 including Best Musical of the Year, this is a New Orleans style musical that is the story two young lovers in a relationship complicated by the devil himself- Hades.  He drags Eurydice to Hell for his lover but the boy, with help from his mentor Hermes follows them in to the depths to save her.

Filmed during a performance in March 2025 in London’s West End with all the principal actors from the Original Broadway Opening Night cast. The director of this “Pro-Shot” brings an intimacy to the filming, not just a performance captured on camera. His cinematography and editing takes the movie audience right into the show almost to the point of participation.  While occasionally giving us a view of the audience in the auditorium during filming it re-enforces the overall concept of being performed “live” as we enter this world.

Created by Anais Mitchell as a concept album and directed for the stage by Rachel Chavkin (both Tony Winners); theatrically HADESTOWN was a masterful work, and by moving it on to film by filmmaker Brett Sullivan, the production is enhanced becoming magnificent.

Broadway Legend, Andre De Shields (Tony nominated as the original WIZ in 1975) at almost 80 years old is Hermes the narrator of the tale as he guides the boy through his travels. He is perfection in his Tony winning role; you just can’t take your eyes off him as you hang on his every word. The lush music is performed by Reeve Carney as the boy, Eva Noblezada as the girl, with scary Patrick Page as Hades and Amber Gray as his wife.

With this amazing cast, the wonderful staging and the atmospheric cinematography this is without a doubt the definitive ephemeral staged production of  “HADESTOWN” – now captured forever.

———————————————————————————————–

HADESTOWN has been extended to run through Thursday, August 5th at theatres nationwide.  If you are in the Boston area, like Ben, you can see it at the following theatres:

Entertainment Cinemas, Leominster MA

Regal Solomon Pond Cinemas

Maynard (MA) Fine Arts Theater

O’Neil Cinemas at the Point, Littleton, MA

AMC Framingham 16

The Paper: Season One successfully expands the world first introduced in The Office by shifting the mockumentary format to a struggling Midwestern newspaper fighting to stay relevant in the digital age. Rather than relying solely on nostalgia, the series establishes its own identity through a new cast of quirky personalities, workplace conflicts, and the everyday chaos that comes with producing a local newspaper under constant financial pressure. Familiar documentary-style camerawork, awkward silences, and understated humor are all present, but the show focuses on fresh stories and characters instead of trying to recreate its predecessor. 

The ensemble cast works well together, with Domhnall Gleeson delivering a grounded performance that balances the more eccentric personalities around him, while Sabrina Impacciatore brings confidence and unpredictability to the newsroom. The writing mixes dry humor with heartfelt moments, exploring themes of community, journalism, and adapting to change without losing sight of the workplace comedy that drives the series. While the first season occasionally takes a few episodes to find its rhythm, the characters gradually become more engaging, and the chemistry between the cast continues to improve as the season progresses. 

The Blu-ray presentation offers a sharp 1080p high-definition transfer that showcases the series’ clean visual style, natural colors, and documentary-inspired cinematography. Dialogue remains crisp throughout, allowing every awkward exchange and quick-witted joke to land effectively, while the surround mix provides subtle environmental detail without overwhelming the intimate workplace setting. The physical release is especially welcome for collectors who prefer owning their favorite television series rather than relying on streaming availability.

Overall, The Paper: Season One is an entertaining workplace comedy that respects the legacy of The Office while confidently building its own voice. Its combination of smart humor, memorable characters, and genuine heart makes it an enjoyable first season with plenty of potential, and this Blu-ray release is a worthwhile addition for fans of mockumentary comedies and collectors looking to add another quality television series to their library.

Difficult People: The Complete Series finally makes its way to Blu-ray with all three seasons collected in one package, giving fans of the sharp-tongued Hulu comedy a chance to own the complete series in high definition. Created by Julie Klausner and executive produced by Amy Poehler, the show follows best friends Julie Kessler and Billy Epstein, two aspiring comedians navigating careers, relationships, and the endless frustrations of life in New York City. Their brutally honest observations, unapologetic personalities, and relentless pop culture references make for a comedy that is clever, unapologetic, and often hilariously biting.

What makes the series stand out is the chemistry between Julie Klausner and Billy Eichner, whose fast-paced banter and perfectly timed insults carry every episode. While the characters are intentionally self-absorbed and often difficult to root for, their genuine friendship gives the series an emotional core that balances the cynical humor. The show also features an impressive lineup of guest stars, including Tina Fey, Martin Short, Nathan Lane, Kate McKinnon, Lin-Manuel Miranda, and many others, adding fresh energy throughout its three-season run. Although some of the celebrity and social media references reflect the era in which the series was produced, the witty writing and memorable performances continue to hold up remarkably well. 

Universal’s Blu-ray presentation delivers a clean and colorful 1080p transfer that faithfully captures the bright look of the series, while the audio track provides crisp dialogue that keeps every rapid-fire joke easy to understand. The set also includes worthwhile bonus features, including audio commentaries from Julie Klausner and Billy Eichner on select episodes, a Vulture Festival panel discussion, and an insightful video essay celebrating the friendship at the heart of the series. 

For longtime fans, this complete collection is an excellent way to revisit one of Hulu’s funniest original comedies, while newcomers will discover a sitcom that embraces sarcasm, pop culture obsession, and unapologetically flawed characters with confidence. Difficult People: The Complete Series remains a smart, edgy comedy that rewards repeat viewings, and this Blu-ray release is a welcome addition for collectors looking to preserve one of the streaming era’s most underrated sitcoms

I Know What You Did Last Summer: The Complete Series offers a darker, more modern take on the classic slasher story while expanding the mystery into an eight-episode format. Rather than simply retelling the original film, the series introduces a new group of friends whose lives are turned upside down after a deadly accident and the arrival of someone determined to expose their secrets. The show mixes horror, suspense, mystery, and personal drama, creating plenty of unexpected twists that keep viewers guessing from one episode to the next. While some storylines move at an uneven pace and a few character choices can feel frustrating, the central mystery remains engaging enough to encourage binge-watching.

The cast delivers solid performances, and the production values are impressive, with atmospheric cinematography, effective lighting, and tense suspense sequences that help build a constant sense of unease. Fans of modern slasher television will appreciate the creative kills, layered mysteries, and frequent cliffhangers, while longtime fans of the franchise will enjoy seeing familiar themes reimagined for a new audience. Although the series only lasted one season, it tells a complete story with a satisfying conclusion that answers the season’s biggest questions.

This Blu-ray release includes all eight episodes with strong high-definition picture quality and clear, immersive audio that enhances both the suspense and horror elements. The presentation captures the show’s moody visuals and detailed nighttime scenes very well, making it the best way to experience the series at home. For horror collectors and fans of mystery-driven thrillers, I Know What You Did Last Summer: The Complete Series is an entertaining addition to the shelf, offering an intriguing blend of suspense, drama, and slasher thrills that remains engaging from beginning to end.

Starring: Matt Damon, Anne Hathaway and Tom Holland
Directed by: Christopher Nolan
Rated: R
Running Time: 173 minutes
Universal Pictures

Our Score: 4.5 out of 5 Stars

About 3,000 years ago, somebody who might have been named Homer wrote a couple of long poems called The Iliad and The Odyssey.

A lot of of us were forced to read them when we were kids, and many of us felt the only reason we were doing it was because the texts were so damn old. Thankfully Christopher Nolan’s new film adaption may be reverent, but it isn’t carved in stone.

Nolan delivers the requisite spectacle. The land and seascapes captured by cinematographer Hoyle van Hoytema (who has shot Nolan’s last few movies) are suitably breathtaking whether you’re watching them in an IMAX auditorium or in 70MM. The cyclops looks big and terrifyingly real. 

Nolan’s aversion to computer generated images pays off because the battles seem immersive and suitably dangerous. Bloodshed looks as if it’s really occurring. Magic spells look as if they are happening in real-time.

More importantly, Nolan manages to make familiar characters seem less, oh, iconic. Unlike Elon Musk and the basement dwelling crybabies who have complained about a film that they haven’t seen, I have also had the additional pleasure of having read the book, which Nolan has actually followed to a fair amount of fidelity. 

For those idiots who complained about the “authenticity” of casting of gorgeous Oscar-winner Lupita Nyong’o as Helen of Troy, I wonder if these were the same folks who weren’t bothered that the king of Sparta spoke with a thick Scottish accent in 300. That issue cost me no sleep, either.

Back to the film, I’m currently reviewing.

What is intriguing is that Nolan gives the established characters motives that might not have been obvious in the original text. Matt Damon is certainly not Greek, but Homer describes Odysseus as crafty, and the actor can convey the Ithacan king’s quick thinking effortlessly. Even his missteps seem logical.

He also carries the look of someone who carries the weight have having been involved in disgraced campaigns. He may have succeed in figuring out how to crack the seemingly endless siege of Troy, but sacrificing countless men, time and resources for a domestic matter involving the kings of Sparta and Mycenae has been hardly worth it.

It’s no wonder he doesn’t want to follow Menelaus (Jon Bernthal) and Agamemnon (Benny Safdie) back home. Along the way, he gets 10 years worth of detours that put Ithaca and its throne in danger. 

Those who’ve had a little Greek mythology know what he’s about to encounter. Nolan makes the obstacles more intriguing than what you might have slept through in class.

He and his men encounter a hostess named Circe (Samantha Morton), whose initial hospitality comes with a steep price. Nolan and Morton do something audacious by making her sympathetic. Past visitors may not have had great intentions, and Odysseus shows he can get out of messes with more than clever lies and swordplay. 

The female characters seem a tad more developed in this adaptation, which is helpful because Odysseus’ wife Penelope (Anne Hathaway) is so essential to the plot. She has to juggle an army of suitors who want the kingdom and her hand. None seem to be terribly good husbands or capable leaders. Watching her string along the not so clever pretenders shows she’s as sharp as her wandering husband.

Her son Telemachus (Tom Holland) might be an adult, but he’s not quite ready to take his dad’s job because he has trouble standing up to the especially sleazy suitor Antinous (a delightfully repellent Robert Pattinson).  

Homer goes to flashbacks, so it’s easy to see why Nolan would, too. In this case they work because it gives the Battle of Troy more impact and helps make Odysseus’ long strange, trip seem more plausible.  

Sometimes, Nolan’s touch can seem clinical, but when a story is naturally full of divine intervention and human frailty, it makes the wonder of the long, long journey seem less like a myth and more like a statement of fact.

Starring: Matt Damon, Anne Hathaway and Tom Holland
Directed by: Christopher Nolan
Rated: R
Running Time: 173 minutes
Universal Pictures

Our Score: 4.5 out of 5 Stars

For nearly 3,000 years, humanity has been telling “The Odyssey.” Around campfires. Through song and poetry. On stages. In paintings. In classrooms. Every generation has found its own way to tell Homer’s story. Christopher Nolan may have finally found ours.

Adapting “The Odyssey” isn’t simply a matter of condensing one of civilization’s greatest stories. It’s the cinematic equivalent of squeezing two seasons of “Game of Thrones” into three hours while somehow preserving the politics, mythology, family drama, warfare, philosophy, and humanity that made the original endure in the first place. Against all odds, Nolan largely succeeds.

Beginning with the Trojan Horse and stretching across Odysseus’ decade-plus journey home, Nolan’s adaptation isn’t interested in treating Greek mythology like a collection of disconnected adventures. Every island, every monster, every god, and every temptation becomes another examination of leadership, faith, governance, family, and the unavoidable consequences of human choice. This isn’t merely a story about getting home. It’s about what war costs the people fighting it, as well as the people waiting for them.

Matt Damon delivers one of the finest performances of his career. His Odysseus possesses the physical presence mythology demands, effortlessly commanding armies one moment and confronting impossible odds the next. Yet Damon wisely avoids playing him as an untouchable superhero. His Odysseus grows increasingly weathered by grief, regret, responsibility, and the weight of decisions that ripple far beyond the battlefield. Nolan doesn’t ask us to admire perfection. He asks us to consider whether greatness can exist alongside profound imperfection.

That burden isn’t Odysseus’ alone. Anne Hathaway’s Penelope quietly becomes the film’s emotional equal, fighting her own battle while trapped in Ithaca. Tom Holland’s Telemachus provides the coming-of-age perspective as a son forced to grow up beneath the shadow of a father who has become more legend than man. Even Zendaya’s Athena feels less like a mythical guide than a reminder that every generation searches for wisdom somewhere outside itself. Rather than existing solely to support Odysseus, each character reflects a different consequence of his absence.

Visually, “The Odyssey” is exactly the kind of spectacle audiences hoped Nolan would deliver. IMAX transforms vast oceans, towering landscapes, and ancient cities into something appropriately mythic while never losing sight of the intimacy between characters. The practical effects blend seamlessly with CGI, creating a world that feels tangible despite its gods and monsters. Nolan also slips in moments of unsettling body horror and genuine suspense that rival some of modern cinema’s most memorable sequences, though wisely never allowing spectacle to overshadow the story’s emotional core.

Perhaps Nolan’s greatest achievement is resisting the temptation to modernize Homer’s ideas while still making them feel modern. His narrative still plays with shifting perspectives and fractured chronology in familiar Nolan fashion, but those techniques serve the material instead of calling attention to themselves. You don’t need an encyclopedic knowledge of Greek mythology to follow the film because Nolan understands that mythology has always been less about monsters than people. The gods may shape events, but it is human pride, love, grief, loyalty, and ambition that determine their outcome.

If “Oppenheimer” examined the consequences of changing the world, “The Odyssey” explores the consequences of simply surviving it. Every victory leaves a scar. Every decision carries a cost. Every homecoming demands reconciliation with the person who left. That’s ultimately why this adaptation works. Christopher Nolan hasn’t simply made the biggest version of “The Odyssey.” He’s made one that understands why we’ve been telling it for nearly 3,000 years.

More than sixty years after its original release, The 7th Voyage of Sinbad remains one of the most influential fantasy adventure films ever made. Released in 1958, the film helped define the cinematic fantasy genre and introduced generations of moviegoers to the groundbreaking stop-motion artistry of Ray Harryhausen. Combining swashbuckling adventure, mythical creatures, and timeless storytelling, the film continues to captivate audiences while serving as a landmark achievement in special-effects history. This 4K UHD release provides the classic film with a presentation worthy of its legendary status.

The story follows Sinbad as he embarks on a perilous quest to reverse a curse placed upon Princess Parisa by the evil magician Sokurah. Along the way, Sinbad encounters an unforgettable collection of monsters and magical challenges, including a towering Cyclops, a fire-breathing dragon, a two-headed roc, and the iconic sword-fighting skeleton that remains one of Harryhausen’s most celebrated creations. While the narrative is straightforward by modern standards, its sense of wonder and adventure remains remarkably effective.

What truly elevates the film is Harryhausen’s visual effects work. Long before the era of computer-generated imagery, his meticulous stop-motion animation brought fantastical creatures to life with a level of imagination that inspired countless filmmakers. Even today, there is a charm and artistry to these handcrafted effects that modern digital techniques often struggle to replicate. The creatures possess personality and physical presence, making them memorable long after the credits roll.

The 4K UHD presentation is the star attraction of this release. The restoration delivers a dramatic improvement over previous home-video editions, preserving the film’s vibrant Technicolor-inspired palette while revealing impressive detail throughout. Colors are richer, textures are more refined, and the image exhibits a level of stability and clarity that allows viewers to appreciate the craftsmanship behind every frame. The enhanced presentation highlights both the lavish production design and Harryhausen’s effects work without compromising the film’s classic appearance. Film grain remains natural and organic, giving the transfer an authentic cinematic feel.

Audio presentation is equally respectful of the source material. Bernard Herrmann’s magnificent score sounds fuller and more dynamic than ever, adding excitement and grandeur to the adventure. Dialogue remains clear and well-balanced, while the various effects and musical cues help create an immersive viewing experience that complements the restored visuals.

Collectors will also appreciate the extensive supplemental material included with the release. The set features a variety of legacy and newly produced bonus features that explore the film’s production, Harryhausen’s groundbreaking techniques, and the movie’s enduring influence on fantasy cinema. Featurettes, documentaries, archival content, and expert discussions provide fascinating insight into how this beloved classic was created and why it continues to inspire filmmakers decades later. For fans of film history and practical effects, the extras significantly enhance the value of the package.

The inclusion of both the Blu-ray and digital copy adds further versatility, allowing viewers to enjoy the film in multiple formats while preserving the premium 4K presentation for home theater viewing. It is a thoughtful package that balances collector appeal with convenience.

Ultimately, The 7th Voyage of Sinbad remains a masterpiece of fantasy filmmaking and a showcase for one of cinema’s greatest visual-effects pioneers. The film’s adventure, imagination, and technical innovation have lost none of their appeal, and this outstanding 4K UHD release presents the classic in its best home-video incarnation to date. For fans of classic cinema, fantasy adventures, or Ray Harryhausen’s extraordinary artistry, this release is an essential addition to any collection.

Rating: 9.5/10

• THE ODYSSEY
• Starring:  Matt Damon, Tom Holland and Anne Hathaway
• Directed by:  Christopher Nolan
• Rated:  R
• Running time:  2 hrs 45 mins
• Universal

Our score:  4.5 out of 5

EPIC.  If I was asked to describe Christopher Nolan’s latest film, that is the word I would use.  He has mounted a film that rivals the greatest achievements of filmmakers like Cecil B. DeMille or David Lean.  And, like the films of those mentioned, it’s runs a tad too long.

I was shocked, but pleased, to see that my 12-year-old granddaughter recently did a school paper on King Agamemnon.  Thank goodness they’re still teaching History in our schools.  Based on Homer’s “The Odyssey,” the film tells the story of King Odysseus (Damon) and his adventures which, if you’ve read “The Odyssey,” include the Trojan Horse, the Cyclops and assorted angry Greek gods.  The film covers each of these adventures in great detail, sparing nothing in the production design department.  While Odysseus is away – and he’s gone for a l-o-n-g time, his wife Penelope (Hathaway) has to endure a never ending string of “suitors,” men lining up in the hopes of replacing the King should he not return.  The men are nothing more then scavengers, taking advantage of the law of Zeus, which decrees no one should be turned away.  This angers the Queen’s son, Telemachus (Holland), who must control his temper when the men try to bait him into a fight, the idea being if Telemachus is killed, the new husband would become the King.  It’s all very interesting and complicated.  And long.

Director Nolan is one of the rare filmmakers who, in my opinion, has never made a bad film.  From “Memento” to the “Dark Knight” trilogy to the Oscar-winning “Oppenheimer,” he has proven himself a true master of cinema.  “The Odyssey” only adds to that distinguished resume’

The cast is a tribute to Nolan himself who, like Woody Allen, can pretty much get anyone he wants for his films because, as an actor, why wouldn’t you want a credit in one of his films.  Besides the three stars named above, the cast includes Robert Pattinson, John Leguizamo, Zendaya, James Remar, Jon Bernthal, Oscar nominees Samantha Morton and Elliot Page as well as Oscar winners Charlize Theron and  Lupita Nyongo.  As MGM used to advertise, “more stars than there are in heaven.”

The script and story are pretty faithful to the source material, though for some reason it bothered me whenever Telemacus referred to Odysseus as “dad.”  Never father.  The weird things you notice.  Visual.y the film is stunning and the Trojan Horse and battle of Troy are worth the price of admission alone.  I will add that I did see the film in 70 mm and, if that format is playing in your town, I urge you to see it in that format.

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

• MINIONS & MONSTERS
• Starring the voices of:  Christoph Waltz, Jeff Bridges and Allison Janey
• Directed by: Piere Coffin and Patrick Delarge
• Rated:  PG
• Running time:  1 hr 30 mins
• Universal

Our score:  3.5 out of 5

The French studio Illumination has released so many movies with the little yellow Minions that their high-pitched babble no longer seemed cute or funny.

Thankfully, series co-creator Pierre Coffin revives the series by taking his creatures back in time, not just before Gru became their boss, but to the dawn of time. They live to serve, but are so eager to do so that they accidentally kill their supervillain supervisors.

Two of the Minions (all voiced by Coffin), however, might be able to do more constructive things that simply the carrying out the bidding of would-be tyrants. James has the instincts of a master storyteller, and Henry has the skills to make James’ ideas real. The hard-of-hearing Ed stands up for the two when the bossy Dick berates them.

In their quest to find a new master, the yellow horde stumble into Los Angeles where they ruin a frustrated director’s difficult take. Max (Christoph Waltz) initially believes that his career is over because the Minions thought the actor they were chasing was actually a wanted outlaw.

Instead, the studio honchos The Bright Brothers (both voiced Jeff Bridges) believe that Max has discovered new stars. The little guys have a gift for destroying any object they touch, but they are hopelessly lovable and give Charlie Chaplin, Harold Lloyd and Buster Keaton serious comic competition.

When sound hits at the end of the Roaring 20s, however, the lads are in for a world of hurt because their squeaky banter is indecipherable except for the enthusiastic cry of “Banana!” James winds up writing a great monster movie with Max’s encouragement and inadvertently creates some actual monsters in the process. Their leader Goomi (Trey Parker) seems eager to help, although his ambitions may be other than cinematic. He looks like a cuter version Cthulhu, but he may be just as dangerous as the H.P. Lovecraft character.

Dick and the other minions flock to a confident but not terribly intimidating extraterrestrial robot named Dort (Jesse Eisenberg). His goofy demeanor makes him seem like he’d be an antagonist in poverty row space serial, but he has a knack for taking punishment makes one wonder if he’s the genuine article.

Letting the Minions loose in Hollywood is a bright idea, the management in Tinseltown is just as morally conflicted as Gru, so the setting makes sense. The new characters like Goomi and Dort are intriguing, with the latter being especially endearing because his earnestness wins over everyone, including a likable suffragette (Zoey Deutch).

There are some clever tributes to the silent era, but the movie loses some of its manic Minion energy toward the center. Until Dort stumbles onto the scene, Coffin and co-screenwriter Brian Lynch lose their focus as if they had gotten lost and Dort had to guide them out of a maze.

When I saw this film was coming out, I doubted if the Minions would leave a lasting impact like the silent comics they reference in this installment. It will be a while before we find out.

On a scale of zero to five, “Minions & Monsters” receives ★★★ ½  

Starring: Seth Rogen, Olivia Wilde, Penelope Cruz and Edward Norton
Directed by: Olivia Wilde
Rated: R
Running Time: 107 minutes
A24

Our Score: 4 out of 5 Stars

Maybe Olivia Wilde should stick to comedy.

She absolutely crushed it with 2019’s “Booksmart,” so much so that audiences couldn’t wait to see what she did next. Unfortunately, “Don’t Worry, Darling” was such a misfire that many people seemed to lose interest in what a third film might look like. Fortunately, Wilde reminds us with “The Invite” that she may have quietly become one of the sharpest comedy directors working today. Like “Booksmart,” “The Invite” is hilarious on the surface, but underneath the laughs is a story built on emotional dissatisfaction, insecurity, and the slow erosion of adult relationships.

It’s just another evening of squabbling for middle-aged married couple Joe (Seth Rogen) and Angela (Olivia Wilde). Their arguments range from Joe’s foldable bike to Angela’s penchant for buying furniture they don’t need. But the real source of tension is the animalistic sounds their upstairs neighbors make whenever they’re having sex. Why obsess over an anonymous couple’s love life? Because Angela has invited those neighbors, Pina (Penelope Cruz) and Hawk (Edward Norton), over for dinner. What unfolds is one of the raunchiest and funniest comedies of the 2020s.

What makes “The Invite” work is that nobody is trying to out-funny anyone else. Rogen brings his effortless naturalism while Wilde weaponizes uncomfortable facial expressions, simmering resentment, and the frustrations of unemployment and loneliness. Norton delivers deadpan line after deadpan line as a retired firefighter searching for purpose through new hobbies, while Cruz effortlessly bounces between the other three, often turning their own jokes and insecurities back on them with fearless confidence. While Rogen is no stranger to comedy, he also reminds us how effective he can be as a dramatic actor when the story asks for something more beneath the laughs.

Much of “The Invite” succeeds because of its screenplay, which not only generates laugh after laugh but also draws us into the characters’ sexual insecurities and emotional baggage. Both couples carry scars they can only hide for so long. Beneath every joke, passive-aggressive remark, and uncomfortable silence, you can feel the tension quietly building. Conversations shift. Moods change. Characters splinter off into smaller interactions. Saying much more would spoil the carefully constructed surprises and emotional turns that make the film so rewarding.

The best comedies don’t simply make us laugh. They make us recognize ourselves somewhere between the punchlines. That’s where “The Invite” succeeds most.

At first, it feels content simply making the audience laugh, almost effortlessly. But once the jokes begin to fade and reality settles in, Olivia Wilde reveals she’s after something much more uncomfortable. This isn’t really a movie about sex, arguments, or awkward dinner parties. It’s about the quiet dissatisfaction that can settle into long-term relationships and the different ways people try to convince themselves they’re still happy.

The real trick isn’t making an audience laugh. It’s asking whether they still feel something after the laughter stops.

Starring: Kansas Bowling, Jessa Jupiter Flux and Julie Kashmanian
Directed by: Jason Zink
Rated: NR
Running Time: 80 minutes

Our Score: 3.5 out of 5 Stars

The found footage serial killer subgenre is surprisingly crowded with films like “Man Bites Dog,” “Maniac,” and the “Creep” franchise. So while it can be difficult to stand out, 2025’s “Looky-loo” and now “looky-loo: PART II” carve out their own identity by trapping us with very little dialogue and a killer who sees the camera as a creative tool rather than a simple recording device.

For the uninitiated (like I was a month ago), “Looky-loo” follows an aspiring filmmaker whose obsession with cameras evolves into voyeurism, stalking, and eventually murder. Not just one murder, either. He begins staging his victims like actors preparing for a scene, finding as much satisfaction in the production as the killing itself. That’s important because “PART II” picks up almost immediately afterward, with the killer seemingly releasing “Looky-loo” to the public like a drive-in snuff film. He even scrawls “PART II” in blood across a refrigerator, as if he’s proudly unveiling the title card for his next masterpiece.

My perspective may be slightly skewed because I watched both films within a 36-hour span. I never really had time to sit with the first film before diving into the sequel. While I think the original is a solid exercise in restraint, “PART II” noticeably improves on many of its quieter shortcomings. The first film feels a bit like “In a Violent Nature.” Instead of marinating in dense forests and ambient sound, “Looky-loo” lingers in sweaty breathing, uncomfortable silence, and victims blissfully unaware that a killer is standing in the closet. I think it works, but I can also understand why some viewers find it painfully slow.

“PART II” replaces much of that restraint with confidence. The killer stomps upstairs without hesitation, casually raids victims’ refrigerators, drinks their beverages, and only occasionally bothers wearing gloves, as if DNA evidence simply stopped existing. None of these moments feel like plot holes. They’re deliberate choices that suggest someone who either no longer fears getting caught or genuinely believes he’s untouchable. It’s difficult to know which because the film still reveals remarkably little about who he actually is.

What we do learn is perhaps the most interesting development of the sequel. I think our killer is creating incel art. The first film hints at it, but “PART II” pushes the idea much further. While he expands his victims to include men, the murders aren’t treated equally. The men often become victims of blunt rage. The women become productions. They’re staged, framed, and lingered upon with a disturbing artistic obsession. Even more revealing is his growing fixation on female artists. It’s almost as if he can’t tolerate the idea that women might be more creative, more fulfilled, or more talented than he is. The murders begin feeling less like random acts of violence and more like warped attempts to prove he’s the only true artist in the room.

That’s ultimately what elevates the “Looky-loo” series. Like “The Poughkeepsie Tapes,” it invites you to revisit it because so much of the story exists between the scenes rather than inside them. Every repeated viewing uncovers another clue about the psychology hiding behind the camera. Unlike charismatic fictional killers like Hannibal Lecter or Dexter Morgan, this murderer isn’t interested in charming us. He wants us to appreciate the process: the stalking, the waiting, the intrusion, and finally the kill. In his mind, we’re his audience. He believes we should admire his work just as much as he does. And if we don’t, we might as well become part of his next production.

“looky loo: PART II” will have its Midwest premiere at Hysteria Fest in St. Louis on Thursday July 9th.

• MINIONS & MONSTERS
• Starring the voices of:  Christoph Waltz, Jeff Bridges and Allison Janey
• Directed by:  James (with Piere Coffin and Patrick Delarge)
• Rated:  PG
• Running time:  1 hr 30 mins
• Universal

Our score:  5 out of 5

They’re back!  Those cute, funny, overall clad beings from who knows where are once again back on the silver screen.  Back on it?  If I’m not mistaken, they invented it.

Funny and sweet, with some great nods to the great films of the past, “Minions & Monsters” shines the spotlight on how the Minions came to be.  We start back in prehistoric times, when the lads – I assume they’re all male – are searching for the evillest person in the world to serve as their, well, minions.  From a giant caveman to the renaissance to early Hollywood, the Minions do their best to succeed.  Among them is James, who is very artistic.  James is not appreciated by the rest but does find a kindred soul in Henry.  Together they document the group’s adventures, hoping to one day tell their story.  It is while in Hollywood that the group, mistaking a scene being shot for a film as real, end up on film, much to the glee of the heads of Brother Studios, Frank and Elwood (both voiced by Jeff Bridges).  The films director, Max (Waltz) soon finds himself working with the Minions, all the time encouraging James to tell his story.  As the saying goes, hilarity ensues!

It says a lot about the quality of the “Minions” films that the cast boast no less then six Academy Award nominees with four Oscars between them.  The cast gives their all, with even George Lucas making a vocal cameo.  As one of the titular “Monsters,” Trey Parker gives Gummi a childlike quality that belies the monster inside.  If you’re a fan of “South Park,” you’ll instantly recognize that Gummi has a lot in common with that shows character Butters.  And why not?  The film is a love letter to Hollywood, with classic films like “Modern Times,” “Citizen Kane,” Safety First,” and “The General” being recognized.  Heck, there’s even a great “True Romance” nod that had me chuckling out loud.

To some people, the Minions’ language is gibberish.  Usually, the only word you can make out is “banana.”  However, as voiced by director Coffin, it is a language full of fun and excitement, wonder and curiosity.  Maybe one day, like Klingon, the language will gain its own dictionary.

June is over.  Here comes July in all it’s bright yellow excitement.  Celebrate America 250 with the Minions.  You wont be disappointed!

On a scale of zero to five, “Minions & Monsters” receives ★★★★★