Starring: Bill Skarsard, Lily-Rose Depp and Nicholas Hoult
Directed by: Robert Eggers
Rated: R
Running Time: 132 minutes
Focus Features

Our Score: 4 out of 5 Stars

One of the biggest questions for me heading into Robert Eggers’ “Nosferatu” was how he would handle the undead title character. Would we see a harkening to the quiet evil of the 1922 version or something akin to Werner Herzog’s nuanced version in 1979? Having recently watched both in the past year, I realized as soon as Nosferatu was spotted that Eggers had done his homework, adding a dash and splash from each into Bill Skarsard’s version of Count Orlok. Thankfully, that isn’t the only storytelling blend that Eggers attempts, along with some fresh takes in the story of the undead.

Unlike prior imaginings, the 2024 version opens on Ellen (Lily-Rose Depp) who already senses Count Orlok’s impending arrival deep in her soul, and probably her pants. This sense of dread could also be because her darling Thomas (Nicholas Hoult) is to actually meet the cryptic Count Orlok for a real estate deal. Thomas’ story is retread as we watch him travel to Orlok’s castle and experience horrors beyond his imagination. But the film does something curious, it constantly cuts back to Ellen, as she slowly loses sense of reality and has nightmare after nightmare of Orlok. Although at a certain point, as I hinted at earlier, you could make that argument that the nightmares become wet dreams.

If you haven’t sensed by now, the biggest change in Eggers’ vision is just how horny this film is. The sexual tension has always been there, but it’s never been this overt. The film notes that Nosferatu not only has a thirst for blood, but innocent virginal nude blood, although I doubt he’s too picky when he’s hankering for a midnight snack. The film also serves us a reminder that women weren’t generally believed, on anything, for centuries. Ellen’s treated with whichever weird medicinal practices of the time and when Professor Albin Eberhart Von Franz (Willem Dafoe) shows up he, he actually believes Ellen, but tends to view her as a pawn in his chess battle with Count Orlok.

The film follows the originally closely enough that if you aren’t paying attention, you wouldn’t notice the subtle, yet profound differences in how the story unfolds. Fans of the originals will surely spot and mark the changes. Obviously, based on the trailer and Eggers’ other films, we weren’t about to see a more colorful and visually vibrant vampire film like the 1979 film. However, he really takes a few pages out of the Herzog vision of plague arriving in Europe. While “Nosferatu” doubles down on the darkness and the haunting shadows of Germany and Transylvania, Eggers vision is filled with evil in every nook and cranny.

It’s hard not to heap copious amounts of praise on Eggers, who has solidified himself as a modern voice in horror. While being quite longer than its predecessors, Eggers makes use of every frame, finding ways to crawl under our skin, suffocating us in Gothic horror imagery. The biggest weakness, which isn’t necessarily a flaw in the film, but is just enough for me to mention it as a reason this isn’t rated higher, is that the acting doesn’t leap off the screen as much as Count Orlok’s claw-like fingers. That’s not a huge knock against the film because so much of the film is told through visuals.

“Nosferatu” is surely going to be talked about for years, but in a year with lots of fantastic horror, it simply has to take a spot on the 2024 Mount Rushmore of horror films instead of standing tall like a monument to scary cinema. However, “Nosferatu” is Eggers best film, so far, as he takes the best components of his prior films, like “The Witch” and “The Lighthouse,” to craft a menacing film that Bram Stoker himself would surely be inspired by.

Starring: Nicole Kidman, Harris Dickinson and Antonio Banderas
Directed by: Halina Reijn
Rated: R
Running Time: 114 minutes
A24

Our Score: 4 out of 5 Stars

Without knowing it, mainly because I was a child, I grew up during the peak of erotic thrillers like “Basic Instinct,” “Disclosure,” “Fatal Attraction” and “Wild Things.” It’s a fascinating genre because sex is still one of the most taboo things in society. In an age where our media drips in murder porn, shocking live footage of incidents, and true crime, we still can’t have frank discussions about the things that make us horny.

Enter “Babygirl,” a film about robot AI company CEO Romy (Nicole Kidman) who seemingly has it all, a loving wife, some kids that seem tolerable, several places to call home in the city and countryside, and of course the job of running what appears to be a multi-billion dollar company. Only problem? She can’t orgasm. Her husband Jacob (Antonio Banderas) just can’t get her off, so much so that after sex she wanders off after sex to masturbate to porn in secret. Samuel (Harris Dickinson), a blunt intern at Romy’s company, request Romy be his mentor in the internship program. Sparks…don’t fly, but the pants definitely come off.

“Babygirl” is interesting because there isn’t the traditional passionate build-up with romantic cliches. Instead, the two immediately sense each other’s horniness and it’s not long before Romy is on the floor, acting like a dog for Samuel. The sexual encounters increase and amplify, flirting with revealing the whole hook-up to Jacob, the robotics company and others. It’s the kind of film where the sexual powder keg hinges on how well the blow-up is.

Without spoiling anything, “Babygirl” really plays into the notion of dominant and submissive, and even how that dynamic isn’t as black and white. The film says a lot and will most likely speak to everyone’s perception of sexuality, without it coming down to just a blanket statement on men versus women, or bosses versus employees, or #MeToo, or whatever societal battle one wants to wage. While it says things about all those, it ultimately speaks to a personal level. To me, it’s about the nature of humans and how it’s difficult to pigeonhole or categorize us. Sex is a big part of our lives and yet it doesn’t define us.

Kidman and Dickinson play really well off each other, but for some reason the same magic doesn’t happen when other characters, like Banderas, come on-screen. It makes the film drag a little bit in spots because we have such high octane sexual thrills to soak in. That being said, the intensity of the affair lingers throughout like a scent your nose can’t escape. If there was ever a need to rejuvenate the erotic thriller genre, “Babygirl” has given us reason that it can be more than just late night trash, but an engaging commentary that resonates with those willing to have a frank viewing experience with it.

• GLADIATOR II
• Starring: Paul Mescal, Denzel Washington
• Directed by: Ridley Scott
• Rating: R
• Running Time: 2 hrs 48 mins
• Paramount Pictures

Our score:  4 out of 5

One of the best sequels to be released in movie theaters since “Godfather II”, the long-awaited follow-up to 2000’s “Gladiator” has everything you could want in a cinematic experience and then some. Terrific direction by Ridley Scott, glorious cinematography by John Mathieson, an entertaining script and superb acting all help to turn the silver screen golden. While Scott has taken some liberties with facts, he again manages to still blend in historical characters with fictional ones without making a mess of things as most directors of historical fiction do.

For those who haven’t seen it yet, to which I would ask, “What are you waiting for?”, “Gladiator II” is set 16 years after the events of its predecessor. The Roman Empire is now ruled by twin emperors – Geta and Caracalla. (Fact check – they were not twins as depicted in the film.) Both are unstable by any definition of the word as they have an unquenchable thirst for more territory. General Acacius (Pedro Pascal) has helped to facilitate that win many successful campaigns, but much like General Maximus, he has grown weary of combat.

During one of these campaigns, General Acacius leads an invasion of a North African country where Lucius, the son of Lucilla (Connie Nielsen) and grandson of murdered Emperor Marcus Aurelius, is living under an assumed name. He is captured after the battle and turned into a gladiator by conniving stable master Macrinus (Denzel Washington) who promises Lucius the opportunity to kill General Acacius.

Just as visually stunning as the original with fantastic costume designs, “Gladiator II” has a captivating story that has a seamless, natural transition from the ending of “Gladiator”. Pascal is the breakout performer of the year after several smaller roles in his young career. He makes the movie his own with a ferocious acting performance that warrants at least the consideration to be nominated. Washington is equally grand in his supporting role which also deserves golden statue talk. It never gets old to see Washington in a not-so-heroic role.

There are a couple of scenes with speeches that are a little hokey, but overall, it’s a fantastic work that captures the absolute insanity that was sometimes Rome.

“Gladiator 2” receives four stars out of five.

• A COMPLETE UNKNOWN
• Starring:  Timotee Chalamet,  Elle Fanning and Edward Norton
• Directed by:  James Mangold
• Rated:  R
• Running time:  2 hrs 21 mins
• Searchlight

Our score:  5 out of 5

If I just wrote the superlatives that have been used to describe the music of Bob Dylan for the past five decades this review would be 1,000 words long.  So let me just throw out a few.  Genius.  America’s troubadour.  And, my favorite, the greatest artist, in any medium, of all time.  With multiple Grammy awards, an Oscar and, oh yeah, both a Pulitzer and Nobel Prize, there isn’t much he hasn’t done.  But how did young Robert Zimmerman from Hibbings, Minnesota, become Bob Dylan?  “A Complete Unknown” fills in the blanks.

New York City.  1961.  A young man wanders the streets of Greenwich Village, intent to visit his idol, the great folk musician Woody Guthrie (Scoot McNairy) who is currently in the hospital.  He finagles his way to Guthrie’s room, where he also meets another of his heroes, Pete Seeger (Norton).  With the support of these two men, the world will soon meet, as Joan Baez called him, “the unwashed phenomenon, the original vagabond.”  Say hello to Bob Dylan.

It has to be extremely difficult to make a film about a performer that the entire world knows.  Rami Malek in “Bohemian Rhapsody,” Jamie Foxx in “Ray” and both Joaquin Phoenix and Reese Witherspoon in “Walk the Line” – also brilliantly directed by James Mangold – hit all of the right notes with both fans and critics.  As quite possibly the best film of the year, “A Complete Unknown” most definitely deserves a slot on that short list.

The film’s casting is spot on.  Chalamet, who not only embodies Dylan in speech patterns and mannerisms but does his own singing, channels the rebellious energy that made Dylan a folk hero.  As I told the studio rep after the screening, “give that kid the Oscar now.”  And Chalamet is surrounded by an amazing cast, led by Norton.  When we first meet Pete Seeger he is fighting for his freedom in court, having to address the backlash from his song, “This Land is Your Land.”  Fanning stars as Sylvie Russo, Bob’s on and off again girlfriend based, I’m sure, on Dylan’s friend Suze Rotello, who is featured with Dylan on the cover of his album “The Freewheelin’ Bob Dylan.”  We are also introduced to other great musicians of the era, including a performer my high school Spanish teacher, Mr. Guggino, used to refer to as JO-ANN BAZE,  Joan Baez (Monica Barbaro) and Johnny Cash (Boyd Holbrook).  All of the actors do amazing work, especially capturing the vocal qualities that made their characters stars.

Mangold’s direction is straight ahead and on point, and there isn’t a wasted frame of film on screen.  But it’s the music that fans will be going for, and they will not be disappointed.  With so many great songs over fifty years, it’s had to remember all of the songs Dylan wrote that either he performed or that he gave to others.  But they were ahead of their time then and remain beloved now.

On a scale of zero to five, I give “A Complete Unknown” ★★★★★

• MUFASA: THE LION KING
• Starring the voices of:  Aaron Pierre, Tiffany Boone and Mads Mikkelsen
• Directed by:  Barry Jenkins
• Rated:  PG
• Running time:  1 hr 58 mins
• Walt Disney Pictures

Our score:  5 out of 5

When the animated film “The Lion King” was released in 1994, it was another example of the amazing second golden age of Disney Animation, grossing almost $1 billion around the world.  So popular was the film that it spawned both a highly successful Broadway show (still running both in New York and around the world) and a live-action version, released in 2019 which, until this past year’s “Inside Out 2,” was the highest grossing animated feature film ever released, earing more than $1.6 billion.  So it’s safe to say that the story of Simba is pretty well known.  But what about his father, Mustafa?  Wonder no more.

The film begins with the now adult Simba (Donald Glover…I guess Matthew Broderick was busy) departing his kingdom to welcome a new cub into the family.  He leaves his young cub in the very suspect hands (paws?  Hooves/) of Timon and Pumba (Billy Eichner and Seth Rogen), who are quickly assisted by Rafiki (John Kani).  In order to bide their time together, the trio decide to tell the story of Simba’s father, Mustafa.  And a grand story it is.

Beautifully rendered (this is by far the best live-action/animated film I’ve ever seen), “Mufasa: The Lion King” does a great job of introducing new characters while letting the audience reconnect with familiar ones.

We meet Mustafa (Braelyn Rankins) as a young cub who finds himself lost and taken in by a kindly lioness.  The leader of the pride is not happy with this outsider and banishes him to live with “the women,” meaning he will have to learn to hunt to provide for the rest of the pride.  Mufasa is befriended by Taka (Theo Somolu), the son of the leader, and the two grow up as brothers.  But, as in the original film, when jealousy rears its ugly head, even brotherly love is not enough.

Thanks to the voice actors, and the amazingly realistic visuals, the film is a most welcome addition to the “Lion King” lineage.  Ostensibly a musical, the songs – by the great Lin-Manuel Miranda – are almost secondary to the film.  Tim Rice and Elton John are a hard act for anyone to follow but the tunes here are quite hummable.

Of course, for many, the voice of Mustafa is and always will be, the late James Earl Jones.  Jones was asked to reprise the role but declined.  The film is dedicated to his amazing and endering memory.

On a scale of zero to five, “Mustafa: The Lion King” receives ★★★★★.

• KRAVEN THE HUNTER
• Starring:  Aaron Taylor-Johnson, Ariana Dubose and Russell Crowe
• Directed by:  J.C. Chandor
• Rated:  R
• Running time:  2 hrs 7 mins
• Columbia Pictures

Our score:  3.5 out of 5

Sometimes the Marvel Cinematic Universe is confusing.  The majority of films based on Marvel Comics characters are all related in some way to others, seamlessly stringing along a story that has stretched for decades.  “Iron Man.”  The Tom Holland “Spider-Man” series.  “Doctor Strange.”  They all go together like another piece in a giant jigsaw puzzled.  However, for every one of those films, you have characters like Deadpool, the X-men and Howard the Duck, whose films are basically stand alone stories, though Howard the Duck does make a brief appearance in the coda of the first “Guardians of the Galaxy” film.  Add to the latter list “Kraven the Hunter,” best known to comic fans as Spider-man’s foe.  Not here though.

Sergei and Dimitri Kravinoff (Levi Miller and Billy Barratt) are two young men attending a posh private school in upstate New York.  One day they are informed that their father will be calling on them.  Soon a long, black car pulls up.  The boys get in.  Their destination will change both of their lives forever.

As I always note when I’m reviewing a comic book film, the only ones I read as a kid were Batman and Superman.  I knew Spider-Man from the Saturday morning cartoons, but I was, and still am, much better versed in the D.C. Universe.  So not only wasn’t I aware of  Kraven’s Spider-Man association, I didn’t even know he was a comic book character.  That being said, he’s pretty darn cool!

While on safari with his brother and father, a Russian bad guy brilliantly portrayed by Crowe, Serfei is attacked by a lion and dragged away.  A young girl, whose grandmother has provided her with a special potion that heals anyone who drinks it.  She gives some to the badly mauled Sergei, who is rushed to the hospital.  He survives, but he is now more animal than man.  He is a hunter.

Action packed from beginning to end, “Kraven the Hunter” is an unapologetic film where the nastier they bad guys fall, the happier the hero becomes.  Taylor-Johnson, who starred as the title character in “Kick-Ass” and gave an amazing performance as the young John Lennon in “Nowhere Boy,” is excellent here as the now-grown Sergei, who spends his days tracking down the worse of the worse and dispatching them to hell.   Younger brother Dimitri (Fred Hechinger) is more a lover then a fighter, earning his living as a lounge singer and disappointing his hard-ass father.  Hechinger seems to be attracted to these roles, having recently appeared as the less-then-tough Emperor Caracalla in “Gladiator II.”  Oscar winner DuBose does what she can with an underdeveloped role as the mystery girl who saved Sergei’s life, now all grown up.

But most people don’t go to action films for the acting.  They go for the action, and this film is packed with it.  Director Chandor sets a frantic pace and the cast keeps up with it.

On a scale of zero to five, I give “Kraven the Hunter” ★★★ ½

Starring: Mikes Capes, David Shackleford and Caitlin McHugh Stamos
Directed by: Mike Hermosa
Rated: NR
Running Time: 114 minutes
Well Go USA Entertainment

Our Score: 2.5 out of 5 Stars

“That’s a pretty cost effective way to make a creature feature.” This is everyone’s immediate thought when hearing about or seeing advertising for “The Invisible Raptor.” While the horror-comedy does make use of that gag, to the point of it being a bit unfunny and tired by the end, it makes up for that belief with a lot of practical effects, gore and violence. So, if the title alone is enough, you may just be the audience for “The Invisible Raptor.”

A secret lab is working with a genetically modified raptor that can’t be seen and has the intelligence we’ve come to recognize with the creature from “Jurassic Park” films. Of course the invisible and highly intelligent creature escapes, after making mince meat of stunt casted Sean Astin in professor garb. The invisible predator sets its sights on a nearby town, neighborhood, county, whatever and creates havoc. Unfortunately for the set of townspeople we meet, Dr. Grant Walker (Mike Capes), a shamed paleontologist who now works at an amusement park, is ready to believe in and save the day from the invisible raptor. Helping on this journey is his bumbling doofy co-worker Denny (David Shackelford) and his ex-girlfriend who still kind of wants him, Amber (Caitlin McHugh Stamos).

The likeable nature of our characters, the over-the-top nature of the story, combined with the over-the-top violence, should make this the kind of film that’s beloved by the few who watch it like “Wolf Cop.” But the film is way too long and struggles to connect it’s opening and closing acts. While Dr. Walker and Denny make a fantastic raptor hunting duo, there’s only so many times we can watch them show up when it’s too late or hear another story about Dr. Walker was shamed from his profession or why Denny is the laughing stock of the town, neighborhood, county; whatever. I’m very much in the firm belief that you have to have a damn good reason to make a horror or comedy that’s longer than 80-90 minutes. It can be done, but “The Invisible Raptor” is not one of them.

As much as I’d like to recommend “The Invisible Raptor,” based solely on charm and childish comedic wit, the film begins inhaling fumes before the credits even begin to roll. That being said, I think about all the times I’ve been trapped watching a comedy that doesn’t manage to land a single good joke, (the director/writer duo of Friedberg and Seltzer made at least a dozen of these) and I kind of warm to the idea of “The Invisible Raptor” still being a decent gore rid with comedic chops. Ultimately, “The Invisible Raptor” is up to how much you’re willing to stomach the comedy-horror genre or how much you love creature features. I’m not disappointed that I watched “The Invisible Raptor,” I’m just disappointed it wasn’t better.

• MOANA 2
• Starring the voices of:  Auli’i Cravalho, Dwayne Johnson and Alan Tudyk
• Directed by:  David G. Derrick Jr., ason HandDana and Ledoux Miller
• Rated:  PG
• Running time:  1 hr 40 mins
• Walt Disney Pictures

Our score:  3.5 out of 5 

On an island somewhere in the ocean, a young girl and her companions – a pig and a chicken – make their way to the top of a mountain.  There they can look out over the land.  The girl, named Moana (Cravalho) blows into a large conch shell, hoping to get a response.  But she is only greeted by silence.  Maybe next time?

A beautifully presented continuation of the 2016 hit, “Moana 2” finds our title character growing up and mounting a long, dangerous tip to the far seas of Oceania, where she is convinced she will find other civilizations.  Besides her two animal pals, she is accompanied on the journey by youthful Moni (Hualalai Chung), the industrious Simea ( Khaleesi Lambert-Tsuda), and the elder Kele (David Fane).  Their trip is full of peris, with each day bringing a new adventure.

It is amazing what can be done with animation these days.  I’ve always found the hardest things to animate realistically are hair and water.  Something always made them seem just a little…”off.”  Not here.  The film is beautifully rendered and the ocean waves are so realistic you may find yourself ducking for fear of getting wet when they splash onto the shore.  The story is straightforward but quite dark at times.  Thankfully there are brief respites of humor, most of it provided by the amazing Maui (Johnson), obviously having fun with the role.  The other characters are standard Disney-fare – Moni could be a distant relative of “Beauty and the Beast” tough-guy Gaston, while Kele is the atypical “the sky is falling” character, casting doubt at every turn.  But, also following in the Disney tradition, are some great songs beautifully performed.

Overall, while younger children may be frightened by some of the images, the older ones (my two grandchildren included) should have a fun time.

On a scale of zero to five I give “Moana 2” ★★★1/2.

• GLADIATOR II
• Starring:  Paul Mescal, Pedro Pascal, and Denzel Washington
• Directed by:  Ridley Scott
• Rated:  R
• Running time:  2 hrs 28 mins
• Paramount 

Our score:  4.5 out of 5

Screenwriter Carl Gottlieb once noted that “the only sequel to lose money is the last one.”  Translated, it means that Hollywood Is not afraid to stick a number at the end of a film title and will continue to do so until people stop showing up.  So I was very apprehensive when I heard that a sequel to the Oscar-winning “Gladiator,” release almost a quarter century ago.  I’m happy to report that I needn’t have worried.

Rome.  While once a mighty city rulled by beloved men, it has deteriorated into a city of unrest.  While Rome was founded by brothers Romulus and Remus, it is now run by the Latin versions of Tweedledum and Tweedledee, brothers Geta (Joseph Quinn) and Caracalla (Fred Hechinger).  When the two aren’t bickering over the smallest perceived injustice they are sending their best general, Marcus Acacius (Pascal) to conquer every neighboring city.  When his latest attack takes the wife of an opposing soldier, vengeance is sworn.  But how to get it?

On my short list of film directors who criminally have never won an Academy Award for their work, Ridley Scott is right at the top.  With films like “Alien,” “Bladerunner,” “Thelma and Louise,”  “Blackhawk Down,” and, of course, “Gladiator,” he has crafted some of the best films of the past five decades.  You can now add “Gladiator II” to the list.

The film follows the vengeance-seeking soldier, (Mescal) after his capture.  His fighting spirit leads him to be chosen to train to fight in the Colosseum, championed by Macrimus (the always brilliant Denzel Washington).  As he hones his skills by fighting everything from giant, wild monkeys to rhinoceroses, he continues to win, driven by the thought of one day hoisting Acacius’ head.  And a memory.

Action-packed, “Gladiator II” is wall-to-wall adventure.  Like the original film, the dialogue is short and direct while the action is over the top.  Scott’s pacing keeps the film moving quickly and the visual effects are top-of-the-line.  The film does have an association with the original Oscar-winning film, but to say more would spoil the surprise!

On a scale of zero to five, I give “Gladiator II” ★★★★1/2. 

Starring: James McDougall, Douglas Nyback and Joel Labelle
Directed by: Derek Barnes
Rated: R
Running Time: 91 minutes
Saban Films

Our Score: 2.5 out of 5 Stars

Movies don’t always have to have plots. In fact, there’s the saying that too much plot gets in the way of the story, which basically means the film’s vibe. Some people’s favorite films are all about the vibe, more than it is the actual story. A lot of coming-of-age films are about relating to the character or movies like “The Big Lebowski” thrive on it’s characters, as opposed to the rug and kidnapping mystery. So, when a film like “Whiteout” comes along, you have to wonder, “What does it thrives on??

The film hooks you immediately by opening with Russian men kidnapping several individuals from an office complex. The men from the office are sent to labor camps while the few women we see in the background at the office…are probably sent to something worse. “Whiteout” follows Henry (James McDougall), who quickly, after the opening, ends up being involved with the escape plans of two other different prisoners, Kurt (Douglas Nyback) and Anthony (Joel Labelle). While the trio survive a labor camp gun battle, they quickly find out they might not be able to survive the snowy, rocky elements of Mother Russia.

So, why were Russian men raiding the office complex? I don’t know. Why was Henry captured and sent to a miserable labor camp? I don’t know. Who are these two who’ve picked Henry for their escape? I don’t know. Why does everyone we encounter seem to be a sharpshooter? I don’t know. “Whiteout” is a vibe. That vibe is non-stop action, although it does reveal a little as the film progresses, but not enough to add stakes to the overarching plot. Which is unfortunate because it’d be nice to care about Henry’s plight, more than feeling bad for the out of shape tubby guy who has to deal with the worst from Old Man Winter and the lack of trust from those he’s escaped with. That being said, the movie isn’t as predictable as you might think as the third act delivers a few decent shocks.

While I wouldn’t necessarily recommend “Whiteout,” if you were to tell me you were going to watch it, I wouldn’t stop you from watching it. That being said, you really have to enjoy some mindless thrills and actions because you’re not going to get much in the way of thought provoking content. There’s a lot to enjoy from Derek Barnes in his debut feature. He really does capture the vast emptiness of the wilderness and some of the more unforgiving aspects of it. And even with a low budget, the action is incredibly choreographed and the suspense keeps you engaged even if Barnes didn’t know how to write anything beyond a basic plot.

• WICKED – PART ONE
• Starring:  Cynthia Erivo, Ariana Grande and Jeff Goldblum
• Directed by:  Jon M. Chu
• Rated:  PG
• Running time: 2 hrs 41 mins
• Universal

 Our Score: 5 out ot 5

Sometimes when you get your hopes up, they get dashed, especially when it comes to movie musicals.  For every “West Side Story,” you get a “Cats.”  For every “Les Miserables,” you get a “Cats.”  For every “La La Land” you get, well… “Cats.”  So you can imagine my trepidation as I sat down to see “Wicked.”  Thankfully, there was nothing to worry about.

Based on the still-running 2003 Broadway show of the same name, “Wicked” tells the story of two very different people whose lives are inevitably linked in Pop Culture.  The film begins with what could almost be a coda to “The Wizard of Oz.”  The wicked witch of the West has been killed and the residents of Oz are celebrating.  They are visited by Glinda (Grande), a beautiful witch who floats along in a bubble.  She confirms the witch’s death and begins to leave.  Before she can make her escape she is asked, “is it true that you and the wicked witch were once friends?”  And the story begins.

Where to start?  Among my fears was that devoting over two and half hours to the first act of the show, which only runs for ninety minutes on Broadway, would fill the screen with unnecessary clutter and nonsense.  But director Chu fills the screen with wonderful scenery, none of it wasted space.  He keeps the film moving at such a pace that you don’t realize you’ve spent nearly three hours sitting in the dark.

The cast is top notch.  As an “old guy” I am not familiar with any of Ariana Grande’s music.  That being said, I was blown away by her voice.  She also gives Glinda a likability that other actresses may not have been able to exude.  As Elphaba, the future wicked witch, Erivo excels at keeping the character grounded.  She has a sense of humor, which you most certainly need when you are green.  Her performance gives Elphaba a humanity that the audience can relate to.  It’s not her that’s bad, it’s those that bully her.

The film also has an inner message about accepting those around you and treating them as you would like to be treated, a message that is often forgotten in today’s world.  Fans of “The Wizard of Oz” will find many Easter Eggs and homages to the 1939 film.  And fans of the original Broadway show may even see some familiar faces.

But it’s the music that makes “Wicked” what it is, and each and every song are presented magnificently.  Both Glinda and Elphaba are iconic roles and it would have been easy for the cast, especially Ms. Grande and Ms. Erivo, to play it safe and sing the songs in the style familiar with audiences.  But both of them bring a new spin to the songs.  Even if you’re a fan of the show you feel like you are hearing these songs for the first time.

If you can’t tell by the title, “Wicked” is being presented in two parts, with part two hitting theatres next November.  Take it from me and get in line now!

On a scale of zero to five, I give “Wicked – Part One” ★★★★★

• RED ONE
• Starring:  Dwayne Johnson, Chris Evans and J.K. Simmons
• Directed by:  Jake Kasdan
• Rated:  PG 13
• Running time:  2 hrs 3 mins
• Amazon/MGM Studios

 Our score 3.5 out of 5

With the holiday’s approaching, many of us are already preparing for the upcoming festivities.  That includes a certain gentleman named Nicholas who lives at the North Pole.  But he can’t do it alone.  Meet Cal Drift (Johnson), Santa’s head of security.  He’s about to retire after several centuries on the job but he’s staying around for one more sleigh ride, one he will never forget.

There aren’t a lot of Christmas-themed action films.  There’s “Die Hard” and there’s, well, “Die Hard.”  “Red One” – Santa’s code name – is no “Die Hard,” but it is an entertaining two hours of fun.  The film begins in the mid 199os, where a family gathering introduces us to young Jack O’Malley (Wyatt Hunt), a boy who doesn’t believe in Santa Claus, quite possibly because he is sure to have been on the infamous “naughty” list.  Jump ahead to today and we learn that the adult Jack (Evans) is still a rotten person who actually DOES take candy from a baby.  Jack is known in certain unsavory crowds as the “Wolf,” a con man who can get you almost anything you want.  His current client is looking for Santa (Simmons) and his secrets.  When the big man is kidnapped Jack and Cal form an unlikely team to save him.

The film’s believability rests solely on the shoulders of the cast, who all give fine performances.  Johnson has continued to grow as an actor and he has an uncanny ability to appear both tough and tender at the same time.  Evans, as a father who has kept himself out of his young son’s life, is also well cast.  Simmons, one of the greatest character actors ever, is also solid, giving what could have been a very routine role some emotional depth.  Bonnie Hunt as Mrs. Claus and Lucy Liu as the Director of the security agency.  Special mention to Kristofer Hivju, who steals scenes as the fun-loving, not evil, Krampus.

The effects are well done and the action set pieces well crafted.  Not sure how many little ones will enjoy this – some of the humor is a little over their heads – but kids love Christmas.  Except for young Jack O’Malley that is.

Overall, I recommend you get in your sleigh and head out over the river and through the woods to see “Red One.”

On a scale of zero to five I give “Red One” ★★★1/2

Starring: Esther Garel, Alex Zhang Huntai and Isabelle Barbier
Directed by: Lev Kalman and Whitney Horn
Rated: NR
Running Time: 91 minutes
Yellow Veil Pictures

Our Score: 1.5 out of 5 Stars

As a product of the 90s (technically born in the 80s, but predominantly remember the 90s), I feel like I know what “Dream Team” is going for. The movie bills itself as an “absurdist homage to 90s basic cable TV thrillers.” That triggers memories of “La Femme Nikita,” “The Pretender,” and “The X-Files.” The 90s is also considered the golden age of erotic thrillers with films like “Body of Evidence,” “Basic Instinct” and “Wild Things.” I’m sure I’m name dropping a lot of content that conjures fond memories, but “Dream Team” isn’t able to.

“Dream Team” is about two INTERPOL agents, played by Esther Garel and Alex Zhang Hungtai, investigating mysterious deaths which may or may not be linked to gaseous coral. That’s the plot in a nutshell, but because this is a mysterious 90s thriller, the film is filled with non sequitur character introductions, soap opera subplots, bad practical effects, cringey dialogue, and a lot of unspoken hornyness. This isn’t really a movie though. The film is presented like a VHS of recorded episodes, with the film broken up with episode title cards. It looks and feels like an homage, but it never comes full circle.

The biggest problem in “Dream Team” is that the movie doesn’t seem to know what to do in between some of the more clever moments of the film, like the antiquated technology jokes, incompetent investigation skills and the intentionally shoehorned unsexy sexual moments. The problem is, there’s not an interesting bare bones story to follow along with. There are also long moments of B-roll like waves crashing on the shore, sea creatures just derping about, or shots of the beach. Some of these scenes last for several minutes, almost as if it was begging me to check my latest phone notification.

The movie is tackling 90s erotic thrillers in a way that’s reminiscent of “NTSF:SD:SUV” or “Children’s Hospital,” a bonkers reality where everyone is Leslie Nielsen in “Airplane!” But the problem is that there isn’t a cast and crew stocked with comedic chops. There were moments where I wondered if the cast was interpreting the script correctly because of the different approaches. At other times I felt like the film was telling an inside joke that I wasn’t privy to. It’s also quite possible I’m not a connoisseur of bad 90s like directors/writers Lev Kalman and Whitney Horn. While I’m sure there’s a niche audience for this,  “Dream Team” is, like most of my dreams, forgettable.

• HERE
• Starring:  Tom Hanks and Robin Wright
• Directed by:  Robert Zemeckis
• Rated: PG 13
• Running time:  1 hr 44 mins
• Miramax

In 1994, “Forrest Gump” became a phenomenon, winning 6 Academy Awards, including Best Picture, and grossing over $670 million worldwide.  Thirty years later, most of the creative team behind the film return for a new family drama, “Here.”

I think we all have our favorite memories about our childhood homes.  My father worked for the newspapers and by the time I was 15 we had lived in six different cities in various states.  My favorite memories were created in a house in Cleveland.  I used to visit the house whenever I was in town.  Even after 40 years I could tell you the layout, where my room was, etc.  It broke my heart in 2020 when I last visited to find that it had been torn down. “Here” not only takes place in a home, but actually in the living room of a home, spanning the length of time.  From the dinosaurs that roamed the land where the house would eventually be built to where it stands today.

Though told in a non-linear fashion, the film focuses mostly on the family that purchases the home shortly after World War II, remaining in it for several decades.  As the film progresses, we get intimate glimpses, framed like snapshots, of the various lives lived within those four walls.  Good times and bad, dramatic moments and times of sheer joy,  the audience is privy every secret.

One can’t help watch this film and be reminded of the creative team’s previous film, “Forrest Gump.”  As history goes by, we run into a few well known p;eople.  It’s not as hit-on-the-head obvious as in “Gump,” but what are the odds that Ben Franklin used to live across the street?  The musical score, by Alan Silvestri, echoes the Oscar nominated score he wrote for “Gump.”  Finally, a hummingbird, whose appearances bookend the film, is reminiscent of the famous “Gump” feather.

The film is well cast and it’s great to see Hanks and Wright back together on screen.  The film follows them from their teenage years until late adulthood, and the de-aging process used here is spot on.  The younger versions of the actors are quite believable, and fare much better than the process used in “The Irishman.”

Overall, the film is an interesting piece of cinema and definitely worth taking a trip to the theatre for.

On a scale of zero to five, “Here” receives ★★★1/2.

Starring: Colin Cunningham, Jessica Staples and James Morris
Directed by: James Morris
Rated: NR
Running Time: 89 minutes
Dread

Our Score: 2 out of 5 Stars

Gabe (Colin Cunningham) is on the run. The escaped federal convict is hiding in a motel, waiting for some of his old criminal pals to help him further escape. Passing the time in the motel, Gabe leaves the TV on but never watches, talks with his ex-girlfriend over the phone but has no immediate interest to reconnect, and listens to strange noises from the room next door but no explanation as to what they could potentially be. With no one to trust, little to understand, and nowhere to go, Gabe may have found himself in the crosshairs of the town serial killer, Pale Face.

There’s a lot of interesting moving parts in “He Never Left.” Well, moving parts in that there’s a lot of interesting exposition for a film trapped inside the confines of a motel. Probably not this much since “Identity.” The film opens with on-screen text about Pale Face, a slasher whose kills have haunted the town for decades, coming, killing, and leaving without any rhyme or reason. Without revealing more, Gabe hogs the screen time with his criminal uncertainty. How these two plots are connected isn’t immediately clear. That should be a great way to keep a movie flowing, but after the film’s opening act, it becomes less and less interesting.

While a slasher doesn’t necessarily need a lot of exposition, or even a killer’s motive, it’s odd that “He Never Left” sets up all these dangling threads, only for Pale Face and Gabe’s plots to pay off lazily. As for Gabe, he turns out to be the most interesting piece of this film’s puzzle. The other issue, still, is that Pale Face’s story kind of derails what’s working for the film. In a lot of ways, “He Never Left” feels like two ideas struggling to take charge of the film.

While the film maintains steady suspense, it undermines its own enjoyment with overwrought explanations that feel repetitive. For instance, the film mainly takes place at this motel, which allows for some creativity in revealing more about Gabe and Pale Face, but it’s when the film jumps narratively through time and location that the film feels like it’s simply overexplaining what it’s clearly explained prior at the motel.

I really wanted to enjoy “He Never Left” because there is a good movie, somewhere in the narrative mess. It leans heavily on its influences while attempting to tell a fresh slasher story, but it never seems confident enough to stop leaning on those cliches. The acting is good, the direction creates a tense atmosphere, but the script prevents everything from excelling.