• 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.

• 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.

• 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.

• THE BRUTALIST
• Starring:  Adrien Brody, Felicity Jones and Guy Pearce
• Directed by:  Brady Corbet
• Rated:  R
• Running time: 3 hrs 20 mins (3 hr 35 with intermission)
• A24

Our score:  5 out of 5

Budapest.  World War II has recently ended.  We find Erzsabet (Jones) writing a letter to her husband, Laszlo (Brody), reminding him of her love and where he can find her.  An important fact as Laszlo is now living in Pennsylvania, trying to build a new life in a constantly changing new world.

Nominated for 10 Academy Awards, including Best Picture, “The Brutalist” is a beautifully shot film that celebrates one mans desire to be remembered, no matter the cost.  Arriving in America, Laszlo is given work by his cousin, a businessman with a furniture store.  Laszlo is an architect and his skills go well with furniture designing.  He is also a proud Jew, who is upset that his cousin has not only changed his last name but is now a Catholic.  Laszlo battles many demons, from terrible dreams to drug addiction but no matter what, he will fight to achieve the “American Dream.”

Thanks to the amazing cast, the three hour plus run time does not seem that long.  Brody is always at his best when he is playing tortured souls and his performance here is top notch.  Both he and Huffman are Oscar nominated for their work and they are well deserved.  But the stand out performance here goes to fellow nominee Guy Pearce, who owns every scene he is in.  I have loved Pearce ever since his breakout performance in “L.A. Confidential” and he is outstanding here.

The film is beautifully shot and the period settings perfect right down to the smallest detail.  The film is also propelled by it’s Academy Award nominated musical score, as well as the greatest selection of mid-century standards since, well, “L.A. Confidential.”

Please note, I had the opportunity to see the film without and intermission so if you see it in the cinema, add 15 minutes to the run time.  But believe me, it is time well spent.

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

• CONCLAVE
• Starring: Ralph Fiennes, Stanley Tucci
• Directed by: Edward Berger
• Rating: PG
• Running Time: 2 hrs
• Focus Features

Our Score:  4.5 out of 5

Nominated for eight Academy Awards, including Best Motion Picture of the Year, Best Performance by an Actor in a Leading Role (Ralph Fiennes), and Best Performance by an Actress in a Supporting Role (Isabella Rossellini), “Conclave” is one of the best films to grace the silver screen this past year. Its dialogue is nothing less than superb and its overall screenplay is almost flawless. The stellar cast rises to the occasion at every mesmerizing moment during this somber, tense drama.

In the wake of the pope’s death from a heart attack, British Cardinal Thomas Lawrence (Fiennes), the dean of the College of Cardinals with liberal views about the church’s future, convenes a conclave in Vatican City. Cardinals from around the world arrive for the secluded, secretive meeting. Four leading candidates emerge – liberal-minded American Cardinal Aldo Bellini (Stanley Tucci), socially conservative Nigerian Cardinal Joshua Adeyemi (Lucian Msamati), moderate Canadian Cardinal Joseph Tremblay (John Lithgow), and staunch traditionalist Italian Cardinal Goffredo Tedesco (Sergio Castellitto, “The Chronicles of Narnia: Prince Caspian”).

Trembly and Tedesco are both power hungry, although the former is more about subterfuge while the latter wears his feelings on his sleeve. Adeyemi and Bellini are more reserved and humbler about their ambitions. It’s a political minefield that Lawrence, who struggles with his faith and is adamant that no one should vote for him during the process, must make a delicate dance to get through. Further wrinkles include the unexpected arrival, via Afghanistan, of previously unknown Mexican Cardinal Vincent Benitez (Carlos Diehz), a back-and-forth relationship with Sister Agnes (Rossellini), the headstrong nun who oversees the cardinals’ accommodations, and a suicide bombing.

Watching “Conclave” is like savoring a finely aged red wine. It’s the kind of film that sticks with you long after viewing it. The political intrigue and infighting during the papal election process are mesmerizing to view. Each actor/actress deliver pitch perfect performances as they navigate the story’s twists and turns. While the climax has been enjoyed by some and hated by others, it is certainly something you won’t see coming. Fiennes is unforgettable with a brilliant performance of a man who is resolute yet conflicted. He absolutely deserves to win Best Actor. Overall, “Conclave” is one you should catch on streaming before the Oscar ceremony.

“Conclave” receives ★★★★ ½  out of five.

• SEPTEMBER 5
• Starring: Peter Sarsgaard, Jeff Magaro
• Directed by: Tim Fehlbaum
• Rating: R
• Running Time: 1 hr 35 mins
• Paramount Pictures

Our Score:  4 out of 5

Nominated for Best Original Screenplay at this year’s Academy Awards’ ceremony, “September 5” is an important and tragic historical drama detailing the massacre of Israeli athletes during the 1972 Summer Olympic games in Munich, West Germany. Told from the viewpoint of an ABC sports broadcast team, “September 5” is a haunting tale, told with quick pacing by director Tim Fehlbaum (“The Colony”), that still resonates today as humanity cannot seem to break the endless cycle of violence caused by terrorism.

Crammed inside a tight control room in Munich, the production staff of ABC Sports attempt to control chaos as split-second decisions are constantly being made to keep up with various sporting events. ABC Sports President Roone Arledge (Peter Sarsgaard, “The Batman”) and control room head Geoffrey Mason (John Magaro, “The Many Saints of Newark”) work tirelessly to ensure its all as seamless as possible. Athletic competition begins to take a backseat during the early morning hours of September 5, 1972, when shots ring out in the Olympic village as a Palestinian terrorist group takes several Israeli athletes hostage.

When it becomes clear that an unprecedented crisis is unfolding, Arledge and Magaro do their best to manage the chaos while broadcasting the situation live to the world. Not only do they have to keep a diverse group of people working together, even though women are relegated to secondary roles, but Arledge and Magaro must also maintain high standards of journalism even if they are just sports people. All the while, a series of mistakes by everyone involved, including the ABC crew, leads to a disastrous conclusion.

Like “Civil War” in which the story of war, albeit a fictional one, is told through the eyes of journalists, this film’s viewpoint is an intriguing one as well. We see the story unfold much like viewers did in 1972 – helpless to do anything about it and yet unable to pull our attention away from it. Archival footage is blended in with rich dialogue, solid ensemble acting, and an accurate depiction of historical complexities to bring back to life a sobering event that, much like the Holocaust, should never be forgotten.

“September 5” receives ★★★★ out of five.

• NOSFERATU
• Starring: Lily-Rose Depp, Nicholas Hoult
• Directed by: Robert Eggers
• Rating: R
• Running Time: 2 hrs 12 mins
• Focus Features

Our Score:  2 out of 5

Nominated for four Academy Awards including Best Achievement in Cinematography and Best Achievement in Costume Design, “Nosferatu”, the latest remake of the 1922 classic “Nosferatu: A Symphony of Horror”, is a vampire flick with more yawns than frights. It meets the eye test for plenty of horrific visuals punctuated by great period costumes. However, it is about as terrifying as watching an episode of the PBS series “This Old House”. The film’s pacing is a bit awkward and its cast, while obviously talented, does not do anything to leave an indelible impression.

Sometime during the 1810s, a young, disturbed girl named Ellen (Lily-Rose Depp, “The King”) cries out for a supernatural being to prevent her from being lonely, but it ends up awakening a supernatural creature who makes her pledge herself to him. Fast forward to 1838 when Ellen, who is plagued by nightmares, and her husband, Thomas Hutter (Nicholas Hoult, “Mad Max: Fury Road”) are living in the fictional town of Wisborg, Germany.

Desperate to make a better life for Ellen, Thomas takes on a commission offered by his eccentric employer that takes him to Transylvania where he meets Count Orlok (Bill Skarsgard, “It”), a sinister recluse whom the locals fear. It is not long before Count Orlok sets sail to Wisborg and in the process kills the entire crew and unleashes the bubonic plague upon the city. Ellen tries to resist him, which results in Count Orlok threatening to kill Thomas and the entire town if she does not repledge herself to him. Aided by a Swiss scientist (Willem Dafoe) who is an expert in the occult, Thomas sets out to confront Count Orlok and save his wife.

To be blunt, if you want to watch a horror film that will scare you, then I would recommend “The Exorcist”, “The Blair Witch Project,” or even 1992’s “Bram Stoker’s Dracula” starring Gary Oldham. While it looks creepy, “Nosferatu” is more window dressing than substance. Skarsgard is unrecognizable but his version of the character is somewhat boring, and the violence is gratuitous at best. Get some garlic and holy water and keep this vampire flick at bay.

“Nosferatu” receives ★★ out of five.

• WICKED
• Starring: Cynthia Erivo, Ariana Grande
• Directed by: Jon M. Chu
• Rating: PG
• Running Time: 2 hrs 40 mins
• Universal Pictures

Our Score:  3.5 out of 5

Nominated for 10 Academy Awards, including Best Motion Picture, Best Performance by an Actress in a Leading Role, and Best Performance by an Actress in a Supporting Role, “Wicked” delivers a wickedly good time for young and old alike. Wonderful visual effects, fantastic costume designs, and an imaginative script all serve to breathe new life into the world of Oz. It is all topped off with a pair of superb performances by Cynthia Erivo as Elphaba, the eventual fabled “Wicked Witch of the West”, and Grammy Award-winning singer Ariana Grande as Galinda, the future “Good Witch of the East”. Their chemistry is nothing short of mesmerizing on the silver screen, which is only enhanced by their powerful vocals.

After the Wicked Witch of the West has been killed by a bucked to water tossed on her, the citizens of Oz celebrate with joyful abandon as Galinda watches on. When questioned if she was a friend with the now deceased witch, Galinda reveals they did indeed know each other and she goes on a journey down memory lane to explain what happened. Their relationship began when they attended school at Shiz University where they also became roommates. Initially, they hated one another as Galinda was intent on being Miss Popular while Elphaba, due to her green skin, remained an outcast.

The two eventually become friends and it because of that friendship, the first Elphaba has ever experienced outside of the bond with her sister, that Elphaba takes Galinda with her to the city of Oz to meet the wizard (Jeff Goldblum), who has summoned her after hearing about her natural talents as a witch. Secrets are revealed and unsavory motivations come to light that end up testing the two ladies’ friendship. It all sets the stage for a “Wicked” sequel that will tell the second half of the story adapted from the stage musical by Stephen Schwartz.

Erivo (“Harriet”, “Bad Times at the El Royale”) provides a tangible sense of isolation within her character, causing Elphaba to be a much more sympathetic individual that one could imagine, that is if they have only seen the 1939 classic film. In it, the witch is abstract villainy and wholly unsympathetic. It is quite the opposite in this film as Erivo infuses her with a wide range of emotions, enough to cause the viewer to forget about all preconceived notions. Grande demonstrates just how powerful her vocal range while also proving she has acting chops, which are obviously good enough to get an Oscar nod. While Goldblum and the remaining cast with all the effects are great, it is “Wicked’s” two leading ladies who cast a spell over the audience.

“Wicked” receives ★★★½  out of five.

• LOVE HURTS
• Starring:  Ke Huy Quan, Josh Stoddard and Ariana DeBose
• Directed by:  Jonathan Eusabio
• Rated:  R
• Running time:  1 hr 23 mins
• Universal
• Our Score: 3 out of 5

With the Super Bowl coming up this weekend I’m reminded of a question that is usually reserved the game’s MVP:  “Hey Ke Huy Quan, you just won the Academy Award.  What are you going to do now?”  However, instead of proclaiming he’s going to Disney World, Quan declares, “I’m going to make an uneven action film.”

Valentine’s Day.  As a mysterious woman spends the morning defacing the many bus benches and yard signs featuring real estate agent Marvin Gable (Quan).  Meanwhile, Marvin is doing his best to sell his most recent house, repeating his mantra for prospective buyers, “I want a home for you.”  Returning to work, Marvin is stunned to learn that he has received a prestigious award for his realtor skills.  It’s a pretty good day for Marvin.  Except, of course, for the assassin hiding in his office.

Full of fun martial art battles, but not much else, “Love Hurts” seems to be a film that was hurried to theatres to capitalize on both Valentine’s Day and the fact that the cast includes a pair of recent Oscar winners (Ms. DeBose won hers a couple of years ago for “West Side Story.”)  While the action scenes are top notch – first time director Eusabio did a lot of stunt work for films like “The Fall Guy” and the “John Wick” series), the story is fragmented.  With a run time of only 83 minutes, including credits, it feels like there is more to the story that is missing.

That being said, the film boasts a strong cast.  If you’ve ever seen an interview with Quan, you know that he is a very likable person, and that personality fits Marvin to a tee.  Marvin has done his best to distance himself from his past, but even nice guys have bad days!  The rest of the cast play to their strengths as well, with a special mention to Sean Astin, who gives his character a true humanistic heart.

Overall, the film is enjoyable, but I can’t help but wonder about what it could have been.

On a scale of zero to five I give “Love Hurts” ★★★

Starring: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch
Directed by: Tim Fehlbaum
Rated: R
Running Time: 1 hr 35 mins
Paramount Pictures

Our score:  4 out of 5

George Orwell once lamented, “To see what is in front of one’s nose needs a constant struggle.”

It’s even more challenging when you’re also the one deciding how the rest of the world sees.

That’s the engrossing setup behind September 5, a recounting of how the Palestinian terrorist group Black September held members of the Israeli Olympic team hostage in 1972. The incident was the basis of Kevin Macdonald’s Oscar-winning documentary One Day in September and Steven Spielberg and Tony Kushner’s gripping Munich.

Despite covering well-trodden territory, September 5 still feels fresh because it covers how ABC Sports found themselves in the middle of the crisis. Keeping on top of it proved Herculean and required the broadcasters to jerry rig technology where it hadn’t gone before. They also wrestled with ethical issues that would vex experienced hard news reporters.

At the beginning of September 5, the most newsworthy events for ABC’s audience had been the spectacular performance of American swimmer Mark Spitz. Things seem to be so settled that the head of operations, Roone Arledge (Peter Sarsgaard) thinks he can catch up on his sleep.

In his place is the relatively inexperienced Geoffrey Mason (John Magaro) and an overworked German translator Marianne Gebhardt (Leonie Benesch). The expected drudgery turns into relentless anxiety when gunshots ring out from inside the Olympic Village.

Instantly, the crew has a more urgent concern than Spitz’s next medal. Reporter Peter Jennings (Benjamin Walker) has to improvise ways to find out how to get the near the scene of the action and how to get heavy cameras and recording equipment where they were never designed to go.

Some of the tensions that worked its way from the Middle East also erupt in the control room when Jasques Lesgards (Zinedine Soualem), a Frenchman of Algerian descent, briefly clashes with ABC executive Marvin Bader (Ben Chaplin), who’s Jewish. Of course, it’s a given that both realize the story in front of their eyes is more important.

Sportscasters today make placing a distant event in your living room look easy. Much of the thrill of September 5 is that it shows how much effort goes into making something seem effortless. Bader, Arledge and Mason have to sneak 16mm film past guards (who failed to keep Black September out) so that viewers can see how pressing the situation is.

Because the heavens are littered with satellites these days, it’s shocking to learn that ABC Sports had to negotiate with other networks for access to the one satellite available in 1972. Simply staying on the air was almost impossible.

Knowing these facts helps make September 5 exciting. Tim Fehlbaum’s taut direction also helps. In a brisk 95 minutes, Fehlbaum, who wrote the Oscar-nominated script with Mortitz Binder and Alex David, never gives viewers a chance to catch their breaths.

The three acknowledge that ABC Sports completed a formidable achievement in September 5, but they also make Arledge and company completely human. When two technicians successfully figure out how to tap into the Munich police frequency, one makes the mistake of sending Gebhardt out for coffee when she’s the only person in the building who can understand what the cops are saying. Real, flawed people were working that day, and much of the vitality of the story comes wondering which mistakes they can afford to make.

One clever touch Fehlbaum ads is not casting an actor to play Olympics anchor Jim McKay. Instead the director incorporates the actual footage of McKay relaying the story as it came to him. It’s hard to imagine even the best of thespians replicating the power of McKay’s faithful announcements, and Fehlbaum and company seamlessly replicate what the people in the control booth might have been feeding him.

The movie also acknowledges that sometimes doing a good job isn’t always satisfying. Perhaps we don’t get more coverage of the kind ABC Sports provided is because tragedies like the one in September 5 affect the witnesses as well as the participants. Benesch’s turn as Gebhardt is especially moving because she and other Germans hoped the games would be a way for Germans to atone for their homicidal tyranny.

If September 5 is a fascinating look at the past, it’s also a chilly reminder of how terrorism hasn’t gone away and why we need alert and capable people to cover it.

“September 5” receives ♣♣♣♣ out of 5.  

• KRAVEN: THE HUNTER
• Starring: Aaron Taylor-Johnson, Russell Crowe
• Directed by: J.C. Chandor
• Rating: R
• Running Time: 2 hrs 7 mins
• Sony Pictures

Our score: 2.5 out of 5

Available on streaming platforms, “Kraven: The Hunter” was without a doubt, based upon its overall box office numbers and poor ratings, a bomb at the box office. It could, in fact, be argued that it may have landed with a larger thud upon Earth than the asteroid that wiped out the dinosaurs. However, yours truly has a somewhat more positive take on it even if it is just putting lipstick on a pig. Aaron Taylor-Johnson (“Avengers: Age of Ultron”, “The Fall Guy”, “Bullet Train”) delivers a solid performance and Academy Award winner Russell Crowe is entertaining as his ruthless father. The action is fun, and the story is watchable. The problem with it, and every other live action Sony film that is supposed to be a part of the Spider-Man universe is the complete lack of any tie-in to Spider-Man himself. More on that later.

For apparent majority of human beings who have not seen “Kraven: The Hunger” yet it begins with Russian Serge Kravinoff (Taylor-Johnson) and his meek half-brother, Dmitri (Fred Hechinger) being pulled out of their private school by their ruthless, cold-blooded father Nikolai (Crowe) to be trained to take over his criminal empire. While on a hunting trip in Tanzania, Sergie is fatally injured during a lion attack and is saved because of a mysterious potion given to him by a young girl named Calypso.

Sergie soon discovers he has developed incredible powers because of this experience, but instead of becoming his father’s heir, he runs off into hiding in the Russian wilderness. Years pass and Sergie, who now goes by the name of Kraven, has become a vigilante who sets out to kill the world’s worst bad guys. Still, Kraven is unable to escape his past when mercenaries kidnap his brother for a ransom to be paid by Nikolai, who refuses. It’s up to Kraven then to save his beloved brother before his abductors kill him, which leads to a lot of action that anyone is sure to enjoy

That is the shorthand recounting of the film, which is certainly better than “Morbius” and “Madame Web”. The common fatal thread with all of them, including the “Venom” trilogy to an extent, is that they don’t tie in together hardly at all much less to Spider-Man, the main protagonist of Sony’s franchise. What Sony has failed to understand is that not only is the web slinger probably the most popular character in the Marvel universe, but also no one cares to see standalone films about each of his greatest enemies. The brilliance of the Infinity Saga was that every film was tied together without the need for full movies dedicated solely to bad guys. At this point, it’s hard to say if even a fourth, live-action Spider-Man with Tom Holland will save Sony’s endeavor to create a universe of its own.

“Kraven: The Hunter” receives ★★ ½  stars out of five.