Starring: Emily Blunt, Josh O’Connor and Colin Firth
Directed by: Steven Spielberg
Rated: PG-13
Running Time: 145 minutes
Universal Pictures

Our Score: 1.5 out of 5 Stars

It’s a grand return to the sci-fi genre for Steven Spielberg, the director that helped redefine the genre with “Close Encounters of the Third Kind” and “E.T.” However, “Disclosure Day” feels strangely disconnected from the sense of wonder that has made his work so compelling. Spielberg’s alien stories used to be fueled by curiosity. Here, curiosity is replaced by certainty. The film begins with the assumption that extraterrestrial life exists and that powerful interests have hidden that truth from the public. Fair enough. But then what?

That question kept following me throughout the film. If the government and corporations have been hiding the truth, why? What exactly are they protecting? What do the aliens want? Are they benevolent? Dangerous? Indifferent? What happens to religion, society, and everyday life when the greatest discovery in human history becomes public knowledge?

“Disclosure Day” raises all of these questions but rarely engages with them in a meaningful way. Instead, characters often react with awe and revelation while I found myself wondering what they were seeing that I wasn’t. I understood every plot beat, but I rarely felt them. The film somehow feels over-explained and underdeveloped at the same time, as if 40 minutes of crucial emotional and philosophical context were removed while all the unnecessary exposition remained.

To Spielberg’s credit, there are a few moments that work. Discussions about faith, humanity’s place in the universe, and our collective search for meaning hint at a more interesting movie buried beneath the surface. But the film never digs deep enough. “Close Encounters” told us to open our minds. We did. “Disclosure Day” tells us…nothing. It wants to explore truth, belief, and disclosure, yet it rarely moves beyond simply declaring that those things matter.

That’s ultimately where “Disclosure Day” lost me. The film spends more than two hours building toward a revelation, but it never fully explores why that revelation changes anything. A resistance movement forms because truth should be revealed. A conspiracy exists because truth should be hidden. Yet the film never convincingly explains the tension between those ideas. The “why” behind everything remains frustratingly out of reach even though it’s allegedly “Disclosure Day.”

• REMARKEDLY BRIGHT CREATURES
• Starring:  Sally Field, Coln Meany and Lewis Pullman
• Directed by:  Olivia Newman
• Rated:  PG 13
• Running time:  1 hr 51 mins
• NETFLIX

Our score:  4 out of 5

I don’t know what it is about the Octopus.  Beautiful creatures that rather swim along then bother people.  Ringo Starr knows what I’m talking about.  So does the new film, “Remarkedly Bright Creatures,” which is narrated by an octopus named Marcellus.

Tova (Field) spends her nights alone, cleaning the local aquarium.  It’s a boring job but it gives her quiet time to think.  When not scraping gum off the floor, she is constantly tracking down Marcellus, an octopus who has found a way to get out of his tank and explore the dark corners of the museum.  Though she hasn’t told her friends, Tova is considering selling her home and moving to a retirement community.

Cameron (Pullman) is a musician on the road.  When his van breaks down he finds himself needing a job to pay for the repairs.  The town mechanic (Meany) suggest the museum and soon Cameron finds himself being trained by Tova, who insists that things be done the right way.  No shortcuts.  Both Tova and Cameron are dealing with personal tragedies and as their story intertwines they discover more about each other then either one knew was possible.

Full of charm, “Remarkedly Bright Creatures” is a film about life, loss and the power of love.  Field must deal daily with the whispers of townspeople who gossip about her loss while Cameron, a young man with low self-esteem, finds himself kicked out of his band, really the only family he has.  Like Tova, Cameron shares his thoughts with Marcellus, who turns out to be a great listener!  Like the title character in “My Octopus Teacher,” we are drawn to Marcellus and upset him as a true member of the cast.  The scrip, by director Newman, John Whittington and Shelby van Pelt, is sharp and captures the small town feel necessary to embrace the story.  Field is her usual strong/spunky self, making you imagine what Norma Rae would have been like in her later years.  Pullman, the son of Bill, plays well off of Field, giving the two a genuine friendly chemistry.  And I must give kudos to Alfred Molina, who provides the “voice” of Marcellus.  He handles each moment beautifully, making what could have been standard narration come alive.

On a scale of zero to five, “Remarkedly Bright Creatures” receives ★★★★   

• MARTY:  LIFE IS SHORT
• Starring:  Martin Short, Steve Martin and Eugene Lelvy
• Directed by:  Lawrence Kasdan
• Rated:  TV-14
• Running time:  1 hr 39 mins
• Amazon Studios

Our score:  5 out of 5

As a generation we have been blessed to have been introduced to some truly wonderful people.  People that are not only extremely talented but radiate goodness.  One of those people is Martin Short and director Lawrence Kasdan sat down with the important people in Shot’s life to document the man and his life.

My first memory of Martin Short was on the television series “SCTV.”  It used to run on PBS every Sunday night when I was growing up and made up an amazing block of television when it was coupled with “Monty Python’s Flying Circus.”  It was on “SCTV” that now-legendary characters like Ed Grimley took shape.  After leaving the show Short was asked to join “Saturday Night Live,” where he quickly became a star.  Films followed.  Then Broadway.  But despite all of his successes, Short quietly and with dignity had to deal with tragedy.  And that is the heart of this film.

Through interviews with family members, and such long time friends as Steve Martin, Eugene Levy, John Mulaney, Paul Shafer and others, we learn that, to Short, his best accomplishment was his family.  Through archived interviews with his late wife, Nancy, we learn that the only spotlight Short relishes is that of husband and father.  Though not mentioned in the film, Short’s compassion for others shone brightly in 2012 when, not realizing that Nancy had passed away two years earlier, Kathy Lee Gifford asked Short about the strength of his marriage.  Rather then embarrass Gifford, Short replied that they were still madly in love!

Sadly, tragedy has once again recently found Short as both his dear friend, Catherine O’Hara and his daughter, Katherine.  The film is lovingly dedicated to them both.

On a scale of zero to five, “Marty:  Life is Short” receives ★★★★★   

• THE STRANGER
• Satarring:  Benjamin Voison, Rebecca Marder, Pierre Lottin, Denis Lavant
• Directed by:   François Ozon
• Not Rated
• Running time:  2 hrs 2 mins
• Music Box Films

Our score:  4 out of 5

If you go through life with an air of indifference when you see people around you acting contemptibly, is it all that surprising when you do commit murder?

That’s the setup behind Albert Camus’ 1942 novella The Stranger. When I devoured the book in college, I was stuck by how a book with such an uncaring protagonist could be so engrossing.

Veteran French director François Ozon (Swimming Pool) and co-screenwriter Philippe Piazzo follow Camus’ storyline faithfully but also look at the story from a post-colonial perspective.

As Meursault (Benjamin Voisin) goes through the motions in colonial Algiers, there’s a sense that the native population have a justified feeling of resentment toward French occupation. The tensions that would lead to the the Algerian war for independence a decade later are seething in the background. As a side note, this movie would make a great double feature with The Battle of Algiers.

Even among the French, Meursault leaves an uncomfortable impression. When his mother dies, he sheds no tears and treats her passing as a mere nuisance. When one of her mourners collapses in the heat, he simply marches on while others tend to the fallen man.

He spots his foul-tempered neighbor Salamano (the redoubtable Denis Lavant) beating his dog, while Raymond (Pierre Lottin) another resident of his apartment complex gets into scuffles with Algerians in the street and treats his sex worker girlfriend terribly.

One wonders how an automaton like Meursault has managed to attract the vibrant Marie (Rebecca Marder). She has the energy and passion he lacks, but she seems drawn to the fact that he avoids glib declarations of love. She might be attracted to the lack of phony airs. Then again it could be because there isn’t much behind his blandly handsome exterior.

Before you can say “banality of evil,” he gradually gets involved with activities a wise person would avoid. Raymond isn’t much of a writer, Meursault happily polishes his prose for a letter of ill intent.

We know where this is going because Ozun begins with the Meursault being jailed for his eventual crime. There is still plenty of tension and curiosity because Voisin imbues Meursault with just enough hints of possible humanity to keep viewers from sharing his disregard for what’s happening around him. The novel is told in first person, and the protagonist never asks for sympathy. Without resorting to voiceover, Voisin and Ozun subtly hint there might be some inner life to the undemonstrative Meursault.

Marder’s passionate Marie is a welcome complement, and Manu Dacosse’s stark black-and-white photography effortlessly recounts the period and gives the performers plenty of room to work. You can more easily spot small changes in expression or hints at danger to come.

Ozun clearly loves his source material, but he thankfully treats it as something to bring alive instead of preserve in amber.

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

• THE DEVIL WEARS PRADA 2
• Starring:  Meryl Streep, Anne Hathaway and Stanley Tucci
• Directed by:  David Frankel
• Running time:  1 hr 59 mins
• 20^th Century Studios

Our score:  3 out of 5

Ah, sequels.  Hollywood has made a killing by continuing familiar and popular stories on screen.  In my book “Jaws 2: the Making of the Hollywood Sequel,” I quote my friend, Oscar nominated filmmaker and screenwriter Carl Gottlieb, who notes that the only sequel that loses money is the last on.”  Some film franchises (“Fast and the Furious: (10),” “Jurassic Park” (7)) have more films then your some theatres have screens, with the 11^th “Fast and Furious” film due this summer.  In fact, if you look at the list of the Ten Highest Grossing films of all time, (9) of them are either sequels or the origin film that spawned the sequel.  But don’t fret…I’m sure someone will come up with a “Titanic 2” someday.

In “The Devil Wears Prada 2” we find the heroine of the first film, the hard-working Andy (Hathaway) at a highpoint in her career.  She is about to receive an award for her hard-hitting journalism.  However, that highpoint suddenly crashes when she learns that the publication she writes for is folding.  She is convinced to return to “Runway” magazine, where she is once again paired with the hard-to-please editor Miranda (Streep).  Once again, conflicts arise as each has their own ideas on how the future of the magazine will progress.

If you liked the first film you will no doubt like this one.  I say that because the story and the conflicts are so similar you may have trouble discerning between the two films.  I will say that if you are a fan of fashion and glamour, you’ll love this one, as it spends a lot of time on montages of glamourous people wearing glamourous clothes.  The film plays like an extended episode of “Sex in the City” without the sex.

The films saving grace is the cast, with both Streep and Hathaway returning to characters they obviously enjoy playing and giving them new life.  The supporting cast is also strong, though how can you ever go wrong when Stanley Tucci is in your film?  His Nigel is the film’s most fleshed out character and the film picks up whenever he is on screen.  As one might expect, the production values here are beautiful, giving a true shine to an already glamourous world.

On a scale of zero to five, “The Devil Wears Prada 2” receives ★★★   

• TOM CLANCY’S JACK RYAN:  GHOST WAR
• Starring:  John Krasinski, Sienna Miller and Wendell Pierce
• Directed by:  Andrew Bernstein
• Rated:  R
• Running time:  1 hr 45 mins
• Amazon/MGM Studios

Our score:  4 out 5

Fun fact – before he became a best-selling author, Tom Clancy was a insurance salesman who loved the Orioles and hated the Redskins.  More on this later.

The film begins with a mission obviously going bad.  The worse.  Then it ends. Badly.

While out for a jog, Jack Ryan (Krasinski) finds himself being pursued by mysterious SUV’s.  Despite his best efforts he is caught and summoned to meet with his friend, James Greer (Pierce), now Deputy Director of the CIA.  He is entrusted with an assignment that, like many of the ones Ryan is given, holds serious consequences.  And cue the action!

While I don’t watch the current Amazon Prime Jack Ryan series, I am a big fan of the previous films and I will say that you don’t have to be a fan of the series to enjoy this new adventure.  All of the Ryan trademarks are there:  using his wits when he has to but not afraid to use his fists.  As the adventure travels literally around the world, the stakes, and the action, get bigger.

One thing I’ve noted in the nearly 40 years of Jack Ryan’s existence.  He has gone from a book-smart analyst afraid to speak up to a true action hero.  Not sure if this is because the various actors who played the role (Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine previously) brought some of their on-screen personas with them or just the way the character was intended to evolve.  Krasinski plays Ryan as a combination of Baldwin and Ford – doing his best to be one step ahead mentally but still able to protect himself, and others, when the time comes.  As Greer, Pierce maintains the gravitas, mixed with sly humor, that James Earl Jones portrayed in the films.  The action set-pieces are well staged and the film moves quickly.

Back to my opening sentence.  I had season tickets for the Orioles  when I lived in Baltimore and would often find myself chatting with Tom Clancy, whose seats were near ours.  After the film of “The Hunt for Red October” came out I asked him what he thought and he was very complimentary.  One thing he told me was that, when he was writing the book, he always pictured Tom Selleck playing Ryan.  I could see hat.  Krasinski has a mischievous side to himself, similar to Selleck’s Thomas Magnum.  I can see what Clancy was looking for and Krasinski brings the character back to the way it was envisioned.  I enjoyed the portrayal so much I may have to start watching the series!

On a scale of zero to five, “Tom Clancy’s Jack Ryan:  Ghost War” receives ★★★★   

• PRESSURE
• Starring:  Brendan Fraser, Andrew Scott and Kerry Condon
• Directed by:  Anthony Maras
• Rated:  R
• Running time:  1 hr 40 mins
• Focus Features

Our score:  4 out of 5

Most people get mad if a weather forecast is wrong before a cookout or a football game.

It’s another matter if a storm could crush civilization.

That’s what almost happened on June 3, 1944, and as a result two hours of people arguing about weather makes for remarkably good cinema in Anthony Maras’ new offering Pressure.

His previous movie Hotel Mumbai, which is readily available on Netflix, expertly recalled the 2008 terror attack on India’s financial capital and made both the victims and the perpetrators seem remarkably human.

He achieves a similar feat with a similarly iconic historical event. The date might seem familiar, but the Maras and co-screenwriter David Haig (who also authored the play) reveal why a force of primarily British and American troops almost chose that day to invade Normandy.

As of this writing it is still the largest assault of its kind in the history of the world, but Haig and Maras almost make us forget it succeeded.

As the movie opens, we find out a test run ended with fatalities. The Allies led by Gen. Sir. Bernard L. Montgomery (Damian Lewis) and Gen. Dwight D Eisenhower (Brendan Fraser) have spent months assembling hundred of thousands of troops and creating clever diversions so that the invasion will have as few casualties as possible.

Even with all the preparations, getting all the people and equipment to the other side of English Channel offers a host of challenges.

One of them is Mother Nature.

If the wind and the sea refuse to cooperate, the troops will perish before boats and planes reach the French coast.

To ensure success, Eisenhower relies on both his usual meteorologist Col. Irving Krick (Chris Messina) and Capt. James Stagg (Andrew Scott, Ripley), a gruff Scotsman Winston Churchill has recommended.

The two scientists instantly clash. Krick has had a lucky streak in the Sahara, but Stagg knows Europe and current forecasting technology far better. Krick has apparently no idea how mercurial the north seas can be and relies too much on old maps. Unfortunately, his cheery disposition ingratiates him to the generals when they might be wiser to listen to the gloomy Stagg.

Fortunately, Scott manages to make Stagg more than a dour voice of reason. As the film progresses, we learn that he has more on his mind that simply ensuring the wind and the rain don’t stop the mission.

Scott ably conveys Stagg’s struggle to negotiate the hard facts of science with soft skills he has to learn if he wants to save lives. He often looks as if he hasn’t slept in days.

Similarly, Fraser carries a tone of authority and a sense that he has to listen to both advisors even if they are getting on his nerves. His boyish features seem a little distracting at first, but once he starts issuing orders it’s easy to believe he could lead a massive amphibious invasion. He also consistently makes the general seem like a commander instead of a face on currency.

As with Hotel Mumbai, Maras keeps the pace taut and prevents the familiar events from feeling etched in stone. Considering what Eisenhower and his troops did on D-Day, an indifferent, stilted film would be a disservice.

On a scale of zero to five, Pressure receives ★★★★

• I LOVE BOOSTERS
• Starring:   Keke Palmer, Demi Moore, Taylor Paige, Naomi Ackie
• Directed by:  Boots Riley
• Rated:  R
• Running time:  1 hr 53 mins
• NEON

Our score:  4 out of 5

Imagine if The Devil Wears Prada had more on its mind than simply getting the latest issue of a fashion magazine out the door.

Actually, that’s only part of what writer-director Boots Riley has to offer with his consistently surprising and gutsy second movie I Love Boosters.

Riley makes no secret of his communist sympathies, but his case is persuasive, and his  presentation imaginative and often side splittingly funny. For those who haven’t kept up on their lingo, “boosters” shoplift clothes from high end retailers and sell them at steeply discounted rates elsewhere.

In Oakland, Corvette (Keke Palmer) leads a team of boosters called the Velvet Gang who specialize in hitting a chain of boutiques called Metro Designers, owned by Christie Smith (Demi Moore). Christie has long been a major designer as well as a corporate heavyweight.

Between heists Corvette has even entered contests that Christie has sponsored in order to design clothes instead of swipe them.

While coveting the possessions of others is certainly not right, Corvette and her pals Mariah (Taylor Paige) and Sade (Naomi Ackie) are selling merch that has a ridiculously high markup already. Their situation is also precarious because their home is an abandoned fried chicken restaurant.

Their popup sales allow their equally cash strapped friends to have decent clothes that aren’t available otherwise. As Corvette discovers, her original designs are now Metro Designer shelves, anyway. Apparently, Christie has decided to engage in a little larceny of her own.

At this point, the Velvet Gang decide to elevate their operation. They take gigs inside the stores, where the working conditions are absurdly draconian. The clerks have to wear Christie’s designs, and the costs come right out of their own paychecks.

Considering the cost of rent in Oakland, it’s no wonder that Violeta (Eliza González) is secretly organizing a union.

Conditions are also unbearable in China, where the clothes are made. A blasting process gives the workers asthma and cancer, so Jianhu (Poppy Hiu) and her cousin Li Pan (Alan Z) are sabotaging the company in their own way.

Riley combines all of these threads in an energetic and whimsical way, but developments that seem unrelated fall together nicely make far more sense on a second viewing.

Riley incorporates contemporary labor and economic issues, but he also tosses in a little science fiction and absurdist humor to make obvious but persuasive points. Many of the heists involve physical comedy and warped sets that recall M.C. Escher designs.

The warped angles that looked mesmerizing in books of his illustrations seem amusingly awkward when people try to walk in them. Luxury vistas don’t seem so glamorous if you can’t get from one side of the room to the other.

Riley uses old school techniques to make those images possible. There’s something charming about the use of stop-motion animation and miniatures instead of AI to pull off these illusions. For a story about people being denied their humanity, high-tech visual walls would’ve undermined the thesis. With its bright, gaudy colors, I Love Boosters proves that subtlety isn’t always a virtue.

Riley used to be part of the hip-hop combo The Coup, and his eclectic taste in music helps drive the film. The score by Tune-Yard sounds like a polka, but fits the physical humor perfectly. Similarly he fits The MC5 seamlessly with a chase scene and features some solid vocal tunes by Palmer.

Palmer carries the film easily, and Moore is terrific as a tycoon whose fortune is based on appropriation and slick talk. González is a riot as a chain vaping malcontent who says little until she’s aware it’s safe to reveal she’s the smartest person in the film.

More than a few people online have questioned Riley for making a movie that glorifies thieves. I would argue that he should be praised for delivering a film that delivers viewers far more entertainment and insight than the ticket price.

On a scale of zero to five, I Love Boosters receives  ★★★★

• PRESSURE
• Starring:  Brendan Fraser, Andrew Scott and Kerry Condon
• Directed by:  Anthony Maras
• Rated:  R
• Running time:  1 hr 40 mins
• Focus Features

Our score:  3.5 out of 5

On the most recent episode of our “Back in the Day” podcast the crew and I took a look at some of the greatest war movies ever made.  In doing my research I learned that there have been more then 5,000 feature films dealing with World War II alone.  5,000!!  Some of them are regarded as some of the best films ever made (The Best Years of Our Lives, Patton, Schindler’s List, Saving Private Ryan) while others I’d never seen.  As Memorial Day rolls along this year we are treated to another one:  Pressure.

The film opens on the aftermath of what can only be called a horrible tragedy.  Overlooking the carnage, General Dwight D. Eisenhower (Fraser) can only curse.

Jump ahead six months where we meet British meteorologist James Stagg (Scott).  Awaiting the birth of his child, he is summoned to meet with Eisenhower and his staff to forecast the weather conditions that will be taking place during an operation they are calling “D-Day.”  Stagg continually butts heads with Colonel Krick (Chris Messina), whose method of predicting future weather from past events is not a practice Stagg embraces.  The two continually clash, much to the chagrin of an increasingly agitated Eisenhower.  Doing her best to keep the peace is Lieutenant Kay Summersby (Condon), Eisenhower’s aide and buffer.  It’s not an easy job.

Well presented with an outstanding attention to detail, Pressure could be looked at as the prequel to Saving Private Ryan, which opens with the invasion of Normandy, while this film looks at the events leading up to that day.  The cast is strong, with Fraser at his best when going head to head with British General Bernard Montgomery (Damian Lewis), whose “gung – ho” attitude robs Ike the wrong way.  It doesn’t help that “Monty” keeps referencing that, unlike others, he has battlefield experience.  He also throws “Exercise Tiger,” easily Eisenhower’s worse military chapter, out when it suits him.  (NOTE:  For those unaware, Exercise Tiger was basically a practice run for D-Day, with young soldiers taking place in a military exercise.  However, due to poor communications, live ammunition was used and nearly 1,000 soldiers and seamen were killed.)

The film has it’s dramatic moments but it’s also anti-climactic because, while they continually stress that the invasion will take place on June 5^th, anyone with any knowledge of history knows D-Day was June 6^th.  So when Ike asks if everything is good for June 5^th, you want to shake your head and tell him “no, sir.”

That doesn’t mean I didn’t enjoy the film.  I did.  When I was born, Eisenhower was president – JFK would be elected two months later.  And it was a genuine treat to be sitting in the theatre with some of Eisenhower’s great grandchildren.  It lent a nice historical aspect to the screening.

On a scale of zero to five, Pressure receives ★★★  ½

Starring: Marshall Williams, Richard Harmon and Alex Essoe
Directed by: James Kondelik
Rated: NR
Running Time: 108 minutes

Our Score: 1.5 out of 5 Stars

Survival horror is the ultimate guilty pleasure because you can amplify any life-or-death situation into the paranormal, horrific, thrilling, or cruelly dramatic extremes it finds itself in. So why doesn’t “Pitfall” come close to tickling “The Ritual,” “The Blair Witch Project,” or “Wolf Creek” vibes?

Woods and grief feel like a ritualistic trope at this point as “Pitfall” opens on Scott (Marshall Williams) and Ashley (Alex Essoe) mourning the death of their parents. For reasons that may or may not be revealed later, they join three friends on an ominous trip that quickly introduces the titular pitfall, a massive trap designed to kill prey.

The movie constantly battles convention with unpredictability. The problem is that at more than 100 minutes long, there’s plenty of time to sit around and wonder where the story is heading. If “Pitfall” moved with the frantic pace of a Tuesday afternoon soap opera on meth, maybe I’d be swept up in the chaos. Instead, I found myself waiting for reveals that felt more eye-rolling than shocking.

I really wanted to like “Pitfall” because of how invested it is in physical violence, emotional trauma, and psychological brutality. Unfortunately, the movie never convinced me it knew what to do with those ideas. By the time it arrives at its revelations and ultimate purpose, “Pitfall” feels less like a title and more like a review.

• EPiC:  ELVIS PRESLEY IN CONCERT
• Starring:  Elvis Presley
• Directed by:  Baz Lurhman
• Rated:  PG 13
• Running time:  1 hr 36 mins
• NEON

Our score:  5 out of 5

In 1976 a neighbor of ours asked me if I wanted to pick up a little money on Sundays.  He worked at the Ramada Inn near Tampa Stadium and needed help valet parking cars from fans who would park at the hotel and walk to the game.  Having just gotten my drivers license I jumped at the chance.  One Sunday a smartly dressed man pulled up in a brand new Cadillac.  As I gave him his valet ticket he said, “put it where you can watch it, son.”  I immediately moved the VW bug that was directly in front of my station to the rear of the building and parked the Caddy in its place.  A few hours later the man returned.  As he got in the car he handed me a 5-dollar bill (in those days that was a movie ticket PLUS a large drink and popcorn) and got in.  He then asked me, “do you like Elvis, son?”  I replied “yes” and he handed me two tickets.  Two months later, on February 14, 1977, I found myself at Bayfront Center in St. Petersburg about to attend my first concert.  ELVIS

Director Baz Luhrman, whose 2024 film “ELVIS” introduced the King of Rock and Roll to a new generation of fans, only scratched the surface in presenting the energy that fills the room when Elvis Presley was on stage.  In “EPiC” that energy is felt a thousand times over.  Using behind the scenes footage as well as some unseen concert footage, Luhrman takes the audience front row center as Elvis literally gives his all to please his fans.  Using archival footage, the film is “narrated” by Presley and also features conversations with many of the important people in his life, including wife Priscilla, daughter Lisa Marie and bandmates like Red West and James Burton.

Using footage from two MGM concert films released 50-years ago – “Elvis:  That’s the Way it Is” (1970) and “Elvis on Tour” (1972), the film also shows the toll performing took on Presley.  The weight gain is noticeable in the latter footage, as is the clear exhaustion he often drove himself too, but the voice and the swagger is still there.  As the film progressed the audience in the theatre with us began clapping along to songs.  One yelled out, “I love you, Elvis,” something I’m sure the King heard dozens of times while on stage.  One fan, who came with his daughter, clad in a white jumpsuit, got up in the aisle and began to gyrate.  The audience loved it!

Whether you’re a big fan of Presley’s music or not, “EPiC” will take you back to a time when one man with a microphone could hold 20,000 people in the palm of his hand.

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

• CRUST
• Starring:  Seah Whaslen, Daniel Roebuck and Rebekah Kennedy
• Directed by:  Sean Whalen
• Rated: Not rated
• Running time:  1 hr 42 mins
• Meztek Studios

Our score:  3 out of 5

Vegas (Whalen) is having a bad time.  Once a popular child star, he now runs a quiet laundromat in obscurity.  With no romantic prospects on the horizon, Vegas finds himself goig through a lot of socks, tossing them on a plie when finished.  When that pile comes to life, fortunes change for Vegas, both romantically and professionally.

I’ve always been a Sean whalen fan.  Most people remember him from his now classic “Got Milk?” commercials and his work in such films as “The People Under the Stairs,” “Twister” and “That Thing You Do.”  An award winning producer/writer – I urge you to check out his 2024 film “Finding Nichole” – Whalen makes his feature film directing debut here and shows himself as comfortable behind the camera as he is in front of it.

You would think a pile of old socks couldn’t be very frightening but when they become protective of their owner all bets are off!   When we first meet Vegas we learn that a reboot is planned of his old television series…a series with a tragic story.  Nearly everyone in the original cast has either died or had a serious misfortune.   Vegas is on that path until “Crust” begins to look out for him.  He finds love (Kennedy) as well as a new appreciation for his long-time friend (Roebuck), who works as the laundromat’s maintenance man.  Yes, the iron is that these dirty socks are operating in a laundromat, but that also adds to the film’s charm.

The script, co-written by Whalen with Jim Ward, is fun and Whalen wisely keeps most of the action inside the laundromat, allowing the audience to spend a solid 90 minutes in the same environment Vegas does, seeing and hearing what he does.  With this freshman feature Whalen proves himself more than capable behind the camera.  Can’t wait for his next one!  

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

A BLIND BARGAIN
Starring: Crispin Glover, Jake Horowitz and Lucy Loken
Directed by: Paul Bunnell
Rated: Not Rated
Running time: 1 hr 35 mins
Vitagraph Films

Our score: 4 out of 5

I’ve said it in the past but it bears repeating: the best part about being a film critic is when you discover a film you may have never seen if not for the job. One such film is “A Blind Bargain,” a film that not only pays homage to the great American International and Hammer Horror films of the 60s and 70s but also to classic horror from the 1920s.

1970. Dominic (Horowitz) has just returned from Vietnam and is having trouble adjusting back to the world. Finding himself in money troubles and living with his mother (Amy Wright), a silent-era film actress, he is constantly harassed by the social worker who constantly checks in on his mother. He is sent to the Gruder Institute for treatment and there he meets a pretty nurse (Loken). Dominic is told his money troubles could be over due to the results of his blood test. All he needs to do is… Sorry. No spoilers here!

With an excellent cast and amazing production design, “A Blind Bargain” takes you back to 1970. No detail is left out. From the vehicles to the clothes – I’d forgotten how many sweater vests I used to wear – there isn’t a false note in the film. Crispin Glover excels as Dr. Gruder, a role that, in the 1960s would have been played by Vincent Price. Like Price, he is a very talented actor who has found a niche in which he excels. And it’s a tribute to Glover that he so easily steps into a role that was originated in 1922 by none other then the great Lon Chney. The supporting cast is equally strong, with special shoutouts going to Jed Rowan, who plays Logos, Dr. Gruder’s assistant. Logos is a huge fan of Dominic’s mother’s work and, when he’s not talking about her films, he’s busy sharing his dream – to build the best swimming pools available! Also worth special mention is actress Annalisa Cochrane. Again, no spoilers here, but her performance is as strong as she is beautiful.

On a scale of zero to five, “A Blind Bargain” receives ★★★★

Media Mikes has teamed up with its friends at Amazon/MGM Studios to give readers the chance to be among the first to see the new film “Tom Clancy’s Jack Ryan:  Ghost War’ at its premiere screening.  The film will be shown on Monday, May 18th, at the AMC Town Center Theater in Leawood, Kansas.

To receive your passes, just click HERE.  You will receive a pas for (2) to attend the screening.  All guests will receive a complementary popcorn and have the opportunity to observe a live Q&A session with the filmmakers, which will be streamed from New York.

This is a first come/first servie giveaway.  Once all allotted passes have been claimed the contest has ended.  Good luck!

“Tom Clancy’s Jack Ryan:  Ghost War” premiers exclusively on Amazon Prime on Wedneday, May 20, 2026.

• TOM CLANCY’S JACK REACHER:  GHOST WAR
  
• May 18, 2026
• AMC Town Center, Leawood, Kansas
• Screenig begins at 6:30 p.m.

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

Our Score: 3.5 out of 5 Stars

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

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

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

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

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

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