• A QUIET PLACE PART II
• Starring: Emily Blunt, Millicent Simmonds
• Directed by: John Krasinski
• Rating: PG-13
• Running Time: 1 hr 37 mins
• Paramount Pictures 

Three years ago, “A Quiet Place” became THE breakout film of the year as it grossed over $188 million domestically and landed in many top ten lists. Its long-awaited sequel, “A Quiet Place Part II” picks up right where its predecessor left off and it does not disappoint. From the get-go, we are put on the edge of our seats as this fast-paced, sci-fi/horror flick keeps our hearts racing a million miles per hour. A smart script and superb direction by John Krasinski help make this film the first true “must-see” of the year. 

(If you have somehow not seen the original film yet, then do not read this any further.) When we last saw the Abbott family, the father, Lee (Krasinski) had sacrificed himself so that his family would have a chance to live. Thanks to the subsequent resourcefulness of his deaf daughter, Regan (Millicent Simmonds) and the tenacity of his wife, Evelyn (Emily Blunt), not only were they able to survive, but they also found a way to kill the sound sensitive aliens by utilizing Regan’s cochlear implant. 

“Part II” takes us back to Day 1 when a normal afternoon of little league baseball turns into an extinction-level event for humanity. After this brief flashback, we are flung forward to day #474 of the invasion. Evelyn and her three children – Regan, Marcus (Noah Jupe) and her infant son – gather up what possessions they need and make a silent, perilous walk into town. 

As they reach the deserted town’s railroad depot, they accidentally make enough noise to attract an alien. It is at this point they stumble upon Emmett (Cillian Murphy, “Inception”), an old friend of theirs who has lost everyone and everything. He is initially adamant they leave, warning Evelyn there is not anyone left worth saving. However, Regan figures out a way for a much broader application of her cochlear implant and it sets into motion events which put everyone’s lives in serious jeopardy. 

“A Quiet Place Part II’ is a superb work of cinema as it excels in all three major phases – writing, acting, and directing. Good luck in finding a flaw with the script. In fact, you will have a better chance at finding a needle in a haystack first. Blunt delivers a perfect blend of strength and vulnerability as does Simmonds, who again demonstrates with a wonderful range that she is a star in the making. Lastly, Krasinski successfully duplicates the pacing, tension, and thrills of the first film, which earned an Oscar nod for Best Sound Editing. 

Overall, “A Quiet Place Part II” already has a good shot at being on a lot of top ten lists again when 2021 is over.

• CRUELLA
• Starring: Emma Stone, Emma Thompson
• Directed by: Craig Gillespie
• Rating: PG-13
• Running Time: 2 hrs 14 mins
• Walt Disney 

There is nothing cruel about watching the new Walt Disney prequel “Cruella,” starring former Academy Award winner Emma Stone in a role she absolutely nails. Unlike 1996’s “101 Dalmatians,” in which Glenn Close played Cruella with over-the-top, maniacal behavior, Stone infuses Cruella with emotional complexities that draw us into a character who becomes much more than a punchline. Ultimately, there is an almost Joaquin Phoenix-as-Joker vibe to Stone’s performance, just not nearly as dark. However, do not be worried, “Cruella” is not all doom-and-gloom as there are enough light-hearted and even tender moments to keep it from falling too far down the rabbit hole. 

As a little girl, Cruella goes by Estella (Tipper Seifert-Cleveland, “Krypton”). Raised by her loving mother, Catherine (Emily Beecham, “Daphne”), Estella manages to get into a private boarding school. Her mother warns her, though, to not be rebellious and cruel, but the fashion curious Estella cannot prevent herself from getting into continuous trouble. Eventually, Estella wears out her welcome and is expelled. 

Estella’s expulsion does not turn her world upside down. In fact, she views it as a new adventure complete with a new puppy she finds. However, reality of how cruel the world can be takes place when Catherine dies and Estella becomes homeless in London’s city streets when she encounters two young boys who are always up to no good. 

Flash forward ten years later when the trio of Estella, Jasper (Joel Fry, “Game of Thrones”) and Horace (Paul Walter Hauser, “Richard Jewell”) are busy stealing from anyone they can. Yet Estella still has her eyes set on the world of fashion and a series of lucky events puts her into the employment of the most powerful fashion designer in London – The Baroness (Emma Thompson). At the pinnacle of her happiness, Estella learns a dark secret and Cruella begins to take over. 

Stone has all the appearances of being born to play this role in what is an overall terrific origin story. Her portrayal never becomes too unhinged, and she even manages to do the previously unthinkable – make Cruella De Vil a sympathetic character. Of course, she was guided with the steady direction of Craig Gillespie (“I, Tonya”), had a fresh and inventive script to work with, and shared the screen with the equally fantastic Thompson who makes The Baroness about as unsympathetic and diabolical as they come. What should also be mentioned are the film’s fantastic costume designs which will hopefully not be forgotten about when Oscar season rolls again, not that more than 10 or 12 people will be watching it anyway. 

Overall, “Cruella” is probably not for small children. Let them watch the 1961 animated version instead. Otherwise, “Cruella” is a wonderful, two-plus hour escape.

• THE FATHER
• Starring:  Anthony Hopkins and Oliva Colman
• Directed by:  Florian Zeller
• Rated:  PG 13
• Running time:  1 hr 37mins
• SONY Pictures Classics

I turned 60 last September and, as I get older, one of my biggest worries is that I’m going to slowly lose my faculties.  As someone that loves to write and communicate, I think that would destroy me.  I preface this review with that statement because that MIGHT be what’s going on in THE FATHER.

Anthony (Hopkins in an Academy Award winning performance) likes to relax in his flat, listening to music and taking occasional glances out the window.  He is looked after by his daughter, Anne (Colman) and things appear to be well.  Until one afternoon when Anne informs him that she will be hiring a caretaker because she is moving to Paris to be with the man she loves.  At least Anthony thinks this is what she told him.  Things get more puzzling when the next moment Anne’s former husband appears, but claims to be her current husband for the past eight years.  What the hell is going on here?

A true psychological thriller, “The Father” is a very non-linear descent into what could either be madness or gas-lighting.   Director Zeller leaves it up to the viewer to decide which it is.

The film is brilliantly acted, with, as noted earlier, Hopkins winning his second Best Actor Oscar for his performance.  Colman, herself an Oscar winner – and a nominee for her work here – matches him beat for beat.  Supporting work by Imogen Poots and Rufus Sewell, among others, carry the story along smoothly.

With theatres opening up to usher in another summer of fast cars and explosions, take a moment to stay home and watch “The Father.”   

Special Features:

• Homecoming: Making “The Father”
• Perception Check: Portrait of “The Father”
• Deleted Scenes

• LAST ACTION HERO
• Starring:  Arnold Schwarzenegger, Austin O’Brien
• Directed by:  John McTiernan
• Rated:  PG 13
• Running time:  2 hrs 10 mins
• Columbia Pictures

It was THE movie event of 1993.  A movie starring the world’s biggest action star, directed by the guy who directed “Die Hard,” and featuring an amazing array of celebrity guest stars.  Hell, they even launched a rocket into space with the film’s title on the side.  That film was “Last Action Hero,” and, at a cost of $85 million was one of the most expensive films made at the time.  Even though it made over $134 million world-wide, it was considered a dud by the bean counters in Hollywood and was not met well by critics.  However, as a 32 year old movie theatre manager, I LOVED IT.  Almost 30 years later, I still love it.

Danny (O’Brien) is a young boy who lives with his mother and spends most of his free time at the movies, where he has made friends with the projectionist, Nick (Robert Prosky).  One of the benefits of the friendship is Danny being allowed to screen new films before they open.  This night he is getting set to watch the latest Jack Slater adventure, starring Arnold Schwarzenegger.  Nick give Danny a “magic ticket,” goes into the booth and starts the film.  But tonight is different.  Danny isn’t watching the movie, he’s IN the movie.

A fun buddy comedy (even though there is 30 years age difference between the buddies), “Last Action Hero” is everything it was advertised to be, which made its poor box office in the U.S. surprising (it mad $15 million it’s opening weekend but ended up only making another $35 million before it was out of most theatres).  The fun comes from the fact that Jack Slater (Arnold, of course) has never heard of Arnold Schwarzenegger.  He thinks Danny is just some crazy kid who somehow ended up in the back of his car during a high speed chase. 

Jack thinks Danny is delusional.  A trip to the video store features a lobby display for TERMINATOR 2, but this version stars Sylvester Stallone.  Introduced to another cop (F. Murray Abraham), Danny instinctively recognizes him as the guy who killed Mozart in “Amadeus.”  Having never heard of the film, Slater tells the cop that Danny thinks he killed someone named Moe Zart!

The fun continues until the pair chase a baddie (Dance) back into Danny’s world, where Slater learns that you can’t punch a window without cutting yourself and you are no longer magically bulletproof. 

The film is an amazing combination of action and humor and one that doesn’t live up to it’s rep.  Check it out with an open mind and I think you’ll agree with me. 

Both the picture and sound on this release are amazing and the film comes in a special steel case.  This is a fun film I highly recommend. 

Special Features:

Commentary with Director John McTiernan

Deleted & Alternate Scenes

Alternate Ending

“Big Gun” Music Video by AC/DC

Original Behind-the-Scenes Featurette

Theatrical Teaser

• BIG FISH
• Starring: Ewan McGregor, Albert Finney and Billy Curdup
• Directed by: Tim Burton
• Rated: PG 13
• Running time: 2 hrs 5 mins
• Columbia Pictures

There is simply no film like a Tim Burton film! This visually arresting film also has a great story.

. Ewan McGregor is one of those actors that is interesting in anything he’s in. Here he plays a protagonist in a make-believe world. Or is it make-believe? As I watched this, I was reminded of the character of Forrest Gump, a man having adventures in everything he was involved in. 

The story involves Willll Bloom (Billy Crudup), who seems to harbor animosity against his father, Edward (Albert Finney). Will feels that he really doesn’t know his dad, who is noted for telling great stories which seem too far fetched for reality. As Edward tells one story after another, we flashback to his younger self (played by Ewan McGregor) who seems to have adventures that put him at an advantage to his peers.

Edward longs for Sandra, whom he instantly falls in love with despite her already being engaged. Edward soon finds himself joining the circus, simply because Sandra is also part of the same circus. As Edward tries to woo Sandra for her hand in marriage, he must meet conditions that he can only ask Amos Calloway (Danny DeVito) for, learning one thing about Sandra each month. This is to ensure that he knows all about her in his pursuit. This lasts for three years until it is revealed that Amos is secretly a werewolf (I’ll stop here so I will not ruin the film for the viewer).

This is just one example of how the story weaves and the viewer is treated to breathtaking locales and a very interesting plot.

Visually, as usual, Tim Burton is quite amazing. The man shows extreme creativity and his films hold up very well for repeat viewing. There is much to see in “Big Fish,” and you will do this film an injustice by renting it for one viewing. It has to be bought, taken home and enjoyed over and over.

“Big Fish” is a perfect blend of heartfelt sentimentality and visual splendor. In lesser hands, “Big Fish” would’ve gone off the rails as another goofy drama. In the hands of Burton, with John August’s script and with McGregor as the protagonist, it is the perfect blend of storytelling and fantasy. This film has some very colorful characters but that’s Burton’s recipe for a great film. 

The film is now on HDR 4K Blu Ray, with an impressive transfer by Sony. The film is nearly 20 years old but it holds up well with an HDR10 transfer that doesn’t disappoint. The audio is beautiful with a Dolby Atmos track that definitely increases atmosphere in a film that’s already captivating. “Big Fish” is a big winner that is surely presented with that Tim Burton signature that fans have come to expect and love. It’s a masterpiece!

• SPIRAL
• Starring: Chris Rock, Max Minghella
• Directed by: Darren Lynn Bousman
• Rating: R
• Running Time: 1 hr 33 mins
• Lionsgate 

Part of the premise of the “Saw” franchise is that the story’s victims are put in horrendous situations and then forced choose to do something terrible to escape or die horribly. Except possibly the 2004 original, I have desperately wanted to run away from each one of these dismal death traps as they begin to flicker to life on the screen. The newest installment, “Spiral” is easily one of the most unsurprising, stereotypical works of cinema I have ever seen in my career as a professional film critic. 

The story, which is a nice way to describe what is presented to us as entertainment, begins during a 4^th of July celebration when an off-duty detective does not call for any backup before chasing a purse snatcher down into a darkened subway tunnel. Shockingly, he never sees the light of day again. Enter Det. Zeke Banks (Chris Rock), a lone wolf cop who is hated by every police officer in his precinct as they all view him as a rat. 

Divorced and estranged from his father, former police chief Marcus Banks (Samuel L. Jackson), Zeke is forced to take on a younger partner, Det. William Schenk (Max Minghella, “The Handmaid’s Tale”) as he begins his investigation into crimes committed by a Jigsaw-inspired killer. Despite his efforts, the body count climbs as more dirty cops are killed in such horrific ways that you cannot help but wonder how the writers who come up with these ideas sleep at night. 

At the risk of ruining any surprises those who wish to spend their hard-earned dollars on seeing “Spiral,” I will refrain from going into any more details about the story. It should be noted that while there has been a total of eight “Saw” films in the franchise, “Spiral” is technically not part of the franchise’s ongoing tale as villain Tobin Bell (John Kramer) is only mentioned in this endeavor. 

Directed by Overland Park, KS native Darren Lynn Bousman, who also helmed “Saw II,” “III” and “IV,” “Spiral” overflows with unbearable, over-the-top grotesqueness matched only by ridiculous stereotypes (e.g. a captain who yells and waves fingers at a “rogue” detective) and plot points so predictable that you could go to the bathroom for ten minutes and not miss a beat. A good chunk of Rock’s dialogue feels like a stand-up comedy routine and when he wants to present himself as intense, he often resorts to squinting his eyes like Clint Eastwood in a spaghetti western. Minghella is stoic while Jackson is too underutilized. The rest of the cast delivers choppy performances with dialogue that may have been written in crayon. 

Overall, “Spiral” spirals down into an abyss of mindlessness so bad that not even a stiff drink could help salvage it as being watchable.

Written and Directed by David Charbonier and Justin Powell
Starring: Ezra Dewey, Rob Brownstein, Tevy Poe, John Erickson, Donald Pitts, Jilbert Daniel, Omaryus Luckett, Collin Joe and Isaiah Mansfield
Studio: IFC Midnight
Running Time: 82 minutes

Our Score: 3 out of 5 stars

When I see a movie coming out from IFC Midnight, my interest always immediately peaks! When I saw that there was a new movie centered around the supernatural Djinn, I got even more excited. I knew I had to see this film ASAP. It packs a fantastic synthesizer score, which I wish was used more. I would have loved to seen The Djinn more in it’s supernatural form but the film kind of cop-outs by transforming the Djinn into human form. I think it could have been much creepier if it was in demon form but I assume it was due to budget. Overall, the score works well to deliver great suspense, especially with the crying mom. “The Djinn” is definitely worth a watch despite it’s likely budgetary issues.

Young actor, Ezra Dewey, definitely does a great job here. He also worked with writers/directors David Charbonier and Justin Powell on their last film “The Boy Behind the Door”. I can see why they wanted to work with him again. I see this kid having a bright future in the business. He literally carries this entire film himself as the only other case is his father and the humans that the Djinn embodies from photos in the apartment. I

Official Premise: The story follows a mute twelve-year-old, Dylan Jacobs, as he discovers a mysterious book of spells inside his new apartment. Grieving the loss of his mother, and feeling isolated from everyone except for his father, Dylan performs a ritual that promises to deliver his heart’s desire: to have a voice. But he soon discovers that every gift has a toll when a sinister djinn arrives to collect his soul. Now trapped in his new home with nowhere to hide, Dylan must find a way to survive until the stroke of midnight or pay the ultimate price.

Overall, the small apartment in the film is the only location for this film, which leads to this claustrophobic feel that the film has. Due to this small space, it delivers some solid suspense for our young lead trying to escape the creature throughout the hour in order for his wish to be granted. The twist is worth the watch as well. I appreciate a good twist in horror films and this one definitely delivers. I just wish we had the Djinn more in it’s creature form because this could have been much scarier if we had a looming figure rather than a human hunting our lead.

Opening in New York at the IFC Center, Los Angeles at Laemmle NoHo7 and Select Theaters Nationwide on Friday May 14th. The film will also be available on digital/VOD everywhere you rent movies.

Directed by: Guy Ritchie
Starring: Jason Statham, Holt McCallany, Jeffrey Donovan, Josh Hartnett, Laz Alonso, Raúl Castillo, DeObia Oparei, Eddie Marsan, Scott Eastwood
Distributed by: United Artists Releasing
Running time: 119 minutes

Our Score: 3.5 out of 5 stars

When you put director Guy Ritchie and Jason Statham in the same room, great things are bound to happen. “Wrath of Man” marks the fourth collaboration of the duo following Lock, Stock and Two Smoking Barrels (1998), Snatch (2000), and Revolver (2005). “Wrath of Man” is a non-stop fast paced rollercoaster ride. It’s a shoot first ask questions later kind of movie. Speaking of shooting, boy, is there a lot of shooting in it! Just from the trailer alone you could have expected that though. What’s good about this movie is that the trailer sold it for me yet without giving away too much.

Official Premise: A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he unexpectedly unleashes precision skills. The crew is left wondering who he is and where he came from. Soon, the marksman’s ultimate motive becomes clear as he takes dramatic and irrevocable steps to settle a score.

Guy Ritchie is coming off last year’s The Gentlemen, which was another must-see gem! This film keeps the fire hot and allows Statham to continue his career as being Hollywood’s badass. He is so cool and collected through this film that he makes you nervous for him. Holt McCallany, aka FBI Special Agent Bill Tench on the Netflix series Mindhunter, gets a chance to deliver a solid role as well. I like this dude and I like that he gets to shine here. Josh Hartnett also pops up in the film, feels like we haven’t seen him doing anything recently, so it’s cool to see him kicking ass as well. Also music fans should keep an eye for a quick cameo from Post Malone.

I didn’t know this but this is based off the 2004 French thriller Le Convoyeur (aka Cash Truck) by Nicolas Boukhrief. I am definitely interested in checking out that film now as well. Hopefully it is as badass as this film. Also the score, by Christopher Benstead, should also get some props cause it keeps you on the edge of your seat during the film’s twists and turns. Let’s hope that this doesn’t mark the last time that Statham and Ritchie work together because this is yet another winner for both of them.

CLAUDE LANZMANN: SPECTRES OF THE SHOAH
Directed by: Adam Benzine
Starring: Claude Lanzmann
Running time: 40 minutes
HBO

Claude Lanzmann has become a legendary figure in the world of filmmaking, and this documentary by Adam Benzine, which was nominated in the Best Documentary Short Subject category at the 2016 Oscars, is an attempt to try and distill Lanzmann’s life, and his greatest project, into a short movie. Of course, you would probably need a documentary as long as Shoah to properly tell his life’s story, but Benzine does a fantastic job here of getting the Frenchman to open up about his early life as well as the huge task that was the creation of that documentary. For those who have not heard of Shoah, it is a French documentary directed by Lanzmann that was released in 1985, which is a look at the Holocaust, through interviews with survivors, witnesses and perpetrators, as well as visits to Holocaust sites such as Treblinka and Auschwitz in Poland. The movie runs to 566 minutes; that is over nine hours long, and is a detailed and painstaking effort which won a BAFTA for Best Documentary, as well as a New York Film Critics Choice Award for Best Non-Fiction Film. It has been hailed as one of the best documentaries ever made on a subject of contemporary history, and thus it was apt that there was a documentary made on the making of this documentary.

Thus, we can see how this is already an iconic documentary, and it made waves recently for very different reasons as well, becoming the first major motion picture, as well as the first Oscar-nominated movie, to be released as a non-fungible token (NFT). Ten ‘first edition’ copies of the movie were offered for sale via the blockchain auction site Rarible, along with bonus items including access to a director’s cut of the movie, as well as unique digital posters. It is interesting that this movie became the first to join the NFT bandwagon, and this is another reflection of the growing trend towards crypto and blockchain in today’s world, where people can even, for example, visit bitcoin baccarat gambling site to place bets virtually through cryptocurrencies on casino games online.

Benzine gets Lanzmann to open up about his earlier life, including his youth when he was part of the French Resistance against German occupation in the Second World War. He also briefly speaks about his affair with Simone de Beauvoir, but the main focus of this documentary is the making of Shoah. It took him nearly 12 years to make the movie, having begun production and interviews in 1973, and he talks about the various challenges and the emotional burden of trying to get survivors of death camps to open up and relive their experiences for his movie. He also had to secretly track and film former SS officers illegally to have the perspective of the perpetrators in his movie, while it was another monumental task to try and create a cohesive narrative from the nearly 200 hours of footage that he had amassed. Benzine also managed to secure a lot of previously unseen footage from Shoah that did not make it to the final movie, but was showcased in this documentary, with the help of the United States Holocaust Memorial Museum, to try and tell Lanzmann’s story better.

Shoah was a groundbreaking movie in every way, and it is therefore fitting that Spectres of the Shoah is also a pioneer in some manner. This is an excellent documentary that tells the story of one of the greatest documentary movies ever made, and thus it is a must watch for movie fans, as well as fans of history, in any part of the world.

• KINGSGLAIVE: FINAL FANTASY XV
• Starring the voices of:  Aaron Paul, Lena Heady and Sean Bean
• Directed by:  Takeshi Nozue
• Rated:  PG 13
• Running time:  1 hr 50 mins
• SONY Pictures

I’m not much of a fan of films derived from video games, however I do appreciate “Kingsglaive: Final Fantasy XV” for its stunning digital art.

Shot in full motion-capture CGI, the film is a visual work of art with some fun voice acting. However, if you’re not familiar with the game or story, you may find it a bit overwhelming. I was not at all familiar with “Final Fantasy” but it was still cool to look at and marvel at its artistry.

Watching on a 4K UHD disc certainly makes the presentation even more amazing and the sound quality is pretty amazing. The beauty of the film is that when you first glance at the characters, they look amazingly real! The full motion capture is astounding.

As for the plot, to break it down lightly, the story takes place on a planet called EOS, which is like a futuristic Earth. There is a Kingdom called Lucis, which houses a magical crystal that was given to the Lucians by gods. The power is used to protect the people and give power to the ruling king and his soldiers, who are known as the Kingsglaive.  With these powers, the Kingsglaive can ward off enemies.

Anything that is magical and promises powers will surely arouse jealousy and create wars and the crystal is no exception. Friends are stabbed in the back, characters are not whom they say they are and mega monsters, demons and spaceships riddle the landscape.  Everything climaxes into one big, epic final battle, which leads up to “Final Fantasy XV,” the video game.  

Once again, the visuals are quite stunning. In fact, this film has some of the best motion capture and CGI work I’ve seen on the big screen with room shaking LFE activity that’ll give the subwoofers a workout. The level of detail is staggering. Hair stubble and skin pores are clearly visible and come to breathtaking life!

Even for the novice, a viewing of “Kingsglaive: Final Fantasy XV” will give you a glimpse of the technical achievements of current film technology. It is certainly the next step in motion capture animation.

Special Features

• A Way With Words – Epic And Intimate Vocals

• To Capture The Kingsglaive – The Process

• Fit For A Kingsglaive – Building The World

• Emotive Music – Scoring The Kingsglaive

• MORTAL KOMBAT
• Starring:  Lewis Tan and Josh Lawson
• Directed by:  Simon McQuoid
• Rated:  R
• Running time:  1 hr 50 mins
• Warner Bros.

I can hear the pitch now.  Couple of guys walk into Warner Bros. and layout their idea for a film based on the early 1990s video game MORTAL KOMBAT.  “It’ll be great,” they tell the studio boss.  ‘Every thirty year old with kids will want to take them to see a movie based on their favorite childhood video game.  And, because we obviously don’t know that kids can’t readily see an “R” rated film, we’ll fill it with vulgar language and buckets of blood!”  Mission accomplished.

The story in a nutshell:  bad-ass bad guy kills bad-ass good guy and his family, but doesn’t know there is a baby hidden under the house.  Centuries later, we meet Cole Young (Tan) who is, of course, an MMA fighter.  That loses.  A lot.  An orphan (of course again) Cole has a family of his own, including a young daughter who is his corner-person when he fights.  Sadly, despite her constant pleading, he won’t throw the uppercut, so he taps out a lot.  But even though he’s a loser in the octagon, Cole has one thing the other fighters don’t.  A strange dragon marking on his body.  What could it mean?

Poorly written – I imagine the script was basically there to put a few minutes between fight scenes – and way over the top, MORTAL KOMBAT is exactly the kind of film I wouldn’t want my 37 year old son to take his kids to.

The dialogue, what there is, is very heavy handed, with words of wisdom that fall on deaf ears.  Another issue with the dialogue is that some of the film is subtitled, with the subtitles telling you if the characters are speaking Japanese or Chinese.  Later in the film they drop identifying the dialect.  When one character speaks to Cole in, if we were paying attention, we know is Japanese we can’t help but hope for a subtitle that reads “I have no idea what you’re saying” (English).

While the fight scenes do liven up the film some, the violence is over the top.  Yes, in the video game you killed your opponent in nasty ways.  Usually your opponent would explode in a red burst and their bones would rain down.  Violent, yes.  But not like this.  Here heads are crushed with a bloody splat, limbs hacked off and various blades are buried deep inside bodies, only to be removed in a geyser of blood.  Heck, one character is split down the middle vertically with organs spilling out like quarters from a slot machine.  Definitely not the MORTAL KOMBAT I remember playing.

A loud, rambling blood-fest, MORTAL KOMBAT is a great concept gone horribly wrong. 

• BOYS FROM COUNTY HELL
• Starring:  Jack Rowan, Fra Fee, Louisa Harland
• Directed by:  Chris Baugh
• Rated:  Unrated
• Running time:  1 hr 30 mins
• Shudder

“You gonna tell us to ‘Stay off the moors’?”

“This is Ireland, lad… there aren’t any moors.”

Eugene (Jack Rowan) and  William (Fra Fee) have been busy spending their days surviving unwanted construction work, racking up hearty pub tabs and swindling cash and beer from tourists at the grave site of Abhartach – a legendary Irish vampire who may have inspired Bram Stoker’s famous Dracula novel. After wrangling a duo of cash-rich Canadian Dracula-enthusiasts, Eugene alerts them to the local disdain for the infamous fictional character… insisting the pub from which they just departed ‘The Stoker’ is only named so to monetize the fact that Stoker pillaged their town and stole their local legend and reaped the fame and fortune.

     The undead are inadvertently invited to join the drinking festivities once again when the boys’ construction crew accidentally disrupts Abhartach’s grave and  a monstrous infection starts to spread through town, leaving the locals to face and overnight battle with the ORIGINAL legends. 

“Boys From County Hell” is a perfect cocktail of horror and comedy from start to finish.  A brief visit to sleepy, small-town Ireland where you’ll immediately want to open a tab and grab a pint with our misguided heroes even if their call to action means fighting vampires. Horror enthusiasts will immediately feel American Werewolf in London’s  Slaughtered Lamb vibes from  County Hell’s tourist-tailored watering hole but make no mistake, vampires are back and doing something entirely new and bringing a disarming level of gnarly gore out to play. These aren’t vampires that sparkle or seduce — these vamps are nightmare fuel and this film is simply delightful.

     A reminder to research the origins of monster legends: lest you find yourself fleeing bloodsuckers armed with dangerous misinformation.  “This is important shit to know.”

     “Boys From County Hell” will stream exclusively to Shudder on April 22nd in the US and Canada, as well as via the Shudder offering within the AMC+ bundle where available.

• MANK
• Starring:  Gary Oldman, Amanda Seyfried and Arliss Howard
• Directed by:  David Fincher
• Rated:  R
• Running time:  2 hrs 11 mins
• Netflix

“Citizen Kane” is often regarded as the greatest film ever made.  Directed by “boy genius” Orson Welles, who was only 25 at the time, the film would receive nine Academy Award nominations, including Best Picture (Welles was also nominated as Best Director and Best Actor) the film won only one Oscar, Best Original Screenplay.  The award was given to Welles and Herman J. Mankiewicz but, according to “Mank,” only one of the deserved the award.

We meet Herman Mankiewicz (Oldman) as he is brought into a home far from the big city.  Mank, as he is called, is recovering from an auto accident and has been hired by Orson Welles to write a story about a man obsessed with power but yearning for love.  As Mank begins dictating his script, we look back at various episodes in his life that have made him the man he is.

A true love letter to the movies of the Golden Age of Hollywood, “Mank” is an amazing recreation of those exciting times before World War II when talking and conversation were almost a commodity. 

Director Fincher, working from a screenplay by his late father, Jack, has captured everything about the films of that era, from the opening credits to the cue marks that appear in the corner of the screen to signify a reel change.  The script is well written (surprisingly this is Jack Fincher’s only produced screenplay) and the dialogue is pure poetry.

Mank is a man who loves his work, his liquor and his women, though not always in that order.  As he makes his way around Hollywood we are introduced to his fellow writers (Ben Hecht, S.J. Perelman and George S. Kaufman among them), Hollywood moguls like David O. Selznick, Irving Thalberg and Louis B. Mayer (an outstanding Arliss Howard, missing from the big screen for far too long).  We also meet the “boy genius” himself, but in this story Orson Welles (Tom Burke) is a secondary character, showing up occasionally to add his thoughts to Mank’s script. 

Oldman is perfect as Mank, accenting every nuance in his many monologues, whether he is sober or…not so sober.  His performance is truly award worthy, and I have him neck and neck with Chadwick Boseman for this year’s Best Actor Oscar.

But the big revelation here is Amanda Seyfried, who plays actress Marion Davies.  I’ve seen her in everything from the “Mama Mia” films to “Ted 2” to “Les Miz” to the underseen “Lovelace,” in which she made Linda Lovelace into a human being and not just a punchline, and have always enjoyed her but this is the first time she has completely inhabited a character.  She has been nominated for a Best Supporting /Actress Oscar for her performance here and rightly so.

Production wise, the film is beautiful to look at, with much credit going to cinematographer Erik Messerschmidt, an Oscar nominee for this, his first film as DP.  His cameras capture the era perfectly and it’s like going back in time.

Most movies about the movies are either hit or miss.  “Mank” is definitely a hit.

• MA RAINEY’S BLACK BOTTOM
• Starring: Viola Davis, Chadwick Boseman
• Directed by: George C. Wolfe
• Rating: Rated R
• Running Time: 1 HR 34 MINS
• Netflix 

With the 93^rd annual Academy Awards just days away, it is a good time to take a look at “Ma Rainey’s Black Bottom,” a film unforgivably snubbed in the Best Picture category. Garnering a total of five nominations, “Ma Rainey’s” is a fantastic drama with a brilliant cast punctuated by memorable performances from Viola Davis and the late Chadwick Boseman. 

Based upon the 1982 stage play by the late American playwright August Wilson (1945-2005) and wonderfully directed by George C. Wolfe (2005’s “Lackawanna Blues”), “Ma Rainey’s” is set on a hot and steamy July day in 1927 Chicago. Popular Georgia-born blues singer Gertrude “Ma” Rainey (Davis) is scheduled to record a song – “Ma Rainey’s Black Bottom” – for a pair of white producers anxious to make a profit off her music. 

Ahead of her much-anticipated arrival, Ma’s band arrives to prepare for the day’s recording session. Her musical quartet is made up of three seasoned veterans (Colman Domingo, Glynn Turman and Michael Potts) and an ambitious trumpet player named Levee Green (Boseman). Levee has a head full of dreams of becoming a star on his own, but his fellow players scoff at his ideas, at least until he tells them in a powerful scene about a disturbing racist experience he had while growing up. 

When Ma (Davis) arrives late there is heavy tension in the air, especially when it comes to her interaction with one of the white producers, Mel (Jonny Coyne, “The Blacklist”). Neither likes the other as Ma does not take any guff from anyone and Mel does not like her because she is black. In the middle is the other producer, Irvin (Jeremy Shamos, “Better Call Saul”) who will do anything to appease her. After many hiccups, the recording session finally begins but it is afterwards when the story’s haunting climax occurs. 

The real Ma Rainey lived from 1886-1939 and is often regarded as the “Mother of the Blues.” The Columbus, Georgia native was a force of nature in life and Davis drives this home with a tour de force performance that dominates the silver screen. It’s almost no wonder that Davis thrives so well on the script since she won an Oscar for Best Supporting Actress in 2016’s “Fences,” another of Wilson’s works.

 Equally spellbinding to watch is Boseman whose last performance before his untimely passing is one never to be forgotten. His progression from a bravado-filled, star-seeking musician to a broken man seething with rage, pain, and frustration is done with amazing skill. It is arguably the best acting of his brief career and makes his death that much more tragic. 

Overall, “Ma Rainey’s” is an important, transformative work of cinema. How it was ignored in the Best Picture category is a travesty of the highest order.

• MA RAINEY’S BLACK BOTTOM
• Starring:  Chadwick Boseman, Viola Davis and Glynn Turman
• Directed by:  George C. Wolfe
• Rated:  R
• Running time:  1 hr 34 mins
• Netflix

It’s a hot summer day in Chicago in the late 1920s.  In a small, enclosed room a group of musicians gather, waiting to back up a recording session for the tardy Ma Rainey (Davis), forever known as “the Mother of the Blues.”  Among the musicians is Levee (Boseman), a horn player with aspirations of musical fame of his own.  He’s tired of being part of a “jug band” and wants to introduce the musical world to a new style.  But he soon learns that Ma isn’t interested in a new style.  And what Ma says, goes.

Like “Fences” before it, “Ma Rainey’s Black Bottom” is a film adaption of an August Wilson play, again produced by Denzel Washington, who also produced, directed and starred in “Fences.”  “Ma Rainey” is directed by the amazing 15-time Tony Award nominee (and three time winner) George C. Wolfe.  Wolfe skillfully opens up the play on screen while keeping the performances front and center.  And what amazing performances they are.

Davis is tough as nails as Ma, a woman a lot smarter than some give her credit for.  She knows that her white producers only want her for her voice = that otherwise they would have nothing to do with her.  So she wields the power her voice gives her by making demands that must be met.  Whether it’s fetching her a Coke or ensuring that her nephew will appear on a record and get paid, she is as strong a Black woman as the times will allow.

The supporting cast of musicians are equally strong, especially when killing time by sharing stories of their musical past.  Turman, Michael Potts and Colman Domingo share their tales with great conviction and, occasionally, humor

As the session producer, Jeremy Shamos is both firm and bendable, depending on whether he’s dealing with his boss or Ma.

God bless Chadwick Boseman.  His star shone brightly with amazing work in films like “42,” “Get on Up” and, of course, “Black Panther.”  He left this world much too soon, but he left us with a performance that will be remembered forever.  Levee is a dreamer, but when his dreams are dismissed, or downright crushed, his jovial smiling face turns into a mask of anger, an anger that needs to be released.  Boseman, like Ms. Davis, has been Oscar nominated for his performance and they both richly deserves to win.

“Ma Rainey’s Black Bottom” is currently showing on Netflix.”