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.

• THE WILD ROBOT
• Starring: Lupita Nyong’o, Pedro Pascal
• Directed by: Chris Sanders
• Rating: PG
• Running Time: 1 hr 42 mins
• Universal Pictures

Our Score: 3 out of 5

Nominated for three Academy Awards – Best Original Score, Best Sound, and Best Animated Feature Film – “The Wild Robot” is a wonderful film the entire family can enjoy, especially the little ones. Based upon the 2016 novel of the same name by American author Peter Brown and the first of a trilogy, “The Wild Robot” contains beautiful, animated imagery, well-written dialogue, and plenty of fun animal characters. What it does not contain is anything that is original. The story is reminiscent of every other animated feature like “WALL-E” or any cinematic work involving a robot who goes on an adventure that leads to them developing human emotions. Yawn.

Much like the Mayflower, a violent storm blows a cargo ship off course and in the process its ROZZUM robots, designed to do tasks humans don’t want to do, are lost at sea to later be washed up on an uninhabited island. When ROZZUM 7134, or Roz (Lupita Nyong’o, “Black Panther”, “Us”), is the sole robot to survive intact. She is soon accidentally activated by wild animals who are terrified of her as she believes her mission is to help them with their tasks. Even after learning animal languages, Roz can’t seem to fit in.

Without any task to fulfill, Roz attempts to contact the company who made her, but a lightning strike prevents her from accomplishing it. The failed attempt leads to her crushing a bird’s nest and the subsequent adoption of a young gosling named Brightbill (Kit Connor). Her only help comes in the form of a fox named Fink (Pedro Pascal), who initially wants to eat the gosling. From there, Roz develops an identity of her own, which runs contrary to her programming. This in turn sets up a “dramatic” confrontation with the heartless, villainous company that built her when they reach her location.

Don’t get me wrong, “The Wild Robot” is a story any age can enjoy. It’s filled with laughter, action, and a few tears. The voiceover work by Nyong’o is delightful as she does a brilliant job with infusing life into her character, who goes from zero to hero. Pascal, known best for his more serious roles, is perfect as the film’s comic relief. Still, “The Wild Robot” is nothing that has not been seen before a million times. Entertaining? Yes. Creatively original? No. It becomes almost forgettable after watching it, unless, of course, your five-year-old insists that you watch again for the 98th time.

“The Wild Robot” receives ★★★ out of five.

Starring: Phillip Cordell, Ravi Patel and Quinnlan Ashe
Directed by: Danny Dones
Rated: NR
Running Time: 96 minutes
Freestyle Digital Media

Our Score: 3 out of 5 Stars

I couldn’t pass up “Clone Cops.” The title and image at the top of the press release alone sold me. I didn’t need to read the synopsis or any of the other information in the press release. I just knew I had to watch something that looked like an incredibly low budget version of “Smoking Causes Coughing” that would worm its way into the brains of select audiences at 3 a.m. on Adult Swim. So, does it live up to the hype that I’m currently pumping it full of? Kind of, but I also think what it does is perfectly fine and fun.

With a backdrop that looks like whatever abandoned buildings were in the director’s neighborhood, “Clone Cops” introduces us to a world run by NefariCorp, a company that operates like a spite baby made by Amazon, Meta, and Pfizer. If you’re running the world, you need your own law enforcement, right? Enter the clone cops, who are all played by comedically self-deprecating and scenery chewing Phillip Cordell. The clones are made in a lab out of continuously recycled pink slime because they’re about as useful at stopping criminals as Stormtroopers are at stopping the Rebel Resistance. They’re deployed en masse, over and over again, to bust some criminals participating in a heist. Sounds like a great excuse to watch slapstick gore, but just when you think you’re about to watch a film on a 21st century version of the Keystone Cops, the movie flips on its head.

The silly bad acting action does unfold like an episode of “Power Rangers,” but the film manages to twist the story consistently while wedging in commentary on the social media age and the cruelty that inhabits it, the cutting corners ineptitude of corporate run public services, the idea of endless content to feed humanity, and how Earth may just now be where poor people inhabit it to provide for the rich on the Moon. However, all of that may be the film’s biggest problem because it really does way too much on top of the inherent comedy. I’m not saying it didn’t tackle these topics in fun ways, but it seems to overinflate the runtime and break up too much of the comedy and moments where we learn more about these absurd characters. It is a fun giggle-filled ride, but it could have been a low budget “The Other Guys” with some more fine tuning.

The film appears to pay homage to sci-fi genre amongst the laughs while developing a low-budget Troma charm (although not as gross out). Sometimes it leans into those low budget charms while other times it just does look and feel like a low budget film. I haven’t really talked about the plot, but that’s because so much relies on the twists which evolve over time. “Clone Cops” is just fun, and honestly, that’s all you can really expect, want and need out of a film that barely passes the hour-and-a-half mark.

• INTO THE DEEP
• Starring:  Scout Taylor-Compton, Callum McGowan and Richard Dreyfuss
• Directed by:  Christian Sesma
• Rated:  R
• Running time:  1 hr 30 mins
• Saban Films

Our Score:  3.5 out of 5

The ocean is a pretty scary place.  Especially if you’re a young girl just learning to swim.  While treading water with her father, young Cassidy (Quinn P. Hensley) is getting mad, as her father keeps kicking her legs.  Only dad is several yards away.  Uh oh!

Well-acted, with some equally good effects, “Into the Deep” tells the story of the now grown up Cassidy (Taylor-Compton) and her boyfriend, Gregg (McGowan) as they prepare to dive to recover a rumored sunken treasure.  Thanks to the constant guidance of her grandfather Shamus (Dreyfuss), Cassidy has conquered her fears to become a marine biologist.  When the pair, and their friends, are taken captive by modern-day pirates searching for 80 kilos of heroin that has been lost at sea, it will take every bit of Cassidy’s will to stay alive.

Of course, any shark-themed film will be compared with “Jaws,” and “Into the Deep” is no exception.  Even with Dreyfuss aboard, it’s not “Jaws.”  But then again, it doesn’t try to be.  If I compare the film to a Peter Benchley story it would be “The Deep.”  The film’s suspense comes from the interactions with the pirates.  They are bold and ruthless and not above executing innocent boaters or the coastal authorities.  The sharks ramp up the suspense even more, and the attacks are well staged.  Nothing over the top.  Very perfunctory and quick.  In this day of CGI overuse, it is a credit to the filmmakers that they don’t go overboard, so to speak.

The cast is strong, especially Taylor-Compton, who displays the silent toughness she will need to survive.  Kudos also to Jon Seda, who plays the leader of the pirates.  He takes a character that could be played over the top and keeps him grounded, making him even more menacing.  And what a great bit of casting to have Mr. Dreyfuss in the cast.  He has always had a way of holding the audience with just his words, and as we listen to his advice, shown through flashbacks, you hang on every word.  “Remember,” he tells the young Cassidy, “this is their world.  You are a visitor.  You are a guest.”  The film is well-paced, and moves along swiftly.  Production values are strong and the musical score, by Andy Fosbery, sets the tone well.

The final credits run alongside a very heartfelt PSA from Dreyfuss on the importance of sharks in our world and how to assist in shark conservation, something that was very important to “Jaws” creator Peter Benchley.

On a scale of zero to five, “Into the Deep” receives ★★★ ½  

Starring: Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch
Directed by: Tim Fehlbaum
Rated: R
Running Time: 95 minutes
Paramount Pictures

Our Score: 4 out of 5 Stars

There’s one key criticism I’ve heard about “September 5” from people who’ve seen it and people who haven’t seen it yet are hearing me describe the film, and that is that it’s ethically repulsive. I wouldn’t make that criticism, but several people have told me that the film sounds like ignorant glorification of violence. There’s actually a term for this, “media contagion.” It’s the idea that coverage of violence can beget violence. In “September 5,” an ABC sports broadcasting team, led by Roone Arledge (Peter Sarsgaard), Geoffrey Mason (John Magaro) and Marvin Bader (Ben Chaplin), attempt to cover the unfolding act of terrorism against Israeli athletes at the 1972 Munich Summer Olympics.

Viewers are transported into the smokey ABC control room as the production crew grapples with covering the event via several cameras, witnesses and a young Peter Jennings (Benjamin Walker). As a journalist and former news producer, it’s a familiar scene, not so much the smoke and ashtrays. I immediately felt immersed because of my background, which I’ve told people, implies that I’m biased towards liking this movie. The big issue is when the control room realizes that terrorists may be figuring out their next steps because of the ABC live broadcast. This is exemplified in a scene where the cameras watch the armed forces encircle the building while realizing that the terrorists inside the Olympic village are tuning in to ABC to see where those pesky snipers are. It’s something that we would all, in the 21st century, state is obvious not to do.

But that’s where I defend “September 5.” While this isn’t the first time media covered violence live, it’s easily the earliest instance of live coverage of a terror attack. The film dives into the real-time decision making over ethical dilemmas that materialized second-by-second. It’s a watershed moment in how crisis situations are handled and yet throughout the film, we see how much of its handling has become the news product we digest now. The film artfully highlights moments of brevity and times of clumsiness on the ends of these individuals handling this incident. There is no time to reflect on the decisions, the decisions are made and it’s now onto the next media quandary.

“September 5” highlights the frenetic nature of a newsroom during a crisis. It tactfully shows how good and bad decisions happen all the time, but the people know that as long as the story is still unfolding, there’s no time to reflect, redact or change what has happened. Geoffrey does most of the decision heavy lifting while Roone serves as his parachute in case those decisions aren’t ethically sound. The tight editing and brisk 94 minutes add to the palpable tension, even if you know the tragic outcome of the hostage situation.

“September 5” doesn’t look to make some grandiose stand on news media’s past, present or future. It’s a fly-on-the-wall, reminding people that journalists are just people who have elected to work in a high-stress field. It’s easy to forget in today’s digital news day that human beings are still working hard to confirm facts, chase down leads, ask the difficult questions and follow the most dangerous stories until their bitter end. Sure, my love of this film is biased, but I hope that others love it for humanizing those who are constantly demonized for covering the burning world.

• ONE OF THEM DAYS
• Starring:  Keke Palmer, Sza and Katt Williams
• Directed by:  Lawrence Lamont
• Rated:  R
• Running time:  1 hr 37 mins           

Our Score:  3.5 out of 5 

Your rent is due and you’re late for a job interview that, if you get it, will change your life.  But, of course, things don’t go the way you plan.  It’s just one of them days!

Meet Dreux (Palmer).  She has worked hard to move up the ranks at the restaurant she waits tables at and has finally been given the chance to interview for the opportunity to manager her own store.  Things in her life are going good unless, of course, you add in her roommate, Alyssa (SZA), a woman more interested in hanging on to her boyfriend then helping her friend succeed.  When Dreaux learns that Alyssa has given their rent money to the boyfriend, the two must devise a way to pay the rent before the clock strikes twelve or face immediate eviction.  Let the hijinks begin.

Fast paced and quick witted, “One of Them Days” manages to stretch a one-joke story into a solid hour and a half.  This is due, in part, to the outstanding performance by Ms. Palmer.  She gives Dreaux a great mixture of both humor and seriousness that suits the character.  As the roommate whose decisions always seem to be the wrong ones, SZA carries the bulk of the comedy and handles it well.  The supporting cast is strong, from Maude Apatow as a new neighbor whose sunny disposition is very rare for the apartment complex to the always fun Katt Williams, who does all he can to dissuade the girls from getting a payday loan, cautioning “if you don’t have the money this month, you’re not gonna have it next month!”

The film does its best to cram a lot of antics into the 97-minute running time.  I would have rather they stretch the adventures over a weekend then force so much into, by the script’s reckoning, was only a few hours.  The film also serves as a great reminder that the Honey Butter Biscuits at Church’s Chicken are worth fighting for.

On a scale of zero to five, “One of Them Days” receives ★★★½

Starring: Ethan Herisse, Brandon Wilson and Hamish Linklater
Directed by: RaMell Ross
Rated: PG-13
Running Time: 140 minutes
MGM Studios

Our Score: 4 out of 5 Stars

For the first 15 minutes or so, I wondered what was going on. That’s because the camera begins in a first-person point of view in “Nickel Boys,” showing us the African-American life in 1960s Florida. Through a young boy’s eyes, we see family and friends playing cards, parents doing mundane household tasks and the unfortunate, casual racism surrounding them. “Nickel Boys” is simply warming up, as it prepares to continue this first-person perspective into a historical nightmare that creatively tells a fresh, yet old story about racism in the U.S.

The eyes we see through are Elwood’s (Ethan Herisse), who is looking to further his education at a black college during the Civil Rights Movement. Unfortunately, his story truly begins as he hitchhikes to campus. He’s picked up by a man driving a stolen car and when he’s caught by police, Elwood is assumed to be the man’s underage accomplice. As punishment, Elwood is sent to Nickel Academy, a reform school that may as well double as a brainwashing labor camp. Even though Elwood eventually finds comfort and comradery with another student, Turner (Brandon Wilson), the duo will endure a gauntlet of various tortures and violent incidents at the hands of their abusive academy leaders.

The first-person point of view in “Nickel Boys” flips back and forth between Elwood, Turner, historical images and video, and even present day to tell a harrowing chapter of Americana that isn’t quite known to the vast majority of the public. The way it’s shot not only puts us in the boys shoes, but makes us feel just as helpless as they do. When the physical, mental and sexual abuse rears it’s ugly head, all we can do is suffer through it as the boys. Not all is doom and gloom though, Elwood channels the Civil Rights Movement in the belief that morality ultimately bends towards justice. Turner, though, believes the world is a crumbling mess and that Nickel Academy may be their final stop in life.

While these conversations give us insight into Elwood and Turner, we sometimes are unable to fully connect with either because of the way the film is shot. Yes, we know hear them externalize their feelings, but the lack of physical cues through their faces sometimes leave us lukewarm about the emotional messaging of our characters. Despite being in their shoes, I didn’t feel like I was being fully immersed in this miserable experience, but instead found that some parts of the movie left me emotionally detached. However, I do believe the stylist choices of this film ultimately benefit even if it did dampen that aspect of the viewing experience. “Nickel Boys” is a sensory experience that wants us to live this dark chapter of American history, rather than relate to it.

Director RaMell Rose, who’s only prior experience is the documentary “Hale County This Morning, This Evening,” is near masterful in his crafting of “Nickel Boys.” What originally was a film I had never heard of or knew anything about turned into easily one of my favorite films of the year and led me down a rabbit hole of Nickel Academy articles. The biggest takeaway for me in the way Rose tells his story is how we have yet to learn from our own history. While we dig up the skeletons of our racist, abusive past, we find ourselves still trapped in this hateful treatment of children. The Agape Boarding School in Missouri opened in 1990 and operated for nearly three-and-a-half decades before death and sexual trafficking allegations plastered headlines across the Show-Me state. We haven’t learned anything, unfortunately. “Nickel Boys” asks society if we want to remain helpless to the demons among us, or, like Elwood, do the right thing and remain hopeful that others will.

• BETTER MAN
• Starring:  Robbie Williams, Jonno Davies and Steve Penderton
• Directed by:  Michael Gracey
• Rated:  R
• Running time: 2 hrs 14 mins
• Paramount

Our Score;  5 out of 5

Let me begin by saying that, except for knowing that Robbie Williams was once part of a British boy-band, I had no knowledge of his music.  Let me also say that, after watching “Better Man,” he has gained a new fan.

In the mid-1980s, young Robbie Williams (Carter J. Murphy) spends his time with his mother and grandmother, watching television and dreaming of being a performer.  His father, Peter (Pennberton) has also had star aspirations, hoping to one day be in the same league as Sammy Davis, Jr., Dean Martin and, of course, Frank Sinatra.  When Robbie cheekily gets himself a position in the new boy-band Take That, his career begins to take off.  But he wants to be more then just a face in the background.

Not since the “South Park” movie has there been a more innovative film musical.  Starting with the fact that Robbie is portrayed as a chimpanzee (we are told through narration that this is how he sees himself) and featuring some dazzling musical numbers, the film is fast paced and full of some amazing music.  Narrated by Robbie Williams, the singer is portrayed on screen by Mr. Davies.  Even as an ape – after about the first half-hour of the film I stopped noticing the fur, so powerful was the performance, the performance hits all of the emotional beats.  Whether hitting the highest of highs or sinking to the lowest depths, the film maintains its emotional hold on the audience.

The selling point, of course, is the music.  Mr. Williams is an amazing lyricist, writing from deep inside his soul.  When I shared that I was seeing this film with some of my U.K. based friends, they all to a man commented on how much the loved Mr. Williams’ music.  Me too!

Director Gracey also helmed “The Greatest Showman,” a film that started slow at the boxoffice then exploded after word of mouth spread.  I hope “Better Man” has the same success.  It certainly deserves it.

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

Starring: Nick Frost, Aisling Bea and Sebastian Croft
Directed by: Steffen Haars
Rated: NR
Running Time: 86 minutes
Shudder

Our Score: 3 out of 5 Stars

Thanks to “The Witch” and “Midsommar,” there’s a fresh new take on folk horror. For those who don’t know, folk horror is like a fish out of water, if the fish was an English person and the water was that white person traveling to another predominantly white rural area where they discover peculiar and dated beliefs, traditions and terror. Enter “Get Away,” a film about the British Smith family traveling to a remote Swedish island, that carries a dark cannibalistic past involving the imperialistic British.

“Get Away” sees the usual tropes of the genre, unwelcoming locals with an axe to grind, rituals that make no sense to anyone outside those taking part in the ritual, and of course blood and guts. What “Get Away” offers is deadpan comedy and a tongue firmly planted deliciously in it’s own cheek. The Smiths, made up of Richard (Nick Frost), his wife, Susan (Aisling Bea) and their kids (who you can’t tell if they’re young adults or very old adolescents) seem comically oblivious to the creepiness around them. They also don’t seem to mind the “piss off” attitude of the tiny Swedish community. So why are the Smiths there? To watch a play about the horrific cannibalistic event I mentioned.

The tone of the film is off, but the comedy helps balance it from time-to-time. The comedy is along the lines of what we witnessed in Frost’s older films like “Hot Fuzz,” a film that could also be considered a mockery of folk horror if it wasn’t straight up lampooning action films. Because I mentioned “Hot Fuzz,” I almost feel obliged to say that everything feels off because there’s a few twists that “Get Away” has tucked away in it’s back pocket. Thankfully those twists are cheeky and stop the film from descending into a meandering mess.

While I enjoyed myself, I did find myself wondering if the jokes came before the story. I say that because the film flips between the narrative of the Swedish islanders and the Smiths, killing the possibility of more mystery and intrigue about what the other is actually up to. You’d think that switching narratives would mean there’s a lot of juicy meat in there, but there’s a few seemingly pointless moments. They’re made even more pointless when you consider the whole film. It’s one of those rare moments where the bloodsoaked finale not only saves the film, but weakens the first hour.

Anytime I see Nick Frost or Simon Pegg I think to myself, “Why aren’t they in more?” I’ve seen them in at least a dozen TV shows and films together, but it seems like I rarely see them without the other in anything good. I wonder if it’s like a Trey Parker and Matt Stone dynamic where they just don’t click if they’re apart. While “Get Away” is enjoyable, it feels like it could have been way better, especially if Simon Pegg or Edgar Wright had a say in the final product.

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

Our Score: 4 out of 5 Stars

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

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

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

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

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

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

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

Our Score: 4 out of 5 Stars

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

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

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

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

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

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

Our score:  4 out of 5

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

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

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

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

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

“Gladiator 2” receives four stars out of five.

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

Our score:  5 out of 5

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

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

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

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

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

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

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

Our score:  5 out of 5

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

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

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

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

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

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

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