Starring: Brie Larson, Samuel L. Jackson and Ben Mendelsohn
Directed By: Anna Boden and Ryan Fleck
Rated: PG-13
Running Time: 124 minutes
Walt Disney Studios Motion Pictures

It only took 21 movies for Marvel and Disney to finally release a female-led superhero film, and it’s not about Black Widow. It’s the kind of some comic book fans have been clamoring for, for about a decade now. For those fans, I have to warn you up front, this isn’t the monumental moment you’ve been hoping for.

“Captain Marvel” is an origin story in reverse. When we first meet Captain Marvel/Carol Danvers (Larson), she goes by Vers and is having her skills crafted under the observant eye of the Kree military. She’s in a unit that serves as an important cog in the intergalactic war between the Kree and Skrull. Honestly, if you don’t know what I’m talking about, you have a lot of movie binging to do. The film really doesn’t pick up pace until “Vers” is stranded on Earth after being ambushed by some Skrull. It’s on Earth that she not only chases down the Skrull, but begins chasing down fleeting memories of a life she’s forgotten.

The first 30 minutes or so are pretty rough, even if you understand and know all of the necessary backstory that’s been glossed over in “Guardians of the Galaxy” and “Thor” films. It attempts to juggle exposition, mystery, and introductions, while handling them all poorly. The exposition isn’t interesting, we already know who “Vers” is, and Marvel is generally terrible about disguising their surprise villains. The movie actually gains momentum and gets a lot more fun when Danvers crashes through the roof of a Blockbuster Video, one of the dozens of reminders that this takes place in the mid-90’s.

As a child of the 90’s, all the winks, nods and nudges are welcome, but they ultimately come off as pandering. The movie feels like it needs to tickle some nostalgia bones, in lieu of character building or plot development. That being said, I don’t mind a little Nirvana or No Doubt in my soundtrack or jokes about how painfully slow computers and the Internet used to be. Millennial inside jokes aside, it’s on Earth that Danvers runs into a young Nick Fury (Jackson), which helps serve as a bit of an origin story for the Avengers initiative.

The 70-year-old Jackson and the 29-year-old Larson are actually a dynamic duo. Their green screen scenery chewing brightens up some otherwise dull moments. It’s regrettable that Marvel missed out on giving them some 90’s buddy cop tropes to gnaw on. “Captain Marvel” may have actually worked better as a parody or homage of films like “The Last Boy Scout” or “Bad Boys.” Luckily these two stars share a lot of screen time and seem to feed off each other’s energy.

“Captain Marvel” is what we’ve come to expect from these yearly Marvel traditions, a lot of CGI, fun set pieces and eye candy for the masses. I actually had quite a bit of fun when I wasn’t analyzing its flaws. So if you want a mindless superhero film, then that’s what you get. That being said, it’s still above the mindless action of Snyder’s DC films because it doesn’t bog the fun down with a bleak atmosphere and outlandish character interactions. For others who are expecting a little more or something a lot more audacious, you’re out of luck. Disney probably over thought this one a bit; and it shows.

If it weren’t for Larson and Jackson, the film may have been a forgettable dud in the same vein as “Thor: The Dark World” or “Iron Man 2.” Those two wring out so much from a minimal script. The writers seemed to be more interested in padding time and setting up a payoff, which never pays off. The film has about half a dozen writers and doesn’t do anything remarkably different with tone or style, like “Thor: Ragnarok” or “Black Panther” managed to do in recent years. “Captain Marvel” is the kind of film you could nitpick to death if you don’t turn your brain off. Everything from visual effects to casting choices is suspect and up for ridicule.

I actually didn’t have high hopes for “Captain Marvel,” so I may not find it as underwhelming or disappointing as some people. Whereas a film like “Wonder Woman” felt like it was breaking new ground, “Captain Marvel” seems to tread water. A lot of that may be due to Disney’s weariness of trying something outlandishly new or daring with its multi-billion dollar baby. Disney could merely be testing the waters. You should be frustrated if the next female superhero film from the studio powerhouse is another cookie cutter film. A progressive step requires a fresh idea, not a copy-and-paste formula that’s slowly becoming stale.

WOMAN AT WAR
Starring: Halldóra Geirharðsdóttir, Jóhann Sigurðarson, Jörundur Ragnarsson
Directed by: Benedikt Erlingsson
Running time: 1hr 41 mins
Magnolia Pictures

The personal and political overlap in Benedikt Erlingsson’s Woman At War which opens this Friday, March 1st in New York and Los Angeles. The Icelandic comedy-drama stars Halldóra Geirharðsdóttir as Halla, to everyone in town she is the local choir director, but to only a close pair of confidants she is The Mountain Woman. Under this guise, Halla goes far into the Icelandic highlands to single-handedly sabotage a nearby aluminum plant and make global investors wary of further industrializing her country. In addition to Geirharðsdóttir’s passionate lead performance, there’s gorgeous scenery and some quirky narrative choices which make this timely, but never preachy, film well worth checking out.

As she sets about doing the opening mission of Erlingsson’s story, Halla marches to the beat of her own drum, literally. When she draws back her bowstring to let loose an arrow which will fell power lines of a whole factory, Erlingsson’s film composer, Davíð Þór Jónsson, and two additional musicians are diegetically staged behind her drumming (and sousaphoning) along in support. This deadpan trio make recurring appearances each time Halla’s actions tend towards the illegal, sometimes even before she knows she’s in hot water. At least they’re visually charming harbingers. Halla appears to be a lone wolf but she finds support in a local farmer, as well as a choir member who happens to be high up in the government team on Halla’s tail. With all this already on her plate, she also learns that years after submitting her paperwork to adopt a child, the agencies have dropped their age limits and she’s the candidate to take on a daughter from the Ukraine. The additional prospect of motherhood also introduces a beautiful trio of female Ukrainian choir singers who, at the best of times in the film, join Jónsson’s instrumental trio to lovely effect.

Erlingsson doesn’t get too bogged down in the whys of Halla’s quest to save the planet she literally hugs at times because his biggest ally in this is his DP, Bergsteinn Björgúlfsson. The wide shots of the Icelandic countryside are breathtaking and stand in stark contrast to the industrialized locales that Halla is railing against. In some of the films stunning helicopter and drone chase sequences, the quick-thinking Halla could have easily been a goner but for the natural resources and shelters offered up by the countryside she so loves. And while the film’s core cast is small, Erlingsson takes many opportunities to touch upon what’s at stake here whether through background telecasts, school girls posing in support of The Mountain Woman’s manifesto, or a finale that hinges on a flood that’s more than likely influenced by climate change. Seeing all this and knowing that Halla had retired her hopes for motherhood before seeking a way to save the world for its own sake, for me, makes her a woman to root for.

ARCTIC
Starring: Mads Mikkelsen
Directed by: Joe Penna
Rated: PG-13
Running Time: 1 hr 38 mins
Bleecker Street
 
Every once in a blue moon a film comes along that reminds us how truly spectacular cinema can be and replenishes our passion for the artform. The stark Danish adventure/drama “Arctic” happens to be such a film. With a gripping man-versus-nature story that makes “Cast Away” and “All Is Lost” look like cocktail parties, “Arctic” is as impressive as the unyielding icy bleakness which constantly threatens to overwhelm the lone survivor of a plane crash somewhere in the Arctic Circle.
 
Shot entirely in Iceland, “Arctic” does not waste time with a lot of background exposition to its story, co-written by Brazilian director Joe Penna whose previous directorial work includes the 2015 shorts “Turning Point” and “Beyond.” Instead it thrusts us into an already precarious, ongoing struggle for survival by a man named Overgård (Mads Mikkelsen). He survives each day by sticking to a strict routine that includes maintaining a giant SOS carved into the snow, generating enough electricity with a hand crank to operate a distress signal, and catching fish through ice holes.
 
We don’t know if he is the pilot of the intact, yet charred plane he uses for shelter, but we do know that whoever was with him died in the crash. Despite all his hardships, Overgård preserves a steely resolve to stay alive and an unyielding belief that help will come. His hard work appears to pay off when his distress signal is picked up by a rescue helicopter. However, Mother Nature denies his victory with a vicious storm that causes his would-be saviors to crash nose first into the unforgiving ice below. Overgård stabilizes the helicopter’s badly injured co-pilot, but the new situation pushes his abilities to keep them alive to the limits. Ultimately, he is faced with a terrible choice of whether to stay put or risk traveling across the Arctic wasteland to find salvation.
 
Whether it’s playing the nemesis of a Marvel wizard in “Doctor Strange” or being a falsely accused teacher in “The Hunt,” Mikkelsen has repeatedly demonstrated an ability to delve into any role thrown at him. One of the most underrated actors in cinema today, Mikkelsen is a force of nature himself in “Arctic.” He attains a level of intensity that Tom Hanks and Robert Redford were never able to achieve in their respective films as he musters emotions as raw as the fish his character eats. Our hearts beat as his does with jubilation when it appears that he is going to be saved and they sink to the depths when he bottoms out in despair. It’s all done with pure emotional power performed flawlessly by Mikkelsen.
 
For his first attempt at directing a feature-length motion picture, Penna does his craft proud with a fluid story that offers a few nice twists and plenty of dramatic suspense. Overall, “Arctic” is a must-see that any cinema lover should put on their to-do list even if the film’s setting makes us feel like winter is never going to end.

ALITA: BATTLE ANGEL
Starring: Rosa Salazar and Christoph Waltz
Directed by: Robert Rodriguez
Rated: PG-13
Running Time: 2hrs 2 mins
20th Century Fox

 BREAKING NEWS: James Cameron movies are generally more about style over substance. As a screenwriter, his simplistic scripts often play second fiddle to grandiose special effects. A bright, shining example would be 2009’s “Avatar,” which was a fantastic 3D experience that sugar-coated a “Dances with Wolves” meets “Braveheart” storyline. (I can hear someone shouting, “Aren’t you forgetting ‘Titanic?’” Sorry, 14 Oscar nominations but none for screenplay.) Apparently, you can’t teach an old screenwriter any new techniques because Cameron’s latest producer/writing endeavor, “Alita: Battle Angel” is all about shock and awe but lacks a soul. 

The story is set in the year 2563 where a dystopian society exists after a mysterious war called “The Fall” has wiped out much of Earth’s population. All we know that is left is a trash heap of a town known as Iron City, which sits directly below Earth’s last floating city – Zalem. Iron City is literally the junk yard for the wealthy Zalem and it is there where mild-mannered Dr. Dyson Ido (Christoph Waltz, “Inglourious Bastards,” “Django Unchained”) finds a disembodied female cyborg with a living brain still intact. 

How this cyborg ended up in the trash is a mystery, but nevertheless Dr. Ido rebuilds the cyborg and names her Alita (Rosa Salazar, “Maze Runner”) after his deceased daughter. Alita, a bright-eyed child with no memory of her past, soon befriends Hugo (Keean Johnson, “Nashville”), a teenage street hustler with dreams of getting enough money to buy his way into Zalem. It is through him that Alita is introduced to the violent sport of Motorball, which resembles a souped-up version of 2002’s “Rollerball.” 

Thanks to Dr. Ido’s side job as a Hunter-Warrior, which is a fancy title for bounty hunter, Alita becomes exposed to a part of Iron City that leads her on a path to realizing her full potential, which involves a United Republics of Mars berserker battle suit. We are given scant background information about all of this except that there was a whole lot of fighting and some guy named Nova sees all atop his perch in Zalem, which sounds like an over-the-counter sleep medication. Of course, everything leads to a resounding conclusion as the unknown underdog attempts to overcome all odds. How original! 

Directed by Robert Rodgriguez (“Sin City,” “Spy Kids”), someone else who is often more about style over substance, “Alita” stylistically is pleasing to watch and there is plenty of action to fill your plate. It doesn’t hurt that the cast contains three Academy Award winners including Waltz, Jennifer Connelly, who plays Dr. Ido’s estranged wife, and Mahershala Ali as Alita’s primary nemesis. They all give a level of gravitas that would have otherwise sunk the film faster than if it was struck by an iceberg in the north Atlantic. While their lines are often unimaginative and cliched, the cast delivers them with such polish that you almost forget how blasé it is. 

For pure popcorn flare, “Alita: Battle Angel” does provide some fun for your time at the theater thanks to its talented cast and visual effects. Don’t expect a satisfying climax though as it sets itself up for a sequel, which may not happen if it cannot at least recuperate its massive production costs. Don’t worry though, you will get to see more James Cameron epics as more “Avatars” are set to be released.

ISN’T IT ROMANTIC
Starring:  Rebel Wilson, Adam Divine and Liam Hemsworth
Directed by:  Todd Strauss-Shulson
Rated:  PG 13
Running time:  1 hr 26 mins
Warner Bros.

Natalie (Wilson) isn’t sure about a lot of things.  A skilled architect, she is treated more as a gopher by others in her office instead of a valuable asset.  One thing she is sure about?  She hates romantic comedies,which her assistant (Betty Gilpin) constantly watches at her desk.  One night, while battling a mugger, Natalie is knocked unconscious.  When she comes to, she discovers that her life has changed. And she’s not happy.

A winning comedy built around the chemistry of its stars, “Isn’t it Romantic” is a fun time at the movies.  Much of the fun comes from trying to pick out all of the rom-com tropes that Natalie dislikes yet is now experiencing.  Handsome suitor?  Check. Overly-gay best buddy? Check.  Killer karaoke chops?  Yes, sir. The more she learns the more frustrated Natalie gets.  And when she learns that every time she tries to use the “F” word she is overridden by the sound of a honking horn, she is horrified that the world she is now living in is only rated PG 13.

With two of the “Pitch Perfect” films behind them, Wilson and Adam Divine have built an amazing rapport, and it shows on the screen. Hemsworth is quite charming and Bollywood star Priyamnka Chopra is both funny and beautiful!  The story moves quickly (the film is less than 90 minutes long) and makes a nice Valentines gift for that special someone.  Unless,of course, they hate romantic comedies!

DESTROYER
Starring: Nicole Kidman, Toby Kebbell and Sebastian Stan
Directed by: Karen Kusama
Rated: R
Running time: 2 hrs 1 min
Annapurna Pictures

A body is discovered in a deserted area.  Next to it lies the murder weapon and some oddly discolored money.  On the back of the victim’s neck are two very distinctive tattoos.  Detective Erin Bell (Kidman) stumbles to the scene, mutters “I think I know who did it,” and stumbles away.  Thus begins “Destroyer.”

Riding strongly on the narrow shoulders of its lead actress, “Destroyer” is a film that, through a series of flashbacks, tells the story of how Erin Bell went from gung-ho law officer to the self-destructive drunk she is now. We slowly learn that she and her partner (both at work and in love) were deep undercover with a gang of bad guys (think Keanu Reeves’ Johnny Utah in “Point Break,” though I’m not sure how well Kidman can throw a football).  The more we learn the more we aren’t sure whether we should sympathize with Bell’s plight.  She’s still a tough cop – one who will go to any lengths to obtain information – but she’s also a horrible human being.  You feel sorry for her and her plight, but you also can’t help but think she brought it on herself.

Going the “no makeup” route here, Kidman is almost unrecognizable. In fact, in some scenes she more resembles former “Dr. Who” star Tom Baker rather than one of the most beautiful women in Hollywood.  With her hollow cheekbones and mousy hair, she could easily be mistaken for your neighborhood crack addict.  She is the emotional heart of the film and she does not disappoint.

Working from a script by “AEonFlux” screenwriters (Phil Hay and Matt Manfredi), director Kusama, who also helmed the film “Girlfight,” keeps the story moving, giving the viewer just enough information that, no matter how hard they try, they are always a step or two behind.  Well recommended. 

Starring the Voices of: Chris Pratt, Elizabeth Banks and Will Arnett
Directed By: Mike Mitchell
Rated: PG
Running Time: 106 minutes
Warner Bros. Pictures

“The LEGO Movie 2: The Second Part” was never going to live up to the first. Well. I take that back. It could have. The first film’s core creators, Phil Lord and Chris Miller, are no longer at the directorial helm, but have their names plastered throughout the credits as producers and writers. Personally, I don’t think the oddball duo have yet to fail when they’re behind the camera. But as writers and producers, their names are surprisingly all over the place in Hollywood, from movies like “Smallfoot” to “Brigsby Bear.” They generally hop on board projects with promise, and while the follow-up to “The LEGO Movie” had promise, it partially delivers.

The sequel, just like in real life, takes place five years after the first film. The first one ended on the ominous announcement that real world child, Finn (Jadon Sand), has a baby sister. That baby sister has intruded on Finn’s imagination, therein intruding on the imaginary LEGO world on-screen. Emmett (Pratt) and Lucy’s (Bank) brick world has gone from a thriving metropolis to a “Mad Max” hellscape where other worldly LEGO creations stop off in their world to abduct and torment Emmett and Lucy’s pals. It’s only later that the duo find out that Queen Watevra Wa’Nabi (Tiffany Haddish), of the Systar System, is abducting their friends for a specific purpose and are now targeting them. Trying to explain this almost feels more confusing than it should be. So if you haven’t seen the first, just skip this one.

The manic whimsy of the first is still intact, as jokes sometimes come flying fast and furious with a kinetic energy that’s reminiscent of other Lord and Miller productions. Unfortunately the film takes a while to find out what new stories and themes it would like to tell the audience. The first handful of minutes are spent catching viewers up on events in the fictionalized worlds, as well as retelling jokes, beat by beat, down to the punchline. Older viewers might feel like they’re being duped, much like fans in the 80s felt when seeing “Airplane II: The Sequel.” Luckily that feeling dissipates after a while.

You may have forgotten, as you should, but there was a silly controversy back in 2014 when the first “LEGO Movie” came out. Some found that the movie was bad for kids because of its “anti-corporate” message. I can feel your eyes rolling as you read that. But for those who felt like that was a legitimate gripe, you’ll be pleased to know that this film feels a lot more like a cash grab and doesn’t have an anti-capitalist leaning. That being said, there are still a lot of moments of subversive brilliance possibly directed at the studio.

A good chunk of those clever jokes seem to be digs at Warner Bros., who may have demanded a sequel after money came rolling in. I won’t give the playful comedic jabs away since they’re in the film’s third act. In a handful of instances before that, the film appears to be taking part in other kid’s movie tropes, like musical numbers or sequel/world building, as a chance to not only make-fun of the constructs, but point out how they’re generously shoehorned in to most narratives in kid’s movies. If Lord and Miller merely served as producers, and not writers, I might actually feel like some of these creative choices were studio notes. It’s also possible I’m looking far too into it.

Even while scraping away some of the layered intellect this film has, this sequel is non-stop eye candy accompanied by rapid-fire jokes that’ll put smiles on the faces of kids and adults alike. While there’s no doubt that this’ll please the young ones, it might have some parents who watched the first one feeling fatigued. That’s because it doesn’t quite match the persistent irreverent wit of the first, or the revelations that reward viewers who watch the film a second time. Even though I’ve spent a lot of time comparing this one to the original, this sequel still manages to squeeze out some heart from its human and brick characters. “The LEGO Movie 2: The Second Part” is beautifully animated, uproariously funny and mischievously inventive, but not as much as as its predecessor.

IN LIKE FLYNN
Starring:  Thomas Cocquerel, Clive Standen and Corey Large
Directed by:  Russell Mulcahy
Rated:  R
Running time:  1 hr 46 mins
Blue Fox Entertainment

Fletcher Christian.  Peter Blood.  Robin Hood.  "Gentleman" Jim Corbett.   All of
these men had great adventures on the big screen.  But none of them were as 
exciting as the early adventures of the actor who portrayed them, Errol Flynn.  Some
of those adventures are on display in the new film, "In Like Flynn."

The film begins in New Guinea in 1930.  There we find Flynn (Cocquerel) 
leading a film producer (Daniel Fogler), his cameraman and some helpers 
through the jungle, looking for images to be used in an upcoming film.  Their
presence upsets the local tribesmen and soon the group is fleeing for its life,
with Flynn repeatedly saving their hides.  When they are successfully back
at their camp, the producer tells Flynn he needs to come to Hollywood.  But
Flynn has other plans.

I've always been fascinated by the back-stories of people.  What incidents from 
their past led them to their present.  If "In Like Flynn," which is based in part
from some of Flynn's writings,is to be believed, the roles he would later play
were boring compared to his life experiences.  Sailing the oceans.  Hunting 
for gold.  And, in true Flynn fashion, a big hit with the ladies, the film portrays him
as a real life Indiana Jones.  He lived for adventure.

The cast is first rate.  As Flynn, Cocquerel has the good looks that made
the Tazmanian Devil a star.  More importantly, he captures the spirit with
which Flynn approached every day of his life.  No matter the circumstances,
you can always see the gleam of mischief in his eyes.  As his best friend and
fellow adventurer, Rex, Corey Large (who also produced and co-wrote the film) is
equally good.  The two actors make a great team and their chemistry keeps the
film moving.  Also keeping the film moving is the fluid direction of Russell Mulcahy.
Mulcahy, who turned a brilliant career making music videos (his video for "Video
Killed the Radio Star" was the first ever shown on MTV) into Hollywood 
features, among them "Highlander" and "Ricochet."  Even after four decades 
behind the camera it's clear that he hasn't lost his talent for taking viewers
on a visual adventure.    And it's one I highly recommend you take.                

COLD WAR
Starring: Joanna Kulig, Tomasz Kot
Directed by: Pawel Pawlikowski
Rated: R
Running Time: 1 HR 29 mins
Amazon Studios 


Nominated for three Academy Awards (Best Foreign Language Film, Best Director and Best Cinematography), “Cold War” is an engaging yet tragic period drama that is much deserving of all its accolades. 
Shot entirely in black-and-white with English subtitles, 
writer/director Pawel Pawlikowski (“Ida”) deftly captures the 
brutal essence of communist-controlled Eastern Europe while putting us
 on a complicated, 15-year odyssey of obsession.
 
The story begins in 1949 Poland where the scars of a world war 
are still fresh. A soft-spoken music director Wiktor (Tomasz Kot, “Gods”) 
is tapped to co-helm a school that’s intended to create a group of 
talented young people to stage traditional, Polish folk dances. It is during 
auditions at the bullet-ridden school that a crafty blonde singer named 
Zula (Joanna Kulig, “Pitbull: Tough Women”) catches his eye.  Despite a warning about her troubled past, Wiktor and Zula develop a 
secret, passionate love affair.
 
Two years later they have an opportunity to escape their communist 
oppressors by crossing into West Berlin, but Zula chickens out while 
the brooding Wiktor leaves her behind anyway to go carve out a life as 
a jazz pianist in Paris. Even though lovers come and go as the years 
pass by, Wiktor still regards Zula as the love of his life. His devotion to 
her is so strong that he even risks being sent to a Polish prison when he 
travels to Yugoslavia to watch Zula perform.
 
They only reunite when Zula marries an Italian man so she can get out 
from behind the Iron Curtain to be with Wiktor. A successful singing 
career begins to take shape with Wiktor accompanying her on piano. 
However, her jealousy towards other women and her desire to be the 
center of attention, especially Wiktor’s, leads Zula to run back to 
communist Poland. Wiktor is desperate to follow her but he knows he 
will be arrested if he does. It proves to be a fateful test of his devotion to 
her.
 
Pawlikowski’s endeavor has all the feel of a film straight out of 1957 as
 he channels the bleak repression the peoples of Eastern Europe faced 
under Soviet dominance. There is a paranoid sense that there are eyes 
everywhere, and in some instances its true. It’s this omnipresent fear he 
generates with his script that gives Zula and Wiktor’s relationship a 
palpable edginess. Their romance is so much like a careening roller 
coaster that it makes it difficult to accurately predict its outcome.
 
Kulig is brilliant as she infuses a sense of instability into Zula. In a 
way, you want to yell out in vain to Wiktor to stay away from her, 
but his devotion runs so deep that he is beyond help. This obsession is 
played with expert subtlety by Kot and skillful direction by Pawlikowski 
who keeps the pacing brisk with a short running time. Never mind the 
critical darling that is “Roma.” Instead, go see “Cold War.” Trust me, 
there’s nothing cold about it.

STAN & OLLIE
Starring:  Steve Coogan, John C. Reilly and Danny Huston
Directed by:  Jon S. Baird
Rated: PG
Running time:  1 hr 38 mins
Sony Classics

They were one of the greatest comedy teams of all time.  The thin, quiet Englishman 
and the almost larger than life "Babe" from Georgia.  There job was to make us laugh and
this they did.  But when the laughter stopped, Stan Laurel and Oliver Hardy found themselves
on the outside of Hollywood looking in.

Featuring two award-worthy performances by Coogan (Laurel) and Reilly (Hardy), "Stan & Ollie" tells
the story of the duo as they mount what they hope is a comeback with a vaudeville tour of Great Britain.
Interspliced among the trip are scenes from the duo's past.  We join them on the set of 1937's "Way out West."
While working on the film they discuss their upcoming contract renewal and the hopes of more money
from studio head Hal Roach (Huston).  Laurel is released from his contract and Hardy is left to do a film with
Harry Langdon ("Zenobia"), which is heretofore referred to as "the Elephant movie."  Though the two have
reunited for the tour, there appears to be no love lost between them.  When Laurel states that he loves "Babe" (Hardy's
nickname), Hardy replies, "You loved "Laurel and Hardy," but you never loved me.

If I'm going to throw out kudos to this film, and I already have with the actors, I would be remiss if I didn't 
mention the amazing make-up work presented.  Like Hardy, Reilly has (and I mean this in a nice way) beady
eyes and you can see into Hardy's soul through Reilly's.  Coogan is equally brilliant as Laurel, who spends a majority
of the film writing scenes for  a comeback film he knows will never be made.  Thankfully this one was.

If you're not familiar with the work of Stan Laurel and Oliver Hardy, I urge you to seek it out, either through home video
or YouTube.  If you are, and are a fan, I urge you to seek out "Stan & Ollie."

CLYDE COOPER
Starring:  Jordi Vilasuso, Abigail Titmuss and Richard Neil
Directed by:  Peter Daskaloff
Not Rated
Running time:  1 hr 21 mins
Souvenir Films

While a man sits sadly on the edge of a bed, two beautiful women begin to experiment with each other.  Suddenly they are interrupted by the sound of a single gunshot.  Thus begins the noir-ish drama “Clyde Cooper.”

A slickly shot mystery, the plot finds the title private investigator (Vilasuso, a staple the past 15-years on various daytime soap operas) being asked to help a smitten gentleman find a woman who, despite only knowing her for a few days, has become, in his mind, THE one.  Cooper takes the case only to discover that there is a lot more going on then meets the eye.  People aren’t who the seem to be and, as the bodies begin to pile up, Cooper discovers a twist in the case that adds a new dimension to the film.

The script, by director Daskaloff, gives Cooper some nice throw-away lines and it’s a credit to Vilasuso’s talent that he comes off as a well intentioned wise ass instead of a boor.  Production credits are strong and whoever came up with the idea of a house with a piano key stairway – one that plays when you’re going up or down – deserves to never be without a job.  An entertaining musical score by Jonathan Price helps keep the action flowing.

Starring: James McAvoy, Bruce Willis and Samuel L. Jackson
Directed By: M. Night Shyamalan
Rated: PG-13
Running Time: 129 minutes
Universal Pictures

What are some of the best non-DC/Marvel superhero films? That’s when folks would throw out movies like “The Crow” or “The Rocketeer.” But what about truly original superhero films, ones not based on comics? That’s when you really get down to the nitty gritty of films that hold their own against CGI-filled blockbusters. Before “Unbreakable,” there was “Darkman” and “The Toxic Avenger.” But unlike the latter, “Unbreakable” has spurred some worthy sequels.

It’s been discussed online for nearly two decades that director M. Night Shyamalan had always intended for “Unbreakable” to inevitably be a trilogy. The question remained even after the release of “Split,” a trilogy about what or who? So does “Glass” fulfill what fans were told, a satisfying conclusion to the trilogy? Or does it pull a Disney and create the possibility of more sequels? Luckily Samuel L. Jackson’s character doesn’t reveal himself to be Nick Fury all along.

Much to the surprise of fans, the throwdown between David Dunn (Willis) and Kevin Crumb as the Beast (McAvoy) happens fairly early on as Dunn is tracking down some kidnapped cheerleaders, the latest in a string other kidnappings and vicious murders in Philadelphia. Police are hot on both their trails though and arrest both before they can spar for too long. Dr. Ellie Staple (Sarah Paulson), is at the scene along with authorities because she wants to study the two for their delusions of grandeur, believing that comic book culture is behind their perceived abilities. Also in custody, and sitting down with Dunn and Crumb for some bizarre group therapy, is Mr. Glass (Jackson). Dr. Staple’s hope is to convince the trio that their super strength and super intelligence isn’t what it seems.

While sometimes clunky, everything that feels out of place or misguided eventually comes together in the third act. When everything is said and done, David Dunn (probably because of the salary Bruce Willis commands), seems to be more of a side character in this film. But it’s also not necessarily about the origins of Mr. Glass. We already got that in “Unbreakable.” The movie does have him play a key role, revealing why the film is inevitably named after him. But a good chunk of story outside the trio’s therapy sessions is Mr. Glass and Crumb’s multiple personalities scheming, talking and acting. It’s in these scenes that audiences are treated to every individual inhabiting David’s head. Acting wise, nothing’s quite as impressive or entertaining as McAvoy’s scenery chewing, but other side characters from the previous films provide some emotional weight as they make their way in throughout the film, building towards the climax.

It feels a little long, and is as the longest film in the trilogy, mainly because Shyamalan unfortunately falls back onto some poor storytelling mechanics that we’ve seen before with some of his weaker films. He tends to over explain plot points by showing and telling the audience what’s happening. It can feel a little condescending since the film is built around the idea that you’ve seen the previous two films and that you should be smarter than the average moviegoer. I would usually chalk it up to a talking head at the studio, but this is something Shyamalan has done in films like “The Happening” or “The Village.” Luckily he doesn’t do it ad nauseam.

“Glass” doesn’t subvert superhero tropes or makes any kind of new critiques of the genre, but it manages to manipulate viewer’s emotions and expectations enough to where everything genuinely feels original. The action is filmed in a way where our imagination, instead of computers, fills the void. Even the simplest things that Dunn or Crumb do, feel grand because of the lives they’re saving and taking. Because they’re not throwing each other into buildings like Superman and General Zod, but instead slowly bending steel or taking their time to punch down metal doors, the story feels more grounded in reality. It helps that every character is morally flawed. The good and evil on display blend together to elicit sympathy and disgust.

“Glass” ends up being the weakest of the three films, but it’s still an entertaining finale. Some might be turned off by how it all ends, but I applaud the bowtie. While most directors would have left the door open, just in case the box office receipts warranted a sequel, Shyamalan promptly wrote “Glass” as a final chapter to this superhero story. It feels complete, without the need to tell us anymore or asking us to sit through another chapter, something most superhero movies these days don’t know how to do.

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ON THE BASIS OF SEX
Starring:  Felicity Jones, Armie Hammer
Directed by: Mimi Leder
Rated: PG-13
Running Time: 2 hrs
Focus Features

In the era of the Me Too movement, the biographical drama “On the Basis of Sex” has the appearance of fitting in with the times as it highlights the early struggles against oppressive sexism by current U.S. Supreme Court Justice Ruth Bader Ginsburg. While it contains all the necessary components of a story that you know will be uplifting in the end, it often feels like it should come with shiny wrapping paper and big red bow. While the story makes it clear how difficult it was for Ginsburg to launch her legal career simply because of her gender, the film is too generic for its own good. Inspiring? Yes. Different from a myriad of other inspirational, biographical dramas? Not so much. 

It’s 1956 and director Mimi Leder (“Deep Impact,” “The Peacemaker”) does a great job with the first shot of the film by having a sidewalk crammed with emotionless male law students and professors walking to class clad in drab suits. In the middle of it all there is a singular woman in a blue dress standing out from the nameless crowd. The talented Felicity Jones (“The Theory of Everything”) generates a sense of wide-eyed excitement as Ruth, but she also manages to show us there is a determined confidence within the aspiring attorney. 

Ruth not only has to force reluctant Harvard professors to pay her any serious attention, embodied by a law dean (Sam Waterston) with a paternalistic attitude towards his few female students, but she also has to balance being newly married to aspiring tax attorney Martin Ginsburg (Armie Hammer) and being a new mother. Further complications arise when Martin is given a grim diagnosis of testicular cancer with less than a 10% chance to survive. Ruth’s resolve is such that she attends Martin’s classes as well as her own as he battles his illness. 

Ultimately, Martin recovers and becomes a rising star at a law firm while Ruth is unable to get any jobs because of her gender. She relents her pursuit and by 1970 has established herself as a law professor at Rutgers University. Her life and career are forever changed, though, when Martin presents her a gender-based tax case involving a bachelor who was denied a tax deduction based upon the fact he never married. The Ginsburgs see it as an opportunity to start breaking down every law in the country that discriminates against gender, but first they must win their case, which proves to be more daunting than Ruth could have ever imagined. It all sets up a dramatic courtroom climax that we have seen in some variation or form many times before. 

“On the Basis of Sex” is an inspiring film with nice performances and a nice story. However, there isn’t a wow factor to it or anything that leaves a lasting impression afterwards, with a possible exception of Jones’ solid performance. Ginsburg’s impressive legal career is already well-documented, yet we don’t see enough of what her private life was like, much less what she was like while growing up. There is an emotional connection we are not able to quite establish with her because of this void, albeit there is one brief story Martin relates to their teen daughter about Ruth’s relationship with her mother. 

The story flows easily but it fails to get down and dirty considering the offensiveness of the situation women of the times faced then, and still face today. And to be fair, where is the inspirational movie about the first woman on the U.S. Supreme Court – Sandra Day O’Connor? Shouldn’t her tale of sacrifice and ceilings shattered be told as well? “On the Basis of Sex” is a decent film that’s enjoyable but not impactful.

THE UPSIDE

Starring:  Bryan Cranston, Kevin Hart and Nicole Kidman

Directed by:  Neil Burger

Rated: PG 13

Running time:  2 hrs 5 mins

I’m going to start right out and say that, when he first burst upon the movie scene, I found Kevin Hart to be no more than an even louder Chris Tucker.  He could be funny but he could also be annoying.  In 2016 I began to come around, impressed as I was with his performance opposite Dwayne Johnson in “Central Intelligence.”  This week, with his new film, “The Upside,” he may have finally won me over.

“The Upside” is the story of two very different men who learn to rely on each other.  Hart is Dell, a recently released convict trying to right by his son but not wanting to put the effort into what it takes.  Cranston is Philip, a once very active billionaire who is now a quadriplegic, confined to a wheelchair.  Dell tells his parole officer that he’s looking for work, but to prove it he needs to have paperwork signed by three prospective employers or it’s back to the hoosegow for him.  He accidentally wanders into an interview session where Philip is speaking to prospective care-givers.  Intrigued by Dell’s “I don’t have time, just sign this” attitude, he offers him the job.  And a heartfelt and funny adventure begins.

For those who aren’t aware, “The Upside” is a true story and is based on the 2011 French film “The Intouchables.”  It is a story of how people can change, whether they want to or not.  Dell finds himself going from the projects to the penthouse (literally), while Philip, who has been slowly withdrawing since the death of his wife, begins to discover the joys of living again.  Both actors give solid, moving performances, with just enough laughter to keep the story moving.  As Philip’s business assistant, Kidman is no-nonsense in her dealings with Dell, likening his position to a baseball game – three strikes and he’s out.

Director Burger keeps the story flowing nicely, hitting all of the right emotional notes.  A fine way to enter the new year!

Once again, the time has come for your favorite film critics to choose the films they loved – and hated – from 2018.  Agree?  Disagree?  Let us know below.  Happy New Year!

THE BEST

Michael A. Smith‘s TOP TEN

1.VICE – Like his Oscar winning THE BIG SHORT, writer/director Adam McKay gives a humorous take on the life and times of our 46th Vice President. 

2. BOY ERASED – Stellar performances by Lucas Hedges and Joel Edgerton (who also wrote and directed) in a film dealing with “conversion” training.  Edgerton is beginning to look like he will be one of the best filmmakers of the next generation. 

3. BOHEMIAN RHAPSODY – The story of Freddie Mercury and his musical group QUEEN.  Some complained that Mercury’s X-rated lifestyle was tamed down too much but Rami Malek’s award worthy performance is the real story here.

4. A STAR IS BORN –  Damn you, Bradley Cooper!  Is there nothing you can’t do?  Cooper stars and directs in the fourth telling of the familiar tale, adding enough twists to make it seem new.  Extra points for casting the amazing Lady Gaga.

 5. BLACKKKLANSMAN –  Easily Spike Lee’s best film since DO THE RIGHT THING, the film’s 1970’s era message is just as important today.

6. MISSION: IMPOSSIBLE – FALLOUT – The best of the M:I films, with Tom Cruise once again risking life and limb for our entertainment.

7. CHAPPAQUIDDICK – An early film this year that looks into the fateful accident that derailed the Presidential dreams of Ted Kennedy.

8. BLACK PANTHER – Not a great Marvel Movie…just a GREAT MOVIE.  With FRUITVALE STATION and CREED already on his resumé, director Ryan Coogler has proven to be a voice to be listened to.

 9. HOSTILES – A January release, this is an outstanding period western starring Christian Bale, Rosamund Pike, Wes Studi and, sadly, Scott Wilson in one of his final roles.

 10. CAN YOU EVER FORGIVE ME? – Award worthy performances from stars Melissa McCarthy and Richard E. Grant highlight this true story about an author who had to resolve to forgery to make any money.   

Lauren Damon’s TOP FIVE

1.BAD TIMES AT THE EL ROYALE – I cannot speak highly enough of Drew Goddard’s follow up to one of my Halloween faves, THE CABIN IN THE WOODS. Once again Goddard holes up his small cast in a single location that is not quite what it seems and is a joy to explore. And what a cast! While bigger names like Jeff Bridges and Jon Hamm deliver reliably solid performances (the latter chewing all the scenery with a fabulous southern accent), the real revelations are from relative newcomers Cynthia Erivo and Lewis Pullman. The Tony-winning Erivo is the film’s heart as a struggling singer who checks into the El Royale ahead of a nearby gig. When she gets wrapped up in a scheme with Bridges’ character, Goddard uses her powerhouse voice to deliver “You Can’t Hurry Love” in easily my favorite single sequence of the year. Meanwhile Pullman is just barely holding everything together as the hotel’s lone caretaker whose role entails much more than cleaning towels and whose past is bubbling beneath his boyish, twitchy surface. I really just wanted to hug him. Finally, as with CABIN, Goddard goes ahead and subverts Chris Hemsworth’s affable hero persona. This time by casting him as a vile Charles Manson type–this is the 60’s in California after all– whose limited screen time serves merely to concentrate the sinister vibes emanating off his gyrating abs. Everyone is supported by top notch production design, a rocking soundtrack and some gorgeous Seamus McGarvey cinematography. It just really sizzles.

2. HEREDITARY – This slow burning descent of one family after the death of their secretive matriarch may be an all time fave viewing experience in a packed theater. Where a lot of modern horror relies on jump scares, Ari Aster held us captive in many scenes by showing the terrors just slightly to the side in the gloom of the frame or holding on the silence after a traumatic event–all while my audience slowly lost its mind. Which was fitting, because we were watching Toni Collette’s character doing roughly the same. It’s a crime that Collette isn’t in the major film awards conversations (yet? C’mon Academy!) because she was so engrossing and almost painful to watch.

3. BLACK PANTHER – Ryan Coogler’s brilliant entry into Marvel was remarkable for so fully realizing a whole new world within a “Universe” we’ve already been living in for the past decade. And unlike some chapters of the MCU, he did it right here on Earth. Wakanda was beautiful and populated by such a well drawn cast of characters, it was nearly impossible to pick a favorite (but it’s Shuri, come on). Meanwhile, unlike some big purple menaces, Erik Kilmonger’s (Michael B Jordan) ‘villainous’ motives were some of the most complex that the franchise has dealt with. So much so that Chadwick Boseman’s T’challa had to face a real crisis of conscience that not many Marvel heroes do!

4. SORRY TO BOTHER YOU – I feel like the less I say about this film, the better new viewers’ experiences will be. Boots Riley’s take on the desolate modern economic landscape just throws a LOT at you with a notable hard turn in the second half that will likely decide where you land on this one. As someone who is rarely surprised at movies today, I was fully on board.

5. AVENGERS: INFINITY WAR – I knew going in that every outlet in the Disney-Marvel Marketing Machine kept saying “It’s Thanos’s movie, it’s really going to belong to Thanos” but boy, I was not prepared for…Thanos’s movie! Not only did the Russo brothers bring to life a presence worthy of scaring the bejeezus out of ten years of assembled super heroes, but that they let him Do That was a true shocker. It’s hard for me to judge INFINITY WAR fully until I see what goes down in ENDGAME because, to quote THE PRESTIGE, “making something disappear isn’t enough; you have to bring it back.” But for now, I sit stunned.

Michael D. Smith’s TOP TEN

1. BLACK PANTHER – The best movie of the year, BLACK PANTHER proves to be one of the two or three best titles in the 10-year Avengers odyssey. Directed by the brilliantly talented young filmmaker Ryan Coogler (CREED, FRUITVALE STATION), this supremely entertaining, comic book epic has a superb cast and an engaging, intelligent story. Its story of a young king who thinks he knows what it takes to be a ruler but is faced with a day of reckoning that turns his views upside down is a potent one. The climax is tragic to the point that it’s Shakespearean and it’s all assisted by one of the most consistently good performances by an entire cast that you will see, especially in an action movie. Michael B. Jordan, who was cheated out of an Oscar nomination for his role in CREED, is a powerful presence in the film as its lead antagonist. BLACK PANTHER has everything you could ever want in not only a superhero movie but in a movie period. 

2. A QUIET PLACE – In terms of creativity and originality, A QUIET PLACE is only rivaled in recent times by last year’s masterpiece “Get Out.” A brief, yet sophisticated sci-fi horror tale brimming with mystery, A QUIET PLACE stars the husband/wife team of John Krasinski and Emily Blunt as a couple struggling to keep their family alive in a world taken over by aliens who react to sound. You must pay attention to the little details in this one to spot clues to the backstory, which itself is horrifying. The story has a bit of a Stephen King-like vibe to it as the suspense builds around the impending birth of a new baby. A must-see.

3. FIRST REFORMED –  Ethan Hawke shines in what is arguably writer/director Paul Schrader’s greatest cinematic endeavor. It is a work of art in every sense of the word as Hawke plays the minister of a tiny congregation in an old church in upstate New York. His character is haunted by a past that riddles him with guilt and leads him to drink. When we meet him, he has begun to keep a diary of his tormented thoughts as he tries to mentor those that are just as much pain as he is. Hawke is mesmerizing in the most brilliant performance of his career with strong supporting help from Amanda Seyfried and a nice dramatic turn by Cedric the Entertainer. The ending is haunting to say the least and will leave you and anyone you watch it with debating what it all means. 

4. THE FAVOURITE – With some of the best costume designs you will see in any film, THE FAVOURITE is a wonderful historical drama containing the most splendid, witty dialogue of the year. Set against the backdrop of early 18^th century England, two women (Rachel Weisz and Emma Stone) vie to be the favorite of the increasingly sickly Queen Anne (Olivia Colman). The political intrigue is delightful as Weisz and Stone’s characters will go to any lengths to be the apple of Queen Anne’s eye, thereby having access to tremendous power. Colman delivers the best performance by an actress in 2018 and it’s not even close. She is brilliant in every sense of the word as portrays a woman teetering on insanity after having had 18 pregnancies but no living children. There are ultimately no winners in all of it. Just tragic losers. 

5. LEAVE NO TRACE – While watching the powerful performance delivered by New Zealand-born actress Thomasin McKenzie in the drama LEAVE NO TRACE, it is impossible to not think about what director/writer Debra Granik once pulled out of a relatively unknown young actress named Jennifer Lawrence. It is perhaps an unfair comparison considering that Lawrence received the first of her four Oscar nominations for her role as a tough, teenage Ozarks girl in 2010’s WINTER’S BONE. However, as Tom, McKenzie provides something that is special to watch on the silver screen. Through her eyes alone she projects her character’s tough, determined nature which she also reveals is just a façade masking a 13-year-old girl’s desperation to please a father (Ben Foster) traumatized by war. Foster once again demonstrates how skillful he has become in recent years. Pain leaks out of every pour in Foster’s skin as his character is so consumed by PTSD from combat that he puts Tom in danger every day they are on the run without thinking about what he is doing. Based upon the 2009 book My Abandonment by American novelist Peter Rock, LEAVE NO TRACE, which premiered at the 2018 Sundance Film Festival, is a moving work of genuine sadness that will pull at the heartstrings of anyone who has a heart.

 6. BLACKKKLANSMAN – In what is Spike Lee’s best effort in years, BLACKKKLANSMAN is an engrossing crime drama loosely based upon real events. It tells the tale of new African American, Colorado police officer Ron Stallworth (John David Washington) who infiltrates a local branch of the Ku Klux Klan in the 1970s via the phone. To represent himself in person, he convinces a Jewish detective (Adam Driver) to be his face. While it’s an entertaining piece of work that takes a lot of dramatic license, Lee’s effort tackles racism head-on and reveals its ugliness likes few films do. As such, it’s not without controversy but because of that it accomplishes the goal of making people talk and think about racism in America. 

7. GREEN BOOK – Inspired by a true story, this period drama is a surprisingly complex, emotional work considering its director, Peter Farrelly, is best known for comedic fare like SHALLOW HAL and DUMB AND DUMBER. With GREEN BOOK, Farrelly captures the stark racial divide of 1962 America with an exploration of the relationship between white bar bouncer Frank “Tony Lip” Vallelonga (Viggo Mortensen) and black pianist Dr. Don Shirley (Mahershala Ali) as they travel across the Midwest and Deep South. Mortensen dazzles with his knack to bring to life every subtle nuance of the characters he plays. This role is no exception as he helps make Tony Lip someone we can truly care about even though in the beginning it’s a little tough to do. Ali, a 2017 Oscar winner for MOONLIGHT, gives Don a vulnerable sophistication while also breathing out a certain degree of naïveté without seeming to break a sweat. It all adds up to GREEN BOOK being the type of rare movie where everyone can feel a little bit happier about the world when the lights go back on. 

8. WON’T YOU BE MY NEIGHBOR? – Like many other people, I grew up on Mr. Rogers so perhaps I’m a little biased, but this documentary feels like a warm and cozy sweater vest. It dispels a lot of myths about the man who wanted nothing more than to work with children. We learn a lot about this kind, gentle soul from those closest to him and it’s refreshing in this age of cynicism and character assassination to discover he was pretty much exactly like he was on the TV.

9. HEREDITARY –  Simply put, this is one of the most messed up movies you will ever see. HEREDITARY is tale of a family being turned upside down when the family matriarch’s death starts a sequence of horrifying events that lead to a supernatural, head-scratching, unsettling climax. Toni Collette is fantastic as the mother of two who becomes increasingly unraveled thanks to a plan set into motion by her recently deceased mother. It goes without saying that a film is automatically creepy when it silently begins with a nondescript obituary on the silver screen. Don’t stay up too late to watch this. Otherwise you will feel the need to keep all the lights on and the covers over your head.

10. BOHEMIAN RHAPSODY – Some of have criticized this film for not devoting more time to the exploration of the late Freddie Mercury’s private life. However, this rock biography is not titled “The Freddie Mercury Story.” Instead it focuses on the rise of a band with a singer who had a rock voice like none other before or since. While the story is admittedly a little glossy, the core strength of BOHEMIAN RHAPSODY is the incredible performance by lead Rami Malek who absolutely commands the screen. He masters every movement, every voice inflection, every insecurity, every bit of bravado of the real Mercury. It is a legendary accomplishment and is worth every penny to see.

Jeremy Werner‘s TOP TEN:

1. EIGHTH GRADE -Back in August I wrote, “Cringy. Heartfelt. Anxiety inducing. Unflinching. Heartbreaking. Hopeful…Bo Burnham’s debut film seemingly has it all, and it does.” That still rings true after a few rewatches. Four months later, along with dozens and dozens of screeners, EIGHTH GRADE, is still my favorite film of the year because of how raw and emotional it is. It’s good for the souls of the young and old.

2. BLACKKKLANSMAN -Last year, GET OUT made me feel what it’s like to be a black man in a predominantly white situation or setting. This year, BLACKKKLANSMAN made me feel my own white guilt. Both movies are timely and timeless. BLACKKKLANSMAN is a church sermon that needs to be heard by everyone within an earshot. This is easily Spike Lee’s best film since DO THE RIGHT THING if not his magnum opus.

3. SPIDER-MAN: INTO THE SPIDERVERSE – Phil Lord and Chris Miller should just have their own animation studio. They were robbed of an Oscar for 2014’s LEGO MOVIE and it’ll be another crime if SPIDER-MAN: INTO THE SPIDERVERSE doesn’t win best animated picture this year. It’s a trippy journey that blurs the line between comic book and cinema. Not only is it the best animated film of the year, it may be the best superhero movie of the year. Sorry Disney.

4. SORRY TO BOTHER YOU -What begins as a satire, quickly becomes a hyper absurd sci-fi that blends commentary on racism and classism, along with jabs at America’s path towards corporatocracy. Boots Riley brings a fresh voice and unique criticism that’s familiar, yet distinct. It’s the kind of film with no middle ground. You’ll either love or hate it.

5. WON’T YOU BE MY NEIGHBOR? -In today’s climate, the world might need another Mr. Rogers, if that’s possible. Without mentioning any names or incidents, WON’T YOU BE MY NEIGHBOR? feels like a pertinent documentary about the impact kindness and compassion has. Even the iciest of hearts will have a tear in their eye by the end credits.

6. VICE -Comedy doesn’t quite the praise it deserves. Ask any actor or creator how hard it is to craft something funny. Now add in a dose of reality and seriousness. Just like in THE BIG SHORT, Adam McKay tackles a difficult subject and makes it palatable for general audiences. VICE is a dark riot, making us laugh and realize the expanding power of the Executive Branch.

7. BOY ERASED -Not only is this a powerful story about sexual identity, but it’s a somber reminder about how one of the America’s most heinous acts, conversion therapy, remains legal. The film does a nuanced job of highlighting the emotional, mental, and sometimes physical cruelty that conversion therapy puts it’s victims through. It’s simply tragic.

8. MANDY– What if heavy metal music became a movie? You’d have MANDY, an 80’s acid nightmare come to life, with the help of a gonzo, smiling Nicolas Cage, covered in blood. This is a midnight film that will surely develop a cult following, or at the very least, a legion of Cheddar Goblin fans.

9. WIDOWS – This is Steve McQueen’s most mainstream film, yet it’s still visually intellectual like his previous films. McQueen is a master behind the camera and weaves a caper that’s not only rich with heavy material and social themes, but engaging from beginning to end.

10. THE FAVOURITE – THE FAVOURITE  is devilishly funny and cynical. It’s the kind of movie that could delight those who loathe period piece dramas, like myself. The humor and dialogue crackle for two hours as the film’s three leading ladies find new, humorous ways to stab each other in the back.

HONORABLE MENTIONS : SUSPIRIA, ANNA AND THE APOCALYPSE, FIRST REFORMED, ISLE OF DOGS, ROMA, BLOCKERS, THE BALLAD OF BUSTER SCRUGGS, LOVE,SIMON, CRAZY RICH ASIANS, MOM AND DAD

AND…THE WORST

Jeremy Werner: 

1. JURASSIC WORLD: FALLEN KINGDOM -The bigger the budget, the more it should be looked down upon. This movie cost nearly $200 million and it stunk like one big pile of dino crap. Just think how many good, small budget films could have been made instead, but that wouldn’t have raked in over a billion dollars, now would it?

2. BOOK CLUB -Not only do they still make crap like this, but they release in theaters and trick good actors and actresses to star in it. This is pure drivel. Keep this crap off the silver screen and keep it on the Lifetime Network.

3. WELCOME TO MARWEN -The more I think about it, the more this film makes me mad. It’s a steaming crap that’s beneath the actors in it, it soils Zemeckis’ good name and unfortunately mishandles a true story. Unlike most train wrecks, you can look away from this one.

4. SUPER TROOPERS 2 -Careful what you wish for. Fans of the original should have looked towards other fanbases who asked for a sequel, like GHOSTBUSTERS, THE HANGOVER, etc. and got a big pile of crap instead. This movie is an unfunny dumpster fire that should offer a refund to it’s IndieGoGo supporters.

5. TERMINAL – Didn’t hear about this one? Good. To reiterate my favorite word in this list, it’s crap. This is the kind of film I could easily placed at the top, but it’s not as deserving as my scorn as the other films noted above because it quietly came and went without ruffling too many feathers. Still though. This one is crap. Don’t even bother looking it up out of curiosity.

Michael A. Smith:

1.LIFE ITSELF – As I say on our Podcast, I’ve never been so happy to see someone hit by a bus.  THIS IS US plots work in small doses, but on the big screen, they suck!

2. THE MEG – If my 230 pound body can’t swim by people without attracting notice, then a 50 foot shark sure as hell shouldn’t be able to.

 3. OCEANS 8 – Boooooooooooorrrrrrrrrring!

4. LOVE, SIMON – What could have been a film that delivered a great message takes the easy way out by making everything peachy too easily.

5. GRINGO – I had so many high hopes for this film.  Sadly, Nash Edgerton did not get any of the film making skills his brother Joel inherited.