Anora, a low budget independent film from one of my favorite film companies, NEON, took home the Best Picture Oscar at the 97^th Academy Awards, held this past Sunday night.

Nominated for six awards, the film won five.  Besides Best Picture, Anora won for Best Actress (Mikey Madison) and Best Direction, Screenplay and Film Editing. What’s even more remarkable is that the last four awards were won by one person, Sean Baker.  In doing so, Mr. Baker ties Walt Disney for most Oscar wins by one person in one ceremony.

Adrien Brody was named Best Actor for the second time in his career for his work in The Brutalist while the Latvian film Flow took home the prize for Best Animated Feature.   Emilia Perez, which led all films with (13) nominations, only won two awards – Best Supporting Actress for Zoe Saldana and Best Song for “El Mal.”   Kieran Culkin was named Best Supporting Actor for his work in the film A Real Pain.

1^st time host Conan O’Brien was funny and comfortable throughout the evening, though I found the fact that he felt the need to highlight the 20^th Anniversary of Kill Bill and ignore the 50^th Anniversary of JAWS unconscionable.  Maybe the Academy will remember ROCKY next year!

Here is a complete list of winners:

Best picture

• “Anora”

Best actress

• Mikey Madison, “Anora”

Best actor

• Adrian Brody, “The Brutalist”

Best supporting actor

• Kieran Culkin, “A Real Pain”

Best supporting actress

• Zoe Saldaña, “Emilia Pérez”

Best director

• Sean Baker, “Anora”

Best cinematography

• “The Brutalist,” Lol Crawley

Best animated feature

• “Flow”

 Best animated short

• “In the Shadow of the Cypress”

Best costume design

• “Wicked,” Paul Tazewell

Best original screenplay

• “Anora,” Sean Baker

Best adapted screenplay

• “Conclave,” Peter Straughan

Best makeup and hairstyling

• “The Substance”

Best film editing

• “Anora,” Sean Baker

Best production design

• “Wicked,” Nathan Crowley, Lee Sandales

Best original song

• “El Mal,” “Emilia Pérez” (Clement Ducol, Camille & Jacques Audiard)

Best documentary short

• “The Only Girl in the Orchestra”

Best documentary feature

• “No Other Land,” Basel Adra, Hamdan Ballal, Yuval Abraham & Rachel Szor

Best sound

• “Dune: Part Two”

Best visual effects

• “Dune: Part Two”

Best live-action short

• “I’m Not a Robot”

Best international feature\

• “I’m Still Here,” Walter Salles (Brazil)

Best original score

• “The Brutalist,” Daniel Blumberg

• FLIGHT RISK
• Starring: Mark Wahlberg and Michelle Dockery
• Directed by: Mel Gibson
• Rating: R
• Running Time: 1 hr 31 mins
• Lionsgate

Our score: 0.5 out o 5

The singular risk about watching “Flight Risk”, is that you may walk out of the theater or switch the channel before it is over. The action, all contained aboard a single engine plane high above the mountains of Alaska, comes across as staged and too choreographed. Its script, which has an interesting concept, is choppy with a minimal amount of suspense. On top of that, the acting is worse than over-the-top, which is surprising considering that Mel Gibson, who has a pretty decent track record, is the film’s director.

The premise of the story takes us to a remote town in Alaska where Winston (Topher Grace, “Heretic”), an always nervous accountant for a crime syndicate in New York City, is hiding to stay alive. His time on the run is short-lived when he is apprehended by Deputy U.S. Marshal Madolyn Harris (Michelle Dockery, “The Gentlemen”, “Downton Abbey”), whose shaky career could be redeemed by bagging someone willing to testify against the syndicate.

Before she can haul him back to New York City, Harris must charter a private plane to fly her and Winston to Anchorage. The overly chatty pilot, who calls himself Daryl Booth (Mark Wahlberg), gives himself away as a hitman assigned to kill both Harris and Winston. A fight breaks out between the two, which threatens to kill them all as gunfire and flare guns don’t do well on aircraft.

Dockery is unbelievable as a U.S. Marshal. Her character fails to follow any semblance of law enforcement procedure as Dockery herself gives the impression that she is just going through the motions. Grace adds nothing as plays his character as if he is the grownup version of his role from “That 70s Show”. Last but not least, Wahlberg sneers, glares, and spouts off vaudeville type laughter while trying to play a bad guy. None of it works.

There is a little sense of suspense and mystery generated towards the end as Dockery speaks with her superiors over the radio, and when she tries to land the plane. Otherwise, that’s about all the good there is to say about this wretched waste of time.

“Flight Risk” receives a ½ Star out of five.

• A REAL PAIN
• Starring: Jesse Eisenberg and Kieran Culkin
• Directed by: Jesse Eisenberg
• Rating: R
• Running Time: 1 hr 30 mins
• Searchlight Pictures

Our score:  4 out of 5

Nominated for two Academy Awards, including Best Performance by an Actor in a Supporting Role (Kieran Culkin) and Best Original Screenplay (Jesse Eisenberg), “A Real Pain” is an intelligent, emotional film with one of the two or three finest individual performances for the 2024 cinematic year. While Eisenberg, who successfully wears three hats for this film, is terrific in his own right, Culkin is nothing less than magnetic in his role as a free-spirited young man who in one moment can be endearing and the next moment be irritating. Great chemistry, superb dialogue and a moving story make for a movie that is a real treasure.

Worried that he is not going to make it to John F. Kennedy International Airport on time, or that his first cousin, Benjamin “Benji” Kaplan (Culkin) may not make it either, David Kaplan (Eisenberg) is more than a little relieved, and perhaps a bit shocked that Benji is already waiting on him. After the recent passing of their beloved grandmother, who was a Jewish immigrant from Poland, the formerly close cousins decided to take a Jewish heritage tour to her ancestral homeland.

Although they were joined at the hip when they were kids, David has become a family man with a career while Benji remains a pot-smoking, free-spirited drifter without a filter. He criticizes David for becoming essentially boring and predictable. This causes friction between the two and several uncomfortable situations within their tour group as Benji’s outbursts become heated at times. Benji is a lot to take for everyone involved, especially for David who feels sorry for him. However, everyone seems appreciative of Benji’s honesty in the long run.

Culkin a whirling dervish of emotions throughout the film and he pulls it off spectacular fashion. Under Eisenberg’s skillful direction, Culkin is as equally endearing and maddening to the audience as he is to David. I was almost thankful for the film’s relative short running time because it proved to be a draining experience, but not in a negative way. Culkin and Eisenberg share great chemistry with one another as believable family members.

Eisenberg’s best work as director comes during a powerful, somber scene when the tour group visits Majdanek, the site of Nazi concentration camp during World War II. The dialogue is scarce as he lets the imagery of the well-preserved site speak for itself. It’s easy to see that the actors at this point are not acting but rather reacting in a very human way to the absolute tragedy that occurred there.

Overall, “A Real Pain” is a fantastic cinematic experience that reminds you how great the artform can truly be.

“A Real Pain” receives ★★★★ out of five.

I’ve always viewed director/writer Robert Eggers as an “anti-Wes Anderson.” Whereas Anderson’s movies are often light and playful, Eggers’ films are black-and-gray edifices that feel like they’re sitting on my chest as I watch them. That’s not a negative thing, of course. There are a wide variety of movies out there, and I appreciate all kinds of genres. I suppose a good way to look at Eggers and Anderson is salt versus sweet, and how sometimes those things can actually go together well. Anyone up for a double-feature of Nosferatu and The Royal Tenenbaums?

Okay, with that out of the way, yes, Eggers’ latest movie is another tour de force, a remake of the 1922 silent film Nosferatu: A Symphony of Horror, which was, of course, loosely adapted from Bram Stoker’s 1897 novel Dracula. That book is now in the public domain, but I appreciate Eggers’ desire to craft a horror movie not beholden to most moviegoers’ idea of who Dracula is. Set in 1838, Nosferatu follows the trials and tribulations of Ellen (Lily-Rose Depp) and Thomas Hunter (Nicholas Hoult), who are recently married and live in Wisburg, Germany. Determined to curry favor with his employer, Herr Knock (Simon McBurney), he accepts an assignment to travel to Transylvania and complete the sale of an old mansion in Wisburg to a man known as Count Orlok (Bill Skarsgård). Orlok is, of course, a creepy, shadowy presence who has a supernatural effect on Thomas. The young man manages to escape and Orlok sets out for Wisburg in his coffin, which is aboard a ship whose crew is also unknowingly bringing plague rats with them. Meanwhile, Ellen is suffering from seizures and somnambulism, thanks to a psychic pact she unwittingly made with Orlok when she was younger. Her doctor, unable to figure out a cure for what ails her, decides to ask for the advice of his old mentor, Professor Albin Eberhart von Franz (Willem Dafoe), who is well-versed in the mythology surrounding Nosferatu. As the plague infects Wisburg and Orlok infects the mind of Herr Knock, Thomas and his friend Friedrich (Aaron Taylor-Johnson) work with von Franz to devise a plan for getting rid of the vampire once and for all.

Nosferatu is certainly worthy of all the accolades it has received, which include four Academy Award nominations, albeit of the technical variety. It’s a worthy update to F.W. Murnau’s Expressionist classic. This Blu-ray edition of the movie comes with a code for a digital copy and a nice batch of extras, including an extended cut of the film that adds four minutes to the runtime. That extra footage is also available in the form of three deleted scenes. The bonus features kick off with a commentary track with Eggers that does a good job of digging into the making of the film. I always appreciate highly skilled filmmakers who have a very specific sense of style and enjoy talking about their work, like Eggers. Universal has also provided a making-of split into six parts that run about 38 minutes total. The big takeaway from them is the fact that Eggers, unsurprisingly, tries to capture as much as he can in-camera, but, of course, digital effects were still required to fill out many scenes (Just as Francis Coppola did with his Bram Stoker’s Dracula). The Blu Ray picture and sound are quite outstanding! Which showcases the cinematography of Jaron Blaschke. I’d be very interested to see what Eggers comes up with next.

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• THE APPRENTICE
• Starring: Sebastian Stan and Jeremy Strong
• Directed by: Ali Abbasi
• Rating: R
• Running Time: 2 hrs 2 mins
• Briarcliff Entertainment

Our score: 3 out of 5

Nominated for two Academy Awards including Best Performance by an Actor in a Leading (Sebastian Stan) and Supporting Role (Jeremy Strong), the biographical drama “The Apprentice” is so unflattering that it the current president threatened a lawsuit to stop its release before last year’s election. Its story is as dirty and disgusting as its realistic depiction of a blighted, crime-ridden New York City in the 1970s. What makes it so impactful, though, are the incredible, even transcendent performances by Stan and Strong. If all you thought Stan could do was play a guy with a metal arm, then you are sadly mistaken.

The film takes us on a thirteen-year journey starting in 1973 that spans the rise of a young Donald Trump (Stan, “The Falcon and The Winter Soldier”) who we find is struggling to get out from under the thumb of his domineering father, Fred Trump, Sr. (Martin Donovan, “Tenet”). It is in a dimly lit nightclub/restaurant where attorney Roy Cohn (Strong, “The Gentlemen”, “Molly’s Game”) spots an ambitious Trump sitting alone. Cohn, who had a significant role in the 1951 espionage trial of Julius and Ethel Rosenberg, and their subsequent execution, has a no-holds barred, take-no prisoner mentality with little patience for anything or anyone he deems unpatriotic.

Cohn takes Trump under his wing and gets his family out of a legal jam involving accusations of racist landlord practices. It’s the start of a partnership and friendship that shapes Trump’s view of himself, business and the world around him for years to come. It also impacts his eventual marriage to his first wife, Ivana (Maria Bakalova, “Borat Subsequent Moviefilm”), presented as a tragic figure because of the way she is treated by her husband. Trump absorbs three rules from Cohn that become his guiding principles: always attack, never admit wrongdoing, and always claim victory, even if defeated.

While probably still a lightning rod for Trump supporters and non-supporters alike, “The Apprentice” stands out because of its performances by Stan and Strong, with a nice supporting role as well by Bakalova. It exposes the underbelly of New York when it was rundown, corrupt and gangsters had equal notoriety at celebrities. The evolution of the Trump character in the film is a fascinating yet sad thing to watch unfold, even if the camera work is choppy. It’s certainly not a flick for kids and it may leave you feeling kind of gross when it’s over.

“The Apprentice” receives ★★★ out of five.

• CAPTAIN AMERICA: BRAVE NEW WORLD
• Starring: Anthony Mackie, Harrison Ford
• Directed by: Julius Onah
• Rating: PG-13
• Running Time: 1hr 58 mins
• Walt Disney Studios

Our score:  3.5 out of 5

After the disaster of the Kang Dynasty saga, which was put to bed in the “Loki” season two finale and verbally reduced to ashes by “Deadpool & Wolverine”, Marvel Studios has moved on with their next phase, kicked off by its newest endeavor “Captain America: Brave New World”. A solid, standalone effort that isn’t about saving the galaxy or planet Earth, “Brave New World” brings multiple loose ends to a close and ties them all together in what amounts to a political thriller. Anthony Mackie solidifies himself as the new Captain America via a good script and supporting cast.

Several months after being elected to the highest office in the land, President Thaddeus “Thunderbolt” Ross (Harrison Ford), a former U.S. Army general and U.S. Secretary of State who has had a long-standing hatred of the Hulk and for the Avengers overall, sends Sam Wilson (Mackie), aka Captain America, and U.S. Air Force 1st Lieutenant Joaquin Torres (Danny Ramirez, “The Falcon and The Winter Soldier”), aka The Falcon, to Mexico to prevent the sale of a new element – adamantium.

Although a criminal known as Sidewinder (Giancarlo Esposito) escapes, the mission is successful enough for Wilson, Torres and Isaiah Bradley (Carl Lumbly, “The Falcon and the Winter Soldier”) to be invited to the White House. Bradley, who received a dose of super soldier serum before becoming a Korean War hero, spent 30 years in prison where he was experimented on by the U.S. government. So, when he tries to assassinate President Ross, everyone is quick to judge him because of his past mistreatment.

President Ross severs ties with Captain America because he is determined to exonerate Bradley. Captain America and The Falcon are alone in their mission as President Ross’s top security advisor, Ruth Bat-Seraph (Shira Haas, “Broken Mirrors”), a child of the infamous “Red Room” where Black Widows were trained, is just as determined to thwart their plans. However, they are all being manipulated by Samuel Sterns (Tim Blake Nelson, “The Incredible Hulk”), a cellular biologist who developed super intelligence after being contaminated by Bruce Banner’s blood in “The Incredible Hulk”. It all leads to a climatic confrontation between Captain America and the Red Hulk.

Mackie does a great job portraying his character’s struggles of being the new Captain America, something that happens in the comics. He still doesn’t believe he is worthy enough to fill Steve Rogers’s shoes, but he ends up learning he doesn’t have to. Mackie’s greatest strength is making us root for his character who, unlike Rogers, lacks super strength or speed. He is just a man, albeit one who has fought Thanos. His co-star Ford clearly embraces the character originated by the late William Hurt. It’s easy to see he has fun with the role, and it is a departure from some of his past roles. Ford deftly navigates his character’s complexities as Ross’s overarching goal is to win back his estranged daughter, Betty.

The action is what you would come to expect from a Marvel film, only this time it’s wrapped up in political intrigue rather than in bickering gods from another realm or the attempted takeover by a mad Titan. One of its greatest strengths is that the story ties up loose ends that have been dangling since “The Incredible Hulk” was released seventeen years ago. Not only that, but these threads end up pointing towards how this newest phase will unfold in coming years. The story also ties into events from the much-maligned “Eternals” with multiple references to previous Marvel flicks like “End Game” and “Black Widow”.

Perhaps Marvel fatigue does exist. Perhaps everything prior to and including “End Game” is viewed with rose colored glasses. The secret to the Avengers’ success in the comic world is that it has always been ever-changing. Its membership has changed numerous times over the years, with even Wolverine counted among its members. I get that it’s disappointing to see someone like Chris Evans or Scarlett Johansson move on, but it would get stale if the cast and characters never changed. Furthermore, the physical demands on some of them get harder as they get older and thus, you can’t blame them if they have decided if they have had enough.

With that said, you should give “Brave New World” and Anthony Mackie a chance.

“Captain America: Brave New World” receives ★★★ ½ out of five.

Starring: Jenna Kenall, Hannah Alline and Natasha Halevi
Directed by: Zeshaan Younus
Rated: NR
Running Time: 71 minutes
Ethos Releasing

Our Score: 1.5 out of 5 Stars

It took me a while to figure out why “The Buildout” wasn’t clicking with me. On paper, it has a lot going for it: two strong lead performances, a mysterious cult with bonus UFO potential, and a vast desert setting filled with existential emptiness—a playground for a horror fan’s imagination. But it’s not that I dislike character studies. It’s that for me to enjoy one, the characters need to actually be interesting.

This low-budget indie follows Dylan (Hannah Alline) and Cameron (Jenna Kenall) on a sort of re-bonding trip into the Southern California desert. Dylan is set on joining a cult, while Cameron tags along as emotional support for the motorcycle-bound pilgrimage into the unknown. The extra bizarre caveat? Despite embarking on this trip together, the two haven’t spoken in years—ever since the death of Cameron’s sister. With a setup like that, “The Buildout” has plenty of backstory to sink its teeth into. But it never really does.

From a setting perspective, we should feel a creeping sense of isolation, of impending doom. Instead, the desert ends up as little more than a silent backdrop, lacking presence or atmosphere. The cult, which may or may not have some otherworldly connection, never feels as ominous as the word “cult” would imply. In fact, when we finally meet them, they’re about as forgettable as the latest conspiracy theory making rounds on social media. And while Dylan and Cameron’s personal revelations feel genuine, they’re overshadowed by the film’s disjointed execution. The result is two stories—one about fractured friendships, one about a shadowy belief system—that feel fundamentally incompatible.

As much as I wanted to enjoy it—especially since it touches on universal anxieties about friendship and how it evolves over time—I just never felt invested. Not because the themes weren’t compelling, but because the film itself didn’t seem invested in telling a fully realized story. The subject matter is fascinating, but “The Buildout” only engages with it on a surface level. And while complex questions don’t always require answers, it’s frustrating when a film doesn’t seem to answer any of the ones it presents. Which makes me wonder if we’ve been handed a sandwich with nothing between the bread.

Starring: Krsy Fox, Jon Sklaroff, and Elizabeth Caro
Directed by: Spider One
Rated: NR
Running Time: 105 minutes
Shudder

Our Score: 2 out of 5 Stars

I’ve been following Spider One’s directorial career since he debuted “Allegoria” at Panic Fest. It’s been an interesting journey, marked by a slow yet confident evolution—not necessarily for Spider One, but for Krsy Fox, who has appeared in every one of his films so far. While she’s been integral to his prior work, “Little Bites” is a tour de force simply for her performance alone. Unfortunately, everything else seems stuck in a rut.

“Little Bites” follows single mom Mindy (Fox), who allows a demon-vampire creature (Jon Sklaroff) to bite, nibble, and drain her of her blood and flesh in an effort to distract him from the fresh meat that is her 10-year-old daughter. The daughter is safely at grandma’s, so most of the film’s runtime is spent with Mindy and an indie-looking Nosferatu. Their interactions aren’t just a series of repeated feastings; the creature mentally and emotionally abuses Mindy on top of the physical harm. The film is a blunt metaphor for parenthood—how parents keep their own personal demons at bay while raising children. But despite all the visual meat being devoured on screen, there isn’t much meat on the script.

For a film that pushes close to two hours, it’s hard to justify some of the vignettes that pop up throughout. A child protective services worker (played by the magnificent Barbara Crampton) makes a visit for no apparent reason, as does horror icon Heather Langenkamp, in a scene that feels equally unnecessary. The only encounter that really works is when Mindy brings a man (Chaz Bono) back to her home to appease the ever-thirsty vampire. But even that scene doesn’t land as well as it could, because the film’s themes are so blunt and obvious that they invite scrutiny. It led me to wonder whether the narrative and direction were akin to a dog chasing a car—running full speed toward something without really knowing what to do once it catches it.

While “Bury the Bride” was a tight thrill ride, “Little Bites” feels more like a bloated episode of “Tales from the Crypt”—without the satisfying twist or payoff. Because the film is so personal to Spider and Fox (it’s literally about raising their daughter), I wondered if it was harder for them to be as self-critical in the editing process as they were with their previous films. Like his prior work, there’s a lot to admire and enjoy, but “Little Bites” is disappointing because it feels like a strong, powerful film is buried within its meandering narrative. It could have been another progressive step forward for Spider, but it never finds its footing.

That said, as I mentioned at the start, Fox delivers a performance that deserves serious attention. Her horror acting chops are on full display, and without her, the film might have been a complete disaster.

Beverly Randolph played Tina in the 1985 cult classic The Return of the Living Dead. She comes together with Media Mikes to discuss to reflect on the 40th Anniversary of film and also discuss returning to the franchise in Linnea Quigley’s Trash’s Revenge!

Check out the campaign for Trash’s Revenge now, which is currently crowdfunding: https://cinebacker.com/product/trashs-revenge-rotld-universe/

Also check out the website below to find out where the cast is appearing and to get awesome signed stuff from her and the cast of ROTLD!: https://rotldoriginals.com/

• YOU’RE CORDIALLY INVITED
• Starring: Will Ferrell, Reese Witherspoon
• Directed by: Nicholas Stoller
• Rating: R
• Running Time: 1 hr 49 mins
• Amazon MGM Studios

Our Score:  .5 out of 5

You are cordially invited to not watch “You’re Cordially Invited”. Released on Amazon Prime Video, this Will Farrell/Reese Witherspoon comedic vehicle is an outright disaster of Hindenburg proportions. Writer/director Nicholas Stoller (“Get Him to the Greek”, “Forgetting Sarah Marshall”) has helmed a comedy that is choppy, poorly acted with a dullish and predictable script, and has characters that are either annoying or are stereotypes from a myriad of other bad comedies. While there are inevitably a couple of laughs to be had, Farrell continues a streak of rather underwhelming comedies. Witherspoon’s effort appears forced at times while having about as much chemistry with Farrell as there is water in the Mojave Desert.

Jim (Farrell) is a widowed father who has raised his daughter, Jenni (Geraldine Viswanathan, “Blockers”) since she was six years old. To describe him as overattentive, smothering, and too apologetic would be an understatement. Margot is a never-been-married, childless TV producer in Los Angeles who keeps her family in Atlanta at a distance, emotionally speaking, except for her bubbly younger sister, Neve (Meredith Hagner, “Joy Ride”).

Worlds collide when Jim and Margot, unbeknownst to one another, call a small resort on Palmetto Island, Georgia to schedule Jenni and Neve’s wedding day. The double-booking leads to an uncomfortable circumstance since the venue is too small for two weddings. At first, Jim and Margot are able to work everything out, but personality conflicts, jealousies, and pettiness lead to disaster for both weddings.

The family of Margot and Neve was apparently crafted to appear as a quirky bunch of characters that we are supposed to find amusing. Instead, they are boorish cardboard cutouts. The fake townspeople of Mel Brooks’s Rock Ridge had more personality. Jenni’s wedding party consists of some of the most annoying, idiotic, non-funny characters ever assembled for a comedy flick.

Witherspoon is just not funny, and Farrell is reduced to wrestling an animatronic alligator in a tuxedo to generate laughs, a gimmick that doesn’t work. Their pairing is awkward while the story is about as predictable as knowing the sun is going to come up tomorrow. Cameos by Peyton Manning and Nick Jonas are, for lack of a better word, weird and poorly utilized. Overall, decline this wedding invitation and watch something that is entertaining instead like “Dune 2” or paint drying.

“You’re Cordially Invited” receives a half star out of five.

Reuniting the director, writer and stars of Forrest Gump, HERE is an original film about multiple families and a special place they inhabit. The story travels through generations, capturing the most relatable of human experiences. Robert Zemeckis (Forrest Gump, Cast Away, Who Framed Roger Rabbit, Contact, Back to the Future) directs from a screenplay by Eric Roth (Forrest Gump, Killers of the Flower Moon, Dune: Part One, A Star is Born) and him. Told much in the style of the acclaimed graphic novel by Richard McGuire on which it is based, TOM HANKS and ROBIN WRIGHT star in a tale of love, loss, laughter and life all of which happen right Here.

Here tells an incredibly simple tale.  The story is centered in literally one spot.  The camera does not move, but time does.  When the film opens, we are in prehistoric times. Dinosaurs are passing by and the big bang occurs.  As time evolves, we see Native Americans living off of their land.  Then colonial times come forth.  Further down the line, we see the gilded age, the past becoming the present as frames place themselves everywhere on-screen showing different things, sometimes from other times.

Here is not told in a linear style.  Something that will make the film a difficult watch for some viewers is that there’s a lot of jumping around. One moment, you’re spending time with Tom Hanks’s Richard Young, or even before that, his parents. They have purchased the house from another couple, an inventor and a housewife.  We see glimpses of the inventor making his invention.  We also see the other inhabitants of the home before and after the Young family.

Interestingly, Richard never does leave his parents.  His father (Paul Bettany) is surly and drinks, while his mother (Kelly Reilly) can at times be forgetful, but this is usually brushed off.  When Richard brings home Margaret (Robin Wright), his parents enthusiastically welcome her into the family.  For the story’s sake, Richard and Margaret get pregnant and then have to get married in the living room.  Before this occurs, we see Benjamin Franklin pass by in a carriage, as we see his New Jersey become more modernized.  Eventually, Richard and Margaret move on from the house, and a new family moves in, only to be devasted by the loss of someone close to them from Covid, and then in turn, moving out of the house, making it possible for Richard and Margaret to have one more moment in that living room, where even after they’ve left, we never have.

Here deals with a lot of things in one space.  Before the house is built, we see things developing and evolving and changing.  As the house comes together, we see the different types of people moving in and out.  The first people living in the house turn their noses up at it, feeling that is isn’t good enough, and hating that Ben Franklin is their neighbor, stating that he lives in a monstrosity.  The next family are more modern and modest, with the husband showing interest in being adventurous with the newly honed skill of flight, and his wife waiting at home for him all the time. The inventor and his wife are next, and they’re the most interesting to me, even more so than Richard and his brood.  They are bohemian, playing jazz music, dancing, having fun… they are lively! After Richard’s family moves out, the last family leading up to 2024 moves in.  This is the only family that seems to be wealthy moves in, and also the only family of color too.

Here is not lost on characters or decent acting.  The premise is interesting in a way also.  It can also be emotional depending on how you feel about tales of love, struggle, loss, and life paths crossing.  It also depends on your patience on films whose scenes take place in much the same space for their duration.  In the case of Here, the camera doesn’t even move.  For some, this could become tedious.  I think it’s safe to say you can put me in the group of the “some” in that respect.

Here comes to the screen with a clear idea of the story it wants to tell, but unfortunately, what was released feels muddled.  The pacing is snail-like, and unfortunately the reliance on CGI, including fully rendered CGI characters, makes the whole experience feel false and cold.  I would have loved to see the film further fleshed out.  I could see the film using the house more and following its characters from every era around the house, and not just sticking to the living room.  I have no doubt those reading this will say that this voids the purpose of the film, but if we stay in the house, it’s still utilizing the point of Here and fleshing it out a bit by moving you and the characters around the home to make it less static.

Since I am a person who reviews films and does not make them, I can share my opinion, but I don’t dare believe I could write a capable film.  As a person in the audience, I do have to say that for me this continues a disappointing downturn in Robert Zemeckis’s career.  You can see his desire to innovate but things feel so stagnant, made worse by a camera that doesn’t move.  I can’t place the blame solely on Zemeckis though.  There Is also Eric Roth, who not only wrote Forrest Gump, but also Dune Pt. 1, Killers of the Flower Moon and a TON of other films.  This doesn’t even feel like something he’d write.  It’s so stalely written, moving in random ways from one bland moment to the next.  Save for the inventor and his wife (Spoiler: He invents the Lay-Z Boy), this movie is not one I can see gaining much of an audience despite the pull of having Tom Hanks starring and reuniting so many people who worked together on Forrest Gump.  It’s a shame too, because I know I’m not alone in my desire to see all of those involved here celebrating the success of their newest cinematic experiment.

SPECIAL FEATURES

How We Got Here (The Making of HERE) – A 20 Minute Documentary talking about the cast, crew and writer reuniting for the film, and the execution of the film.

Deleted Scenes – About 10 minutes in total, nothing essential, but interesting!

Final thoughts:

HERE is a film you’ll either love or despise. Although I enjoyed the 1080p picture and Dolby Surround Sound, I found myself getting a bit frustrated because the camera never moves (until the end). It’s admirable that Zemeckis continues to push the technical envelope each time he makes a film, but a film’s technical aspect is one thing. To move a film watcher with an engrossing story is most important. I would guess the ones who truly love this film are either Zemeckis fans or those who relish in seeing Hanks and Wright again in a film role.

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

Our score:  5 out of 5

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

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

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

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

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

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

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
Blu-Ray Score: 4.5 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.

Special Features:

• EXTENDED AND THEATRICAL CUTS OF THE FILM
• NOSFERATU: A MODERN MASTERPIECE – A look behind-the-scenes
• BREATHING LIFE INTO A DREAM – A talk with Robert Eggers about bringing his vision to the screen
• BECOMING COUNT ORLOK – A look at nailing Count Orlok’s look in the film
• CAPTURING THE MOOD – A look at the Oscar-nominated cinematography of the film
• RECREATING 1838 – A look at how the film captures the look of 1838.
• DRESSING THE PART – A look at the film’s wardrobe
• THE END IS JUST THE BEGINNING – A look at the film’s visual effects
• DELETED SCENES
• FEATURE COMMENTARY WITH WRITER/DIRECTOR ROBERT EGGERS

As the 40th anniversary of Return of the Living Dead approaches in 2025, DRagonSTUDIOS, the official copyright holders, proudly announce a brand-new cinematic universe! Kicking it off with the highly anticipated feature film: TRASH’s REVENGE part of The Return of the Living Dead Universe.

Legendary actress Linnea Quigley, who brought the iconic character Trash to life in the original film, has joined forces with DRagonSTUDIOS to return to the world of the undead in this thrilling new chapter.

And here’s the best part, you can be a part of this epic adventure! Join us in making horror history by supporting our crowdfunding campaign and becoming a key player in the next evolution of the Return of the Living Dead universe!

Click here to support the film: https://cinebacker.com/product/trashs-revenge-rotld-universe/

What is TRASH’s REVENGE all about

As the saga continues decades after the horrific events of the 1985 cult classic, Trash the notorious punk rocker, played by Linnea Quigley, finds herself trapped in a past where fame has faded. Once a rebellious icon, Trash now embraces the persona of a grotesque Norma Desmond from Sunset Boulevard, attending conventions to sign autographs while her co-stars rise to greater heights.

For Linnea, her legacy as a star of Return of the Living Dead becomes both a curse and a twisted ticket to notoriety in an industry obsessed with horror and scandal. But when a young filmmaker approaches her to make a documentary with staged re-enactments from the original film to celebrate the film’s 40th Anniversary, Linnea sees an opportunity to reclaim her place in the spotlight no matter the cost.

As the documentary delves into her past, a shocking truth emerges: Return of the Living Dead wasn’t just fiction, part of it was real. Linnea confesses that she still possesses three original cannisters from the film, hidden away in her basement. Cannisters that were never revealed to the public… until now.