Starring: Kia Dorsey, Zaen Haidar and Sam Lukowski
Directed by: Jill Gevargizian
Rated: NR
Running Time: 86 minutes
Dread

Our Score: 3 out of 5 Stars

Go on Youtube, TikTok, Instagram or whatever and you’ll find people doing a variety of bizarre challenges. Some are popular and mainstream like the ice bucket or cinnamon challenges, while others like the fire challenge cause harm and death. Then there’s the one in “Ghost Game,” staying overnight in occupied homes, harassing the residents as if you were a ghost.

Laura (Kia Dorsey) is one of its participants, generally completing these challenges with her bestie and partner-in-crime, Adrian (Sam Lukowski). The duo are underground internet celebrities of sorts, but that all comes apart when Laura’s boyfriend, Vin (Zaen Haidar) finds out about her extra curricular hobby and takes wedges his way into Adrian’s spot. That won’t stop Adrian from crashing Laura and Vin’s first challenge, a supposedly haunted house with a new family moving in, nor will it stop the chaos that unfolds.

Even though “Ghost Game” utilizes some GoPro POV and hidden house camera techniques, it benefits from traditional filmmaking to tell its story. In a lot of ways, the film throws out various horror film cliches, such as the haunted house with a deadly backstory, mysterious occurrences that Laura, Adrian and Vin can’t explain, or jump scares, in an effort to misdirect you constantly. The misdirect entertains while distracting from some of the film’s weaker constructs.

It’s not actually scary and the plot sometimes struggles to make sense. Outside of the misdirects, “Ghost Game” is elevated by relatable characters trapped in a tense, growing situation. And even though we like these characters, we do feel a bit of sick joy at their comeuppance. We already enjoy watching social media stars and others getting what’s due when performing dangerous and dumb stunts or challenges.

We wait for that retribution while watching the characters grow suspicious, which is really the meat of “Ghost Game.” Laura is competing in these challenges because life just isn’t fun unless you’re doing something dangerous and illegal, which speaks volumes about her relationship with Vin and Adrian. Without diving too much into the dynamic, Vin and Adrian represent two sides of Laura and she tries to reconcile that throughout the film. It’s the kind of emotional resonance we saw in Director Jill Gevargizian’s previous film “The Stylist.”

“Ghost Game” just doesn’t click as well as “The Stylist,” probably because Gevargizian didn’t write this one. Writer Adam Cesare seems to love genre mashing, but needs a nudge towards blending it into a more cohesive thriller. Despite its flaws, “Ghost Game” is an enjoyable haunted house romp with characters you could watch bicker for hours. If it’s premiere at 2024’s Panic Fest was any indication, it’s a crowd pleasing romp.

REVIEW BY BENJAMIN GREGORY

• JOKER: FOLIE a DEUX
• Starring:  Joaquin Phoenix and Lady Gaga
• Directed by:  Todd Phillips
• Rated:  R
• Running time:  2 hrs 18 mins
• Warner Bros

“Joker: Folie à Deux” arrives as the eagerly anticipated follow-up to the groundbreaking “Joker” released in 2019, which captivated audiences and critics alike with its daring portrayal of the iconic villain’s origin story. Directed once again by Todd Phillips, the sequel sought to delve deeper into the psychological chaos and complex dynamics that surround the infamous character of Arthur Fleck. Given the original film’s success (second highest grossing R rated film) and Joaquin Phoenix’s Oscar-winning performance, expectations were sky-high for this installment. However, “Joker: Folie à Deux” struggles to capture the same raw intensity and emotional depth, leaving audiences with an experience that feels disconnected and underwhelming.

In “Joker: Folie à Deux,” we return to the fractured psyche of Arthur Fleck, who now finds himself navigating the complex aftermath of his descent into madness and infamy in Gotham City. The film attempts to explore Arthur’s ongoing struggle with identity and reality as he confronts both internal and external adversities. Central to the plot is the introduction of a new character who serves as both a confidant and a catalyst for chaos, potentially altering the course of Arthur’s tumultuous journey. Despite its intriguing premise, the narrative often meanders, lacking the cohesion and sharp focus that defined its predecessor. This disjointed storytelling is unable to fully capitalize on its ambitious themes, leaving viewers with a sense of unfulfilled potential and ambiguity.

Joaquin Phoenix returns to his role as Arthur Fleck with a committed performance that captures the character’s descent into further depths of madness. Despite the film’s shortcomings, Phoenix remains a compelling presence on screen, embodying the Joker’s erratic nature and emotional volatility with remarkable intensity. Though his performance is consistent with his previous portrayal, the lack of new character development limits his ability to elevate the sequel beyond its narrative constraints.

Accompanying Phoenix is Stefani Joanne Angelina Germanotta (Lady Gaga), who introduces a new character that adds complexity to Arthur’s world. While Lady GaGa delivers a solid performance, the character’s potential feels undermined by underdeveloped writing, preventing them from leaving a significant mark. The supporting cast, including familiar and new faces, deliver competent performances, but the script does not provide them sufficient depth to stand out or contribute meaningfully to the film’s impact. Overall, the ensemble does its best with the material provided, but even their collective talent struggles to overcome the film’s narrative hurdles.

Todd Phillips returns to the directorial helm, aiming to expand upon the gritty psychological landscape established in the first film. While his direction still captures the dark, unsettling tone of Gotham City, the sequel lacks the tight, focused narrative that made the original so compelling. Phillips’ attempt to weave multiple storylines and character arcs leads to a fragmented experience that struggles to maintain a clear trajectory or cohesive theme.

The writing, once a standout feature of “Joker,” falters in “Folie à Deux.” The screenplay attempts to explore deep psychological and societal themes, but often does so in a manner that feels forced and disconnected. Dialogue that should reveal character depth and move the plot forward instead comes across as repetitive and occasionally contrived. This dilutes the emotional impact and suspense that were so successfully achieved in the original.

“Joker: Folie à Deux” ultimately suffers from an identity crisis, caught between the expectation to expand on its precursor’s success and the desire to forge a new path. The film’s pacing is notably uneven, with scenes that either drag on unnecessarily or progress abruptly without the needed emotional buildup. This inconsistency detracts from the tension and engagement that are crucial for a psychological drama of this nature.

Character development is another area where the film falls short. While there are glimpses of interesting dynamics, especially between Arthur and the new characters, these relationships remain largely superficial, leaving audiences craving deeper exploration. The film also struggles with balancing its ambition and execution; while it attempts to address complex themes, it often resorts to surface-level engagement without deeply probing the implications.

“Joker: Folie à Deux” attempts to replicate the success of its predecessor but loses focus in its execution. While anchored by Joaquin Phoenix’s steadfast performance, the film lacks the cohesive narrative and emotional depth needed to leave a lasting impact. Fans of the original may appreciate the return to Gotham’s dark and chaotic world, but many may find that the film’s ambitions outstrip its execution. Ultimately, it offers a glimpse of potential brilliance but remains overshadowed by the standard set by its acclaimed forerunner.

Overall, the direction and writing in “Joker: Folie à Deux” strive to recapture the boldness of its predecessor but falter in delivering a narrative that resonates with the same potency, giving the overall impression of “Too many cooks”.

On a scale of zero to five, “Joker: Folie a Deux” receives ½-Star. 

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• SATURDAY NIGHT
• Starring:  Gabriele LaBelle, Racel Sennott and J.K. Simmons
• Directed by:  Jason Reitman
• Rated:  R
• Running time:  1 hr 49 mins
• SONY Pictures

October 11, 1975.  I was a 15-year old boy living in Tampa and for the past two weeks I had been talking to my friends about the movie “Jaws,” which I had just seen (20) days earlier.  On that night I sat down in front of the television to tune in a new show that, fifty years later, and despite many highs and a few lows, continues to air weekly.  Live from New York…it’s SATURDAY NIGHT.

Late night programming on NBC was pretty much non-existent in the 1970s.  Johnny Carson, and “The Tonight Show,” ruled 11:30 pm on weeknights and was so popular that Saturday nights the network would run repeats of previous shows.  This changed when Lorne Michaels (LaBelle) pitched a show about the youth of the day featuring the youth of the day.  And despite deranged writers, a cast of nobodies and the network censor, the show went on.  Barely!

Brilliantly written by Gil Kenan and director Reitman, the film captures the true chaos of the ninety minutes prior to the airing of the first show.  We are introduced to familiar characters, including head writer Michael O’Donoghue (Tommy Dewey), Jim Henson (Nicholas Braun, who also portrays comedian Andy Kaufman) and, of course, the original Not Ready for Prime Time Players.

The casting is spot on, with each actor not only resembling but channeling their character.  We meet Dan Aykroyd (Dylan O’Brien), John Belushi (Matt Wood), Chevy Chase (Cory Michael Smith), Jane Curtin (Kim Matula), Garrett Morris (Lamorne Morris,) Larraine Newman (Emily Fairn) and Gilda Radner (Ella Hunt).  Each of these actors do justice to the characters, capturing their personalities perfectly.  It’s obvious that Reitman, whose father worked with many of the original cast members in film, wanted to make sure that each character was brought to life with love and respect.  Two veteran actors take on two very iconic characters with Brad Garrett portraying Rodney Dangerfield and J.K. Simmons as an insufferable Milton Berle.  And kudos to the film for highlighting Berle’s legendary “talent.”  As Max Bialistock says in “The Producers,” if you’ve got it, flaunt it!

The script is a love story to a show that has influenced multiple generations with it’s brand of humor.  Even in its worse times – I’m looking at you 1985-86 cast – the show continues to entertain.  The film is well paced and the jokes hit hard and often. It took me back to a time when there were only three television channels and you could get a burger, fries and drink at McDonalds for a dollar.  Really.

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

• MEGALOPOLIS
• Starring:  Adam Driver, Giancarlo Esposito and Aubrey Plaza
• Directed by:  Francis Ford Coppola
• Rated:  R
• Running time:  2 hrs 18 mins
• Lionsgate

I’ve had time to think a lot about what I wanted to write because there are parts of “Megalopolis” that show the touch of a master filmmaker. That being said, a muddled story, and most unsympathetic characters, take a lot of the shine off of the project.

New Rome in the not too distant future is a city in shambles, with supporters of two very different men in a constant battle with each other.  On one side you have Cesar Catalina (Driver), an encentric visionary whose ideas are both embraced and ridiculed.  On the other side you have newly elected Mayor Cicero (Esposito), who considers himself a man of the people.  Both try to get their message to the people by the way of personality Wow Platinum (Plaza, in an amazing dramatic performance).  As each side tries to one up the other, the state of the City continues to deteriorate.  Who will save New Rome?

Packed with a cast that has sixteen Academy Award nominations (and three Oscars) among them, “Megalopolis” is an acting showcase for the audience.  Driver and Esposito, two of the best actors of their generation, give powerhouse performances, doing their best to sell a weakly constructed, and confusingly written, story.  Plaza, who I only knew from “Parks and Recreation,” is a revelation as the scheming and manipulative social media diva dealing with declining ratings.  Veteran actors like Laurence Fishburne, Talia Shire and Dustin Hoffman shine in smaller roles while Jon Voight proves why he has been one of the best actors of the past six decades with a featured role as Hamilton Crassius III, a man whose money helps things run.

The drawback for me is the script, also written by director Coppola.  My thought is that he was trying  to make a film similar in style to Baz Luhrmann’s “Romeo + Juliet,” mixing snippets of Shakesperean language with a modern vision but sadly some of the dialogue is clunky and falls flat.

Visually the film is breathtaking, and it is here that Coppola shines.  The man has fourteen Academy Award nominations and five Oscars and his place in the history of cinema is assured.  While not his best effort, there are still enough flashes of the master at work that make me give the film a favorable review.

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

Directed by: Jordan Downey, Christian and Justin Long, Justin Martinez, Virtal Pal, and Kate Siegel
Rated: NR
Running Time: 110 Minutes
Shudder

Our Score: 3.5 out of 5 Stars

Here at MediaMikes, we love the V/H/S franchise. While we haven’t reviewed every single entry, the ones we have have averaged 4 out of 5 Stars. Unfortunately I’m here to break that trend, but that shouldn’t distract from “V/H/S Beyond,” the latest entry. It appears to be the first foray into a solely sci-fi realm for the franchise. While not every short within the anthology has a sci-fi beat, it maintains the exaggerated style the films have held recently.

Continuing a recent trend in the franchise, “V/H/S Beyond” has a framing narrative that really doesn’t matter or fit into the overall structure at all. Thankfully “Abduction/Adduction” is as short as it is forgettable, moving straight into “Stork,” a short that feels like a first-person shooter. “Stork” is very much like a horror video game playthrough as a SWAT team storms a dilapidated building looking for the culprit behind missing babies. The short manages to squeeze in every ounce of creepiness, jump scares and unrelenting gore from its disturbing premise.

“Dream Girl” lets off the accelerator a tad as we watch two paparazzi members find out a somewhat predictable secret behind the latest Bollywood sensation. The superstar bloodbath that ensues doesn’t necessarily save the weak story in this one. Luckily, “Live and Let Dive” goes back to slamming the film’s foot on the accelerator. A group of friends are going skydiving for a pal’s birthday celebration, but a UFO and the American military have a different idea as chaos unfolds mid-air and on the ground. Outside of some wicked kills, “Live and Let Dive” has a great creature design and a concept that never lets go of you. Also ,it might actually be the only short in the whole movie that actually follows found footage rules.

If “Live and Let Dive,” didn’t rattle you, then surely “Fur Babies” will. You can kind of surmise what’s going to happen when a group of animal rights activists decide to sneak into the home of a pet and taxidermy enthusiast home to check out her doggy daycare. Even if you can predict what’s going to happen, it can’t prepare you for the horrific body horror comedy that follows. This, and “Stork,” are the highlights of “V/H/S Beyond.” These two shorts make the latest addition a worthy watch.

Before “Abduction/Adduction” wraps up, “Stowaway” provides an artistic reprieve from the chaos beforehand. A mother documents her journey into the desert to uncover what the mysterious lights she sees every night are. Unlike the other shorts, “Stowaway” has an emotional core as grainy cam footage appears to have overwritten a tragedy this woman is attempting to forget in the name of alien exploration. In that regard, I enjoyed it for bringing us back down to Earth (or out of Earth) after the insanity of “Fur Babies.”

Overall, I enjoyed “V/H/S Beyond,” but my head wasn’t joyously spinning as hard as the past few entries in the franchise. Just like before, found footage rules be damned as several shots were clearly just filmmaking and not footage from a body cam, handheld, cellphone, or something else. At this point it’s hard to tell if these newer films in the franchise actually go for an aesthetic. “V/H/S Beyond” feels like it should be sci-fi up and down, but “Stork” and “Fur Babies” prove that’s not entirely the case. If you were to remove those films, the entire anthology will feel a little hampered by a narrow sci-fi horror preference. Regardless, “V/H/S Beyond” offers a little bit of something for all horror fans, whether it be gallons of blood, gruesome dismemberments and shattered bones, creature designs burned into your retina or good ol’ fashioned jump scares. The “V/H/S” franchise is becoming a yearly treat for those who enjoy what makes horror great.

Starring: Mia Goth, Elizabeth Debicki and Moses Sumney
Directed by: Ti West
Rated: R
Running Time: 104 minutes
A24

Film: 4 out of 5 Stars
Audio/Video: 5 out of 5 Stars
Extras: 3.5 out of 5 Stars
Overall: 4 out of 5 Stars

“What is Ti West trying to tell me?” That was a thought that kept popping up during the brief and distantly scattered lulls in “MaXXXine.” If you didn’t know, “MaXXXine” is the conclusion to director/writer West’s Mia Goth horror homage trilogy. Just like in “Pearl” and in “X,” Goth plays an antihero that we sympathize with because she’s fierce. She’s an ambitious young woman looking to escape a humdrum confining life. She finds power in violence, but will she finally achieve the infamy and freedom that she so desperately wants?

Maxine (Goth) just landed a role in “Puritan 2,” the upcoming horror sequel currently being protested by…well…modern day puritans. Radicalized individuals picket outside Hollywood studios in the background as Maxine sees a bright future ahead for herself. After years of porn work, she believes she has her big break. She’s so starstruck by her own potential stardom, she seems to care less that the Night Stalker is terrorizing the surrounding hills. Yes, it’s the 80s. Every corner of Hollywood looks like Skid Row, the morality police are in panic mode and slashers populate cinemas across the nation. Maxine blends in with it all, but her dreams of being a star seem too good to be true. A mysterious individual leaves a tape at her front door. What’s on it? Her dark past.

West has already solidified himself in the horror community, but with “MaXXXine,” he may have solidified himself as a household name with the completion of this fascinating and wildly entertaining trilogy. Each film, while fitting neatly in different aspects of the horror genre, manages to feel magnificently different and fresh. However, “MaXXXine” is the most audacious and grandiose of the bunch. While “MaXXXine” features a thick cast, like Kevin Bacon’s old school magnetism, Giancarlo Esposito’s scene chewing, or Elizabeth Debecki’s commanding screen presence, Goth casually remains the focus from her first time on screen to her last.

“MaXXXine” is able to entertain without any knowledge of the other films, just like “Pearl” and “X,” but it is immensely richer if you have seen the other films. Not only does “MaXXXine” love being self-referential, to the point of being meta on its own meta, it builds upon its own mythos in subtle ways. Watching the trilogy will also help you understand Maxine even more during her long stares and daydream fantasies. Also, let’s be blunt, this trilogy is a true horror showcase for Goth’s range and power to maintain viewer’s attention over five hours.

Back to the opening question of this review…West looked to tie his main theme in ”MaXXXine,” simply by going to Hollywood and going big. “MaXXXine” hammers home its nuanced commentary on art imitating life and vice versa. In all these movies, we not only see how the power of cinema impacts Goth’s character, but we see how much the act of making films, both the fictional ones within the movie and the actual films, become the ultimate commentary on the power of storytelling. “MaXXXine” takes place during the 80s when crazed Christians thought the devil had infested pop culture, and lawmakers were considering regulations and bans on art because of that moral panic. It took about 40 years for history to repeat itself. West loves filmmaking, it’s very obvious from not only watching “MaXXXine,” but this trilogy as a whole. Hell, maybe West channeled his life and ambitions into Maxine. Or, maybe West wants us to know Hollywood is not only a fucked up place, but so is everyone in it.

Extras

Belly of the Beast: This feature talks with the actors and crew about the making of “MaXXXine”

XXX Marks The Spot: This feature breaks down the visual aesthetic of the film while discussing it’s influences.

Hollywood Is A Killer: This features goes over the makeup and digital effects of the film.

Q&A With Ti West: This interview is a good 25 minutes of Writer/Director Ti West.

Trailers 

• THE WILD ROBOT
• Starring the voices of: Lupita Nyongo, Pedro Pascal and Mark Hamill
• Directed by:  Chris Sanders
• Rated:  PG
• Running time:  1 hr 41 mins
• Universal Pictures

Writer/director Chris Sanders has been involved, in one way or another, with some of the greatest animated feature films of all time.  “Beauty and the Beast,”  “The Lion King,”  “Lilo and Stitch,” “How to Train Your Dragon,” and “The Croods” are only a few of the classic films he had a part of.  This week he adds another title to his list of classics with the release of “The Wild Robot.”

Meet ROSSLUM unit 7134, the latest AI robot invented to help mankind and all of its tasks who finds itself stranded on a lonely island full of pretty much every species of animal you can think of.  Attempting to speak to the creatures, the robot – “Roz” for short – soon learns that nothing on the island, with the exception of herself, speaks English.  Built to learn she shuts down as she slowly learns to communicate with all the animals, learning each of their “languages.”  Enter Brightbill (Kit Connor), a gosling who thinks Roz is his mother.  And the adventure begins.

The story is a cross between “The Iron Giant” and “E.T.,” with love for others over oneself the message that is being delivered.  And it is one that should resonate with everyone.

Not sure if animated films are eligible for the Best Cinematography Academy Award or not, but if they are “The Wild Robot” would be a worthy contender.  The film is beautifully rendered, presenting images that could surely pass as post cards, and the accompanying music score, composed by Oscar winner Kris Bowers, is a perfect partner to the beautiful images on screen.

The vocal cast is at the top of their game, with Oscar winner Nyongo giving Roz not only a voice but a heart. She is joined by Pascal as Fink, a mischievous fox, Bill Nighy as Longneck, the leader of the geese and Hamill as Thorn the Bear.

As noted above, the animation is spectacular, though I’d expect nothing less from Mr. Sanders and company.

On a scale of zero to five I give “The Wild Robot” ★★★★★

Starring: Adam Driver, Giancarlo Esposito and Nathalie Emmanuel
Directed by: Francis Ford Coppola
Rated: R
Running Time: 138 minutes
Lionsgate Films

Our Score: 2.5 out of 5 Stars

“Megalopolis” is a difficult film to summarize. It’s Writer/Director Francis Ford Coppola’s 40-years in the making magnum opus that’s equal parts Shakespearian, dystopian, utopian, unintentional comedy, self serious, overacted, haphazard, silly, and about a dozen other adjectives. If at one point you’re disgusted, bored, or chuckling to yourself, give it a few minutes and it’ll elicit another emotion. This is the kind of film that will draw, and has drawn, criticism for being over bloated, confusing and ultimately a flop. Others will find it to be a prophetic stroke of genius that will take years, if not decades to be appreciated. For me, it was an enjoyable, sometimes overwrought, experience that finds unique ways to entertain while finding baffling ways to tell a story.

“Megalopolis” takes place in New York City, I’m sorry, New Rome. The city represents the U.S., er, I’m sorry, ancient Rome. Basically New York City/the U.S. is ancient Rome. That is a nauseating metaphor that the movie uses constantly, and you can use it if you’re ever wondering what the hell is going on. As for what exactly is going on, Cesar Catilina (Adam Driver) is an architect and nephew to Hamilton Crassus III (Jon Voight), the billionaire, if not trillionaire, representation of capitalism in New Rome. Everything revolves around Crasuss’ money. Not only does Catilina rely on it, but so does Clodio Pulcher (Shia LaBeouf), Crassus’ anarchist nephew with political aspirations, TV news reporter Wow Platinum (Aubrey Plaza) whose face appears in the dictionary next to the term “gold digger,” and Mayor Franklyn Cicero (Giancarlo Esposito). Mayor Cicero recognizes the power the dollar has in New Rome, but believes that cash, through Catilina, Pulcher, Platinum and others, is corrupting the city. But the city is already corrupt and falling apart under Mayor Cicero’s abusive police force. Making sense so far? Good, because I haven’t even bothered explaining the magic metal element or Catilina’s ability to stop time.

There’s way too much plot getting in the way of…well…the plot. I haven’t even mentioned Jason Schwartzman’s useless character that seems to be contractually obligated to pop-up randomly in the background or foreground every 10 minutes, Nathalie Emmanuel simply being a “Romeo and Juliet” love interest, a virgin teen pop star controversy magnet played by Grace VanderWaal and Dustin Hoffman who’s character only seems to exist to pad the film’s star power. Which is another big reason the film, at times, feels dizzying. There’s characters that go nowhere, character actions that are never explained, much less hinted at, and Laurence Fishburne who plays the dual role of limo driver and narrator. Even the narration peters out towards the end and title cards, which were previously read by the narrator, flash on screen as if someone forgot to dub in Fishburne’s voice.

It’s obvious to see why this film has been called a mess, because it really is. Even if I found myself enjoying this thoroughly, I’d be struggling to find the words to even express the joy. Speaking of joy, the only thing stopping me from rating it lower than a 2.5 is that it’s an entertaining mess. Moments of exposition, which felt serious, had me smiling at the absurdity as if someone was handed the script to “Airplane!” but didn’t know they were making a comedy. You can actually never really predict where the film is going, even when it’s using obvious parallels between the U.S. in 2024. It sometimes avoids the low hanging fruit while ripping up that vary tree to gnaw at every single low hanging fruit. The movie restrains itself during some scenes while egregiously indulging Coppola’s ego in others.

This is truly a mess that seems like the writer/director has decided to unload every essence of his own humanity and perception of humanity into it. While the world seems bleak, dominated by narcissistic losers who’s only abilities are to manipulate those around them, Coppola’s film is ultimately an optimistic one. “Megalopolis” seems to believe that even when the pillars of a righteous civilization crack and break under the pressure of corruption, there is the ability to make amends and create something more beautiful in its wake. We see that through Catilina’s eyes, who may as well be Coppola himself; a flawed individual with talent. However, Coppola’s own ego gets in the way, several times, when we see characters seek Catalina’s admiration and love. Maybe that own Coppola ego is why some shots are visually impressive and hypnotic, while others feel right in line with a Sci-Fi original.

I’m sure many papers, videos and blog posts will be written about “Megalopolis,” negative and positive. For me, it was difficult to find the balance because I’m still at odds over the film. Did it need another four decades or maybe it should have been pushed out when the idea was fresh and hot. I honestly don’t think “Megalopolis” is a film I can fully recommend because it is so convoluted to explain, yet I can’t fully write off the film. It has some unspoken magnetism, a combination of art, politics, and history that has everything to say, yet sometimes says nothing. I can also see myself watching it again and again, either because it is truly awful or because it requires a thorough digestion.

• BEETLEJUICE BEETLEJUICE
• Starring: Michael Keaton, Winona Ryder
• Directed by: Tim Burton
• Rating: PG-13
• Running Time: 1 hr 45 mins
• Warner Bros Pictures

Unless you have been trapped aboard a space station high above Earth over the past week-and-a-half, you are probably aware that the long-awaited sequel to the 1988 hit “Beetlejuice” has been making a killing at the box office. Perhaps even with the success of “Beetlejuice Beetlejuice” you are still on the fence about taking the time to see it. So, yours truly is here to give you a nudge in the direction of your nearest movie theater.

There is nothing deeply intellectual or anything that will enlighten the soul in director Tim Burton’s sequel. It is pure popcorn entertainment and nothing else as it never takes itself seriously. What’s even better is there way more screen time for the movie’s namesake.

In a nutshell, Lydia Deetz (Winona Ryder) is now a supernatural talk show host under the close eye of her producer/boyfriend, Rory (Justin Theroux). Soon after being freaked out by seeing Beetlejuice in the audience, she learns from Delia (Catherine O’Hara) that her father has died. After picking up her estranged daughter, Astrid (Jenna Ortega), who doesn’t believe in ghosts, from a boarding school, Lydia returns to the house in Winter River where she grew up. In short order, Beetlejuice begins to make his presence known as he still desires to marry Lydia, which would also save him from the vengeful wrath of his ex-wife (Monica Bellucci).

“Beetlejuice Beetlejuice” can be characterized as cheesy, silly comedy with a sprinkle of dark humor tossed in. It maintains the same tone as the original just without all the explanation it took to get things going when it was Alec Baldwin and Geena Davis’s turn as the doomed married couple of Winter River. (Neither of course are in this sequel but the story does allude to why they are gone.) Keaton is on his A-game with some great comedy and terrific lines that will be quoted 30 years from now. Burton did the right thing by exploring the relationship dynamic between all three generations of women. However, it never gets too serious.

Overall, if you are looking for some good laughs in a short amount of time, then this sequel is a great escape from reality.

“Beetlejuice Beetlejuice” receives ★★★1/2 out of five.

Every once in a while, a movie comes out that redefines “cool.” It seems to have a ripple effect on every piece of pop culture in its wake–from other movies paying tribute to it, to music, to TV, and everything else under the sun. Think of the waves of parodies to follow movies like The Matrix or Pulp Fiction. They had their own unique look down pat. In 2011, that movie was Drive. The silent antihero. The 80s synth-wave. The slow-mo. Drive was iconic and we’re still feeling its effects to this day – Stranger Things, The Guest and every type of vaporwave nostalgia owe Drive a huge debt of gratitude.

Drive is totally self-aware and knows how clever it is, but never devolves into a parody of movies that it lovingly homages. If anything, its self-awareness is part of its overall earnestness. Drive is a movie with heart. The reason the movie is thrilling isn’t because of car chases, action or mayhem. It’s thrilling because we care about what happens to its characters.  When the nameless Driver (played by Ryan Gosling) stomps a man’s head in, it’s not a “Whoa, cool!” moment. It’s layered with tragedy, knowing that his quickness to employ gruesome violence is part of his nature and represents a point of no return for him.

Driver is a stunt driver for the movies by the day, and at night he’s a getaway driver for robberies. His rules are simple: “You give me a time and a place, I give you a five-minute window. Anything happens in those five minutes and I’m yours. No matter what. Anything happens a minute on either side of that and you’re on your own.” In the opening chase sequence (in a movie called Drive, I think it’s awesome that there are only two car chases), Driver, instead of punching the car like Bullitt and swerving through crowded streets, plays a game of cat and mouse with the police. He accelerates to punch out his car to an advantage, waits in the shadows, listens to the police scanner, and keeps ahead of his pursuers by a couple of steps psychologically. And in a moment of too-coolness, he pulls the car into a crowded area, puts on a hat, takes off his jacket, and blends in with the crowd. Job done. Cue the main title sequence.

Irene is his neighbor in an apartment complex you don’t normally see in the movies.  In the movies, if a character doesn’t have a lot of money, they still always live somewhere with a nice view and modern appliances. The apartment complex in Drive is something realistically and quintessentially LA.  It looks lived in. It looks real. Drive is to LA as Star Wars is to its own fantastical sci-fi universe.

When Driver meets Irene, they have an instant attraction. He falls for her, but she has one problem: A husband named Standard (Oscar Isaac, who continues to be one of the best living actors today) is due to be released from prison. Driver agrees to help Standard with some problems he’s having, with gangsters who say he owes them money. Driver arranges a means of pulling off a heist, a one last heist, to get the gangsters the money that they say is owed to them, and then after that, the agreement is that they leave Standard, and his family, alone for good. There’s internal strife between organized crime soldiers Bernie (Ron Perlman) and Nino (Albert Brooks) and the “family” back home. Driver unwittingly gets in the middle of it and becomes a complication that would be better off erased.

Drive remains Winding Refn’s most accessible movie, while still rife with the directorial trademarks and flourishes he’s known for. There are long, hallucinatory stretches of silence. Apparently, huge swaths of dialogue were done away with when he signed on as director, taking a red pen to the script.  Refn loves to tell a story visually, to the point of obsession. There’s an expression sometimes in writing that he seems to have taken to heart: Why tell it when you can show it?

As focused on visuals as it may be, Drive actually seems to be having fun with the actors and performances, watching someone like Bryan Cranston as Driver’s good friend and mentor, Shannon, limp around, chain smoke and espouse life lessons in a gravelly voice.  The ensemble cast is amazing.  Christina Hendricks shows up in a bit role to help with the heist to get Standard out of trouble.  Albert Brooks plays against type as a sympathetic villain.  Ron Perlman plays Ron Perlman, beautifully so.

Drive is one of those “love it or hate it” movies. If you’re expecting it to be a movie in the tradition of the Fast and the Furious series, only more serious, and with Ryan Gosling as the lead, you’re probably going to be incredibly disappointed. If you go in to the movie knowing that it’s going to be an offbeat, show-offy work from a European director and is less concerned with cars and more of a contemplation on violence, you’ll have a better idea of what to expect.

VIDEO

Drive is gorgeous, bathed-in-neon picture from start to finish. And while it’s always been an attractive movie, from its theatrical release to previous Blu-ray editions, this 4K master, courtesy of Second Sight, takes it to another level. The dark/light levels are incredibly adept, Drive will have scenes take place during the darkest of nights and during the brightest of days in sunny Los Angeles. No matter what extreme, it always looks natural and balanced.

AUDIO

Second Sight’s release on 4K features a Dolby Atmos mix that helps elevate and widen the soundstage a bit. It’s not leaps and bounds above its predecessor Blu Ray release, but in certain scenes, the enhancement is noticeable and welcome. In the beginning cat-and-mouse chase scene, the front, height speakers and rear speakers work in a wonderful unison to simulate a circling police helicopter. When the main title sequence blasts to life, “Nightcall” by Kavinsky fires across the entire soundstage, (front, back, and from above) enveloping the listener in a bubble.

EXTRAS

Like its previous Blu-ray release, while there aren’t hours and hours of features to keep you entertained, or a booklet with essays like you’d find in a Criterion release, the features that are there will help deepen your understanding of the film and familiarize you with the process of making this modern-day masterpiece.

FINAL THOUGHTS

Drive is an oddity, in that it’s a hypnotic contemplation on violence in reality, and violence in film, with action sequences few and far between, but boasting demo-worthy visuals and audio during those tense, white-knuckle moments. It’s both a thinker and a shower, allowing quiet moments to simmer with seriousness and louder moments to be more impactful and consequential. Second Sight’s work here is, as usual, incredible and their release of Drive on 4K Blu-ray is Highly Recommended!

FILM ⭐️ ⭐️⭐️⭐️⭐️

VIDEO ⭐️⭐️⭐️⭐️

SOUND ⭐️⭐️⭐️⭐️

EXTRAS ⭐️⭐️

(Out of five stars)

Starring: Jessica Belkin, Taylor Kowalski and Jeremy Sisto
Directed by: Alan Scott Neal
Rated: NR
Running Time: 81 minutes
Shout! Studios

Our Score: 3 out of 5 Stars

For horror fans, siege horror is nothing new. From “Assault on Precinct 13” to “The Mist,” humans have been trapped inside buildings by other humans, monsters, demons, etc. for decades. So, on paper, “Last Straw” doesn’t seem that unique, a woman terrorized in a diner alone overnight, but it’s how the story unfolds that I realize it’s more than just the protagonist at wit’s end.

When we first meet Nancy (Jessica Belkin) she’s metaphorically trapped. She’s dealing with an unwanted pregnancy, frustrated over doing nothing since high school, and having to waitress and manage a diner owned by her dad, earning the scorn of her co-workers. While she deals with a myriad of awful customers, some masked hoodlums manage to rattle her. She fires an employee, in an attempt to maintain some form of control over life, and takes on the late shift. We all know where this lonely late shift is going, especially after we witness one of the masked hoodlums from earlier threatening retaliation.

Nancy’s an interesting protagonist because she’s young and clearly taking out frustrations on everyone around her. Even a responding police officer isn’t immune from her ire. While that would make it hard for us to root for her, we find ourselves with a story that’s flipped on its head when the chaos unfolds. While we may not like Nancy for certain actions, the results of her actions, a lot of violence, are warranted. But does the violence beget violence? Without revealing too much, “Last Straw” manages flips everything you learn on its head in an entertaining second half.

If I had a major complaint, it’s that first time director Alan Scott Neal takes a lot of notes and ideas from past siege films and implements them haphazardly throughout. Sometimes they click right into place, and other times they feel shoehorned in. However, the real key to “Last Straw” is its messaging. While not handled as best as it could, it tells a very contemporary story in the vein of people not understanding the people around us, sometimes trapped in our own bubble of misery without realizing the harm we inflict on others.

“Last Straw” reminds me a bit of last year’s “Night of the Hunted.” There’s a rich theme, but “Last Straw” doesn’t quite hit all the right notes or go as deep on the subject as it could go. That being said, it conveys the point enough to where we find ourselves in murky moral waters at the end. If you’re simply looking for something fun and slightly clever, “Last Straw” will scratch that itch.

KEVIN SMITH ENLISTS BEAR McCREARY FOR THE SOUNDTRACK TO NEW FILM
THE 4:30 MOVIE

FILM AND ORIGINAL SOUNDTRACK OUT TODAY – LISTEN

This week, writer-director Kevin Smith’s new film, The 4:30 Movie, premieres with an original soundtrack by award-winning composer Bear McCreary. The two-time GRAMMY®-nominated, Emmy and BAFTA Award-winning composer’s original soundtrack is available now on all DSPs via Sparks & Shadows Records.

Set in the pre-cell phone, social media-free era of the ’80s, The 4:30 Movie is a coming-of-age story about three sixteen-year-old friends (played by Austin Zajur, Nicholas Cirillo, and Reed Northrup) who spend their Saturdays sneaking into movies at the local multiplex. But when one of the guys also invites the girl of his dreams (Siena Agudong) to see the latest comedy, each teen will learn something serious about life and love before the credits roll.

Smith shot the film at his Smodcastle Cinemas in New Jersey—the same movie theater he haunted every weekend when he was a teenager. The trailer and more info about the film are available here.

The film marks the third collaboration between Smith and McCreary, who teamed up previously on Smith’s star-studded animated series for Netflix and Mattel, Masters of the Universe: Revelation and Masters of the Universe: Revolution.

“Bear McCreary made magic with The 4:30 Movie, composing a sonic salute to the ’80s era that’s as much a time tunnel to 1986 as it is a joyful movie score,” says Smith. “The closing banger he and his brother, Brendan, wrote and recorded for the end credits, “24 Karat Case of Love,” is the greatest ’80s radio hit that never happened!”

Adds McCreary, “I was thrilled to join Kevin Smith to score The 4:30 Movie, his nostalgic odyssey back to the 1980s. Inspired by his sweet-natured story, I had a blast writing a synth-soaked score oozing with arpeggios, drum machines, and hair-metal riffs, backed with classic symphonic orchestration. A highlight was collaborating with my brother, Brendan McCreary, on the film’s two original songs, “Astroblaster and the Beaver Men,” which evokes that ’80s futuristic-rock aesthetic, and the film’s end title song, “24 Karat Case of Love,” which feels like a lost synth-pop gem from the neon-tinged, balmy summer of 1986.”

Listen to Bear McCreary’s The 4:30 Movie soundtrack

Bear McCreary – The 4:30 Movie (Original Motion Picture Soundtrack)
Tracklist

1. 24 Karat Case of Love (feat. Brendan McCreary)
2. Astroblaster and the Beaver Men (feat. Brendan McCreary)
3. A Very Unassuming Day
4. In the Pool
5. Major Murder
6. Manager Mike
7. Trailers
8. Banned for Life
9. Friends Don’t Fight
10. Death to the Moviemobile
11. Melody’s Melody

Starring: Jordan Myers, Maya Jeyam and Tony White
Directed by: Quinn Armstrong
Rated: NR
Running Time: 80 minutes
Cranked Up

Our Score: 3 out of 5 Stars

When we first meet Mandy (Jordan Myers), she’s waking up, getting showered, listening to catchy pop music and preparing for a great spring break day at a cabin. “Dead Teenagers” quickly dives into tropes, showing all of Mandy’s cliche friends and basically implying that Mandy will most likely be our final girl. Once the chess pieces have been set up, it’s only a matter of time before a psychotic masked man arrives to begin the slicing and dicing. However, our serial killer accidentally dies without a single horny teenager harmed in the process. That’s when the teens find a screenplay, called “Dead Teenagers.”

The first thing that really came to mind about “Dead Teenagers” (the movie, not the script) is “Cabin in the Woods.” It’s kind of hard to escape the shadow of the perfect trope send-up. That initial thought slowly dissolved over time though. While not as clever as the aforementioned film, “Dead Teenagers” shows what happens to all the horror film cliche characters as they grasp that their reality is now confined to a cabin and have their hands on the script. Each character in their own way, becomes the villain in an attempt to survive.

While I won’t say how the insanity unfolds, contorts and eventually concludes, I will state that the film feels more complete if you’ve watched the prior two films, “The Exorcism of Saint Patrick” and “Wolves Against the World,” that Quinn Armstrong has written and directed for his so-called “Fresh Hell” anthology trilogy. A lot of that has to do with the fact that the films have, at points, used similar actors, crew, settings and ideas.

The obvious conceit in all these films, other than being different horror genres, is dealing with emotional truths in an isolated setting. Even then, it’s nothing original, which kind of hampers the whole “fresh hell” idea. What’s kind of interesting about it though, is that “Dead Teenagers” feels like it’s being obvious. The title, the characters, the set-up, everything. What inevitably ends up making it unique is how self-reflective it is on the creative writing process.

Without rehashing the prior two films, and instead focusing on “Dead Teenagers,” what have we learned from the slasher genre? It’s stranger danger, the reflection of serial killers, the punishing of promiscuous teens, the inability to trust men, gender role reversals, racism, gentrification, trauma, unreliable narrators, etc. Mandy could be viewed as the writer, struggling to reinvent the wheel. Since “Wes Craven’s Final Nightmare” and “Scream,” you could make the argument that the slasher genre can only subvert expectations at this point without simply starting the whole process over.

Diving back into the two prior films, we see that attempt being made and getting a mixed bag. Sometimes the reinvention process falls flat or finds a sweet soft spot not yet found, but Armstrong can’t quite do that here. Instead he finds that, just like in this year’s “In a Violent Nature,” the reinvention is finding new and cruel ways to punish the on-screen teens. That all being said, “Dead Teenagers” is better after watching Armstrong’s prior films. Without them, “Dead Teenagers” barely hits the mark.

Fantastic Fest Screenings
World Premiere
Sunday, September 22nd
11:25pm

Screening #2
Monday, September 23rd
5:15pm

Synopsis
In the wake of his father’s untimely death, a young boy is left in the eerie solitude of a sprawling country estate with his newly widowed stepmother. Struggling to navigate the overwhelming task of parenthood, his stepmother grows distant, leaving their fragile bond at risk of collapse. Amidst the growing tension, the boy begins to hear unsettling sounds echoing through the corridors, and is soon haunted by the presence of a grotesque creature bearing a disturbingly familiar resemblance to his late father. As the boy’s warnings are dismissed as the imagination of a grieving child, the sinister entity tightens its grip on their crumbling lives.

About the Director
Benjamin Barfoot is a self-taught filmmaker from Torbay, Devon. Beginning with animation films as a child, he quickly moved onto video where he taught himself an array of skills from cameras and editing to animation, visual effects and sound design. Moving to London with a short animated film he had made at home, he was nominated for a Broadcast Young Talent Award and began cutting his teeth in London with everything from film trailers, motion graphic promos to documentaries for BBC. Whilst between these jobs, he continued to create his own work, experimenting with dark animated shorts to fully improvised comedies that he shot and edited.

It was these comedy films, created with his friend and collaborator Danny Morgan, that eventually lead to his directorial debut, Double Date. Released in 2017 to cinemas nationwide, the film saw him shortlisted for a BIFA for best debut director, whilst winning best international feature at Strasbourg that year. Benjamin also worked with the band Goat on the soundtrack. The success of this musical collaboration inspired him further to experiment with music production whilst developing his own original screenplays. Daddy’s Head is Barfoot’s second feature; He wrote, directed and edited the film, as well as composed the soundtrack.

Director: Benjamin Barfoot
Screenwriter: Benjamin Barfoot
Cast: Julia Brown, Rupert Turnbull, Charles Aitken, Nathaniel Martello-White
Producers: Matthew James Wilkinson, Patrick Tolan
Cinematographer: Miles Ridgway
Editor: Benjamin Barfoot
Composer: Benjamin Barfoot
Language: English
Country of Origin: UK
Running Time: 97 minutes

Starring; Michael Kunicki, Quinn Armstrong and Jordan Mullins
Directed by: Quinn Armstrong
Rated: NR
Running Time: 88 minutes
Cranked Up

Our Score: 2 out of 5 Stars

I kept wondering during “Wolves Against the World,” are these werewolves or wolves? What would the difference be? Being a werewolf is viewed as a curse whereas being a wolf wouldn’t necessarily be viewed as that because you’d be one of a pack. The werewolf/wolf line is a bit blurry in the film, but thankfully as the movie progressed, I settled on wolves. And for that reason, along with a few others, I couldn’t quite get into this movie.

“Wolves Against the World” is the second film in writer/director Quinn Armstrong’s “Fresh Hell Trilogy” anthology. It began with “The Exorcism of Saint Patrick,” an emotionally raw film about the hellish nightmare that conversion therapy and masculinity is. “Wolves Against the World” could be viewed in the same vein, as it’s an emotionally raw film about the hellish nightmare friendship and masculinity can be.

Louis (Michael Kunicki) is a reformed neo-Nazi, with a giant swastika tattoo that he can’t afford to remove. His neo-Nazi ideology was birthed while performing in a terrible black metal band with his best friend, Anders (Quinn Armstrong), along with the steady influence of Helvete (Jordan Mullins). Years later, after the suicide of a bandmate, Louis has left it all behind, but still has that horrific swastika tattoo. In an attempt to get a little cash to pay for its removal, he agrees to reconnect with Anders, who still owes him some doubt from his time in the band, and before you know it, you quickly deduce where this is going.

Basically, Louis used to be a part of a pack, albeit a super racist one. He didn’t necessarily become a lone wolf when breaking off from the pack, but he technically never left. He was friends with Anders before neo-Nazism encompassed the group and became a permanent bedfellow. So in a way, the film is about wolves fighting for dominance within their own pack, conflicting with their love for one another. Which is in line with the emotional commentary of how male friends can become toxic outlets for bigotry, hatred and violent anger. The inability to discuss emotions is also integral to the plot. We saw this in “Lord of Chaos” and I appreciate seeing this more and more in horror. That being said, you kind of piece this all together very early on, which makes you wonder for the rest of the film, why couldn’t they be werewolves?

You have the ingredients for a fantastic werewolf movie with a terrible black metal, a bunch of guys in the woods being douche canoes, and the potential for an unseen power turning men into flesh ravenous predators. But once you understand their wolves, with a few werewolf tropes, it doesn’t have the same bite. None of the characters are that nuanced and they’re bogged down by a non-linear storytelling device that adds nothing to the plot. While I enjoyed the practical effects, gooey blood and emotional story it told, “Wolves Against the World” seems to be against its own tone and story.