• MINIONS & MONSTERS
• Starring the voices of:  Christoph Waltz, Jeff Bridges and Allison Janey
• Directed by: Piere Coffin and Patrick Delarge
• Rated:  PG
• Running time:  1 hr 30 mins
• Universal

Our score:  3.5 out of 5

The French studio Illumination has released so many movies with the little yellow Minions that their high-pitched babble no longer seemed cute or funny.

Thankfully, series co-creator Pierre Coffin revives the series by taking his creatures back in time, not just before Gru became their boss, but to the dawn of time. They live to serve, but are so eager to do so that they accidentally kill their supervillain supervisors.

Two of the Minions (all voiced by Coffin), however, might be able to do more constructive things that simply the carrying out the bidding of would-be tyrants. James has the instincts of a master storyteller, and Henry has the skills to make James’ ideas real. The hard-of-hearing Ed stands up for the two when the bossy Dick berates them.

In their quest to find a new master, the yellow horde stumble into Los Angeles where they ruin a frustrated director’s difficult take. Max (Christoph Waltz) initially believes that his career is over because the Minions thought the actor they were chasing was actually a wanted outlaw.

Instead, the studio honchos The Bright Brothers (both voiced Jeff Bridges) believe that Max has discovered new stars. The little guys have a gift for destroying any object they touch, but they are hopelessly lovable and give Charlie Chaplin, Harold Lloyd and Buster Keaton serious comic competition.

When sound hits at the end of the Roaring 20s, however, the lads are in for a world of hurt because their squeaky banter is indecipherable except for the enthusiastic cry of “Banana!” James winds up writing a great monster movie with Max’s encouragement and inadvertently creates some actual monsters in the process. Their leader Goomi (Trey Parker) seems eager to help, although his ambitions may be other than cinematic. He looks like a cuter version Cthulhu, but he may be just as dangerous as the H.P. Lovecraft character.

Dick and the other minions flock to a confident but not terribly intimidating extraterrestrial robot named Dort (Jesse Eisenberg). His goofy demeanor makes him seem like he’d be an antagonist in poverty row space serial, but he has a knack for taking punishment makes one wonder if he’s the genuine article.

Letting the Minions loose in Hollywood is a bright idea, the management in Tinseltown is just as morally conflicted as Gru, so the setting makes sense. The new characters like Goomi and Dort are intriguing, with the latter being especially endearing because his earnestness wins over everyone, including a likable suffragette (Zoey Deutch).

There are some clever tributes to the silent era, but the movie loses some of its manic Minion energy toward the center. Until Dort stumbles onto the scene, Coffin and co-screenwriter Brian Lynch lose their focus as if they had gotten lost and Dort had to guide them out of a maze.

When I saw this film was coming out, I doubted if the Minions would leave a lasting impact like the silent comics they reference in this installment. It will be a while before we find out.

On a scale of zero to five, “Minions & Monsters” receives ★★★ ½  

Starring: Seth Rogen, Olivia Wilde, Penelope Cruz and Edward Norton
Directed by: Olivia Wilde
Rated: R
Running Time: 107 minutes
A24

Our Score: 4 out of 5 Stars

Maybe Olivia Wilde should stick to comedy.

She absolutely crushed it with 2019’s “Booksmart,” so much so that audiences couldn’t wait to see what she did next. Unfortunately, “Don’t Worry, Darling” was such a misfire that many people seemed to lose interest in what a third film might look like. Fortunately, Wilde reminds us with “The Invite” that she may have quietly become one of the sharpest comedy directors working today. Like “Booksmart,” “The Invite” is hilarious on the surface, but underneath the laughs is a story built on emotional dissatisfaction, insecurity, and the slow erosion of adult relationships.

It’s just another evening of squabbling for middle-aged married couple Joe (Seth Rogen) and Angela (Olivia Wilde). Their arguments range from Joe’s foldable bike to Angela’s penchant for buying furniture they don’t need. But the real source of tension is the animalistic sounds their upstairs neighbors make whenever they’re having sex. Why obsess over an anonymous couple’s love life? Because Angela has invited those neighbors, Pina (Penelope Cruz) and Hawk (Edward Norton), over for dinner. What unfolds is one of the raunchiest and funniest comedies of the 2020s.

What makes “The Invite” work is that nobody is trying to out-funny anyone else. Rogen brings his effortless naturalism while Wilde weaponizes uncomfortable facial expressions, simmering resentment, and the frustrations of unemployment and loneliness. Norton delivers deadpan line after deadpan line as a retired firefighter searching for purpose through new hobbies, while Cruz effortlessly bounces between the other three, often turning their own jokes and insecurities back on them with fearless confidence. While Rogen is no stranger to comedy, he also reminds us how effective he can be as a dramatic actor when the story asks for something more beneath the laughs.

Much of “The Invite” succeeds because of its screenplay, which not only generates laugh after laugh but also draws us into the characters’ sexual insecurities and emotional baggage. Both couples carry scars they can only hide for so long. Beneath every joke, passive-aggressive remark, and uncomfortable silence, you can feel the tension quietly building. Conversations shift. Moods change. Characters splinter off into smaller interactions. Saying much more would spoil the carefully constructed surprises and emotional turns that make the film so rewarding.

The best comedies don’t simply make us laugh. They make us recognize ourselves somewhere between the punchlines. That’s where “The Invite” succeeds most.

At first, it feels content simply making the audience laugh, almost effortlessly. But once the jokes begin to fade and reality settles in, Olivia Wilde reveals she’s after something much more uncomfortable. This isn’t really a movie about sex, arguments, or awkward dinner parties. It’s about the quiet dissatisfaction that can settle into long-term relationships and the different ways people try to convince themselves they’re still happy.

The real trick isn’t making an audience laugh. It’s asking whether they still feel something after the laughter stops.

Starring: Kansas Bowling, Jessa Jupiter Flux and Julie Kashmanian
Directed by: Jason Zink
Rated: NR
Running Time: 80 minutes

Our Score: 3.5 out of 5 Stars

The found footage serial killer subgenre is surprisingly crowded with films like “Man Bites Dog,” “Maniac,” and the “Creep” franchise. So while it can be difficult to stand out, 2025’s “Looky-loo” and now “looky-loo: PART II” carve out their own identity by trapping us with very little dialogue and a killer who sees the camera as a creative tool rather than a simple recording device.

For the uninitiated (like I was a month ago), “Looky-loo” follows an aspiring filmmaker whose obsession with cameras evolves into voyeurism, stalking, and eventually murder. Not just one murder, either. He begins staging his victims like actors preparing for a scene, finding as much satisfaction in the production as the killing itself. That’s important because “PART II” picks up almost immediately afterward, with the killer seemingly releasing “Looky-loo” to the public like a drive-in snuff film. He even scrawls “PART II” in blood across a refrigerator, as if he’s proudly unveiling the title card for his next masterpiece.

My perspective may be slightly skewed because I watched both films within a 36-hour span. I never really had time to sit with the first film before diving into the sequel. While I think the original is a solid exercise in restraint, “PART II” noticeably improves on many of its quieter shortcomings. The first film feels a bit like “In a Violent Nature.” Instead of marinating in dense forests and ambient sound, “Looky-loo” lingers in sweaty breathing, uncomfortable silence, and victims blissfully unaware that a killer is standing in the closet. I think it works, but I can also understand why some viewers find it painfully slow.

“PART II” replaces much of that restraint with confidence. The killer stomps upstairs without hesitation, casually raids victims’ refrigerators, drinks their beverages, and only occasionally bothers wearing gloves, as if DNA evidence simply stopped existing. None of these moments feel like plot holes. They’re deliberate choices that suggest someone who either no longer fears getting caught or genuinely believes he’s untouchable. It’s difficult to know which because the film still reveals remarkably little about who he actually is.

What we do learn is perhaps the most interesting development of the sequel. I think our killer is creating incel art. The first film hints at it, but “PART II” pushes the idea much further. While he expands his victims to include men, the murders aren’t treated equally. The men often become victims of blunt rage. The women become productions. They’re staged, framed, and lingered upon with a disturbing artistic obsession. Even more revealing is his growing fixation on female artists. It’s almost as if he can’t tolerate the idea that women might be more creative, more fulfilled, or more talented than he is. The murders begin feeling less like random acts of violence and more like warped attempts to prove he’s the only true artist in the room.

That’s ultimately what elevates the “Looky-loo” series. Like “The Poughkeepsie Tapes,” it invites you to revisit it because so much of the story exists between the scenes rather than inside them. Every repeated viewing uncovers another clue about the psychology hiding behind the camera. Unlike charismatic fictional killers like Hannibal Lecter or Dexter Morgan, this murderer isn’t interested in charming us. He wants us to appreciate the process: the stalking, the waiting, the intrusion, and finally the kill. In his mind, we’re his audience. He believes we should admire his work just as much as he does. And if we don’t, we might as well become part of his next production.

“looky loo: PART II” will have its Midwest premiere at Hysteria Fest in St. Louis on Thursday July 9th.

• MINIONS & MONSTERS
• Starring the voices of:  Christoph Waltz, Jeff Bridges and Allison Janey
• Directed by:  James (with Piere Coffin and Patrick Delarge)
• Rated:  PG
• Running time:  1 hr 30 mins
• Universal

Our score:  5 out of 5

They’re back!  Those cute, funny, overall clad beings from who knows where are once again back on the silver screen.  Back on it?  If I’m not mistaken, they invented it.

Funny and sweet, with some great nods to the great films of the past, “Minions & Monsters” shines the spotlight on how the Minions came to be.  We start back in prehistoric times, when the lads – I assume they’re all male – are searching for the evillest person in the world to serve as their, well, minions.  From a giant caveman to the renaissance to early Hollywood, the Minions do their best to succeed.  Among them is James, who is very artistic.  James is not appreciated by the rest but does find a kindred soul in Henry.  Together they document the group’s adventures, hoping to one day tell their story.  It is while in Hollywood that the group, mistaking a scene being shot for a film as real, end up on film, much to the glee of the heads of Brother Studios, Frank and Elwood (both voiced by Jeff Bridges).  The films director, Max (Waltz) soon finds himself working with the Minions, all the time encouraging James to tell his story.  As the saying goes, hilarity ensues!

It says a lot about the quality of the “Minions” films that the cast boast no less then six Academy Award nominees with four Oscars between them.  The cast gives their all, with even George Lucas making a vocal cameo.  As one of the titular “Monsters,” Trey Parker gives Gummi a childlike quality that belies the monster inside.  If you’re a fan of “South Park,” you’ll instantly recognize that Gummi has a lot in common with that shows character Butters.  And why not?  The film is a love letter to Hollywood, with classic films like “Modern Times,” “Citizen Kane,” Safety First,” and “The General” being recognized.  Heck, there’s even a great “True Romance” nod that had me chuckling out loud.

To some people, the Minions’ language is gibberish.  Usually, the only word you can make out is “banana.”  However, as voiced by director Coffin, it is a language full of fun and excitement, wonder and curiosity.  Maybe one day, like Klingon, the language will gain its own dictionary.

June is over.  Here comes July in all it’s bright yellow excitement.  Celebrate America 250 with the Minions.  You wont be disappointed!

On a scale of zero to five, “Minions & Monsters” receives ★★★★★

The Last Showgirl is a poignant and surprisingly powerful character drama that showcases one of the most compelling performances of Pamela Anderson’s career. Directed by Gia Coppola, the film tells the story of Shelly, a veteran Las Vegas showgirl who finds herself confronting an uncertain future when the long-running revue that has defined her life suddenly closes. What begins as a story about the end of an era gradually evolves into an emotional examination of identity, aging, friendship, and the sacrifices people make in pursuit of their dreams.

At the center of the film is Anderson, who delivers a remarkably vulnerable and sincere performance. Rather than relying on nostalgia or celebrity status, she fully inhabits the character of Shelly, portraying a woman struggling to reconcile the glamour of her past with the realities of the present. The supporting cast, including Jamie Lee Curtis, Dave Bautista, Brenda Song, and Kiernan Shipka, provide strong performances that enrich the film’s emotional landscape without overshadowing its central character.

Visually, The Last Showgirl takes an intimate approach to storytelling. Instead of emphasizing the spectacle typically associated with Las Vegas, the film focuses on quieter moments and personal interactions. The cinematography captures both the fading glamour of the casino world and the humanity of those who work within it. This creates a bittersweet atmosphere that perfectly complements the film’s themes of change and reinvention.

The Blu-ray presentation is excellent and allows the film’s visual style to shine. Colors are vibrant without appearing exaggerated, while close-up shots reveal impressive detail and texture throughout. The contrast between the bright lights of Las Vegas and the more subdued personal moments is reproduced beautifully, giving the film a cinematic appearance that benefits greatly from high-definition presentation. Audio is equally effective, with clear dialogue and a well-balanced soundtrack that supports the emotional tone of the story without overwhelming it.

One of the strengths of this release is its collection of supplemental material. The bonus features provide viewers with additional insight into the production and creative process behind the film. Behind-the-scenes featurettes explore the development of the story, the performances, and the film’s depiction of Las Vegas entertainment culture. Interviews with cast and crew offer thoughtful perspectives on the themes of the film and the challenges of bringing its emotionally grounded story to the screen. While not an exhaustive collector’s edition, the included extras add meaningful context and enhance appreciation for the finished product.

The included digital copy is a welcome addition, providing flexibility for viewers who enjoy both physical media and digital viewing options. It ensures that the film remains accessible whether at home or on the go, adding value to the overall package.

Ultimately, The Last Showgirl is a moving and beautifully acted drama that exceeds expectations. It succeeds not because of grand plot twists or spectacle, but because of its empathy for its characters and its willingness to explore difficult realities with honesty and compassion. The Blu-ray release presents the film with strong audiovisual quality and worthwhile bonus content, making it an easy recommendation for fans of character-driven dramas.

Rating: 8.5/10

More than two decades after its debut, Gilmore Girls remains one of television’s most beloved comfort shows, celebrated for its witty dialogue, memorable characters, and heartfelt storytelling. Created by Amy Sherman-Palladino, the series follows the lives of Lorelai and Rory Gilmore as they navigate family relationships, friendships, romance, and personal growth in the charming town of Stars Hollow. Gilmore Girls: The Series on Blu-ray brings together all seven seasons and 153 episodes, giving longtime fans the opportunity to experience the entire series in high definition for the first time in a comprehensive collection.

The enduring appeal of Gilmore Girls lies in its unique voice. The rapid-fire dialogue, pop culture references, and emotional sincerity helped distinguish the series from other family dramas of its era. At its core, the show is a story about relationships—particularly the bond between mother and daughter—and it succeeds because viewers become deeply invested in the lives of its characters. Whether following Rory’s academic ambitions, Lorelai’s entrepreneurial journey, or the many romantic entanglements that define the series, the show consistently balances humor and emotion with remarkable effectiveness.

The Blu-ray presentation is the major attraction of this collection. While the series has been available on DVD for many years, the move to Blu-ray allows fans to enjoy significantly improved picture quality. Colors appear more vibrant, fine details are more visible, and the picturesque New England-inspired setting benefits greatly from the increased clarity. The transfer preserves the show’s warm visual style while offering a noticeable upgrade over previous standard-definition releases. Although viewers should not expect a dramatic modern remaster, the high-definition presentation represents the best home-video version of the series currently available.

Audio is presented faithfully to the original production, delivering clear dialogue and a pleasant soundtrack that includes the show’s iconic music selections and score. Given that Gilmore Girls is a dialogue-driven series, audio quality has always been particularly important, and the Blu-ray presentation ensures that the fast-paced conversations remain crisp and easy to follow throughout the collection.

One of the highlights of this release is the inclusion of a substantial collection of legacy bonus features. Fans can revisit audio commentaries, behind-the-scenes featurettes, cast interviews, production material, and other supplemental content carried over from earlier releases. While the set does not introduce a wealth of newly produced extras, the available bonus content provides an enjoyable look at the creation of the series and the people responsible for bringing Stars Hollow to life. For dedicated fans, these materials add meaningful value beyond the episodes themselves.

The collection’s greatest strength is simply its completeness. Having every episode gathered in one Blu-ray set makes it easy to revisit favorite storylines, character arcs, and seasonal traditions. Whether you’re experiencing the series for the first time or returning for an annual rewatch, the set offers a convenient and attractive way to keep the entire journey on your shelf.

Gilmore Girls: The Series Blu-ray is an excellent release for fans of the show. The high-definition upgrade enhances an already beloved series, the bonus features provide worthwhile supplemental material, and the complete-series format makes it the definitive physical-media edition for most viewers. While it may not be a lavish collector’s edition packed with new content, it successfully delivers what fans have wanted for years: the complete adventures of Lorelai and Rory Gilmore presented in the best quality available.

Rating: 9/10

Netflix’s You became one of the most talked-about thriller series of the last decade, transforming what began as a modest adaptation of Caroline Kepnes’ novel into a five-season phenomenon. Anchored by a career-defining performance from Penn Badgley, the series follows Joe Goldberg, a charming yet deeply disturbed man whose obsessive pursuit of love leaves a trail of manipulation, stalking, and murder in its wake. You: The Complete Series finally brings together all 50 episodes across five seasons in a single DVD collection, offering fans a convenient way to own the entire story from beginning to end.

As a series, You succeeds because it constantly reinvents itself. Each season places Joe in a new environment with a new identity, allowing the writers to explore different aspects of his personality while maintaining the show’s unique blend of psychological thriller, dark comedy, and social satire. What could have easily become repetitive instead remains surprisingly engaging, thanks largely to Joe’s unreliable narration and the series’ willingness to expose the hypocrisy behind his self-justifications. While some viewers may find the later seasons less grounded than the early years, the overall journey remains compelling and consistently entertaining.

The DVD presentation is serviceable but unlikely to impress collectors seeking premium video quality. The series was originally produced for streaming in high definition, yet this complete collection is available only on DVD. Spread across twelve discs with Dolby Digital 5.1 audio, the set delivers acceptable image quality for standard definition, but it cannot fully replicate the sharpness and detail available through HD streaming presentations. The dark cinematography and stylish visual design still come through, though viewers accustomed to high-definition formats may notice the limitations of the DVD format.

One area where the release disappoints is special features. Available product information does not list any audio commentaries, deleted scenes, featurettes, interviews, gag reels, or behind-the-scenes content. As a result, this appears to be a straightforward episode collection designed primarily for viewers who want the complete series on physical media rather than a deluxe collector’s edition. This has become increasingly common with modern complete-series DVD releases, which often prioritize convenience and affordability over extensive bonus material.

Despite the lack of extras, there is undeniable value in having the entire series collected in one package. Streaming rights can change, platforms can remove content without warning, and physical media remains the most reliable way to ensure long-term access to a favorite show. For fans who followed Joe Goldberg’s twisted journey over the course of five seasons, this set offers a complete archive of one of Netflix’s most successful thriller series.

You: The Complete Series is ultimately a solid but bare-bones release. The complete collection delivers every episode and provides dependable DVD presentation, but the absence of meaningful bonus features prevents it from feeling like a definitive collector’s edition. Fans of the series will appreciate finally having the entire run in one place, while casual viewers may find streaming remains the more attractive option.

Rating: 6.5/10

DreamWorks’ Voltron: Legendary Defender was one of the standout animated action series of the streaming era, successfully reimagining a beloved franchise for a new generation while retaining the sense of adventure, heroism, and giant-robot spectacle that made the original so popular. This Complete Series DVD set finally brings together all eight seasons and 78 episodes in one collection, giving fans a physical-media option at a time when the series has become increasingly difficult to find through subscription streaming services.

As a series, Voltron: Legendary Defender excels through its combination of strong character development, fast-paced storytelling, and impressive animation. The five Paladins evolve considerably throughout the show’s run, and the series balances humor, drama, and large-scale space opera better than many modern animated productions. While some later story arcs and the divisive finale remain points of debate among fans, the overall journey remains engaging and emotionally rewarding.

The presentation is where collectors may have mixed feelings. Although the series was originally produced in high definition for streaming, this complete collection is available only on DVD, spread across twelve discs with Dolby Digital 5.1 audio. The animation still looks colorful and energetic, but the standard-definition format cannot fully showcase the sharp visuals and detailed action sequences that helped make the series stand out during its original run. Many fans had hoped for a Blu-ray release, and community reactions have consistently reflected disappointment that the show’s first complete physical release arrived only on DVD.

Unfortunately, the release appears to be extremely light on bonus material. Retail listings and official product descriptions do not mention commentaries, featurettes, deleted scenes, interviews, or behind-the-scenes content. Based on currently available information, this set functions primarily as a straightforward episode collection rather than a collector’s edition.

For longtime fans, however, the value of the set lies in preservation and completeness. For years, Seasons 7 and 8 lacked a physical release, making it impossible to own the entire series in one package. This collection finally resolves that problem by assembling the complete story in a single boxed set.

Voltron: Legendary Defender – The Complete Series is not the definitive collector’s edition many fans dreamed of, but it is an important release nonetheless. The lack of high-definition presentation and special features prevents it from being a truly premium package, yet the opportunity to own all eight seasons in one place remains highly appealing. For fans of the series, it earns a recommendation as a solid archival release and an easy way to keep one of DreamWorks’ best modern animated shows on the shelf.

Rating: 7.5/10

For fans of the show, this set is easy to recommend. The biggest selling point is that it’s the first Blu-ray release of the entire series, collecting all 75 episodes across five seasons in HD. Until 2026, physical-media fans were limited to DVD releases despite the series being produced in high definition.

If you’re unfamiliar with the show, Covert Affairs stars Piper Perabo as CIA operative Annie Walker and Christopher Gorham as her mentor Auggie Anderson. The series blends espionage, action, international intrigue, and character drama in a style that became a hallmark of the USA Network during the “Characters Welcome” era.

The early seasons are generally regarded as the strongest, though many fans enjoy the entire run. Community discussions often praise the chemistry between the leads and the show’s globe-trotting spy adventures.

The series was originally produced and broadcast in HD, so the Blu-ray format should provide a noticeable improvement over DVD editions, especially in fine detail, color reproduction, outdoor location photography and action sequences. The set presents the series in its original 1.78:1 aspect ratio with Dolby Digital 5.1 audio. While it is not a new remaster, simply having the show on Blu-ray is a significant upgrade for longtime fans.

Universal appears to have carried over a substantial collection of extras from the original season releases. There are a few audio commentary tracks. Participants include cast members, executive producers, and series creators. Pilot episode commentary featuring cast and creators.

Featurettes include: Welcome to the Farm, Blind Insight, Celebrate the ADA, Covert Affairs on Location, Set Tour and Action Reel. These provide behind-the-scenes looks at production, character development, accessibility themes surrounding Auggie’s character, and the show’s international filming. Deleted scenes are included from multiple seasons and episodes.

Several seasons include gag reels/blooper reels. Lastly, there are some prequel content including Sights Unseen: A Covert Affairs Prequel and Sights Unseen: Auggie Undercover – A Covert Affairs Prequel.

Covert Affairs: The Complete Series Blu-ray is primarily a preservation release rather than a deluxe collector’s edition. The real attraction is finally getting all 75 episodes in HD on physical media, and the included commentaries, featurettes, prequels, deleted scenes, and gag reels make it a solid package for fans. It may not be loaded with newly produced extras, but it’s likely the definitive physical edition of the series.

Rating: 6/10

• THE STRANGER
• Starring:  Benjamin Voison, Rebecca Marder and Pierre Lottin
• Directed by: François Ozon
• Not Rated
• Running time:  2 hrs 2 mins
• Music Box Films

Our score:  4 out of 5

If you go through life with an air of indifference when you see people around you acting contemptibly, is it all that surprising when you do commit murder?

That’s the setup behind Albert Camus’ 1942 novella The Stranger. When I devoured the book in college, I was stuck by how a book with such an uncaring protagonist could be so engrossing.

Veteran French director François Ozon (Swimming Pool) and co-screenwriter Philippe Piazzo follow Camus’ storyline faithfully but also look at the story from a post-colonial perspective.

As Meursault (Benjamin Voisin) goes through the motions in colonial Algiers, there’s a sense that the native population have a justified feeling of resentment toward French occupation. The tensions that would lead to the the Algerian war for independence a decade later are seething in the background. As a side note, this movie would make a great double feature with The Battle of Algiers.

Even among the French, Meursault leaves an uncomfortable impression. When his mother dies, he sheds no tears and treats her passing as a mere nuisance. When one of her mourners collapses in the heat, he simply marches on while others tend to the fallen man.

He spots his foul-tempered neighbor Salamano (the redoubtable Denis Lavant) beating his dog, while Raymond (Pierre Lottin) another resident of his apartment complex gets into scuffles with Algerians in the street and treats his sex worker girlfriend terribly.

One wonders how an automaton like Meursault has managed to attract the vibrant Marie (Rebecca Marder). She has the energy and passion he lacks, but she seems drawn to the fact that he avoids glib declarations of love. She might be attracted to the lack of phony airs. Then again it could be because there isn’t much behind his blandly handsome exterior.

Before you can say “banality of evil,” he gradually gets involved with activities a wise person would avoid. Raymond isn’t much of a writer, Meursault happily polishes his prose for a letter of ill intent.

We know where this is going because Ozun begins with the Meursault being jailed for his eventual crime. There is still plenty of tension and curiosity because Voisin imbues Meursault with just enough hints of possible humanity to keep viewers from sharing his disregard for what’s happening around him. The novel is told in first person, and the protagonist never asks for sympathy. Without resorting to voiceover, Voisin and Ozun subtly hint there might be some inner life to the undemonstrative Meursault.

Marder’s passionate Marie is a welcome complement, and Manu Dacosse’s stark black-and-white photography effortlessly recounts the period and gives the performers plenty of room to work. You can more easily spot small changes in expression or hints at danger to come.

Ozun clearly loves his source material, but he thankfully treats it as something to bring alive instead of preserve in amber.

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

• DISCLOSURE DAY
• Starring:  Emily Blunt, Josh O’Connor and Colin Firth
• Directed by:  Steven Spielberg
• Rated:  PG 13
• Running time:  2 hrs 25 mins
• Universal

Our score:  5 out of 5

We are not alone.

Those four words were the tag line of one of the best films of the 1970s, Steven Spielberg’s “Close Encounters of the Third Kind.”  In “CE3K,” Spielberg made us wonder if there was, indeed, life “out there.”  With “Disclosure Day” he shows us there is.

Margaret (Blunt) is the popular weather person at a local Kansas City television station.  She is always looking for bigger and better things and when we meet her she is discussing a possible change with her boyfriend, Jackson (Wyatt Russell).  Running late for work, she is pulled over but, without explanation, begins speaking with the officer regarding his private life…things she certainly shouldn’t know.  Later, during her broadcast, she begins acting strange and emitting sounds that puzzle her superiors.  Is something wrong with Margaret?  Maybe…

A film that makes you question everything you’ve ever thought or believed about extra terrestrial life existing in this and other universes.  Like Richard Dreyfuss and Melinda Dillon in “CE3K,” Margaret teams up with Daniel Kellner (O’Connor), a former government employee currently on the run from the Feds as he is about to release everything the government has accumulated on other world visitors.  He also possess a special “device” that, in the wrong hands, can wreak havoc.  They are pursued by Noah, played by an almost unrecognizable Collin Firth.  Noah also has a “device,” despite the danger, feeling his actions are necessary to protect his department.  As the three play an ongoing game of hide and seek, the excitement and tension grow.

As the director of the greatest film ever made, “Jaws,” Steven Spielberg is no stranger to presenting familiar things in amazingly new ways.  You can’t throw a rock without hitting an “are there aliens out there movie” but “Disclosure Day” makes them all pale in comparison.

The action is accompanied by an incredible musical score by the maestro, John Williams, who came out of retirement at Spielberg’s behest to write the score for this film.  Reminiscent at times of his Oscar-nominated score for “CE3K” – which lost to the score for “Star Wars,” also written by Williams – the music is as much an important character in the film as the actors.  My prediction here is that for his work here he will receive his amazing 55^th Academy Award nomination and his 6^th Oscar.

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

Starring: Emily Blunt, Josh O’Connor and Colin Firth
Directed by: Steven Spielberg
Rated: PG-13
Running Time: 145 minutes
Universal Pictures

Our Score: 1.5 out of 5 Stars

It’s a grand return to the sci-fi genre for Steven Spielberg, the director that helped redefine the genre with “Close Encounters of the Third Kind” and “E.T.” However, “Disclosure Day” feels strangely disconnected from the sense of wonder that has made his work so compelling. Spielberg’s alien stories used to be fueled by curiosity. Here, curiosity is replaced by certainty. The film begins with the assumption that extraterrestrial life exists and that powerful interests have hidden that truth from the public. Fair enough. But then what?

That question kept following me throughout the film. If the government and corporations have been hiding the truth, why? What exactly are they protecting? What do the aliens want? Are they benevolent? Dangerous? Indifferent? What happens to religion, society, and everyday life when the greatest discovery in human history becomes public knowledge?

“Disclosure Day” raises all of these questions but rarely engages with them in a meaningful way. Instead, characters often react with awe and revelation while I found myself wondering what they were seeing that I wasn’t. I understood every plot beat, but I rarely felt them. The film somehow feels over-explained and underdeveloped at the same time, as if 40 minutes of crucial emotional and philosophical context were removed while all the unnecessary exposition remained.

To Spielberg’s credit, there are a few moments that work. Discussions about faith, humanity’s place in the universe, and our collective search for meaning hint at a more interesting movie buried beneath the surface. But the film never digs deep enough. “Close Encounters” told us to open our minds. We did. “Disclosure Day” tells us…nothing. It wants to explore truth, belief, and disclosure, yet it rarely moves beyond simply declaring that those things matter.

That’s ultimately where “Disclosure Day” lost me. The film spends more than two hours building toward a revelation, but it never fully explores why that revelation changes anything. A resistance movement forms because truth should be revealed. A conspiracy exists because truth should be hidden. Yet the film never convincingly explains the tension between those ideas. The “why” behind everything remains frustratingly out of reach even though it’s allegedly “Disclosure Day.”

• REMARKEDLY BRIGHT CREATURES
• Starring:  Sally Field, Coln Meany and Lewis Pullman
• Directed by:  Olivia Newman
• Rated:  PG 13
• Running time:  1 hr 51 mins
• NETFLIX

Our score:  4 out of 5

I don’t know what it is about the Octopus.  Beautiful creatures that rather swim along then bother people.  Ringo Starr knows what I’m talking about.  So does the new film, “Remarkedly Bright Creatures,” which is narrated by an octopus named Marcellus.

Tova (Field) spends her nights alone, cleaning the local aquarium.  It’s a boring job but it gives her quiet time to think.  When not scraping gum off the floor, she is constantly tracking down Marcellus, an octopus who has found a way to get out of his tank and explore the dark corners of the museum.  Though she hasn’t told her friends, Tova is considering selling her home and moving to a retirement community.

Cameron (Pullman) is a musician on the road.  When his van breaks down he finds himself needing a job to pay for the repairs.  The town mechanic (Meany) suggest the museum and soon Cameron finds himself being trained by Tova, who insists that things be done the right way.  No shortcuts.  Both Tova and Cameron are dealing with personal tragedies and as their story intertwines they discover more about each other then either one knew was possible.

Full of charm, “Remarkedly Bright Creatures” is a film about life, loss and the power of love.  Field must deal daily with the whispers of townspeople who gossip about her loss while Cameron, a young man with low self-esteem, finds himself kicked out of his band, really the only family he has.  Like Tova, Cameron shares his thoughts with Marcellus, who turns out to be a great listener!  Like the title character in “My Octopus Teacher,” we are drawn to Marcellus and upset him as a true member of the cast.  The scrip, by director Newman, John Whittington and Shelby van Pelt, is sharp and captures the small town feel necessary to embrace the story.  Field is her usual strong/spunky self, making you imagine what Norma Rae would have been like in her later years.  Pullman, the son of Bill, plays well off of Field, giving the two a genuine friendly chemistry.  And I must give kudos to Alfred Molina, who provides the “voice” of Marcellus.  He handles each moment beautifully, making what could have been standard narration come alive.

On a scale of zero to five, “Remarkedly Bright Creatures” receives ★★★★   

• MARTY:  LIFE IS SHORT
• Starring:  Martin Short, Steve Martin and Eugene Lelvy
• Directed by:  Lawrence Kasdan
• Rated:  TV-14
• Running time:  1 hr 39 mins
• Amazon Studios

Our score:  5 out of 5

As a generation we have been blessed to have been introduced to some truly wonderful people.  People that are not only extremely talented but radiate goodness.  One of those people is Martin Short and director Lawrence Kasdan sat down with the important people in Shot’s life to document the man and his life.

My first memory of Martin Short was on the television series “SCTV.”  It used to run on PBS every Sunday night when I was growing up and made up an amazing block of television when it was coupled with “Monty Python’s Flying Circus.”  It was on “SCTV” that now-legendary characters like Ed Grimley took shape.  After leaving the show Short was asked to join “Saturday Night Live,” where he quickly became a star.  Films followed.  Then Broadway.  But despite all of his successes, Short quietly and with dignity had to deal with tragedy.  And that is the heart of this film.

Through interviews with family members, and such long time friends as Steve Martin, Eugene Levy, John Mulaney, Paul Shafer and others, we learn that, to Short, his best accomplishment was his family.  Through archived interviews with his late wife, Nancy, we learn that the only spotlight Short relishes is that of husband and father.  Though not mentioned in the film, Short’s compassion for others shone brightly in 2012 when, not realizing that Nancy had passed away two years earlier, Kathy Lee Gifford asked Short about the strength of his marriage.  Rather then embarrass Gifford, Short replied that they were still madly in love!

Sadly, tragedy has once again recently found Short as both his dear friend, Catherine O’Hara and his daughter, Katherine.  The film is lovingly dedicated to them both.

On a scale of zero to five, “Marty:  Life is Short” receives ★★★★★   

• THE STRANGER
• Satarring:  Benjamin Voison, Rebecca Marder, Pierre Lottin, Denis Lavant
• Directed by:   François Ozon
• Not Rated
• Running time:  2 hrs 2 mins
• Music Box Films

Our score:  4 out of 5

If you go through life with an air of indifference when you see people around you acting contemptibly, is it all that surprising when you do commit murder?

That’s the setup behind Albert Camus’ 1942 novella The Stranger. When I devoured the book in college, I was stuck by how a book with such an uncaring protagonist could be so engrossing.

Veteran French director François Ozon (Swimming Pool) and co-screenwriter Philippe Piazzo follow Camus’ storyline faithfully but also look at the story from a post-colonial perspective.

As Meursault (Benjamin Voisin) goes through the motions in colonial Algiers, there’s a sense that the native population have a justified feeling of resentment toward French occupation. The tensions that would lead to the the Algerian war for independence a decade later are seething in the background. As a side note, this movie would make a great double feature with The Battle of Algiers.

Even among the French, Meursault leaves an uncomfortable impression. When his mother dies, he sheds no tears and treats her passing as a mere nuisance. When one of her mourners collapses in the heat, he simply marches on while others tend to the fallen man.

He spots his foul-tempered neighbor Salamano (the redoubtable Denis Lavant) beating his dog, while Raymond (Pierre Lottin) another resident of his apartment complex gets into scuffles with Algerians in the street and treats his sex worker girlfriend terribly.

One wonders how an automaton like Meursault has managed to attract the vibrant Marie (Rebecca Marder). She has the energy and passion he lacks, but she seems drawn to the fact that he avoids glib declarations of love. She might be attracted to the lack of phony airs. Then again it could be because there isn’t much behind his blandly handsome exterior.

Before you can say “banality of evil,” he gradually gets involved with activities a wise person would avoid. Raymond isn’t much of a writer, Meursault happily polishes his prose for a letter of ill intent.

We know where this is going because Ozun begins with the Meursault being jailed for his eventual crime. There is still plenty of tension and curiosity because Voisin imbues Meursault with just enough hints of possible humanity to keep viewers from sharing his disregard for what’s happening around him. The novel is told in first person, and the protagonist never asks for sympathy. Without resorting to voiceover, Voisin and Ozun subtly hint there might be some inner life to the undemonstrative Meursault.

Marder’s passionate Marie is a welcome complement, and Manu Dacosse’s stark black-and-white photography effortlessly recounts the period and gives the performers plenty of room to work. You can more easily spot small changes in expression or hints at danger to come.

Ozun clearly loves his source material, but he thankfully treats it as something to bring alive instead of preserve in amber.

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