Oppenheimer, Christopher Nolan’s epic story about the dawn of the Atomic Age, dominated the nominations for the 96^th Annual Academy Awards, earning a total of (13) nominations, including Best Picture and Best Director for Nolan.  Also earning double-digit nominations, Poor Things and Killers of the Flower Moon, which received (11) and (10) nods respectively.  Both films are also in the running for Best Picture, alongside American Fiction, Anatomy of a Fall, Barbie, The Holdovers, Maestro, Past Lives and The Zone of Interest. 

The nominations were announced by Zazie Beetz and Jack Quaid, who for some reason seemed to think they were leading a pep rally.  Their vocal inflections and over enthusiasm for some nominees were actually pretty annoying. 

This year’s acting nominations were a great representation of the talent working today.  Kudos to Jeffrey Wright, who is great in anything he does, earning his first Best Actor nomination for American Fiction.  A surprise non-nominee in this category was Leonardo DiCaprio for Killers of the Flower Moon.  In Leo’s defense, it was a strong season for acting this year so no shame in not making the top five.  His Killers co-star, Lily Gladstone, became the first Native American actor to be nominated for an acting award. 

2023’s biggest moneymaker, Barbie, earned (8) nominations, including Best Supporting Actor for Ryan Gosling, Best Supporting Actress for America Ferrera and Best Adapted Screenplay.  Surprisingly, star (and co-producer) Margot Robbie, did not earn a Best Actress nod. 

Martin Scorsese, at age 81, became the oldest nominee in the Best Director category, earning his tenth  nomination in this category for Killers of the Flower Moon.  

The great John Williams received nomination number (54) when he earned a nod for his original score for Indian Jones and the Dial of Destiny.   

The 96^th Annual Academy Awards will air on Sunday, March 10^th. 

Below is a complete list of nominees:

Best Picture

“American Fiction”

“Anatomy of a Fall”

“Barbie”

“The Holdovers”

“Killers of the Flower Moon”

“Maestro”

“Oppenheimer”

“Past Lives”

“Poor Things”

“The Zone of Interest”

Best Actor

Bradley Cooper, “Maestro”

Colman Domingo, “Rustin”

Paul Giamatti, “The Holdovers”

Cillian Murphy, “Oppenheimer”

Jeffrey Wright, “American Fiction”

Best Actress

Annette Bening, “Nyad”

Lily Gladstone, “Killers of the Flower Moon”

Sandra Hüller, “Anatomy of a Fall”

Carey Mulligan, “Maestro”

Emma Stone, “Poor Things”

Best Supporting Actor

Sterling K. Brown, “American Fiction”

Robert De Niro, “Killers of the Flower Moon”

Robert Downey Jr., “Oppenheimer”

Ryan Gosling, “Barbie”

Mark Ruffalo, “Poor Things”

Best Supporting Actress

Emily Blunt, “Oppenheimer”

Danielle Brooks, “The Color Purple”

America Ferrera, “Barbie”

Jodie Foster, “Nyad”

Da’Vine Joy Randolph, “The Holdovers”

Best Director

Jonathan Glazer, “The Zone of Interest”

Yorgos Lanthimos, “Poor Things”

Christopher Nolan, “Oppenheimer”

Martin Scorsese, “Killers of the Flower Moon”

Justine Triet, “Anatomy of a Fall”

International Feature Film

“Io Capitano,” Italy

“Perfect Days,” Japan

“Society of the Snow,” Spain

“The Teachers’ Lounge,” Germany

“The Zone of Interest,” United Kingdom

Animated Feature Film

“The Boy and the Heron”

“Elemental”

“Nimona”

“Robot Dreams”

“Spider-Man: Across the Spider-Verse”

Adapted Screenplay

“American Fiction”

“Barbie”

“Oppenheimer”

“Poor Things”

“The Zone of Interest”

Original Screenplay

“Anatomy of a Fall”

“The Holdovers”

“Maestro”

“May December”

“Past Lives”

Visual Effects

“The Creator”

“Godzilla Minus One”

“Guardians of the Galaxy Vol. 3”

“Mission: Impossible – Dead Reckoning Part One”

“Napoleon”

Original Score

“American Fiction”

“Indiana Jones and the Dial of Destiny”

“Killers of the Flower Moon”

“Oppenheimer”

“Poor Things”

Original Song

“It Never Went Away” from “American Symphony”

“I’m Just Ken” from “Barbie”

“What Was I Made For?” from “Barbie”

“The Fire Inside” from “Flamin’ Hot”

“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”

Documentary Feature Film

“20 Days in Mariupol”

“Bobi Wine: The People’s President”

“The Eternal Memory”

“Four Daughters”

“To Kill a Tiger”

Cinematography

“El Conde”

“Killers of the Flower Moon”

“Maestro”

“Oppenheimer”

“Poor Things”

Costume Design

“Barbie”

“Killers of the Flower Moon”

“Napoleon”

“Oppenheimer”

“Poor Things”

Animated Short Film

“Letter to a Pig”

“Ninety-Five Senses”

“Our Uniform”

“Pachyderme”

“War Is Over! Inspired by the Music of John & Yoko”

Live Action Short Film

“The After”

“Invincible”

“Knight of Fortune”

“Red, White and Blue”

“The Wonderful Story of Henry Sugar”

Documentary Short Film

“The ABCs of Book Banning”

“The Barber of Little Rock”

“Island in Between”

“The Last Repair Shop”

“Nǎi Nai & Wài Pó”

Film Editing

“Anatomy of a Fall”

“The Holdovers”

“Killers of the Flower Moon”

“Oppenheimer”

“Poor Things”

Sound

“The Creator”

“Maestro”

“Mission: Impossible – Dead Reckoning Part One”

“Oppenheimer”

“The Zone of Interest”

Production Design

“Barbie”

“Killers of the Flower Moon”

“Napoleon”

“Oppenheimer”

“Poor Things”

Makeup and Hairstyling

“Golda”

“Maestro”

“Oppenheimer”

Before I launch into – spoiler alert – a rave review for what I consider to be the best film of 2023 (sorry Barbie), I want to say right up front that I am a huge Christopher Nolan fan. I respect Nolan immensely as a director and writer, I find his movies to be epic creations. I love Memento and the Batman trilogy and appreciate the visceral power of Dunkirk, and the dazzling Inception continues to amaze me and Intersteller left me spellbound. Tenet was a big hit for me, too, so inspired by all the hype for Oppenheimer, I went into the IMAX screening this past summer with great anticipation, Excited of how this massive epic about the man who spearheaded the development of the atomic bomb would hit me.

To say Oppenheimer blew me away would be not only a bad pun and tired cliché but also a gross understatement. Nolan outdoes himself, crafting an ambitious, innovative, and beautifully constructed film that absorbed me from the get-go and held me spellbound for three solid hours. (I can’t recall a more enriching cinematic experience over the past decade.) Intelligent, intricate, thought-provoking, emotional, visually stunning, and brimming with potent performances, Oppenheimer is the complete cinematic package, a movie that satisfies on multiple levels and demands repeat viewings to absorb all the nuances. Of course, the big bang that occurs about two-thirds of the way through is the film’s central component, but it’s the small, intimate moments that reverberate the loudest and make this movie so memorable.

Oppenheimer isn’t just a biopic about an arrogant genius who’s driven by ambition, wracked by demons, and tortured by guilt. That would be enough. But Nolan goes further. The most fascinating parts of Oppenheimer actually occur after the bomb goes off. The repercussions and fallout (and I’m not talking about radiation) resonate so much more strongly than the intrigue surrounding the weapon’s development. Yes, this is a tale about scientific breakthroughs, crossing dangerous boundaries, grappling with weighty moral issues (like the potential destruction of mankind), and creating a beast that can’t be controlled, but more importantly, it’s about political persecution, unbridled ego, and the petty jealousies and insecurities that fuel small-minded men and inspire them to destroy the lives of others.

The bomb is the elephant in the room, but the crux of Oppenheimer is the bitter conflict between J. Robert Oppenheimer (Cillian Murphy) and government official Lewis Strauss (Robert Downey Jr.). As the film opens, both men face critical trials that will ultimately scrape away their smug veneers and expose their faults, frailties, and carefully guarded secrets. Oppenheimer meekly battles a biased group of political operatives seeking to revoke his security clearance due to his prior association with the Communist party, while Strauss (pronounced Stroz), President Eisenhower’s nominee for Secretary of Commerce, must endure the probing questions of a Senate confirmation committee to secure his crowning career achievement. Nolan the writer, who based his screenplay on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer, deftly and lyrically tells their parallel and intertwining tales, while Nolan the director keeps their stories distinct by filming Oppenheimer’s perspective in color and Strauss’s in black-and-white. The device may be off-putting at first, but it’s a stroke of genius that not only helps simplify the challenging narrative structure, which continually jumps forward and backward in time, but also adds even more style to an already visually arresting film.

One character calls Oppenheimer “a dilettante, a womanizer, a suspected Communist, unstable, theatrical, egotistical, neurotic,” and that’s all true, but he also possessed one of the most brilliant minds of the 20th century. Other films like A Beautiful Mind and The Imitation Game have explored such brilliance and shown it to be a burden and a curse. Oppenheimer treads similar territory but on a larger scale and broader canvas. The stakes are higher here and some of the film’s themes strongly resonate in our current social climate. We can relate to a world in crisis that’s hurtling toward chaos and possible destruction, where political enemies are targeted and attacked. And with the dawn of Artificial Intelligence, we now have our own debate about a new technology that can potentially threaten human existence.

Oppenheimer asks important questions: How far do we take science and how do we deal with the consequences of what we unleash? One of the film’s most powerful scenes shows a shell-shocked Oppenheimer addressing his colleagues after the A-bomb test. As he delivers his remarks, we see how the weight of what his team has produced and the devastation it will soon deliver hit him with almost the same force as the world-changing detonation he just witnessed. That detonation, the lead-up to which instills palpable dread, fear, and uncertainty despite the fact there’s no mystery about the test’s success, is breathtakingly depicted. I won’t spoil it, but it’s just one more example of Nolan’s brilliance. He leads us down a well-worn path, then rips the rug out from under us. It’s tough to creatively depict a seminal event, especially one as monumental as this, but Nolan finds a way to combine artistry with the sobering gravity and sheer awe of the moment.

While I often enjoy seeing films with star-studded casts, sometimes the plethora of high-profile personalities can be distracting and take me out of the movie. “Oh, there’s so-and-so. Wow, I didn’t know he/she was in this! What a great cameo!” I had none of those feelings here. Yes, the initial glimmer of recognition causes a spark, but the roles are so well cast, the actors disappear inside them. The list of luminaries in Oppenheimer is large. In addition to Murphy and Downey, there’s Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Kenneth Branagh, Rami Malek, Casey Affleck, Gary Oldman, Jason Clarke, Tom Conti, Matthew Modine, Tony Goldwyn, and others. All of them nail their parts (though Pugh is saddled with a sketchily drawn role), but Murphy and Downey shine the brightest. Both men deserve Oscars for their finely etched portrayals of complex, fascinating, and deeply flawed men who scale massive heights, but must live with the consequences of their deeds and misdeeds. Murphy is riveting throughout, never striking a sour note, and Downey is a revelation. After far too many Marvel movies, he reminds us what a terrific actor he can be when given the opportunity to sink his teeth into a juicy part.

Oppenheimer isn’t perfect. Some of the story’s time shifts can be confusing and with so many characters popping in and out of the story – often for only a few fleeting moments – remembering all the names and how they relate to the narrative can be a challenge. Like almost every biopic, there are historical inaccuracies and liberties taken with facts for dramatic effect. The pivotal exchange between Oppenheimer and Albert Einstein upon which much of the story hinges is complete invention, but it’s nevertheless an inspired device to set up the division between Strauss and Oppenheimer and define the finer points of Strauss’ character.

Nolan bites off a lot here, but never more than he can chew. Yes, Oppenheimer is long, but unlike its fellow 2023 epics Killers of the Flower Moon and Napoleon, it doesn’t feel long. The pacing has a lovely ebb and flow as it mixes massive scope with searing drama, bits of humor, and a whole lotta visual stimuli. With insight, deep commitment, and tremendous care, Nolan has made a movie for history buffs, science nerds, political junkies, and – most importantly – movie fans. Oppenheimer is what cinema is all about. I Dug in and enjoyed it.

The video presentation of the 4K disc is flawless. Sound will shake your house and certainly give your system a true workout. The 1080p Blu-ray is certainly acceptable, but definitely a big step down from the exceptional 4K rendering. Flatter, duller, and a bit murkier, Oppenheimer on Blu-ray keeps the viewer at arm’s length. When I ejected the Blu-ray and went back to 4K, I felt as if I was looking at a totally different movie. The 4K disc is reference-quality stuff and anyone who enjoyed Oppenheimer in any theatrical format will be dazzled by this A-plus presentation.

The bonus featurettes are housed on a separate Blu Ray and they are aplenty. Included are all teasers and trailers. So much to delve into, that you could spend time on the bonus disc as much as the length of the film! 

2023’s best film is a slam-dunk on 4K UHD. This epic portrait of both a controversial scientist and turbulent era in American history is enlightening, entertaining, and exquisitely mounted by a master craftsman at the very top of his game. With a breathtaking HDR transfer, potent audio, and hours of supplements, Oppenheimer demands a spot on every movie-lover’s shelf. Must Own. Film ⭐️ ⭐️⭐️⭐️⭐️ Film Extras ⭐️⭐️⭐️⭐️⭐️ (out of five stars)

• AQUAMAN AND THE LOST KINGDOM
• Starring: Jason Momoa, Patrick Wilson
• Directed by: James Wan
• Rating: PG-13
• Running Time: 2 hrs 4 mins
• Warner Bros. Pictures

After lots of lows and some highs, the DC extended universe of films is ending with its 15th and final installment in the form of “Aquaman and the Lost Kingdom.” Currently in theaters, “Lost Kingdom” ends the franchise on a solid note with two hours of pure popcorn fun. While Jason Momoa is no Laurence Olivier or Sidney Poitier, he does not pretend to be and instead infuses a genuine enthusiasm into a performance which does not require a lot of range. Bolstered by some enjoyable supporting performances, fun action, and few laughs, “Lost Kingdom” is an improvement over the first “Aquaman”.

Voiceover narrations are often so dullish that they impair a film’s progression, which is the case in the beginning with “Lost Kingdom.” Momoa provides a reflection of where his character of Arthur Curry/Aquaman has been over the past few years, and it comes across as stilted. Regardless, we learn that Aquaman has married Mera (Amber Heard) and had a son while at the same time trying to lead a double life as a reluctant king of Atlantis.

Concurrently, we see that David Kane/Black Manta (Yahya Abdul-Mateen II) is still hell bent on avenging the death of his father no matter what the cost. Amid his quest, Black Manta, with the assistance of a marine biologist, stumbles across an ancient Atlantean artifact in the form of a black trident. Like something out of a D&D game, the trident possesses Black Manta and its trapped creator, who resembles the King of the Dead from “Lord of the Rings: Return of the King,” offers Black Manta glorious purpose if he frees him.

Black Manta’s subsequent actions with other forms of ancient technology threaten to destroy the Earth’s environment. To prevent it, a war with the surface world, and save his family, Aquaman must turn to his imprisoned, disgruntled brother, Orm (Patrick Wilson) for help.

For someone who has been a fan of at least some of the DC movies, or the Zack Snyder universe, it is a bit sad to see the unfinished storylines come to an end. It is at least going out on a decent note as “Lost Kingdom” provides a fun way to spend just over two hours at the movie theater. There are several laughs to be had throughout its running time with plenty of action, albeit nothing we have not seen before, and decent enough special effects. The thing about “Lost Kingdom” is that it does not take itself too seriously, which would have caused it to be a complete dud if it had.

Abdul-Mateen II stands out once again as a man so blinded by rage and revenge that he become something less than human. Wilson is also fantastic with some great comic relief with good timing in support of Momoa. Overall, “Aquaman and the Lost Kingdom” is a nice swan song to a franchise that had its fair share of severe ups and downs.

“Aquaman and the Lost Kingdom” receives ★★½ stars out of five.

• MAESTRO
• Starring:  Bradley Cooper, Carey Mulligan and Matt Bomer
• Directed by:  Bradley Cooper
• Rated:  R
• Running time: 2 hrs 9 mins
• Netflix

Composer Leonard Bernstein provided the music for some great shows, including the magnificent “West Side Story,” so when I heard that Bradley Cooper was going to follow up his Oscar winning “A Star is Born” with a film about Bernstein I was really excited to see it.  However, for some reason Cooper has chosen to nearly ignore the musical passions of the man to focus on the passions of the heart.  That, in a nutshell, is “Maestro.”

A phone rings, waking Leonard Bernstein (Cooper) out of a sound sleep. The voice on the other end tells him the news he’s been waiting to hear.  With lead conductor Artur Rodziński away, and the guest conductor falling ill, he is to conduct that afternoon’s performance of the New York Philharmonic Orchestra.  With no rehearsal.  Confident, Bernstein takes up the baton.  And a legend is born.

Oddly paced, but brilliantly acted, “Maestro” is a film that may take a second viewing to fully understand the story director Cooper wanted to tell.  The film follows the decades-long relationship between Bernstein and his actress wife Felicia (Mulligan).  Along the way there are plenty of bumps in the road, the main one being Bernstein’s infidelity with members of both sexes.

Along the way we do get brief glimpses of Bernstein’s musical genius – working on “On the Town,” mentoring young musicians, but what made him famous almost seems like an afterthought to Cooper and co-screenwriter Josh Singer.  And for some reason Cooper often uses long, static shots throughout entire scenes when some film editing may have made the scenes more interesting.

On a positive note, the performances are excellent.  Cooper channels Bernstein down to his voice patterns.  Mulligan carries most of the emotional baggage of the film and never delivers a false note.  Hopefully both actors will be remembered when Academy Award nominations are announced.

My first date with my now-wife was the film “Wedding Crashers” with a young Bradley Cooper.  He has since become a favorite of my wife and when we first saw the trailer for “Maestro” I jokingly asked if Leonard Bernstein ever took his shirt off.  Apparently he did.  But I have also grown to respect Cooper as both an actor and a filmmaker.  It borders on criminal that he did not receive an Oscar nod for his direction of “A Star is Born.”  I’m not sure if he’ll get in this category this time around but I truly admire the work and research he puts into his films.

On a scale of zero to five I giver “Maestro” ★★★½

Starring: Jeffrey Wright, Tracee Ellis Ross and Issa Rae
Directed by: Cord Jefferson
Rated: R
Running Time: 117 minutes
Metro-Goldwyn-Mayer

Our Score: 4 out of 5 Stars

I’m not going to attempt any bad barely remembered quotes, but I’ve heard a solid critique from several African American film critics about when critics, award groups and associations award black films. The critique is that the film is either a movie about the worst time for black people in America (“12 Years a Slave,” “The Color Purple,” “Django Unchained”) or how their story needs the help of a white person to tell (“The Blind Side,” “Precious,” “Green Book”). “American Fiction” feels like that critique personified.

Thelonious Ellison (Jeffrey Wright), who also goes by Monk, is a professor and black writer, who receives praise from his fellow academics for his books. But none from his publisher, the public, or even his family. Monk, as he’s told, directly or indirectly, isn’t “black enough.” He watches as others in his field write books that he believes not only pander to white people and the surrounding culture but demean black voices. So, he begins writing “My Pafology” to not only mock the narrative he sees, but to jokingly see if anyone cares what he writes now. Unfortunately, they do.

Almost like a meta commentary, that’s what the trailer for “American Fiction” kind of says the movie is, but at no point did I ever feel the movie was a spoof. I almost began to wonder if the trailer was intentionally selling audiences, white critics like me and America on this notion that we’re about to watch an academic parody of how black people are reduced to caricatures with so-called hood talk for stereotypical films that highlight slavery or impoverished neighborhoods. Instead “American Fiction” uses that as a kind of background noise to the real story, Monk’s life.

He comes from a lower middle-class background in the northeast, but now lives in Los Angeles, far from his two siblings and an ailing mother Agnes (Leslie Uggams) who suffers from early signs of dementia. His sister, Lisa (Tracee Ellis Ross), takes care of her while Monk bemoans the literary industry and his brother, Cliff (Sterling K. Brown) has pretty much abandoned the family because he feels he’s being looked down upon by everyone, including Agnes. That’s because Cliff’s ex-wife divorced after catching him with another man. Unfortunately, we don’t get to know much about Agnes, because she dies suddenly from a heart attack.

Ultimately “American Fiction” is about Monk’s flawed perception because he himself seems to be living out a stereotypical American life we’ve seen in other family drama films. He’s dealing with the age of his mother, attempting to reconcile with a brother who’s nose deep in cocaine, and dealing with the unexpected death of a loved one while finding random romance in his older years. In that regard, that’s the kind of stories Monk wants people to see when it comes to black people. That’s what ultimately leads him to ridicule everything through “My Pafology.” The movie is still about a both, someone or something upping the drama in Monk’s life as the insult to professed book lovers begins to spin wildly out of control. Eventually Monk must reconcile with the fact that everyone lives life differently and similarly.

“American Fiction” plays like an indictment of society and pop-culture at-large. In some ways, it has me pondering the movies I’ve liked and if it’s simply because of my own personal expectations or if it’s because it’s telling a unique story. Do we, as critics, filmgoers, and consumers, want to hear black voices or do we want the same old narrative where white people alleviate a terrible situation or we see triumph under oppression? Do we even want to hear other minority voices or just more sad stories? There’s a lot to study in this film, for years to come. “American Fiction” tells us that everyone, while living the same experiences, enjoying the same triumphs and enduring the same tragedies, all have a unique story to tell.

Starring: Dana Mackin, Hermione Lynch and Zach Tinker
Directed by: Kyle Butenhoff
Rated: NR
Running Time: 98 minutes
Dark Sky Films

Our Score: 3 out of 5 Stars

Molly (Dana Mackin) and Charlie (Kyle Butenhoff) appear to be having an intimate evening together. They share dinner in a remote cabin, surrounded by a record-breaking blizzard, and appear to have planned the whole thing. However, there’s no time for small talk, deep talk, cozying up by a roaring fire or even finishing the meal. That’s because Molly has poisoned Charlie.

I don’t want to say much more because “Laced” works purely on its performances and reveals. Sure, it doesn’t take us long to realize something is amiss and that Molly has intentionally poisoned Charlie. And sure, the initial exposition comes hot and heavy, or in the case of watching the trailer, almost too spoilery. We know things will continue to be complex and complicated, that’s why Molly has unexpected dinner guests that make “Laced” a rather effective winter thriller.

It’s an indie film so I can forgive the lack of style that could have made it more claustrophobic and made effective use of the blizzard. Seriously, I sometimes forgot a raging snowstorm was outside because of how much time is spent indoors in this singular setting without a peep. The howling wind seems like an afterthought as characters stab each other with icy dialogue. All of that being said, Mackin, Hermoine Lynch and Zach Tinker provide enough fireworks in their performances. Butenhoof, not so much, but I can’t fault an actor who dies about five minutes in.

However, Butenhoff serves as writer and director, showing a Hitchcockian knack for making the most of a simplistic story. In other hands, “Laced” would have just been another predictable murder film, but Butenhoff is creative with making us second guess the narrative, whether it’s from Molly’s perspective or the explanations of her unexpected dinner guests. While I certainly felt the film lacked that winter bite, “Laced” has enough creativity to entertain you for 90 minutes and has the potential to chill you to the bone.

 Some become legends through all-American grit and determination. For college football fans, the story of Dan “Rudy” Ruttiger is well known. Even if you’re not a sports fan. If you were a kid growing up in the 80s or if you didn’t read his book about his determination to play football for Notre Dame, he may have dropped by your school as a motivational speaker. Reuniting the team behind another classic sports drama Hoosiers, Director David Anspaugh and writer Angelo Pizzo with composer Jerry Goldsmith set out to tell the tale of how one poor working-class kid fought his way to play for the Fighting Irish.

We first meet Rudy (Sean Astin) as he’s finishing high school. From a steel-working family, his father Dan Senior (a lovely turn from Ned Beatty) loves Notre Dame football, but can’t believe his young son or any Ruttiger could ever attend the university. But little Rudy has a dream and he’s ready to prove himself to anyone and everyone that doubted him. Beyond getting accepted into one of the most prestigious universities in the country, he’ll also have to make it onto one of the hardest-hitting most competitive football teams in the country.

I personally come from Wolverine country and the sight of the Irish blue and gold is usually a rage-inducing eyesore. But for Rudy – I love this film. Rudy is to college football as Rocky is to boxing. It’s a human drama first with sports as a backdrop. A classic underdog story, it’s a movie that inspires you to try to achieve your dreams and then in the face of repeated failures – keep trying. I saw this film in theaters and I’ve watched it countless times since. It’s remained a rousing inspirational film three decades later. It also happens to feature one of my very favorite Jerry Goldsmith scores.

Now when this film was announced for 4K, I was just happy to have the version of the film I’ve known and loved for three decades (DVD). But to sweeten the pot, Sony includes Anspaugh’s new Director’s Cut (via seamless branching) for a longer and I have to admit more fulfilling film. Not just frivolous scene extensions, the new cut gives more weight to a variety of characters. We see more of Robert Prosky’s Father Cavenaugh, he doesn’t just disappear now in the second act. We see more of Rudy trying to fit in with the Notre Dame team setting up their antagonistic struggle earlier while also giving them more time to ease into their redemptive actions in the final stretch. More interesting and meaningful, we see more of Greta Lind’s Mary. Thankfully this cut doesn’t force Rudy and Mary into a silly weightless romance but instead bolsters a more valuable friendship through to the end.

The film looks and sounds absolutely wonderful for the age that it has. Skin tones come alive and the football field has never looked so green! The set comes with a Blu Ray copy as well but that only contains the theatrical version. The extras come with a bit of old and new features. For the new stuff, Director David Anspaugh and writer Angelo Pizzo team up for a new Director’s Cut exclusive audio commentary. It’s a lively discussion about making the film, their long working relationship, and comparing the versions of the film. Then we come to a little over three minutes of deleted scenes that are separate from the new cut. They’re interesting in their own right, but I can see why they wouldn’t make it on either cut. Then we have the film’s trailer all on the 4K disc. Then we come to the archival material that’s housed on the included Blu-ray. 

As big a fan as I am, in the crowded pantheon of sports films, Rudy may not be the greatest of the pack, but it’s an emotional heavy hitter. Truthfully one would need to be a pretty jaded individual to not connect to this story in some way. Sean Astin is amazing as he headlines an excellent cast for this true (mostly) story of grit and determination winning the day. I’ve loved this film for three decades now and it’s a genuine pleasure to see it look and sound this good in 4K – in two cuts no less! For fans of the film, this is a no-brainer essential pickup. Newcomers will need to invest in a few boxes of tissues.

Movie ⭐️⭐️⭐️⭐️⭐️ Extras ⭐️⭐️⭐️

(Out of five stars)

• MIGRATION
• Starring the voices of:  Kumail Nanjiani, Elizabeth Banks and Danny DeVito
• Directed by:  Benjamin Renner and Guylo Homsy
• Rated:  PG
• Running time:  1 hr 32 mins
• Universal

When the animation company ILLUMINATION puts out a movie, you expect a well told story with beautifully rendered animation.  With “Migration,” those expectations are not only met, but they are also exceeded.

We meet the Mallard family as they leisurely relax in a beautiful, New England Pond.  Father Mack (Nanjiani) and mom Pam (Banks) spend their days watching their youngsters – Dax (Caspar Jennings) and Gwen (Trasi Gazal) – swim contently across the water.   When they are visited by a flock of ducks heading to Jamaica for the winter, they are encouraged to head south with the flock.  Mack is over-protective and prefers the safety and familiarity of the pond.  Yet Pam would like a little adventure in their lives and, with the help of the kids, convinces Mack to take flight.  Accompanied by Uncle Dan (DeVito), they head off to the adventure of a lifetime.

Ever since “Despicable Me,” ILLUMINATION has released a string of outstanding films that are funny, family friendly and, most of all, beautiful to watch.  I’m not sure what their secret is, but whatever it is, I hope they don’t change it.  Even mighty PIXAR has had a few duds in their past, making ILLUMINATION, in my opinion, THE leader in film animation.  “Migration” takes the Mallard family on a journey that takes them from big cities to rural countryside, with each location beautifully presented.  Often, it’s like looking at a photograph, so detailed is the animation.

The cast features both familiar names (besides Nanjiani, Banks and DeVito, the vocal talent includes Carol Kane, Keegan Michael Key and Awkwafina) and fresh, bright voices who bring the characters to life.  The script, by Benjamin Renner and Mike White – yes, “School of Rock” and “White Lotus” Mike White – is full of both fun and emotional moments.  Like other ILLUMINATION films, these are characters you want to spend time with and, most importantly, want to succeed.

As an added bonus, there is also a short film called “Mooned” which answers the pressing question from “Despicable Me” – What happened to Vector?

On a scale of zero to five, I give “Migration” ★★★★★

• DICKS: THE MUSICAL
• Starring:  Josh Sharp, Aaron Jackson, Megan Mullally and Nathan Lane
• Directed by:  Larry Charles
• Rated:  R
• Running time:  1 hr 26 mins
• A24

Imagine being young, handsome and, um, well equipped.  You’d sing about it, wouldn’t you?  I know I would!  You’d think you had the world on a string.  Now imagine you just discovered you have a twin.  It could happen.

Craig (Sharp) and Trevor (Jackson) are both living the good life, excelling both professionally and personally.  The one thing neither has, and desires, is a family.  Though they live a few doors apart, they are each unaware of the other until a department merger at their mutual employer pits them against each other to see who the best salesman in the company is.  Noticing that there is a very strong resemblance with each other, the two eventually share enough personal details to discover they are twins, separated by their parents.  One went to live with Dad (Lane) and the other with Mom (Mullally).  Each parent has their own baggage that the lads must work through as they plot to get their folks back together.

Written by stars Sharp and Jackson, the film is directed by long time “Seinfeld” producer Larry Charles, whose directing credits include films like ”Borat” and “The Dictator” as well as multiple episodes of television shows “The Comedians” and “Curb Your Enthusiasm.”  He knows his way around a punch line and he never allows the film’s humor to hit you over the head.  It’s funny without screaming at you, ”Hey, laugh at this!”

The cast is top shelf, and you can never go wrong when you have Nathan Lane and Megan Mullally in a musical.  I’ve seen them both on stage and that talent transfers easily to the big screen.  Sharp and Jackson are fun to watch.  They have a great chemistry with each other, and both are fine song and dance men. Supporting work by Megan Thee Stallion as the boy’s boss and Bowen Yang as God (yes, God) keep the fun going.  And then, of course, there’s the Sewer Boys!  The songs are well written and the musical numbers are well paced.

A fun, hilarious comedy, “Dicks: The Musical” is best described as “a fun and raucous Parent Trap.”  And that’s a good thing.

On a scale of zero to five I give “Dicks: The Musical” ★★★★

Jason Isaacs is known best for his roles including playing Colonel William Tavington in “The Patriot”, Captain Hook in Peter Pan, D.J. in Event Horizon and of course everyone’s favorite Lucius Malfoy in the Harry Potter film series. He also worked on TV series like “Star Trek: Discovery” and 2012’s “Awake” on NBC. Jason returns to TV with his new show on BritBox called “Archie: The Man Who Became Cary Grant”. Media Mikes had a chance to chat with Jason about his role in “Archie” and his love for playing a villain.

Official Premise: He was one of the twentieth century’s most iconic figures, who touched the world with his charm, wit and grace. Yet, few truly knew him. Jason Isaacs stars as Archie Leach, who would go on to become Hollywood’s greatest leading man, in this remarkable, little-known story from BAFTA-winner Jeff Pope.

Dermot Mulroney is known best for his role of Michael O’ Neal in “My Best Friend’s Wedding”. He has also appeared in horror films like “Insidious: Chapter 3” and “Scream VI”. Dermot also has well known TV appearances in shows like “New Girl” and “Shameless”.

Media Mikes had a chance to chat with Dermot about his latest thriller called “Ruthless” as well as the upcoming “Anyone but You” starring Sydney Sweeney and Glen Powell, he also commented on his hopes for “My Best Friend’s Wedding 2”.

David Keith is known for his breakthrough role of aspiring Navy pilot Sid Worley in “An Officer and a Gentleman, for which he was nominated for a Golden Globe Award. He also played Elvis Presley in the 1988 film “Heartbreak Hotel”. Keith’s latest movie is “Walden” co-starring Emile Hirsch. Media Mikes had a chance to chat with David about his new film “Walden” and what he has planned next for 2024.

Considered a ‘lost’ Linnea Quigley movie, “Scream Queen” now enjoys it first ever wide release on home video. This super obscurity was shot in 1998 by indie horror stalwart Brad Sykes, and finally finished in 2002. “Scream Queen is not only a solid 1990s Shot-on-Video slasher that borrows from the Italian Giallo sub-genre, but also takes swift jabs at the US independent horror movie scene of the time. Media Mikes had a chance to chat with Brad about the release of “Scream Queen” and his plans for 2024.

MG: Let’s start with the upcoming Blu-ray release of ‘Scream Queen’; how do you feel that this film is finally getting a release after 25 years?

BS: I’m thrilled! I honestly had given up hope that it would happen, after an attempted DVD release back in 2012 that fell through at the last minute. But in some ways, it’s for the best, because this release is better quality and has way more special features than we would have had ten years ago.

MG: How did you get involved with Visual Vengeance?

BS: I’ve been working with Wild Eye Releasing, Visual Vengeance’s parent company, since 2013 when they released my anthology movie Hi-8: Horror Independent Eight. Since then, Wild Eye has released my films Hi-Death, Plaguers, and, this past July, Hi-Fear. I like working with them so when they contacted me about Scream Queen back in 2020, I was happy to hear that they’d be releasing it through their new label, Visual Vengeance.

MG: Was Linnea Quigley always in mind for the role of Malicia Tombs? Tell us about your experience working with her?

BS: I literally wrote the character with Linnea in mind, but I didn’t think we’d actually get her. But thankfully my friend Courtney Joyner, who also has a small part in the film, made a phone call and set up a meeting between me and Linnea. It went well and after reading the script, she agreed to do it.
I had a great time working with Linnea on the movie. In fact, many of my favorite memories of the shoot involve working with her, and just hanging out before and after the shoot, and later directing a music video for her song “This Chainsaw’s Made for Cutting”, which you see in the film.

MG: Tell us about the inspiration with the Italian Giallo sub-genre in the film?

BS: Giallos and Eurohorror in general are two of my favorite genres, so it was fun to incorporate elements from both into the script. I tried to add these kinds of touches wherever I could (and if the budget would allow). The location is a house is Glendale, but we tried to treat it like the type of “old dark house” you’d find in a movie like The Devil’s Nightmare, with sconces on the walls and Gothic costumes and props. For example, the killer has the black gloves and “faceless” look of the killer in Bava’s Blood and Black Lace, and one of the murders is fashioned after scenes in Tenebre, where the girl has pages of a book shoved down her throat (in our film, it’s pages of a script). Scream Queen was always intended to be a murder mystery as opposed to a Halloween-type slasher, so the giallo homages fit well into the film.

MG: Tell us about your decision to release the film on Blu-ray with a 480p SD master?
BS: The producer and original distributor didn’t have any usable masters, so I provided the masters I had for this release. It wasn’t my “decision”, I just offered up the best elements I had available.

MG: The Blu-ray is jam packed with a ton of special features; give us a hint of what we can expect?
BS: My favorite special feature on the disc is “Once Upon a Time in Horrorwood”, which was produced through Nightfall Pictures, the production company I run with my wife/producer, Josephina. It’s an all-new, very comprehensive, half hour doc during which I take you through the entire process of making the movie, from the script to its rocky journey to finally getting released. There are interviews with Linnea and one of the editors, an audio commentary, behind the scenes stills and press materials, etc. which all give different perspectives on the making of Scream Queen. I had a hand in just about all the extras and it was nice to be so involved in the release of my first ‘pro’ movie.

MG: I am a big fan of the Witchcraft series; how did you get involved to write/direct the 12th installment in the series, Witchcraft XII: In the Lair of the Serpent?

BS: I had made three movies for Vista Street Entertainment before that: Babes in the Woods, Mad Jack and Lord of the Vampires. When they started moving ahead with Witchcraft XII, they approached me to write and direct it, which was funny, because I had a Witchcraft II poster on my wall when I was growing up. Be careful what you wish for! I honestly hadn’t seen all the films and I don’t think it mattered because there is very little connective tissue outside of one character, Will Spanner, who I had to bring back. But otherwise, I was allowed to take the series in a more crime/noir direction, because I’m a big fan of those types of films.

MG: It’s unbelievable that this series has lasted 16 films over 30+ years; why do you think it has stood the test of time?

BS: Everyone loves a good horror franchise, I guess. I haven’t seen any of the ones made after Part XII. I’m kind of amazed they’re still making them. I’ve also been on the other side of the table, with several films of mine, including Camp Blood, Death Factory and Zombie Chronicles, getting sequels. I also recently completed my own “Trilogy” with Hi-Fear, which is the third film in the Hi-8 series.

MG: Camp Blood was also a great franchise; how do you reflect working on the first couple of films in that series?

BS: Camp Blood was the third movie I directed, but the first to get released. The biggest challenge on that film was the 3D technology we had to use. There was a big learning curve involved and it posed restrictions on how we could shoot things. I wanted to make a simple slasher film like the ones I had always enjoyed, with a few twists. It was a short shoot, with some challenges for sure with shooting outdoors with inclement weather, but we had fun, too.

I never thought we would make a sequel, but we did the following year based on the first film’s success in foreign territories (it was especially popular in the UK for some reason). For Camp Blood 2, I went in a more comedic/satirical direction, like I had for Scream Queen. Both films are essentially satires of the movie business using my experiences I had up till that point. I didn’t have as good a time making the movie, but the FX came out great and we had a professional stuntman playing the Clown, which made things easier.

Camp Blood 3, which was later retitled Within the Woods by the distributor, was made a few years later and was the first film produced by my wife Josephina and I’s production company, Nightfall Pictures. So, there was a lot of pressure to deliver a good movie for our first time out. Again, I used the slasher genre to satirize the entertainment world, in this case reality TV which was getting big at the time (and has gotten bigger since). Very ambitious film for its budget but I loved the cast and the DP did a wonderful job. I like all three Camp Bloods for different reasons, and the fans seem to feel the same way, everybody has their favorite.

MG: What would you say has been your most difficult project to date?

BS: I had an awful experience making Loving Angelique, an erotic thriller in the Poison Ivy vein. It should have been fairly simple, with one main location, a limited number of characters, a decent schedule, etc. And I had made a movie for the production company before, Demon’s Kiss, which was also an erotic thriller (but much more ambitious), so I thought I knew what they wanted. But it was just one of those films where nothing and nobody clicked…the actors didn’t want to be there, the DP was a burned out veteran with a lot of credits but who didn’t give a damn about anything, the executive producer was hanging around trying to give ‘notes’ all the time, and the producer didn’t have my back. I gave it my best shot and the movie honestly didn’t turn out too bad, but it was a very unpleasant shoot and I had little involvement in the editing. I’ve made much more complex movies that were way more fun to make, despite the challenges.

MG: What do you have planned next for 2024?
BS: 2023 has been a big year with a lot of projects I’ve worked on for years, some dating to before the pandemic, finally getting released. Currently I am also promoting my book “Neon Nightmares: L.A. Thrillers of the 1980s” (available from BearManor Media, Amazon, B&N, etc.) and my anthology movie Hi-Fear, which is on DVD and can be streamed on iTunes, Amazon Video, etc. These both came out just a few months ago. Josephina and I are also producing special features for other upcoming Visual Vengeance releases of my films. And I have a new movie I plan on shooting next year. So, plenty going on at Nightfall Pictures right now and into 2024.

Pierce Bronson is no stranger to the action genre, he is known best for playing James Bond 007 in “Goldeneye”, “The World is Not Enough” and “Tomorrow Never Dies”. He also stars in comedies like “Mrs. Doubtfire” and “Mamma Mia”. He also played Doctor Fate in last years superhero film “Black Adam”. Media Mikes had a chance to chat with Pierce about his new film “Fast Charlie”, which co-stars Morena Baccarin and the late James Cann.

Here is the premise for “Fast Charlie”: For twenty years, Charlie Swift has been a fixer and hitman for a mob boss named Stan. After a rival boss puts a hit on Stan and his crew, Charlie is the sole survivor. Charlie decides to avenge his friend and teams up with Marcie, the ex-wife of a mobster he killed.

Ryan Kwanten is known best for his role of Jason Stackhouse in HBO’s “True Blood”. He also stars in one of my favorite films, “Dead Silence”. Natalia Cordova-Buckley is known best for her role in “Agents of S.H.I.E.L.D.” playing Elena “Yo-Yo” Rodriguez. Ryan and Natalia took out sometime to chat with Media Mikes to discuss their latest film “The Portrait”.

Here is the premise to “The Portrait”: After Sofia causes her husband Alex’s accident that leaves him with a brain injury, she becomes fixated on a mysterious portrait that bears a striking resemblance to his former self. However, as the portrait begins to haunt her, she must determine whether it is possessed or if she is having a mental breakdown