• 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.

Is there a group of creative filmmakers in Hollywood that barely get recognized for making some of the most memorable and coolest sequences in movies and television? Yes, there is a group of brave individuals called stunt performers (or Tom Cruise) who are responsible for those long falls off buildings, impossible jumps over mountains, and wild car chases in movies. There’s not a major award show that recognizes the genius of these people, but there should be one in the sea of dull acceptance speeches for sound editing or documentary shorts. There should be a segment that honors the coolest parts of cinema. That’s where the new film The Fall Guy blazes its way into the arena, covered in sweat and high wires that will hopefully change every award show in the future with an award for Best Stunt in a movie. Not to mention, The Fall Guy is a blast from start to finish with Gosling once again oozing charm, comedy, and general badassery. 

Director David Leitch is the perfect person for the job here, where he was a former stuntman turned director who gave the world John Wick, Deadpool 2, Bullet Train, and Hobbs and Shaw. He and writer Drew Pearce have perfectly conjured up a wonderful story that takes its cues from the ’80s show of the same name and brings that energy and action to life in the present day with an all-star cast that subtly breaks the fourth wall to showcase the ins and outs of stunt work on movies. But Leitch adds a wonderful love story to the mix along with some hilarious comedy that serves as some insider stunt jokes that also appeal to the masses. And the jabs at the Hollywood industry in the form of wacky producers, and egocentric actors are spot on with how over-the-top they are. But The Fall Guy manages to have it all in one movie, the comedy, the action, the romance, the one-liners, and the thrills all led by Ryan Gosling.

Leitch’s career has driven him to this place where Gosling plays a stuntman for a Tom Cruise-like actor (Aaron Taylor Johnson of Kick-Ass fame), where after an accident on set, puts Colt Seavers (Gosling) out of commission for a year, ghosting his romantic interest and camera-girl Jody (Emily Blunt) without any word of his well-being. A year later, Colt gets called back into action, and he reluctantly accepts to board a brand new big-budget movie when he finds out that Jody is directing her first big gig. Little does anyone know that the producer (Hannah Waddingham) and the ego-centric actor (Johnson) have nefarious plans for Seavers that will put his stunt game to the test in real life. With cheesy ’80s and ’90s romantic quips and stellar action sequences – The Fall Guy never disappoints. 

Each action scene is meticulously planned and real, as the end credits show all of the real stunts that were performed in the movie by either Gosling or a stunt team. From falling down stairs, jumping onto a moving car, being smashed by a truck, or hanging off of a helicopter, this movie shows it all. It executes its narrative of the movie industry, making a movie, and two people falling in love all over again in such a sweet and comical way that Leitch can probably add romantic comedy to his resume. The chemistry between Blunt and Gosling is very infectious, but is there a situation where anyone does NOT have chemistry with Gosling? The man is a gentle comedic god with a penchant for beating people up. The Fall Guy has a ton of surprises and is some of the most fun you can have in a theater with laugh-out-loud moments, inside jokes, top-notch action scenes, and a great romantic tale with Ken. 

The Fall Guy delivers an impressive UHD 4K image with Dolby Vision. The streaming version looks amazing, however, this physical copy allows more room to breathe with its wide gamut of colors and detail. The soundtrack comes with an exquisite Dolby Atmos track that could be the new demo in any media room. Sound effects are loud and boisterous with tons of nuanced noises from the surrounding speakers as well as plenty of subwoofer LFE activity. As for extras, there are about 91 minutes of supplements included in this release which includes the 20 minutes of the extended cut. All of these bonus features are highly entertaining and worth watching. There is also an audio commentary included. 

Lastly The Fall Guy has risen to be one of the biggest and best action flicks in years. The amount of fun, heart, soul, and the ability to finally pay homage to the impressive stunt people throughout the years is fantastic. This 4K image with Dolby Vision looks excellent and is a definitive upgrade from the 1080p version and even the 4K streaming option. The Dolby Atmos track is demo-worthy. The bonus features are a ton of fun to watch as well. Highly recommended!

Movie ⭐️⭐️⭐️⭐️

Picture ⭐️⭐️⭐️⭐️⭐️

Sound ⭐️⭐️⭐️⭐️⭐️

Extras ⭐️⭐️⭐️⭐️⭐️

Out of five stars 

‘Tarot’ tells the haunting tale of a group of friends who rent out an ancient mansion in order to celebrate a friend’s birthday and in the course of the evening’s festivities uncover a secret room packed with ancient artifacts. After finding an eerily hand-painted deck of tarot cards and convincing their friend to do readings for each of them which violate the sacred tarot rules, the friends start mysteriously dying in gruesome fashion. As the surviving friends attempt to uncover the truth behind the deaths they soon realize that they are being killed off in the manner described in their readings. But stopping the curse will be significantly harder than triggering it, especially if they hope to end it before any more of them perish.

Written and directed by Spenser Cohen & Anna Halberg who each make their feature length directorial debut and do a solid job at the helm of ‘Tarot’ capably guiding along the creepy and violent fun. The film’s cast includes Harriet Slater (Indiana Jones and the Dial of Destiny), Adain Bradley (Wrong Turn 2021), Avantika (Mean Girls 2024), Wolfgang Novogratz (The Half of It), Humberly González (Slumberland), Larsen Thompson (Bloodline) and Jacob Batalon (Spider-Man: No Way Home) with the majority offering capable or at the very least fitting performances in each of their respective roles.

‘Tarot’ is a fun, over the top and surprisingly bloody teen-centric horror offering that may not be an Oscar contender or a remarkable film by any means, and is often lacking in cleverness and originality but ends up delivering a significantly more enjoyable PG-13 horror film than you might expect. It’s a fairly goofy and silly concept to begin with and it takes the story and twists further than expected, while also delivering some surprisingly violent and bloody deaths that even while they never reach the level of outright gory seem to repeatedly push the boundaries of the rating. Somehow the goofy concept itself helps to make this one as fun as it is by the filmmakers repeatedly going so far with the material while playing it off in a serious manner at the same time; allowing it to almost maintain a tongue-in-cheek style without actually portraying it as such.

The key characters of ‘Tarot’ are fairly basic and it’s difficult to become too attached to most of them, although that only helps to make it even more entertaining when they are killed in one gruesome manner after another, while many of the other characters within seem unable to accept the reality of the situation as others couldn’t be more done with it. It’s a curious approach and I honestly can’t say whether it was intended or not, but it certainly makes for a fairly solid and engaging ride into darkness that genre fans who don’t mind a little bit of cheese (albeit possibly unintentional) should enjoy this one a fair amount, especially if you can go in expecting as much.

Overall, ‘Tarot’ is an entertaining and somewhat over the top supernatural horror film that plays things fairly straight but ends up becoming almost silly at times due to the out there story and reasoning behind the chaos, as well as the bloody and violent ways the characters are eliminated throughout which almost feels reminiscent of a tamed down version of ‘Final Destination’ at times. Even while it may not be intentionally silly and never portrays the events in that way, its serious approach and the almost surprisingly brutal moments end up forming into a slightly above average ride that’s somehow way more enjoyable than it should be. If you’re a fan of similar horror films and are at all interested in ‘Tarot’ then it’s definitely worth giving a chance, although I would encourage first time viewers to rent it before purchasing a copy just to be safe.

The Blu-ray release of ‘Tarot’ features a full 1080p High Definition presentation with the film’s original Aspect Ratio. The video presentation looks tremendous and offers a clean, sharp and richly detailed presentation from start to finish that never suffers from any notable faults or glitches to be uncovered along the way. Detail is sharp and impressive on everything from character faces and clothing to the sprawling mansion and almost everything else appearing onscreen at one point or another, which is all complemented by rewarding black levels that benefit this often very dark film and keep any artifacts or anything else from negatively affecting the darker moments which never disappoint. Overall, this is a great high definition video presentation that holds up wonderfully at all times and shouldn’t disappoint fans or newcomers.

The Blu-ray release features a 5.1 channel DTS-HD Master Audio soundtrack. This multichannel soundtrack makes a splendid complement to the onscreen fun and provides a clean, crisp and frequently aggressive audio presentation throughout. It repeatedly utilizes all five available channels in order to send music, creepy and violent sound effects along with nature elements and plenty more whipping throughout the various speakers whenever appropriate, while never resulting in any dialogue or other audio elements becoming negatively affected or rendered problematic in the process. Overall, this is a fantastic 5.1 DTS-HD MA soundtrack that repeatedly benefits the film and should easily excite viewers.

Conclusion 

The Blu-ray release of ‘Tarot’ features a few brief extras. Included on the release are the Behind the Scenes Featurettes ‘A Twist of Fate: Making the Film’ (running approximately 6 minutes in length) and ‘Circle of Friends’ (running approximately 7 minutes) which feature interviews/comments with the cast and crew, plus behind the scenes footage and more. Also included are ‘Killer Outtakes’ from the film (approximately 2 minutes). I had fun with ‘Tarot’ but as aforementioned, it’s not cleverly executed. But sound and picture are absolutely amazing. Incidentally, ‘Tarot’ is presently a major hit on Netflix! Not surprising since it is a good watch with friends.

Film: ⭐️⭐️⭐️

Picture: ⭐️⭐️⭐️⭐️

Sound: ⭐️⭐️⭐️⭐️⭐️ (out of five stars)

• BEETLEJUICE BEETLEJUICE
• Starring:  Michael Keaton, Winona Ryder and Catherine O’Hara
• Directed by:  Tim Burton
• Rated:  PG 13
• Running time:  1 hr 44 mins
• Warner Bros

The Juice is loose.  And back.  And we are all better off because of it.

Michael Keaton is having a resurgence like no other actor since John Travolta.  He has done some solid work the past decade, beginning with his Oscar nominated turn in “Birdman” all the way up to last year’s triumphant return as Batman in “The Flash.”  This week, Keaton returns to the other 80s-era character he is best known for, the ghoulish Beetlejuice.  And he hasn’t skipped a beat.

Lydia Deetz (Ryder) is an adult now and currently hosts a paranormal television show called “Ghost House.”  While filming her current episode, Lydia believes she sees a familiar face in the audience.  But it can’t be.  He’s been “dead” for decades.  Upset by her vision she and her boyfriend (and show runner) Rory (Justin Theroux) travel to the old house where Lydia grew up.  Upon arrival she learns that her bird-loving father has passed away and that her stepmother, Delia (O’Hara) has planned a funeral ceremony on the grounds.  Joined by Lydia’s daughter, Astrid (Jenna Ortega), things begin to get weird (or, considering the house, more weird) as the funeral approaches.

What a fun film this is!  A lot of familiar faces, and some new ones, at the top of their comedic game.  While I always felt Beetlejuice was almost a secondary character in the first film, here he is front and center and Keaton just lights up the screen in every scene with his cosmic energy.  He is joined by some new “dead” characters including Monica Bellucci as the title character’s former wife (beware a woman scorned – she’s a soul sucker, literally), Willem Defoe as an actor who excelled in playing cops on screen and now does his best to patrol the underworld and, a favorite from the first film, Bob – he of the shrunken head.

The script is hilarious, but not afraid to throw in a couple of thrills and Burton’s pacing is pitch perfect.  This is Burton’s best work since 2007’s “Sweeney Todd” and ranks up there with “Batman’ and “Ed Wood” as among his best films ever.

The visual effects are outstanding and it’s so nice to see Burton continue to use stop-motion animation as opposed to CGI.

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

Version 1.0.0

• DEADPOOL & WOLVERINE
• Starring:  Ryan Reynolds and Hugh Jackman
• Directed by:  Shawn Levy
• Rated:  R
• Running time: 2 hrs 8 mins
• Disney

I apologize for the lateness of this review but, after writing 15 years of MCU film reviews right before they open, I always have to preface them with NO SPOILERS!  So I waited until I’m pretty sure everyone that wanted to see the film (and with a BILLION DOLLARS at the box office, that’s pretty much everyone) had so I could have some fun and talk about some of the things I really loved about the film.

We meet our “hero,” Wade Wilson (Reynolds) in mid-narration, explaining that he is on a mission to find, and work with, Wolverine (Jackman), assuming that he really did not die in the film “Logan.”  Bad luck, buddy.  All that remains is an adamantium skeleton, which he puts to good use.  Dejected he returns home only to be summoned by a mysterious agency who offers him the chance to save his world.  Cue the music.

Hilariously funny, and exceedingly violent, “D&W” is, literally, the film that Marvel fans have clamored for over the years.  And the wait was well worth it.

IF YOU HAVEN’T SEEN THE FILM, SCROLL DOWN TO THE WRAP UP

 Traveling to different worlds (the MCU has actively embraced the Multiverse), Deadpool encounters several Wolverines – big ones, small ones, one who looks a lot like Henry Cavill!  Finally finding the one he wants, he does his best to convince him to come with him on his mission.  Along the way they run into a lot of MCU characters, both past and present, including Johnny Storm (Chris Evans), Electra (Jennifer Garner), Blade (Wesley Snipes) and, in what I hope is a teaser for a stand alone film, Gambit (Channing Tatum).  They decide to team up to defeat the villainous Cassandra Nova (Emma Corrin), who seems to really delight in her own evilness.  As the group embark on their journey, they also come across various incantations of Deadpool, including Nicepool, Lady Deadpool, Cowboy Deadpool and, the scene stealing Dogpool.

The script is equally full of hilarious moments and high drama.  Kudos to the people at Disney who allowed the cast to make some funny, but mean, commentary, with shots fired directly at the studio while showing a lot of love for the lamented 20^th Century Fox.  And the “I Can Take a Joke” award goes to Jackman, who endures barbs about everything from “The Music Man” to his recent divorce.

 Yes, it’s raunchy.  Yes, it’s bloody.  But it also one of the best films of the year.

On a scale of zero to five I give “Deadpool & Wolverine” ★★★★★

• SLINGSHOT
• Starring:  Casey Affleck, Tomer Capone and Laurence Fishburne
• Directed by:  Mikael Håfström
• Rated:  R
• Running time:  1 hr 49 mins
• Bleecker Street

Space.  Cold and quiet.  On board the spaceship Odyssey 1, John (Affleck) opens his eyes.  He is greeted by a soothing voice telling him that he has been asleep for nine months and a day.  He is also told that the drug given to induce his deep sleep has some possible side effects.  Boy, do they!

A beautifully shot film with a top-notch cast, “Slingshot” tells the story of the first manned mission to Titan, one of the moons of Saturn.  The objective is to gather an ample supply of the hydrogen that makes Titan the only place in the universe (that we know of) besides Earth that has clouds, rain and rivers.  It is hoped the mission will gather the hydrogen to bring back to Earth to help with the planet’s climate issues.

As the lengthy journey progresses (it’s an almost three year mission, which isn’t bad when you learn in would take almost thirty-one thousand years to walk it) John periodically goes back into his sleep chamber.  He constantly dreams of his past before the mission – a past of overachieving at every chance to be picked for the Oddysey 1 mission, as well as of his girlfriend, Zoe (Emily Beecham), who was also a psrt of the project.  John is accompanied by another crewman, Nash (Capone) and their mission leader, Captain Franks (Fishburne).  However, as the mission stretches out over the months, things go from good to bad, then from bad to worse, as the mental strain of the journey begin to affect the mission.

The film, whose title derives from the maneuver that is needed to make the trip a success (the idea is to use the gravity of Jupiter to “slingshot” around the planet and make it to Titan), is very similar to both 1972’s “Solaris” and 2013’s “Gravity.”  Like those films, the performances are outstanding.  Affleck has a knack of letting the audience see the emotions he is feeling effortlessly.  Capone, whose Nash wants nothing better then to abort the mission and go home, also has some fine moments.  And Mr. Fishburne is…well, he’s Laurence Fishburne!  ‘Nuff said.

As the story progresses the audience is almost as confused as those on board the Odyssey 1, not knowing what is real and what isn’t.  The film is well paced and the visual effects both well done and effective.

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

Starring: Steve Pinder, Michael J. Cline and Maya Jeyam
Directed by: Quinn Armstrong
Rated: NR
Running Time: 90 minutes
Cranked Up Films

Our Score: 3 out of 5 Stars

Horror is truly different for everyone. For me, it’s spiders. Most bugs I’ll get up and close with kleenex to dispose of, but if I spot a spider, I’m grabbing the nearest blunt object and potentially putting a hole in the wall. For others, it could be a variety of things, blood and guts, unnatural fears, possession, clowns, etc. For some, a film like “The Exorcism of Saint Patrick” is an all too real microscope on their own trauma that they’ve dealt with.

The film is primarily between Pastor Pat (Steven Pinder) and Patrick (Michael J. Cline). The two are at a lonesome cabin near the woods because Patrick’s parents want Pastor Pat to convert him. Not to Christianity, but to heterosexuality. The shy, bullied teenager is bullied even further by Pastor Pat. Pastor Pat only refers to him as Trick, basically implying that once he renounces his homosexuality, he’ll actually be identified as a person. Pastor Pat forces him to do repetitive demeaning tasks, belittles him, hits him, and a variety of other cruel “treatments.” Patrick is unwilling, afraid and alone, emphasized by how much his parents hope Pastor Pat’s “treatment” works. The film quickly addresses and touches on topics of LGBTQ+ oppression, suicide, assault, depression and it’s only a matter of time before past, deceased patients of Pastor Pat decide his reign of terror needs to end.

The first half of “The Exorcism of Saint Patrick” can easily be a real life horror of its own, before it takes a supernatural turn. The film is way more layered than what I’ve laid out, showing hints of Pastor Pat’s own personal sexual repression, as well as how he channels that into his profession and tactics. The dialogue between the two, at times, feels thoughtfully introspective. That being said, it doesn’t necessarily make Pastor Pat sympathetic because he has clearly channeled his own problems into undeniable cruelty.

As for whether or not the supernatural elements equal horror, I’m a little inclined to say it doesn’t necessarily coalesce in the end. The film does seem to drag a bit as it reaches the finish line. The film makes great use of practical gore, blood and other bodily fluid practical effects throughout, but it felt more like a drama than a horror. That being said, “The Exorcism of Saint Patrick” is terrifying for a certain segment who’ve had their sexuality questioned to the point of harm. The other aspect of this film is that it’s the first of a trilogy of anthology films, referred to as “Fresh Hell,” by writer-director Quinn Armstrong. Depending on how the following films shape-up, Armstrong is either exploring the individual horrors we all deal with or showing the wide-ranging ability of horror to be fun, scary and serious.