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.

Starring: Olivier Rabourdin, Kate Moran and Marc Barbe
Directed by: Claude Schmitz
Rated: R
Running Time: 117 minutes
Yellow Veil Pictures

Our Score: 2 out of 5 Stars

I feel like I’m flipping a coin anytime I see a horror or thriller film that had its premiere at Cannes Film Festival. For every time I get a film I enjoy, like “Parasite,” “The Innocents” or “Neon Demon,” I make the mistake of sitting through “The Killing of Sacred Deer” or “Titane.” In comes “The Other Laurens,” a film that checks the right boxes for me. Lynchian? Check. Neo-noir? Check. Dark comedy? Check. This should be good, but it isn’t.

Gabriel (Olivier Rabourdin) is a miserable private investigator in Brussels, who sticks out like a frog on a log, although most people would see him and immediately forget him. Compounding his misery is Jade (Louise Leroy), his identical twin brother’s daughter, notifying him that his brother Gabriel has died in a car crash, although the events surrounding it don’t add up. Having been estranged from his brother for quite some time, Gabriel not only finds that his brother’s life is a mess, but there could be something sinister pulling the strings he’s attempting to untangle.

About an hour into “The Other Laurens,” I began to wonder, not only where the time went, but if the plot had even furthered itself. While we get to understand more about Gabriel, Jade seems to just be viewer eye candy. Anytime we get to potentially learn more about it, the film seems certain that we need more reassurance that Gabriel is as frumpy as he looks. It’s nothing against the acting, at all, it’s just that Gabriel isn’t a compelling lead even if he is a flawed hero. I understand his purpose to the plot, and the theme of personal evolution and escaping the shadow of your much better sibling, but it never coalesces, even by the time the film warps up. At times it feels like it’s about to pull a fast one on you and make you re-evaluate it, but it doesn’t

“The Other Laurens” is well-acted, well-shot, and at times has a perfect atmospheric homage to 80s aesthetic, but it’s also exhaustingly written to a fault. It’s easy to fault a movie’s runtime when things begin to dry up, but it’s not just that. Even when the film is engaging you, it seems uninterested in Gabriel and even if you’re still interested. There are several scenes and moments of dialogue that really suck you in, but then it’s overshadowed by another moment that appears to serve no purpose other than to further the point that Gabriels’ life has been relatively meaningless and meandering up until this point. He’s potentially handling the most personal, and diabolical case of his life, yet it never feels like it. Some of the promotional material before I watched this film painted it as a slow burn, but it’s more like expecting damp wood to suddenly roar to life.

• BONEYARD
• Starring:  Brian Van Holt, Curtis Jackson and Mel Gibson.
• Directed by:  Asif Akbar
• Rated:  R
• Running time:  1 hr 40 mins
• Lionsgate

New Mexico.  2009.  While out walking their dog, a citizen comes across what appear to be human bones.  Further investigation turns up no less then eleven bodies.  The place is a virtual boneyard.

I have been a champion of filmmaker Asif Akbar since I saw his 2012 documentary, “Top Priority: The Terror Within.”  He followed with such films as “Astro” and last year’s spy-thriller “MR-9: Do or Die,” films that I enjoyed immensely.  And just when I think I’ve got him pegged as an action director, he throws me a curveball with the psychological drama “Boneyard.”

After the above mentioned remains are discovered, it falls to Albuquerque detective Ortega (Van Holt) and his partner (Nora Zehetner) to investigate the grisly findings.  They are offered assistance from the FBI who send in the laid back, but to the point, Agent Petrovick (Gibson, in his best performance 2020’s “Fatmam”).  As the story backtracks via flashbacks we discover that both men are dealing with the demons of their past, making this case personal.  As the story progresses, we find ourselves trying to solve the crime with them.  It’s the once-disgraced detective Tate (Michael Sirow).  No, wait, it’s the quiet man who has a habit of trying to give young girls a lift (Weston Cage Coppola).  It’s…well, you get it.

The film is well cast, with Gibson and Van Holt leading the way.  Coppola (yes, he’s Nic’s son) is well cast as the quiet man of faith who may or may not be a killer.  And special mention for Mr. Sirow, who makes you care for what should be an unsympathetic character.

The script, co-written by Akbar and three others, is reverent when it needs to be, but not afraid to throw in some much appreciated humor now and then.

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

Starring: Cassie Hamilton, Zarif and Chris Asimos
Directed by: Alice Maio Mackay
Rated: NR
Running Time: 81 minutes
Dark Star Pictures

Our Score: 3 out of 5 Stars

On one hand, “Satranic Panic” is a film featuring heaping doses of drag shows, demons and dismemberment. What more could you honestly ask for in an LGBTQ+ horror film? On the other hand, the film does something you wouldn’t expect in between scenes of blood and viscera, it makes you want to have a drink or a smoke with its characters while lending an ear as they discuss what’s on their world weary shoulders.

Aria (Cassie Hamilton) rules the stage, belting out mesmerizing songs that may or may not serve as plot points. Off stage, she misses Max (Sebastien Grech), the boyfriend of her best friend, Jay (Zarif). They casually recount, which helps set up the bizarre and sometimes comedic tone of the film, how Jay was murdered by Satanists, or at the very least, a group of people who enjoy demonic looking cult attire. During the discussion backstage, they’re attacked by a well-dress hillbilly man who shapeshifts into a demon. The encounter has convinced Aira and Jay that it’s finally time to find Max’s killers and get revenge, especially since Aria has demon sensing abilities, thanks to an estrogen shot.

While the plot comes off as chaotic, it’s never confusing. Instead of bogging the viewer down in more otherworldly details, it manages to take the cast from one adventurous excursion to another, while unveiling more about the emotional baggage and turmoil each character brings with them on the trip. Of course, the film has a villain and there is a connection between the cult who killed Max and the random appearances of demons. The villain represents what you can pretty much you can piece together from the title and cast of predominantly queer, nonbinary and trans individuals.

This was one of the many films I was unable to catch at 2024’s Panic Fest, which is a shame because this is the kind of film that works best with a crowd. While the laughs would be hearty, the attention to emotional reveals would be palpable by the hundreds of glued eyeballs on the screen. “Satranic Panic” has a bit of a Troma charm to it, which means it’s far from being a mainstream film and will be adored by horror fans. Generally speaking, horror has been a safe haven for the outcasts of society. Seeing the trans community swipe back at Christian nationalists who believe someone’s sexuality is the downfall of society, wouldn’t quite resonate as much as it does outside the horror fanbase and LGBTQ+ community.

Despite “Satranic Panic” being her fourth film, there’s this likable first-time indie vibe that permeates throughout director/writer Alice Maio Mackay’s work. It’s surprising because the vibe radiates underneath the cheeky and emotional confidence of its cast (with major props to Hamilton and Chris Asimos), its gloomy neon glow and ludicrous plot that makes us feel genuine connections to our characters on their chaotic road trip. While the movie sometimes fails to balance its cheese and seriousness, especially with it’s underlying themes, “Satranic Panic” is still an entertaining embodiment of gory cinematic passion.

Starring: Mick Fanning, Luke Hemsworth and Craig Anderson
Directed by: Vaughan Blakey and Nick Pollet
Rated: NR
Running Time: 81 minutes
Blue Fox Entertainment

Our Score: 1 out of 5 Stars

I don’t think I’ve seen a surf movie, and no, I don’t count “Point Break.” So, when I get a hold of a film called “The Greatest Surf Movie in the Universe,” I kind of have to take it at its word, regardless of my dislike of superlatives. The stop-motion doll film, with live-action narration by Luke Hemsworth, began oddly interestingly enough. A “not-completely-sold-on-the-premise” Hemsworth tells us that a deadly virus has wiped out about 75% of everything on the planet in 2034; humans, bugs, animals, etc. He explains that in a mad dash to stop the death of every known species, a scientist creates a vaccine that instantly erases all memories of surfing. Hemsworth, who still doesn’t seem sold on the premise after five scenery chewing minutes, tells us that the Surf God is getting a team together to save surfing.

The plot reads like a surfer stoner version of “Team America” mixed with a vaccine version of “Eternal Sunshine of the Spotless Mind.” Unfortunately for the supposed best surf movie in the known universe, too much pot was smoked. Other than Hemsworth’s magnetism, the stop motion dolls are about as functional at moving a plot along as pre-schoolers playing with Barbies or G.I. Joes. Once you realize the jokes are all anatomical and scatalogical, without any real variation, the smallest of smirks starts inverting causing your eyes to roll. The film struggles mightily to land a joke and that’s what attempts to do for over an hour. The other issue is that our characters are all surfers, who don’t have acting chops, natural likeability or any discernible movie making skills. It’s made worse by the fact that Hemsworth pops up every once and a while, reminding us that even a C-List cast could have enhanced the characters, the humor, and the overall film.

Maybe I’m not the right demographic for this film, which is why I refuse to discuss my overall boredom with this film any longer. Maybe it’s all inside jokes and I need to spend a week on the beach catching waves to find it entertaining. Maybe the half dozen or so montages of real surfing were supposed to be cool instead of dry. Maybe I wasn’t supposed to get the urge to check my phone every minute. If that’s the case, an incredibly niche audience will adore this film. As for being the greatest, in a lot of ways it still is because it’s the only surf movie I’ve seen. That also means it’s the worst one I’ve ever seen.

Marcus Dunstan started off his career with a film called “Feast” in the early 2000’s, which also spawned two sequels. He also wrote SAW IV, V, VI and SAW 3D. His directorial debut was “The Collector” in 2009, which also has a sequel, “The Collection” in 2012. His latest film “#AMFAD All My Friends Are Dead” was just released and Media Mikes had a chance to chat with him about the new film as well as his plans for the upcoming sequels to SAW and The Collector coming soon!

Starring: Keir Gilchrist, Lucy Hale and Francesca Eastwood
Directed by: Daniel Andre
Rated: R
Running Time: 91 minutes
Lionsgate

Our Score: 1.5 out of 5 stars

Anytime I watch a bad comedy, I always feel like writing, “comedy is hard.” That’s because it is. During my most recent trip to San Diego Comic-Con, I spent an off-night watching comedians at an open-mic night. I’d like to say they all performed well, but 3 out of 4 times, the unknown comedian on-stage bombed. At least the 1 out of 4 kept things interesting every 15 minutes. Cut to several weeks later, I’m watching another comedian, director/writer Daniel Andre bomb on screen with “Running on Empty.”

The film starts out interestingly enough. Mort (Keir Gilchrist) is a mortician (I can’t tell if this is a play on words or a bad joke) who lives in a world where we have figured out a way to determine one’s death day, or as the film calls it; life day count. Ignoring the science and notion that life is predetermined, we focus on Mort who finds out he has less than a year to live, which causes his fiance, who has a much, much, much longer life day count, to dump him on the spot. In an effort to cheer Mort up, his friend recommends a dating site for other 20-to-30-somethings in his position who have only days left on this Earth. Then the film keeps making the plot more complicated than it should be with a montage of bad dates, a sex worker, an angry pimp, a family that is troubled, but rarely seen, and the potential of finding the love of his life. Also, for whatever reason, he continues to work his 9-to-5 at the morgue.

There’s a lot of funny people in “Running on Empty,” like Jim Gaffigan and Jay Pharoah, but just like the title, their creative juices are hampered and running low. Gaffigan gets in a few clever quips (or maybe I like him enough to forgive the bad humor), but it’s obvious he only was on-set for a day. Same with Pharoah. As for Chilchrist, it’s difficult to put any blame on him for Mort’s dull unlikeability. The only time Mort works as a character is when he does find love, but it’s so brief and fleeting it makes you wonder if Andre even knew how to write the romantic part of his romantic comedy. “Running on Empty” is like an unrealized idea for a love story with a series of sketch comedy ideas that are tonally inconsistent, predictable and awkwardly portrayed beforehand.

There’s actually some good stuff here, but it’s briefly scattered throughout. The only part that kept me constantly entertained was relegated to the end, for whatever reason. Andre could have benefitted from input, or even improvisation by the cast. The dialogue is wooden because none of the conversations between characters feels natural. Even the comedy feels like a stand-up comedian feeling around to see what works, only to find out that none of it does before it’s too late.

• TWISTERS
• Starring:  Daisy Edgar-Jones and Glen Powell
• Directed by:  Lee Issac Chung
• Rated:  PG 13
• Running time:  2 hrs 2 mins
• Universal/Warner Bros.

I always marvel when a bad storm hits here in the Midwest, both at the way the weather rapidly changes as well as at those that get in their cars and trucks and pursue it.  Usually it’s the low man on the local news weather team, shouting over the wind and rain hitting their trucks while the senior weather person keeps saying, “stay safe out there, Bob!”  Though there have been two major tornadoes within 100 miles of my house near Kansas City I am relieved that, while my neighbor recently lost a large section of his fence, and I once found my grill cover in my other neighbor’s yard, I have never experienced the level of disaster shown in the new film “Twisters.”

The film begins in a familiar way.  A group of storm chasers tracking a funnel cloud, hoping to gather scientific data.  However, they underestimate the strength of the storm and soon find themselves seeking cover from a true once in a lifetime storm.  One that changes forever the lives of those that survive it.

Full of amazing visual effects and a likeable cast, “Twisters” is more of a comment on today’s social media footprint then on the weather.  Kate (Edgar-Jones) has not forgotten the friends she lost five years earlier and now, instead of chasing storms, she tracks them for the National Weather Service.  She is brough back out into the field by Javi (Anthony Ramos), her one-time partner in both storms and romance.  Javi is now partnered with a mysterious company whose intentions may not be as honorable as presented.  They find themselves pitted against Tyler (Powell), a self-proclaimed “tornado wrangler” who sells t-shirts and has his own popular Youtube channel.  Will these two factions put aside their differences when it matters?  Maybe.

While it’s obvious that the cast is having a lot of fun, the drawback to this film is the script.  There are so many moments where an idea begins to show itself on screen, only to somehow be dismissed with the audience left wondering “whatever happened to….?”  Oh, and – SPOILER ALERT – there are now flying cows!  What could have been a Category F-5 of a film weakens to a slight breeze in the storytelling department.  Which is a shame because, as I said, the characters are likable.  You just wish they had an idea of what they’re doing.

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

• FLY ME TO THE MOON
• Starring:  Scarlett Johansson, Channing Tatum and Woody Harrelson
• Directed by:  Greg Berlanti
• Rated:  PG 13
• Running time 2 hr 12 mins
• Apple +

July 20, 1969.  A day of some significant events.  “Lost” actor Josh Holloway was born.  The number one song in the USA was “In the Year 2525” by Zagar and Evans.  Oh, and the United States landed a man on the moon.  Right?

Kelly Jones (Johansson) is a marketing wiz who will stop at nothing to get the job done.  She attracts the attention of the mysterious Moe Berkus (Harrelson), who introduces himself as an emissary of the US government, most notably NASA.  The country is still reeling from the tragedy brought about by the fire that killed the Apollo 1 astronauts and funding is running low.  Per President Kennedy’s directive to put a man on the moon by the end of the decade, there is a lot riding on the upcoming Apollo 11 mission.  So much so that Kelly’s job is to make sure we “land” on the moon…no matter what.

A fun and nostalgic trip back in time, “Fly Me to the Moon” is a film that combines the right amount of comedy, drama and, yes, romance to create a very enjoyable two hours at the movies.

Johansson is well cast as Jones, a woman who understands that for her to succeed in the male dominated world of marketing you sometimes have to bend the rules.  As the mysterious Moe, Harrelson at his witty best.  The casting trio is completed by Tatum’s Cole Davis, the launch commander who is still haunted by the Apollo 1 tragedy.

As the space agency continues to prepare for the upcoming launch, Kelly and her staff are off in a far away hangar, where “the moon” has been built, complete with lunar module, and a cast of actors ready to “land” at a moment’s notice.  As fact and fiction continue to one-up each other, much is learned about the three principal characters.  It’s a fun film that is very much worth a watch.

Believe it or not, there are people who still don’t believe we went to the moon.  I had a friend who once confronted Apollo 11 astronaut Michael Collins at a convention and got into a shouting match with him, demanding to know how they survived the “radiation belt.”  It got so loud we were asked to leave.  There are even rumors that NASA hired director Stanley Kubrick, whose “2001: A Space Odyssey,” featured ground breaking visual effects.  This proposal is commented on in the film and it garnered some great laughs by those aware of the rumor.  And it was just a rumor.  Right?

On a scale of zero to five, “Fly Me to the Moon” receives ★★★★

Tami Stronach is better known as the Childlike Empress from the 1984 film “The NeverEnding Story”. Her and her husband, Greg Steinbruner, star in the new film “Man and Witch: Dance of a Thousands Steps”, which marks her return to the big screen. The film is about “A lonely goatherd, cursed at birth to never marry, strikes a deal with a reclusive witch to reverse the spell. He must complete three impossible tasks to find true love.” Media Mikes had a chance to chat with Tami and Greg about the new film and what fans can expect.