“Parasite,” the South Korean thriller directed by Bong Joon-ho, made Oscar history tonight when it became the first non-English language film to win Best Picture at the 92nd Annual Academy Awards.  In doing so, it took down more heavily favored films like “1917” and “Once Upon a Time…in Hollywood.” 

Director Bong Joon-ho became the first person to take home four awards in one ceremony, winning Oscars as the director, co-producer and co-writer of the film.  He also received the award as the director of the year’s Best International Feature Film.   

Joaquin Phoenix was named Best Actor for his work in “Joker” while Renee’ Zellwegger took home the Best Actress award for her portrayal of Hollywood legend Judy Garland in “Judy.” 

Supporting Oscars went to Brad Pitt for “Once Upon a Time…in Hollywood” and Laura Dern for “Marriage Story.”  Dern paid tribute to her parents, former Oscar nominees Bruce Dern and Diane Ladd, in her acceptance speech.  

“Toy Story 4” was named the years Best Animated Feature.   Here is a complete list of tonight’s winners:  

BEST PICTURE  

“Parasite”  

BEST DIRECTOR

Bong Joon-ho – “Parasite”

ACTOR IN A LEADING ROLE

Joaquin Phoenix – “Joker”

ACTRESS IN A LEADING ROLE

Renée Zellweger – “Judy”  

ACTOR IN A SUPPORTING ROLE

Brad Pitt –  “Once Upon a Time… in Hollywood”  

ACTRESS IN A SUPPORTING ROLE

Laura Dern – “Marriage Story”  

ORIGINAL SCREENPLAY

“Parasite” – screenplay by Bong Joon-ho and Han Jin-won  

ADAPTED SCREENPLAY

“Jojo Rabbit” – screenplay by Taika Waititi

BEST ANIMATED FEATURE

“Toy Story 4”  

INTERNATIONAL FEATURE FILM

“Parasite” – South Korea

DOCUMENTARY – FEATURE

“American Factory”  

DOCUMENTARY – SHORT SUBJECT

“Learning to Skateboard in a Warzone (If You’re a Girl)”  

LIVE ACTION SHORT FILM

“The Neighbors’ Window”  

ANIMATED SHORT FILM

“Hair Love”  

ORIGINAL SCORE

“Joker” – Hildur Guðnadóttir  

ORIGINAL SONG

“(I’m Gonna) Love Me Again,” from “Rocketman” written by Elton John and Bernie Taupin  

SOUND EDITING

“Ford v Ferrari”

SOUND MIXING

“Ford v Ferrari”

PRODUCTION DESIGN

“Once Upon a Time…in Hollywood”  

CINEMATOGRAPHY

“1917”

MAKEUP AND HAIRSTYLING

“Bombshell”

COSTUME DESIGN

“Little Women”  

FILM EDITING

“Ford v Ferrari”

VISUAL EFFECTS

“1917”

Starring: Brian Emond, Zach Lamplugh and Jeffrey Stephenson
Directed by: Zach Lamplugh
Rated: R
Running Time: 90 minutes

I used to work as a morning news producer in the Kansas City metropolitan area. One of the strangest things I ever came across during my time was during the closure of the Wentworth Military College in Lexington, Missouri. Cpt. Scott Nelson, an instructor at the former private university, believes to have tapped into the language of Bigfoot (or is it Bigfeet?). He believed in it so thoroughly, he served as a keynote speaker at several Sasquatch conventions. I guess what I’m trying to say is, not every Bigfoot believer is some backwoods simpleton. That’s one of the few charming takeaways you’ll get as well if you happen to catch “The Vice Guide to Bigfoot.”

Vice reporter Brian (Emond) loathes his job. He entered journalism in hopes of tracking down a juicy story or saving the world. Instead he’s chasing after clickbait stories and highlighting war torn Crimea’s craft beer scene. Brian’s constant in life, other than the terrible stories he reports on, are his cameraman and producer, Zach (Lamplugh). Brian reaches his breaking point when the two are tasked with going on a hunt for the infamous, Bigfoot, along with Youtube Sasquatch hunter Jeff (Stephenson).

“The Vice Guide to Bigfoot” is almost a mockumentary in the same vein of “What We Do in the Shadows,” but it’s more focused on mocking other things, like the current state of journalism and Vice’s attempts at it. It also has a lot of humor at the sake of online cryptozoologists, hillbillies and social media. While there is a lot of comedy, at a character’s expense, the film is never cruel. Everyone is given their own backstory that’s sympathetic, so that they can have their own form of redemption by the film’s end.

In a lot of ways, the movie is far from being about Bigfoot which works to its benefit. Especially since some found footage or mockumentaries prior, like “Willow Creek,” more or less tread familiar tropes despite a change of scenery. While it’s a pretty damn funny movie, it’s hard to see myself watching this again by myself. I may watch it again if I want someone else I know to watch it, since some jokes work better with a group. In some ways that’s a knock at the movie, but I feel that it’s sufficiently funny and entertaining enough, that it’s worth a watch.

BIRDS OF PREY
Starring: Margot Robbie, Ewan McGregor, Rosie Perez, Jurnee Smollett-Bell, Mary Elizabeth Winstead, Ella Jay Basco
Directed By: Cathy Yan
Rated: R
Running Time: 109 mins.
Warner Brothers

After a major breakup, one Harley Quinn is down in the dumps. But dammit if she’s not going to lift herself out of it and take audiences along for the ride. And what a wild ride it is. Cathy Yan and producer/Harley herself, Margot Robbie deliver a creative, intense and above all, fun burst of action that really couldn’t be better placed on the calendar than right before Valentine’s Day. Grab your favorite colorful candy, your friends, your pet hyenas (just not any shitty exes) and go.

For those unfamiliar with Ms Quinn, director Yan opens with a helpful primer without  having to look at a single frame of Suicide Squad. HQ was a brilliant med student-turned-psychiatrist-turned-lover of the Joker, her former patient. It was a position that allowed her to get away with murder, possibly literally. No one was crossing the Clown Prince of Crime. Unfortunately for her, it was also a subjugated position. Her schemes weren’t appreciated when they succeeded, she was abused and taken for granted. Yan doesn’t go into the particulars of the breakup and blessedly doesn’t bring Jared Leto or any other iteration of “Mr. J” in here—because he’s besides the point—but Harley is a bit of a mess as a result. She’s already dealing with an identity crisis when a crime lord named Roman Sionis (McGregor) places a bounty on the young girl that Harley herself is meant to be delivering to him in 24 hours, on pain of death. 

If the above has you questioning where the “Birds of Prey” from the title come in, you would be right, but I’d also wonder if you watched a single trailer for this movie. This is very much the Harley show. Her teammates come in gradually—Black Canary (Smolett-Bell) first and most prominently, followed by police officer Renee Montoya (Perez) and Huntress (Winstead). They all have their own grievances with Roman. The good news is, Harley cheerfully gets you up to speed on their backstories as they join the party. Meanwhile the actresses truly make the most of their limited screen time. Winstead in particular sells an assassin who is as fierce in battle as she is socially awkward. I mean, if all you do is train for vengeance, yeah, you might not be great with new friends.

The person who gets the most time to balance out Harley’s zaniness with his own brand of ham is Ewan McGregor as Roman, aka The Black Mask. He and main enforcer, Mr. Zsasz (Chris Messina) are operating on their own levels of strange and flamboyant and I was into it. Again, he could have even gone for more over the top as far as I’m concerned, but his finale left me more than satisfied. Above all, if the worst I can say about this movie is I wanted more and not less in a time where bloated two and a half hour runtimes are the norm (sorry, Aquaman!) that’s not a bad thing.

Finally not to mix up my IPs or anything, but as this movie unfurled, I actually thought of Disney Imagineers. As it goes, they’re encouraged to “plus” their rides and attractions–a phrase they use when taking a solid idea and ramping it up with “what if?” possibilities. Every action sequence in Birds of Prey feels like it’s been plussed. It’s not enough that the stunt work be impeccable but what if everyone also dressed fantastic? Or what if a gunfight takes place among rainbow smoke bombs? Turn on some sprinklers while you’re at it! Have a climax in a carnival. The result is a film that feels like a comic book in the best of ways.

Going into the new year, I was majorly psyched for the trifecta of big name female-led superhero movies we have coming our way. Birds of Prey just blew the doors off 2020 and raised the shiny, glittery bar. Bring on Natasha and Diana.

Kirk Douglas, one of the last remaining stars from Hollywood’s Golden Age, died today at the age of 103.  He leaves behind not only an amazing legacy on screen but one off of it as well.

Born Issur Danielovitch Demsky on December 9, 1916 in Amsterdam, New York, to Russian immigrant parents, the family adopted the last name of Demsky, which was the last name taken by his uncle, who came to America before his parents.  He spent his younger years working several jobs to help support his family – he had six sisters – and did so up until he joined the United States Navy.  Prior to enlisting he legally changed his name to Kirk Douglas.  He served on a submarine during World War II and was discharged in 1944 due to injuries sustained during an accident.

He began his acting career when he was granted a scholarship to the American Academy of Dramatic Arts.  He was able to support himself, barely, by doing a lot of radio work.  He made his stage debut when he replaced Richard Widmark in “Kiss and Tell.”  He made his film debut in 1946 after a former Dramatic Academy Classmate named Lauren Bacall recommend him to a director.  That film, “The Strange Love of Martha Ivers,” co-starred Barbara Stanwyck and help launch his extraordinary career.

Always enjoying his work in the theater, Douglas made his Broadway debut three years later.  That same year he starred in the film “Champion.”  His performance earned him his first of six Academy Award nominations.

For the next six decades he starred in some of the greatest films of their eras, including “The Bad and the Beautiful” (Oscar nomination), “20,000 Leagues Under the Sea,” “Lust for Life” (Oscar nomination), “Paths of Glory,” “Spartacus,” and “Seven Days in May.”

But it was more than his film work that Douglas will be remembered for.  Despite Dalton Trumbo’s name on the Hollywood “blacklist,” Douglas, who was also the executive producer of “Spartacus” not only hired Trumbo to write the screenplay for the film but gave him screen credit.  Douglas often said that hiring and supporting Trumbo was the proudest moment of his career.

Douglas bought the rights to the Ken Kesey novel “One Flew Over the Cuckoo’s Nest” and in 1963 had it adapted into a play, in which he starred.  He tried for many years to produce a film version of the play but could never find the monetary backing.  He gave the rights to the property to his son, Michael who, with producer Saul Zaentz financed the 1975 film version.  Though Douglas had played the main character of Randle McMurphy on stage, he was deemed too old to play the role on film.  The part went to Jack Nicholson, who won his first Academy Award for his performance.  The film went on to earn nine Academy Award nominations and became the second film in history to win the top five Oscar categories (Picture, Director, Actor, Actress and Screenplay).

In 1996 he was given an honorary Academy Award in recognition of his amazing career and for being  a creative and moral force in the motion picture community.

Douglas was married twice and is survived by his wife Ann, who will amazingly turn 101 in April, and sons Michael, Joel and Peter.  His youngest son, Eric, passed away in 2004.

The wait is over! It has been nearly 10 years since the original anime series “FLCL” and we are given not one but two new seasons of Adult Swim’s popular anime series. “FLCL: Progressive” and “FLCL: Alternative” are both being released for the first time ever as a Blu-ray combo pack from Warner Bros. Home Entertainment. Based on the original anime series written by Yōji Enokido and from director Kazuya Tsurumaki, the collection propels Haruko and her yellow Vespa back into action with 12 episodes from FLCL: Progressive and FLCL: Alternative. If you are fan of the original anime series these new episodes do not disappoint.

Official Premise: The highly anticipated sequel to the 2001 original FLCL, FLCL: Progressive tells the story of 14-year-old Hidomi and her classmate, Ide, as the war between Medical Mechanica and Fraternity continues. Now in the form of their teacher, Haruko Haruhara returns alongside another otherworldly being, Jinyu, a gorgeous Chrysler Bel Aire and her yellow Vespa to unleash their hidden potential.

FLCL: Alternative, the third and final season centers on the misadventures of 17-year-old Kana and her friends, Mossan, Hijiri and Pets. Living a seemingly normal life, the group’s lives are flipped upside down when Mecha falls from the sky and arrives with the guitar-wielding Haruko Haruhara. Once again determined to take out Medical Mechanica, Haruko works to awaken Kana’s N.O. channel before the relentless iron takes over the world.

“FLCL: Progressive & Alternative” comes from the legendary anime studio Production I.G and Adult Swim. The special features include a 15-minute never-before-seen documentary that dives into the making of both seasons featuring interviews with voice talent and crew. Additional special features include a “Meet the Creators” piece focused on the new era of show creators, a segment about “The Pillows” relationship with the series, a glimpse at the English voice actors behind FLCL together, and a look into the production of FLCL: Alternative.

The special features are solid and give a solid behind-the-scenes look into this wild and crazy show. Both seasons come with English language tracks. The 1080p transfers look solid in their original aspect ratio: 1.78:1 and come uncut like the Adult Swim airings. I love the look of this show it is very unique and the colors look solid with these transfers on Blu-ray. This combo pack also comes with a digital copy of both seasons, so that is an extra bonus for fans of the series.

BLU-RAY COMBO PACK SPECIAL FEATURES

• The Making of FLCL: Progressive & Alternative: An in depth look behind the scenes featuring interviews with the cast and crew.
• Meet the Creators
• The Pillows
• English Voice Actors
• Production: Behind-the-Scenes

FLCL: ALTERNATIVE DVD SPECIAL FEATURES

• English Voice Actors
• Production: Behind-the-Scenes

COMBO PACK INCLUDES ALL 12 EPISODES

1. RE: Start
2. Freebie Honey
3. Stone Skipping
4. LooPQR
5. Fool On the Planet
6. Our Running
7. Flying Memory
8. Grown-Up Wannabe
9. Freestyle Collection
10. Pit-a-Pat
11. Shake it Off
12. Full Flat

Starring: Jeremy King, Noah Segan and Toni Trucks
Directed by: Courtney and Hillary Andujar, Anthony Cousins, Emily Hagins, Aaron B. Koontz, Chris McInroy, Noah Segan and Baron Vaugh
Rated: R
Running Time: 103 minutes

For a moment if you could, look at two different subgenres; horror anthologies and horror parodies. There are some strong candidates in each category. For anthologies, you got “Creepshow” and “Trick R Treat.” For parodies, you got “Scary Movie” and “Tucker and Dale vs. Evil.” I know I’m leaving a few movies out of the categories, but there’s a reason I want you to think about these two. How difficult do you think it is to combine them? I know what some of you are thinking. “Cabin in the Woods.” But what if a horror anthology parody film even subverted that?

I know my opening salvo promises grand things, but for most horror aficionados, I promise that you’ll love “Scare Package.” Very rarely do I want to immediately rewatch an anthology film or parody after leaving the theater, so this is a rare occasion for me. The main reason is that anthologies stay out their welcome and parodies require an audience to soak up the hit or miss laughs. “Scare Package” is the kind of film that’s prime for an audience, but will certainly make most people sitting at home alone smirk at its mocking nature.

The one thing that makes “Scare Package” work, is Aaron B. Koontz, the man in charge of the wrap-around story, as well as the overall product. One caveat that Koontz revealed at Panic Fest, which this movie was screened at, was that he allowed creative freedom to all other directors and writers, while providing oversight. He wasn’t a guiding hand, but he certain was able to cherry pick the scripts that best fit his overall vision. It’s a delicate balancing act, which pays off in dividends. While some shorts in the anthology fit the ridiculing nature, other shorts don’t sneer as much, but still pay homage to an idea or manage to riff on a pop-culture idea.

I’d really like to dive into the individual shorts, but I’d feel it’s unfair and that I’d fall into the stereotype of reviewing anthology films; breaking each one down, outlining strengths and weaknesses while revealing which ones I favored. For a movie like “V/H/S,” I’d find that as a completely fair form of critique, but for “Scare Package,” it feels unfair. While a film like “V/H/S” is so scattershot, “Scare Package” is a, not to sound cliché, complete package. Everything is so fluid, you sometimes forget you’re watching an anthology.

The one thing “Scare Package” avoids is length. Sometimes these movies linger too long, even if the shorts and movie as a whole are good. A movie like “ABCs of Death” can work, but you find yourself fast forwarding on rewatches. With “Scare Package” you’ll undoubtedly find yourself finding some new nod or wink every time. The movie as a whole, and each individual short, serve as little bows to the ideas and genres that they parody. But like I said at the beginning, it also parodies “Cabin in the Woods,” which is becoming a genre on its own, where characters knowingly acknowledge or reference the tropes of the genre that are currently on display. It’s a difficult feat to pull off, but Koontz does it well, without disregarding the merits of the idea altogether.

“Scare Package” not only serves as a blueprint for future horror anthology parodies, but a blueprint for anthologies and parodies. It’ll make horror fans roar with laughter, and for those who aren’t into scary flicks, they’ll find fun in all the pokes and prods at the films they can’t stomach. I enjoy the fact that the horror community enjoys comedy, even when it’s directed at themselves. “Scare Package” is damn near a revelation, especially considering that one of the modern lovers of horror/shock films, Joe Bob Briggs himself, arrives on scene. “Scare Package” pulls out all the stops to make the audience laugh and grin. Koontz talked about the makings of a sequel, with a promise that it’ll parody sequels. I look forward to the promise, and the possibility of a franchise that’ll inevitably parody franchises, remakes, and nostalgia culture.

Starring: Kyle Gallner, Ryan Guzman and Alix Angelis
Directed by: Damien LeVeck
Rated: R
Running Time: 94 minutes
Shudder

Can found footage survive anymore? 2014’s “Unfriended” and 2018’s “Truth or Dare” played with the idea of realism by showing us that the paranormal can seep into social media and the Internet. Enter 2020’s “The Cleansing Hour,” a movie about an online stream that televises exorcisms to curious onlookers and morbid fans around the globe. Although the exorcisms, aren’t real.

Expanding on his 2016 short, Director Damien LeVeck squeezes out every drop of fun he can have in “The Cleansing Hour.” Reverend Max (Guzman) is far from being the man of God he portrays. Max and his friend Drew (Gallner) stage exorcisms, working with an online encyclopedia of demons so that every episode is fresh with a new other-worldly villain to fight. Afterwards, they generally drink and Max takes home a girl to record performing sexual acts. Their lifestyle is interrupted when things go awry during their latest broadcast though. The actor who was going to show up and be “possessed” never shows, so Drew’s fiancé Lane (Angelis) substitutes. But her acting is too good. Her voice changes, she digs her fingers into the chair she’s strapped into, shattering her nails, and her eyes have turned a stained yellow.

The movie doesn’t necessarily criticize or turn a mirror towards society, but it does take subtle digs at the social media culture permeating throughout the globe. While some people watch in horror, fully believing it’s real, others watch laughing. A livestream chat shows people who type trollish remarks as people on set begin to die, believing that it isn’t real. Or maybe they do and the Internet has made them soulless creatures. Although when the demon inhabiting Lane decides to poke fun at the digital age like one of the Evil Dead, the commentary and humor fall flat.

What helps “The Cleansing Hour,” as opposed to a film like “Truth or Dare,” is the small budget charm. The practical gore and blood effects explode, figuratively and literally. The actors, while not the best, may have a career after this film, especially Angelis who gnaws on the scenery like a demon hungry for human souls. It’s easy to forgive the cast and crew since they had a shoestring budget for a lot of the film’s flaws. Just don’t expect anything new to the exorcism genre other than the setting.

“The Cleansing Hour” is late-night fun that blends a couple of original concepts and tropes of the genre. Some might say the film has a twist, but for veterans of these movies, they’ll be able to spot the set-up. Even though I suspected the eventual outcome, I didn’t mind because of how brisk the pacing is. “The Cleaning Hour” is a surprise for those who come across it on Shudder, but don’t expect the 21^st century equivalent of “The Exorcist.” 

COLOR OUT OF SPACE
Starring: Nicolas Cage, Madeleine Arthur
Directed by: Richard Stanley
Rated: Unrated
Running Time: 1 hr 51 mins
RJLE Films

     Ladies and gentlemen, if you’re going to plunge into a pool of psychedelically deranged lunacy you might as well jump in feet first. Richard Stanley has arrived with a holiday gift that’s a little late but greatly appreciated and it’s gift wrapped in Alpaca fur. Its contents is the offspring of the trifecta of mania that no one imagined they’d ever see but secretly wished for: Cult-favorite director, Richard Stanley adapting a nearly century old tale of cosmically horrifying oddity by H.P. Lovecraft, top-lined by Nicolas Cage, who is maybe strictly here to ooze an excess of eccentricity (which is okay because it’s working!)   

 “Color Out of Space” opens with an excerpt of Lovecraft’s story, guiding us through a tour of rolling vegetative forestry, swollen from mist and fog. Combined with the onset of composer Colin Stetson’s majestic score (a follow up to his unforgettable work on Ari Aster’s “Hereditary”), it is clear that if nothing else the audience should buckle in for a highly satisfying visual and aural experience.     

The Gardner family has moved into an  inherited remote farmhouse to recollect and cope with matriarch Theresa’s (Joely Richardson) cancer diagnosis. Her husband, Nathan, (Nicolas Cage) has been dealing with his newfound domestic isolation by raising alpacas. Their three children are settling in individually via decidedly caricatured teenage ways – son Benny (Brendan Meyer) has started smoking pot with a local squatter-weirdo named Ezra (Tommy Chong, naturally) while their daughter Lavinia (Madeleine Arthur) has taken to theatrically carrying around a copy of Lovecraft’s omnipresent Necronomicon and practicing spells whilst cloaked on a white horse. Lavinia’s meeting of a local hydrologist turns the faucet on for a slow drip of Easter eggs that will please Lovecraftian fans everywhere, placing this story specifically just outside fictional Arkham, MA with references to H.P.’s Miskatonic University and other locations peppered in.   

 The Gardner family is barely settled in when a  luminous meteorite crashes in front of their house. Curiosity not to be ignored, the family investigate and while the children complain of high-pitched sounds, Nathan continuously and independently notes it is emanating a horrific unidentifiable odor…  right before remembering he has to tend to the alpacas.      

Things progress quickly from here. The hydrologist advises the Gardners that he suspects the area’s water table may be unsuitable to consume, the meteorite deteriorates and disappears into the Earth, their farm is suddenly billowing with exotic, colorful and alien plant and animal life. So, yes, now there’s exotic animal life AND alpacas. We learn that whatever the meteorite was… it’s in the water, it’s in the soil and it’s universe altering. It’s part of the farm and now it’s become a part of the Gardners and if you’re here for the Nicolas Cage variety hour, now is the time to prepare for some full-force scenery chewing.     

The family’s afflictions are all uniquely fashioned. Their youngest child is hearing voices coming from the family’s well, Nathan and Theresa become aggressively manic with their children and Lavinia can’t stop puking meteorite juice. Things are about to get a little… well, psychedelic.     

There’s no time for a why, how or what else after because this movie is ultimately singularly about the destruction of this one family and their space. Color Out of Space’s third act brings a full artillery of body horror, gore and disgusting imagery that’s stitched together with brain-melting and fur-sliming sequences of fantastical imagery and effects. Did I mention the alpacas?! Nathan tells his family they’re the animal of the future and they are most certainly the apex of this glorious fever dream.  At this juncture some viewers may feel that narrative has fallen casualty to special effect work, a sacrifice I’m happily willing to make if I must for a film like this, but ultimately the unknown is very much your co-pilot here.   

 There needs to be more Richard Stanley in Hollywood and certainly more Lovecraft.  Arguably there’s probably JUST enough Nic Cage but when he hits, it’s a home run of wild eyed lunacy that’s always welcome in my universe.      

The brilliance of Lovecraft’s story is that it’s terror is limited only by the confines of one’s imagination. Put to screen it will immediately never satisfy all fans and therefore this film is probably best utilized as an experience of your senses. This is a film to see in a theater if it all possible given its limited release. “Color Out of Space” will check all the boxes if you’re looking for satisfying cosmic horror, a colorful Lovecraftian journey or if you’re just scratching an itch for wanting to watch Cage’s mind unravel for awhile and it will do and or all of these things with the dial turned to eleven.

Starring: Meave Higgins, Barry Ward and Will Forte
Directed by: Mike Ahern and Enda Lougman
Rated: R
Running Time: 94 minutes
Wildcard Distribution

Driving instructor Rose has a bit of a secret. Only a few people know about it, and every once and awhile, someone who is told about that secret will seek her services. That secret is her ability to communicate with the dead. But an even bigger secret, is the key to her psychic abilities which is her father, who is no longer with her. She saw the disastrous and absurd result of those abilities and refuses to use them, even if it’s for good. That is until a cute, recently widowed father, Martin (Ward), comes along because he’s been pestered by his recently deceased wife.

There’s more to the spiritual rom-com “Extra Ordinary” than just Rose and her pursuit of happiness. Causing an equal amount of commotion in the background is a one-hit wonder musician, Christian (Forte). He’s looking to rejuvenate his deceased rock career, but not with a catchy new song. He’s on the hunt for a virgin sacrifice that’ll be offered up to Satan during the blood Moon. He enters Rose’s realm when the virgin he has an eye on is Martin’s teenage daughter.

One of the biggest strengths about this film is its irreverent humor. It’s never too peculiar, it’s never too crass or mean towards it’s cast and it seems to hover like a specter in this gray area where it remains charming, no matter how outlandish it gets. Credit goes to the directors and writers, Mike Ahern and Enda Lougman, but an equal amount goes to Forte and Higgins. Higgins provides this warmth and sincerity to Rose that’ll charm your pants off, or hopefully Martin’s. Forte, a mainstay in the bizarre comedy scene of America, taps into his natural off-the-wall humor and makes every scene with Christian an absolute delight.

As much as I’d love to give this ghostly rom-com a higher grade, it still feels like the plot has been stretched a bit too thin. If it wasn’t for the consistent jokes, this movie could have easily outstayed its welcome, and nearly does. It easily could have benefited from having a five to 10 minute shave off the runtime. However, when things start to feel a little bit too long the final third of the film, “Extra Ordinary” goes straight for the comedic jugular in its final act. So without that ending, as well as the performances, this movie came precariously close to failing to live up to its title.

From the silly things ghosts inhabit to Rose’s attitude towards life, this film is a pleasant surprise. It may be a hard sell, especially since the movie begins like a “Tim and Eric” sketch and Forte’s gonzo slapstick can be a bit much for some. If you find “Extra Ordinary” on a streaming service late at night, I guarantee it’ll find a way to put a smile on your face.

Starring: Cynthia Erivo, Joe Alwyn and Vondie Curtis-Hall
Focus Features
Running Time: 125 minutes
Film: 3.5 out of 5 stars
Extras: 3.5 out of 5 stars

In 1920 the United States passed the 19^th Amendment, which gave the women in America the chance to vote.  Part of the celebration planned for this year was to be the issuing of new $20 bills featuring the image of Harriet Tubman, an honor long overdue.

We find ourselves in the deep-south in the early 1850s.  “Minty” Ross is a slave on the Brodess Plantation.  She recently married John Tubman, a free man, and the couple implore Mr. Brodess to allow Minty to be free as well, even going so far as to offer a letter from a lawyer.  Needless to say, Mr. B is not keen on the idea and tells them “no.”  Minty is so upset she runs off and secretly prays for death to visit Mr. Brodess sooner rather than later.  One wish granted, another denied.

Featuring a powerful (and Oscar-nominated) performance by Cynthia Erivo, “Harriet” is a well-intentioned film that unfortunately isn’t as powerful as its star.  We learn that Minty suffers from “spells,” which she considers to be visions from God.  When she is put up for sale she runs away, with the hope of a local preacher (the always impressive Vondie Curtis-Hall) and eventually finds herself in Philadelphia.  Having left her family behind, she resolves to return to free them as well.  Soon she is caught up in what is referred to as “The Underground Railroad,” and proves herself to be a great conductor.  And that is pretty much the story in a nutshell.  We don’t really learn much about Harriet (the “freed woman” name she has taken) except that she loved her family and was instrumental in helping dozens of slaves escape their bondage.  Not a lot of insight.  It is an important and inspirational story and, in my mind, there was  lot more I wanted to learn about Harriet.

On the plus side, the performances are very strong, especially Ms. Erivo, who not only earned an Academy Award nomination for her acting here but also one for the song “Stand Up,” which she co-wrote.  The direction is strong, the pace is smoothly mapped out and John Toll’s cinematography is breathtaking.   That being said, Ms. Erivo’s performance alone is reason enough to recommend this film.

Extras include deleted scenes, an all too short look at the real Harriet Tubman and a very entertaining audio commentary by director and co-writer Kasi Lemmons.

Sadly, in typical government fashion, Harriet Tubman will NOT be honored on the $20 bill this year.  Last I read that won’t happen until 2028. 

THE GENTLEMEN
Starring: Matthew McConaughey abd Charlie Hunnam
Directed by: Guy Ritchie
Rated: Rated R
Running Time: 1 hr 53 mins
STX Entertainment 

There’s little that’s gentlemanly about the sordid cast of characters in director Guy Ritchie’s new action crime thriller “The Gentlemen.” However, there is plenty to enjoy in this wonderful caper that’s brimming with sharp dialogue, a delicious plot and a few laughs along the way. It is certainly Ritchie’s best effort since 2011’s “Sherlock Holmes: A Game of Shadows” and is only surpassed by 2000’s “Snatch” as his greatest overall work. With a talented, all-star ensemble cast, and a terrific hook at the start, Ritchie takes us on an exciting, twisting journey that’s certainly not for the kiddos. 

From an impoverished childhood in the United States, Mickey Pearson (Matthew McConaughey) rose above his situation to earn a Rhodes Scholarship to England’s esteemed Oxford University. Instead of becoming a law-abiding scholar, Mickey saw the monetary potential in selling marijuana to his fellow students. Those humble beginnings led Mickey, often through violent means, to build a multi-million-dollar illegal empire. Despite the power, and prestige he commands, Mickey has grown tired of the game and wants out to spend time with his beloved, yet equally criminal wife, Rosalind (Michelle Dockery, “Downton Abbey”), for whom he will do anything. 

Much of this background information is told to us during an extended, elaborate conversation between an unsavory, thick-accented private investigator named Fletcher (scene stealer Hugh Grant), who’s been hired by a jilted tabloid editor snubbed in public by Mickey, and Mickey’s righthand enforcer, Ray (played with subdued rage by Charlie Hunnam, “Sons of Anarchy”). For his efforts, which he has typed up in a screenplay form, Fletcher wants 20 million British pounds to keep his scoop silent. 

Meanwhile, Mickey finds a potential buyer for his empire, but there is a concern that this will show competitors that he has become weak. Blood is spilled in the water when one of Mickey’s illegal sites is robbed by a group of young, social media savvy thugs led by a man known simply as Coach (Colin Farrell). The plot only thickens with the introduction of overly ambitious, young Chinese mobster Dry Eye (Henry Golding, “Crazy Rich Asians”) and the accidental death of a Russian mobster’s son. 

McConaughey is perfect for this role. Of course, he is quite adept at playing it cool, calm and collected, as demonstrated in a variety of his previous performances. What makes this more notable is the vengeful side he fleshes out while playing Mickey. It’s something we don’t normally see from him and he is brilliant at unleashing the lion in “The Gentlemen.” For their parts, Golding is a nice surprise as a villain and Farrell is marvelously entertaining, harkening back to Brad Pitt’s unintelligible performance in “Snatch.” 

Written by Ritchie, the plot is chock full of twists and surprises that keep one glue to the silver screen, waiting on edge as to what is going to happen next. There are some laughs amidst the violence, which is brutal enough, along with adult-oriented lingo, to make “The Gentlemen” non-kid friendly. Ritchie’s pacing is just as quick as the dialogue with nary a dull moment. In the end, “The Gentlemen” is a jolly good time and the best release of the new year thus far!  

THREE CHRISTS
Starring: Richard Gere, Peter Dinklage
Directed by: John Avnet
Rated: R
Running Time: 1 hr 57 mins
IFC Films 

When you think of great films with mental hospitals as the setting, indelible titles such as 1975’s “One Flew Over the Cuckoo’s Nest” or 1990’s “Awakenings” probably come to mind. With a similar backdrop, the drama “Three Christs,” starring Richard Gere, boldly attempts to delve into the realm of paranoid schizophrenia by exploring a time when pre-fontal lobotomies, insulin-induced comas, and electroshock therapies were standard treatments. Directed by John Avnet (“Fried Green Tomatoes”), “Three Christs” alas fails to achieve any level of greatness as it is saturated with terrible melodrama and an overall lack of emotional connectivity.

 An adaptation of the 1964 psychiatric case study “The Three Christs of Ypsilanti” by psychologist Milton Rokeach, “Three Christs” takes us back to December 1960 when a bruised Dr. Alan Stone (Gere) is recording a defense of himself against accusations leveled at him by a disciplinary board. It’s a nice hook as it gives off a sense of mystery. We are soon taken back to the beginning during the summer of 1959 when he arrives at the Ypsilanti State Hospital.

 Having left a prolific teaching and writing career to pursue a study of delusional patients, Dr. Stone, with the help of his new assistant Becky (Charlotte Hope, “The Theory of Everything”), finds three men who all claim to be Jesus Christ. Joseph (Peter Dinklage), Leon (Walton Goggins) and Clyde (Bradley Whitford) are tragic figures with sad pasts. Each has been diagnosed as paranoid schizophrenics and left to essentially rot in near-barbaric conditions. 

With the encouragement of his wife (Julianna Marguiles), Dr. Stone challenges his peers and a reluctant hospital head by using more modern methods that don’t involve inflicting pain. The irony is that he is treating three men collectively who believe they are Christ while he himself does not believe in organized religion. Gradually he makes progress, but countless roadblocks make it a treacherous path. 

Despite having a solid cast, “Three Christs” falls flat on nearly every level imaginable. The story is without any unique qualities as it feels like any other run-of-the-mill medical drama. Its characters are nothing special and Gere seems to just rely upon every facial gesture he has ever used in his past films instead of pushing for something more. The pacing is sluggish, and the plot is predictable. Gere is also not believable as the father to two young, pre-teen daughters considering he was roughly 67 years old at the time of filming. Furthermore, we are supposed to believe Dr. Stone fought in WWII and Korea. Assuming his character matches his age, then Dr. Stone would have been 59 or 60 while fighting on the front lines against North Korea. Uh, no. Of course, to be fair I should mention the rest of the cast, which can be covered in one statement – every actor is so over-the-top with their performances you have to wonder how on earth the film ever got released, much less contemplate if Avnet should ever direct again. 

In the end, “Three Christs” is a strikeout.

BAD BOYS FOR LIFE
Starring:  Will Smith, Martin Lawrence and Joe Pantoliano
Directed by: Adil and Billal
Rated:  R
Running time:  2 hrs 3 mins
Sony Pictures

Riggs and Murtaugh.  Carter and Lee.  Tango and Cash. 

The law enforcement teams above are some of the most beloved in film history.  Another powerhouse was the team of Miami-based cops named Mike Lowrey and Marcus Burnett.  Starting with 1995’s “Bad Boys” and continuing with the 2003 sequel “Bad Boys 2,” the two blazed their way across the screen with flashy cars and blazing guns.  It’s been awhile, but Lowrexy (Smith) and Burnett (Lawrence) are back…and it’s a welcome return.

It’s an ordinary day at the women’s prison.  In the laundry, the inmates do their best to fold and stack.  However, one inmate (Kate del Castillo) is motionless, staring off as if she was in a trance.  When she’s approached she suddenly springs to life.  The carnage that follows is horrific.

Meanwhile, in Miami, Detectives Lowery and Burnett are speeding through the streets in Lowery’s Porsche.  Their destination:  the local hospital, where Burnett’s daughter is about to give birth.  The new grandchild causes Burnett to rethink his future and soon he informs Lowery and their captain (the always great Joe Pantoliano) that he is going to retire.  But when you’re a “bad boy” do you ever really retire?

Moving at an almost breakneck speed, “Bad Boys for Life” plays on screen like a live action version of “Grand Theft Auto.”  The pace is fast, yet the plot never feels rushed.  Smith and Lawrence have great chemistry together and their playful banter feels natural.  They are assisted by strong supporting turns from Paola Nunez and rapper DJ Khaled, who does well in a small role.  And for fans of the original, keep your eyes open for a cameo from “Bad Boys” director Michael Bay. If you wanted a movie poster or or canvas print American Sign Letters can do it for you.  

The production values are outstanding, with all of the light and color of Miami on display.  And I don’t know what cops in Miami make but Lowery seems quite comfortable in his penthouse pad and speedy Porsche.  All in all, a fine return to the screen for Lowrey and Burnett.  Now whatcha’ gonna do ‘til they come back for you?

“Joker,” director Todd Phillips’ “origin” tale about Batman’s greatest foe scored a total of 11 Academy Award nominations today, leading all films this year.  The film earned nods in several major categories, including Best Picture, Best Director (for Phillips) and Best Actor for Joaquin Phoenix.  “1917” and “Once Upon a Time…in Hollywood” tied for second place with 10 nominations each.

This year saw an amazing batch of first time nominees, many who have done award-worthy work in the past and have never been recognized.  They include Antonio Bandares (“Pain and Glory”) and Jonathan Pryce (“The Two Popes”) for Best Actor and Florence Pugh (“Little Women”) for Best Supporting Actress.  Scarlett Johansson earned her first two nominations this year, scoring nods for Best Actress (“Marriage Story”) and Best Supporting Actress (“Jo Jo Rabbit”).  But no less than eight of the acting nominees have Oscars already on their mantle while others, like Brad Pitt and Phoenix, have been nominated several times in the past.   The South Korean film “Parasite” also did well, earning six nominations, including Best Picture and Best International Feature Film (formerly Best Foreign Film).

Composer John Williams received his 52^nd nomination for his score the “Star Wars: The Rise of Skywalker.”  Here are the nominees in the major categories:

BEST PICTURE

FORD v FERRARI

THE IRISHMAN

JOJO RABBIT

JOKER

LITTLE WOMEN

MARRIAGE STORY

1917

ONCE UPON A TIME…IN HOLLYWOOD

PARASITE

BEST DIRECTOR

Martin Scorsese – THE IRISHMAN

Todd Phillips – JOKER

Sam Mendes – 1917

Quentin Tarantino – ONCE UPON A TIME…IN HOLLYWOOD

Bong Joo Ho – PARASITE

BEST ACTOR IN A LEADING ROLE

Antonio Banderas – PAIN AND GLORY

Leonardo DiCaprio – ONCE UPON A TIME…IN HOLLYWOOD

Adam Driver – MARRIAGE STORY

Joaquin Phoenix – JOKER

Jonathan Pryce – THE TWO POPES

BEST ACTRESS IN A LEADING ROLE

Cynthia Erivo – HARRIET

Scarlett Johansson – MARRIAGE STORY

Saoirse Ronan – LITTLE WOMEN

Charlize Theron – BOMBSHELL

Renee’ Zellwegger – JUDY

BEST SUPPORTING ACTOR

Tom Hanks – A BEAUTIFUL DAY IN THE NEIGHBORHOOD

Anthony Hopkins – THE TWO POPES

Al Pacino – THE IRISHMAN

Joe Pesci – THE IRISHMAN

Brad Pitt – ONCE UPON A TIME…IN HOLLYWOOD

BEST SUPPORTING ACTRESS

Kathy Bates – RICHARD JEWELL

Laura Dern – MARRIAGE STORY

Scarlett Johansson – JOJO RABBIT

Florence Pugh – LITTLE WOMEN

Margot Robbie – BOMBSHELL

This year ushers in a few things that you may be able to use when you play Trivia in a few years.  Should Phoenix win, he would become the second actor, following the late Heath Ledger, to win an Oscar by portraying the Joker.  This achievement has only been done once before, when both Marlon Brando (“The Godfather”) and Robert DeNiro (“The Godfather Part II”) each won Academy Awards for portraying Vito Corleone.  Also, this year marks the first time that a husband and wife were both nominated separately in writing categories.  Noah Baumbach is nominated for his original screenplay for “Marriage Story” while his wife, Greta Gerwig, is nominated for her adaptation of “Little Women.”

For a complete list of nominees, click HERE.

The Academy Awards will be presented on Sunday, February 9^th.

• REALITY QUEEN!
• Starring:  Julia Faye West, Denise Richards and Mike Tyson
• Directed by: Steven Jay Bernheim
• Rated:  Not Rated
• Running time:  1 hr 24 mins
• High Octane Pictures

You can’t get away from “them.”  The Kardashians.  The various Housewives of various counties.  “The Bachelorette.”  For good or bad, reality television has grabbed a major part of the world’s attention and, like it or not, it’s here to stay.

London Logo (Ms.West) is a CELEBRITY.  I use all caps to emphasize her status.  Known for her frequent magazine appearances, annual “nip slip” awards and exiting cars sans underwear, London is a mix of Paris Hilton and Jessica Simpson rolled up into one.  When things begin to go bad for London, who finds her fame declining with the appearance of the large-assed Kim sisters, she agrees to participate in a documentary about herself which will open the eyes of everyone involved.

As a critic, “Reality Queen!” is the kind of film you love to discover.  Cleverly written by a gaggle of writers, including director Bernheim, the film is an amazingly precedent look at the state of “fame” today.  Nothing is sacred as zinger after zinger is thrown out and the jokes hit much more often then they miss, a testament not only to the script but to the cast.

As London, Ms. West proves herself to be a fine comedienne.  Movies like this often rest on the shoulders of the actors who, if they don’t deliver the lines properly, bring the production down to the level of any recent National Lampoon film that didn’t begin with the words Van and Wilder.  She is also breathtakingly beautiful.  Denise Richards co-stars as London’s best friend, an actress named Angelina Streisand.  She also shows fine comic timing.  Other standouts include Loren Lister as London’s put-upon publicist, Cliff De Young and Jill Jacobson as London’s parents, the amazing Charles Fleischer as a Larry King-ish television host, Kate Orsini as the documentary reporter and the late John Witherspoon in one of his final film appearances.

Mr. Bernheim keeps the pace moving smoothly and I must give credit to he and production designer Ryan Henneman, whose production values are amazing for a film you normally wouldn’t consider “big budget.”  If you’re not in the mood for football this weekend, I highly recommend checking out “Reality Queen!”