Starring: Boyd Holbrook, Trevante Rhodes and Jacob Tremblay
Directed By: Shane Black
Rated: R
Running Time: 107 minutes
20th Century Fox

Not too long into “The Predator,” former Army Ranger, Quinn (Holbrook) is assessing an unthinkable predicament. He’s shackled in a military bus that’s carting around other former soldiers. These unmentionables of the U.S. military range from a veteran who’s PTSD has somehow manifested into ill-timed Tourette’s to a former Marine who grins through his suicidal tendencies. But Quinn, after listening to every sad story, might be the king of crazy or the only sane one on-board. He tells them that he’s handcuffed alongside them because he saw an alien. Unfortunately for his future comrades, and the audience, he’s not the Predator killing hero we need. And “The Predator” may not be the Predator movie we need either.

It’s not that Holbrook doesn’t have the muscles to go toe-to-toe with the big boys; it’s just that he’s not charismatic and his one-liners usually fall flat. I think that’s because most of his career has been spent being an antagonist, and he doesn’t have the pedigree that an Arnold Schwarzenegger or Bruce Campbell might have when spouting cheese at CGI monsters and creature effects. At least the cast around Holbrook makes up for it. Some of the highlights are a delightfully funny Keegan-Michael Key, an energetic scientist turned mercenary played by Olivia Munn, and Sterling K. Brown, who plays a bad guy so witty, you tend to forget or question why he’s pulling the trigger so quickly.

If I was to ever summarize the previous “Predator” films for someone who had never seen them, I’d have no problem. I’d actually have no problem hyping them up despite their flaws. I couldn’t do that with “The Predator” and I’d have a harder time summarizing what exactly the film is about. That’s mainly due to the script, that’s not only all over the place, but has a jumbled tone that squeezes in serious sci-fi stakes, family drama, juvenile humor, macho man action and stylized gore. Since it jams in so much with little finesse, the film never rises above being forgettably amusing. Even if you enjoy this movie, you’re never likely to watch it again or enjoy it as much on a second viewing.

I’ve generally liked the work of director and writer, Shane Black. He has this infectious energy about his films and he creates these subtle nods to iconic bits of pop-culture from his own childhood. Surely you’ve seen some of his best pieces, like “Lethal Weapon” or “Last Action Hero.” Tiny traces of DNA from those films are in “The Predator,” like when we first meet the Predator hunting crew in that military bus or when the Predator itself gets in on the black humor after slaughtering countless unnamed soldiers. During those moments, and several others, I tended to slide into a comfort zone where I could care less about the film’s glaring mistakes.

I have one moral quandary about the film’s use of a child with autism and how he fits into the film’s overall narrative. Not only does it feel lazy to use Jacob Tremblay in that fashion, but it feels insulting to people with autism. I won’t dive too much deeper into my major gripe because my frustrations could easily be misplaced. It’s possible that Tremblay’s character wasn’t eloquently relayed, but the antiquated nature of his usage in the film’s plot seems misguided on Black’s end.

I had a real fun time while watching “The Predator,” but as I think about it in hindsight, I’m finding it troublingly easy to nitpick it to death. I think that’s because Black has done better and the “Predator” is still an underrated franchise deserving of praise. The original “Predator” was actually panned upon its initial release in 1987 by several outlets like the New York Times and Variety. They called it dull and average, but it’s now viewed as a quintessential action movie, spawning thousands of fanboys who’ve taken it upon themselves to write their own fan fiction involving the iconic alien. Time may tell if Black’s sequel is worthwhile, but I can’t help but think there’s a fanboy whose script could put Shane’s script to shame.

Own it Early on Digital October 9 / Blu-ray and DVD debut October 30

Burbank, CA, September 11 – When the Teen Titans go to the big screen, they go big! “Teen Titans GO! to the Movies” finds our egocentric, wildly satirical superheroes in their first feature film extravaganza—a fresh, gleefully clever, kid-appropriately crass and tongue-in-cheek play on the superhero genre, complete with musical numbers. Get ready to LOL when “Teen Titans GO! to the Movies” arrives on Blu-ray Combo Pack, DVD and Digital.

The first-ever big-screen version of DC Entertainment and Cartoon Network’s animated TV show stars Greg Cipes (TV’s “Teenage Mutant Ninja Turtles”) as Beast Boy, Scott Menville (TV’s “Spider-Man”) as Robin, Khary Payton (TV’s “The Walking Dead”) as Cyborg, Tara Strong (the “My Little Pony” franchise) as Raven, and Hynden Walch (TV’s “Adventure Time with Finn & Jake”) as Starfire, reprising their roles from the series. Will Arnett (“The LEGO® Batman Movie”) and Kristen Bell (“Frozen”) also lend their voices as the evil Slade and Hollywood director Jade Wilson.

Peter Rida Michail and Aaron Horvath directed the film from a screenplay by Michael Jelenic and Horvath, which is based on characters from DC. Horvath, Jelenic, Peggy Regan, Michail and Arnett produced the film with Sam Register serving as executive producer. The music is by Jared Faber. Superman was created by Jerry Siegel and Joe Shuster.

“Teen Titans GO! to the Movies” will be available on Blu-ray Combo Pack for $35.99 and DVD for $28.98. The Blu-ray Combo Pack features a Blu-ray disc with the film and special features in high definition, a DVD with the film in standard definition and a Digital version of the movie. Blu-ray special features are filled with music and fun, including the “DC Super Hero Girls: The Late Batsby” mini-movie, sing-a-longs, a hilarious look at the Teen Titans characters dubbing their favorite lines in other languages in “Teen Titans GO!: Translated” plus much more!

“Teen Titans GO! to the Movies” will also be available on Movies Anywhere. Using the free Movies Anywhere app and website, consumers can access all their eligible movies by connecting their Movies Anywhere account with their participating digital retailer accounts.

Fans can also own “Teen Titans GO! to the Movies” via purchase from digital retailers beginning October 9.

SYNOPSIS

It seems like all the superheroes are getting their own movies – everyone but the Teen Titans, that is! Determined to be a star, Robin vows to change this. If only they could get Hollywood director Jade Wilson (Kristen Bell) to notice them! With a few madcap ideas and musical numbers (of course), the Teen Titans head to Tinsel Town. But when Supervillain Slade (Will Arnett) messes with their plans, the Teen Titans will have to become true superheroes to save the world!

BLU-RAY AND DVD SPECIAL FEATURES

“Teen Titans GO! to the Movies” Blu-ray Combo Pack contains the following special features:

• Lil Yachty Music Video: “Teen Titans GO! Rap”
• Sing-a-long with Silkie “DC Super Hero Girls: The Late Batsby” Mini-Movie
• Red Carpet Mayhem
• Teen Titans GO! To the Movies: WB Lot Shenanigans
• “Everything is Fake”: Exclusive song not in the movie
• “Teen Titans GO!: Translated”
• Storyboard Animatics:

o   Storyboard Animatics: Time Cycles

o   The Final Battle

“Teen Titans GO! to the Movies” Standard Definition DVD contains the following special features:

• Storyboard Animatics: Time Cycles
• The Final Battle

I’m a little late to the party, I know, but I really needed a day to gather my thoughts before I wrote my tribute to Mr. Burton Leon Reynolds, Jr., who passed away yesterday at the age of 82.  Cause of death was listed as a heart attack.

I grew up in Tampa, and if there’s one thing that Floridians were always proud of it was that Burt Reynolds was one of us!  Yes, he was born in Michigan but at age 10 he and his family made their way to the Sunshine State, so he’s one of ours!

Burt became an actor by accident.  He attended Florida State University on a Football Scholarship (in high school he had been named both ALL STATE and ALL SOUTHERN as a fullback).  In his sophomore year, he injured his knee.  He later injured the other knee, and ruptured his spleen, in an automobile accident.  These injuries hampered his ability and, seeing his dreams of playing professional football dashed, he decided to look for a career.   After hearing him read Shakespeare in English class, his professor convinced Reynolds to try out for a play he was producing, called Outward Bound.  Reynolds won the lead role and, for his performance, was given the Florida State Drama Award.

With the award came a summer at the Hyde Park Playhouse in New York.  There Burton met actress Joanne Woodward, who introduced him to agents in the area.  This lead to his first appearance on Broadway, in the play Look We’ve Come Through, earning good reviews.  He went on the road with the show but soon found himself out of work.  However, he soon found himself in the company of Mister Roberts, with Charlton Heston in the lead role.  The play’s director got Reynolds an audition for the film Sayonara, but that film’s director, Joshua Logan, informed Reynolds he couldn’t use him as he looked too much like the film’s star, Marlon Brando.  Logan did encourage Reynolds to go to Hollywood, where he soon found himself in small roles on television.

His big break came when he starred on the television show Riverboat.  He gained more fame when he joined the cast of Gunsmoke as Quint Asper, a “half-breed” blacksmith.   As his success in television grew, he began doing films, including Angel Baby and Navajo Joe.  Reportedly producer Albert Broccoli asked Reynolds to be George Lazenby’s replacement as James Bond, but Reynolds turned him down, being unable to imagine an American playing the British secret agent.

Reynolds ascended to star status with his role in the film Deliverance.   The film, coupled with Reynolds appearing as the centerfold of “Playgirl” magazine began a run of success that would, by the end of the decades, see him named as the most popular actor in Hollywood.

His meteoric box office run included such films as The Man Who Loved Cat Dancing, White Lightning, Gator, The Longest Yard, Lucky Lady and the second most popular film of 1977:  Smokey and the Bandit (damn you, Star Wars!)  1978 gave us all a double shot of classic Reynolds, as both Hooper and The End are released.

As the 1980s rolled in, he continued his streak with roles in Smokey and the Bandit 2, Cannonball Run, Best Friends and Paternity.   He also took more interest behind the camera, directing several of his films, including Sharky’s Machine, which was both a box office and critical success.  Having released an album in the early 70s, Reynolds was a natural to star opposite Dolly Parton in The Best Little Whorehouse in Texas.  He later went on to star on the long running television series Evening Shade, earning an Emmy as Best Actor in a comedy.

Though he has played many an iconic character, Reynolds also turned down many roles that made other actors stars.  Besides James Bond, he turned down the role of Han Solo in Star Wars, Michael in The Godfather and John McClain in Die Hard.  The one role he regrets turning down was one written especially for him, that of former astronaut Garret Breedlove in Terms of Endearment.  Citing a promise to his friend Hal Needham to do the film Stroker Ace, Reynolds turned the role down.  The part was given to Jack Nicholson, who would go on to win the Academy Award as Best Supporting /Actor for his work.  The one role he’s glad he turned down?  Edward, the lonely businessman played by Richard Gere in Pretty Woman.  Reynolds actually repeatedly turned down the role that would bring him his only Oscar nomination, that of Jack Horner, the adult film director in Boogie Nights.

We at Media Mikes have many fond memories of Burt Reynolds.  Both Mikes (and our wives) met up in New Jersey, where Reynolds was scheduled to be a guest at the Chiller Theater convention.  Due to scheduling reasons, Reynolds could not attend, but we spent the weekend making each other laugh as we all tried to impersonate Reynolds classic, high pitched “Ha-ha!” laugh.  In 2011, Mike G. got the envious job of getting to interview Reynolds for the site.  You can read that interview HERE

And if you want to hear that classic laugh, click HERE.

“Astro,” the latest film from filmmaker Asif Akbar, took home two awards  at the 14th Annual Action on Film International Film Festival which was held this past weekend in Las Vegas.

Actor Gary Daniels was named the Best Male Action Performer of the Year while the film’s costume design was given the Best Costume award.  “Astro” had received a total of (5) nominations, including Best Action Sequence, Best Fight Choreography and Best Sci-Fi Feature Film.

“The competition at this year’s festival was tremendous and we are proud and excited of our five nominations and two awards,” said Akbar, the film’s director and co-writer.

For a look at an exclusive clip, click HERE

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THE HAPPYTIME MURDERS
Starring:  Melissa McCarthy, Elizabeth Banks and Joel McHale
Directed by:  Brian Henson
Rated:  R
Running time:  1 hr 31 mins
STX Entertainment

It’s been almost exactly 35 years since I met Jim Henson.

In September 1983 I was at the World Science Fiction Convention in Baltimore, where one of the films being promoted that year was “The Muppets Take Manhattan.”  Knowing Mr. Henson was going to be in attendance I took a couple photos with me.  One of him and Kermit the Frog taken behind the scenes of “The Muppet Movie” and one from “The Dark Crystal.”  I tracked him down and he very graciously signed both.  I got lucky because he happened to be walking around with Gary Kurtz, who produced “The Dark Crystal,” so I got his autograph also.  He was very friendly and, in speaking with him, I could tell he had a great sense of humor.  Which tells me he would love his son’s latest film, “The Happytime Murders.”

(Ominous voice) “In a world where humans and puppets live together….”

Meet Phil Phillips (voiced by Bill Barretta).  He’s a former puppets cop turned private detective.  Actually, he’s been the ONLY puppet cop.  Due to a mishap that led to the killing of an innocent bystander, Phil was fired and a law was put into place forbidding puppets to be police officers.  One day Phil is hired by a mysterious lady-puppet.  His leads take him to an adult bookstore, where he runs into Bumblypants, one of the puppet characters of the popular 80’s kids show “The Happytime Gang.”  As Phil investigates another part of the shop, Bumblypants is murdered.  Soon, other members of the cast are also brutally murdered and the finger points at Phil.  Can he clear his name?  Maybe.

A fun combination of live-action and puppets, “The Happytime Murders” is an outrageously raunchy look at what life may have been like on a certain “Street” if that show had taken place in the worse part of the worse town ever.  In the world of “Happytime” humans and puppets co-exist, though the puppets are often horribly treated.  Call it “Apuppethied.”  Phil’s former police partner, Detective Connie Edwards (McCarthy) is called in to investigate the case and must reluctantly team up with Phil before the entire cast of the show is murdered.  Along the way they must deal with a world full of sex, drugs and violence.  This isn’t your parent’s “Street.”

Let me say this up front (or in the middle):  THIS IS NOT A KIDS MOVIE.  Don’t be fooled by the puppets and the bright lights.  Taking a child to this film will traumatize them for life.  So, again, unless you want to see a puppet re-enactment of Sharon Stone’s famous reveal from “Basic Instinct,” or want to explain to your little one what an eight-armed reach-around is, leave them home.  That being sad, THIS IS AN ADULTS MOVIE.  The jokes are funny, the visuals outrageous and the overall mood of the film will put a smile on your face.  The combination of human and puppet characters is well portrayed, and as the film goes on, you forget your watching puppets.  They become believable characters, which is what you need to make a film work, especially a comedy.  Like “Who Framed Roger Rabbit?,” the melding of human and non-human characters is seamless.  Well, except for the seams on the puppets.  J

FOR THE FIRST TIME EVER, A LANDMARK COLLECTION SHOWCASING THE LEGENDARY MONSTERS IN MOTION PICTURE HISTORY

UNIVERSAL CLASSIC MONSTERS: COMPLETE 30-FILM COLLECTION AVAILABLE ON BLU-RAY^™ ON AUGUST 28, 2018 FROM UNIVERSAL PICTURES HOME ENTERTAINMENT

Universal City, California, August 22, 2018 – Thirty of the most iconic cinematic masterpieces starring the most famous monsters of horror movie history come together on Blu-ray™ for the first time ever in the Universal Classic Monsters: Complete 30-Film Collection on August 28, 2018, from Universal Pictures Home Entertainment. Featuring unforgettable make-up, ground-breaking special effects and outstanding performances, the Universal Classic Monsters: Complete 30-Film Collection includes all Universal Pictures’ legendary monsters from the studio that pioneered the horror genre with imaginative and technically groundbreaking tales of terror in unforgettable films from the 1930s to late-1950s.

From the era of silent movies through present day, Universal Pictures has been regarded as the home of the monsters. The Universal Classic Monsters: Complete 30-Film Collection showcases all the original films featuring the most iconic monsters in motion picture history including Dracula, Frankenstein, The Mummy, The Invisible Man, The Bride of Frankenstein, The Wolf Man, Phantom of the Opera and Creature from the Black Lagoon. Starring some of the most legendary actors including Bela Lugosi, Boris Karloff, Lon Chaney Jr., Claude Rains and Elsa Lanchester in the roles that they made famous, these films set the standard for a new horror genre and showcase why these landmark movies that defined the horror genre are regarded as some of the most unforgettable ever to be filmed.

Universal Classic Monsters: Complete 30-Film Collection includes a 48-page collectible book filled with behind-the-scenes stories and rare production photographs and is accompanied by an array of bonus features including behind-the-scenes documentaries, the 1931 Spanish version of Dracula, Featurettes on Bela Lugosi, Boris Karloff, Lon Chaney Jr., and Jack Pierce, 13 expert feature commentaries, archival footage, production photographs, theatrical trailers and more. The perfect gift for any scary movie fan, the collection offers an opportunity to experience some of the most memorable horror films of our time.

The Universal Classic Monsters: Complete 30-Film Collection includes Dracula(1931), Frankenstein (1931), The Mummy (1932), The Invisible Man (1933), The Bride of Frankenstein (1935), Werewolf of London (1935), Dracula’s Daughter (1936), Son of Frankenstein (1939), The Invisible Man Returns (1940), The Invisible Woman (1940), The Mummy’s Hand (1940), The Wolf Man (1941), The Ghost of Frankenstein (1942), The Mummy’s Ghost (1942), The Mummy’s Tomb (1942),Invisible Agent (1942), Phantom of the Opera (1943), Frankenstein Meets the Wolf Man (1943), Son of Dracula (1943), House of Frankenstein (1944), The Mummy’s Curse (1944), The Invisible Man’s Revenge (1944), House of Dracula (1945), She-Wolf of London (1946), Abbott and Costello Meet Frankenstein (1948), Abbott and Costello Meet the Invisible Man (1951), Creature from the Black Lagoon (1954, and includes a 3D version), Abbott and Costello Meet the Mummy (1955), Revenge of the Creature (1955 and includes a 3D version) and The Creature Walks Among Us (1956).

BONUS FEATURES:

• Behind-the-Scenes Documentaries
• 3D Versions of Creature from the Black Lagoon and Revenge of the Creature
• 1931 Spanish Version of Dracula
• Featurettes on Bela Lugosi, Boris Karloff, Lon Chaney Jr., and Jack Pierce
• 13 Expert Feature Commentaries
• Archival Footage
• Production Photographs
• Theatrical Trailers

CRAZY RICH ASIANS

Voice Cast: Matt Danner; Melanie Harrison; Dee Bradley Baker; Ben Diskin; Eric Bauza; Jessica DiCicco; and Jenny Slate
Number of discs: 1
Rated: Not Rated
Studio: Walt Disney Studios Home Entertainment
DVD Release Date: August 14, 2018
Run Time: 92 minutes

Our Score: 4 out of 5 stars

Growing up in the 80’s, I was a huge fan of the original “Muppet Babies” series and when I heard that the show was being re-imagined for Disney Junior audience, I couldn’t have been happier, now with a 6 year old of my own to enjoy. Let me start with the fact that my daughter honestly has never been a fan of The Muppets at all, so I was hesitate introducing this show. Let me tell you from the moment that theme song hit her eyes lit up and she was hooked. Since her first viewing, this show has people her favorite to watch, she has seen each episode numerous times now.

The voice cast is legit for this re-imagination. There is some amazing talent brought in here for this show including Matt Danner as Kermit the Frog; Melanie Harrison as Piggy; Dee Bradley Baker as Animal; Ben Diskin as Gonzo; Eric Bauza as Fozzie Bear; Jessica DiCicco as a brand-new Muppet Baby, Summer Penguin; and Jenny Slate as Miss Nancy. Disney went all out for this one and delivered for the parents as well as kids.

“Muppet Babies: Time To Play!” is the first volume DVD released for this The episodes included “Sir Kermit the Brave/Animal Fly Airplane”; “Super Fabulous vs. Captain Icecube/Piggy’s Time Machine”; “The Great Muppet Sport-A-thon/You Say Potato, I Say Best Friend”; “Hatastrophe/Fly South”; and even two bonus episodes “How Kermit Got His Groove/One Small Problem” and “Playground Pirates/The Blanket Fort”.

There are also 10 “Muppet Babies: Show & Tell” Shorts with each of the characters. Other special features include The Great Muppet (Short) Musical and 6 Music Videos including “What’s So Scary About The Dark?”; “Never Have To Say Goodbye (To The Summer)”; “Get Back In The Game”; “Good Things Come To Those Who Wait”; “You Can Be A Dancer”; “Muppet Pirate Shanty”. Honestly I was impressed to see so many special features on a kids DVD but this one is jam packed! Can’t wait for future volumes!

Over the years, Media Mikes has mentioned Joel D. Wynkoop.  A long time Tampa friend of mine, Joel is known for his locally produced horror films and is quite the cult hero in (and beyond) the Sunshine State.  He also has his own magazine that not only promotes his work, but the work of other aspiring actors in Florida.

The on-line site Creative Loafing Tampa Bay is compiling votes for its 2018 BEST OF THE BAY contest and Joel has been nominated in the category of Best Actor.  I’m hoping you readers will click HERE and, in the category of Best Actor, cast a vote for Joel.  For some reason, nominees are listed alphabetically by FIRST name, so look for Joel under the “J’s.”

For a look at some of Joel’s work, click HERE

Thanks!

Starring: Kodi Smit-McPhee, Johannes Haukur Johanneson and Leonor Varela
Directed By: Albert Hughes
Rated: PG-13
Running Time: 96 minutes
Sony Pictures Releasing

Back in elementary school, my school would take classes on field trips to the Kansas City Zoo at least twice a year. On one of the occasions, instead of checking out the various animals dotting the grounds, we’d instead seek air conditioned or heated shelter to watch movies at the Sprint IMAX Theater. The film fare would usually be a nature documentary or some good-intentioned PG movie. If the Sprint IMAX Theater was still around, I could see “Alpha” being used as an excuse for a field trip.

Set 20,000 years ago in Europe, “Alpha” follows Keda (Smit-McPhee), who’s been left for dead by his tribesmen and father, after a bison hunting expedition. Accompany Keda on his journey back home is an unlikely ally, an injured wolf-dog that he nurses back to health. Pitched as the origins of man’s best friend, this movie is only mildly entertaining because of the elements the human and his four-legged friend encounter. Otherwise it’s a humdrum trip back in time.

According to various news outlets, “Alpha” has apparently been sitting on Sony’s film shelf for about a year, with the release date constantly being pushed back or up for various and unknown reasons. I suspect it has something to do with the film aiming for a vibe like that acclaimed “Quest for Fire” vibe, but instead coming off more like Roland Emmerich’s lazy “10,000 B.C.”

It makes noble attempts at visual storytelling, by having very little dialogue, and when primitive man does open its mouth, it’s gibberish that’s translated through on-screen captioning. It may have actually played better without, forcing audiences to immerse themselves further into the Ice Age experience. Instead the movie dumbs itself down a lot, and even throws in some coming-of-age storytelling tropes in for good measure.

“Alpha” could serve as a starting point for young ones interested in human history, but their parents may find themselves rolling their eyes or checking their phones. Director and writer Albert Hughes has a spotty history, but with “Alpha” has shown a little growth visually and narratively. I can’t help but think that ALPHA may have been a much better and nuanced film in someone else’s hands. There’s a lot of potential, but the finished product, while being polished and dazzling, feels like a mix of unnecessary studio meddling and dog-lover peddling.

BLACKkKLANSMAN
Starring:  John David Washington, Adam Driver and Topher Grace
Directed by:  Spike Lee
Rated:  R
Running time:  2 hrs 15 mins
Focus Features

Spike Lee and I go way back.

The movie theatre I managed in Baltimore was in an urban area.  I proudly showed “She’s Gotta Have It” and “School Daze.”  I was (and still am) angry that “Do the Right Thing” wasn’t nominated for a Best Picture Academy Award and I was thrilled to meet him and speak for a few minutes in Washington D.C. while he very graciously signed my “Malcolm X” script.  I should also mention that I silently cursed him when he shot a reel of his film “Crooklyn” in the widescreen format but intentionally didn’t adjust it, giving the film a look that caused many customer complaints and passes given out.  He’s made more good movies than bad and this week he’s here with one of his best.

It’s the 1970s.  Ron Stallworth (Washington) is a black police officer in a time where, if you’re the first one on the scene of a crime, your fellow officers may think YOU are the perp.    One day, while reading the newspaper, Ron comes across an ad for the local chapter of the KKK.  As a joke, he sends in for his membership card and is delighted to get it.  When Ron is invited to meet the membership, he agrees, sending fellow officer Flip Zimmerman (Driver) in his place.  Zimmerman is Jewish and has to learn to keep his emotions to himself when surrounded by the idiot gang he finds himself a part of.  As Ron/Flip get deeper into the group, they soon find themselves chatting up David Duke, then the first Grand Wizard of the KKK, today pretty much a punchline.  When Duke is scheduled to come to Ron’s town, things go from comical to serious as the groups true goals are announced.

Powerful and pertinent, “Blackkklansman” is a film that deals with both the past and the present.  Director Lee and co-writers Kevin Willmott, Charlie Wachtel and David Rabinowitz have created a world that anyone over 21 will recognize.  There is humor but then there is horror.  Not violent horror, but the horror at the spoken word.  Can people truly be this vile?  Sadly, yes.

As with many of Lee’s films, a great cast has been assembled.  I was surprised to learn that leading man Washington is the son of Denzel.  If this performance is any indication, Pop better keep an eye on the rear view mirror.  He plays Stallworth with the dignity required, something that wasn’t easy to display in the early 1970s.  Driver is equally good here.  This is the first thing I’ve seen him in since the last two “Star Wars” films and – SPOILER ALERT – though as a filmgoer I will never forgive him for killing Han Solo, I will continue to recognize him as an actor to watch.  As David Duke, Grace is pitch perfect.  He doesn’t scream out his hatred, like his dimwit followers.  He oozes it, like the politician he would later become.

“Blackkklansman” took home the Grand Jury Prize at this year’s Cannes Film Festival and I look for it to be a front runner when the Oscar nominations roll around.  Do you hear that, Academy?  I don’t won’t to get angry again!