Starring: Scarlett Johannson, Mahersha Ali and Jonathan Bailey
Directed by: Gareth Edwards
Rated: PG-13
Running Time: 133 minutes
Universal Pictures

Film Score: 1 out of 5 Stars
4K Score: 4.5 out of 5 Stars

We had a 14-year break between “Jurassic Park III” and “Jurassic World.” Time away from the constantly calamitous dinosaur park made us appreciate it again when the doors swung back open. I’m not saying we need another 14-year dry spell, but after watching “Jurassic World: Rebirth,” I’m beginning to think the creative team and writers need one. 

17 years after a candy bar wrapper (not making this up) left a trail of devastation and chaos at a secret island lab, Earth’s environment is now too hostile for most of the dinosaurs and prehistoric creatures once resurrected. In a hail mary pharma-fueled effort to save humanity, a shady biotech firm assembles a ragtag crew to return to the long-abandoned, off-limits island of Ile Saint-Hubert. Led by Scarlett Johannson (don’t remember the names, or else you’ll get attached when they become dino snacks) and extract genetic material from the world’s last prehistoric specimens.

I’m not saying the premise is dumb. It’s a dinosaur movie. The narrative and ideas it posits gets in the way of perfectly fine escapism. The opening sequence makes sure to hammer in two asinine facts: No one cares dinosaurs are escaping zoos and dying in downtown Manhattan and dinosaurs aren’t cool anymore. As someone who has worked in news, if any animal escapes from the zoo, even a capybara, it makes national news. And what the hell do you mean dinosaurs aren’t cool? They hammer the latter point more by recruiting a paleontologist, played by Jonathan Bailey, from a natural history museum that’s shuttering. He bemoans several times about how no one cares to see dinosaurs anymore. Have any of these writers visited a zoo lately?

The obnoxiousness doesn’t end there as characters spit out dialogue that sounds like it was written by ChatGPT after a few drinks. “A car bomb killed my dad. It came out of nowhere.” Car bombs don’t come out of nowhere. They’re planted. Also, for a film about dinosaurs wreaking havoc, we expect some fantastic kills, but they’re so quick and off-screen that they make death boring. Not even the T-Rex gets a kill. So, maybe give the people what they want next time, if you catch my drift.

Worst of all, it’s boring. The action sequences are flat and lifeless. Once it’s clear who lives (almost everyone) and who dies (mostly nobodies), the chase scenes lose all tension. At the very least, you gotta kill one secondary character that’s had more than two lines of dialogue. Then, there’s too much downtime with characters you’d rather see eaten, and even the callbacks to prior films feel forced and hollow. There’s no awe, no wonder, no…anything. Just another joyless cash grab from a franchise that forgot why people showed up in the first place.

I didn’t walk in expecting to hate it. Quite the opposite. The trailer gave me hope that it might tap into that silly joy of watching dumb humans try to outwit dumber, bigger, toothier animals. I was wrong. The audience at my screening seemed to enjoy it, but it was the end of June with nothing going. Also, maybe I’m just bitter. But if you’re picking “Jurassic World: Rebirth” over fireworks this weekend, prepare to be disappointed.

4K Features

Alternate Opening: Interesting to see the slight difference from the theatrical.

Deleted Scenes: Only a handful of deleted scenes, which I’m kind of surprised they removed because it does add a bit of tension and action to a movie that could have used a lot more.

Jurassic World Rebirth: Hatching a New Era: This is a multi-part behind-the-scenes feature that looks at the case and crew, the special effects, a few of the action sequences, and some more peeks behind the proverbial curtain. It’s actually a pretty decent behind-the-scenes feature that dives deep into the film.

Gag Reel: Self-explanatory.

Meet Dolores: I personally didn’t find this feature interesting, mainly because I find the addition of a “cute” tiny dinosaur for clear merchandising reasons wasn’t cute.

Munched: Becoming Dino Food: It takes a look at what it’s like to be eaten by a dinosaur. The title of the feature is probably more interesting than the feature itself.

A Day at Skywalker Sound: A moderately interesting feature about the sound in the film.

Hunting for Easter Eggs: This feature attempts to encourage multiple rewatches to look for little winks and nods to the franchise. No thanks.

Feature Commentary with Director Gareth Edwards, Production Designer James Clyne and First Assistant Director Jack Ravenscroft

Feature Commentary with Director Gareth Edwards, Editor Jabez Olssen and Visual Effects Supervisor David Vickery

• CAUGHT STEALING
• Starring:  Austin Butler, Regina King and Zoe Kravitz
• Directed by:  Darren Aronofsky
• Rated:  R
• Running time:  1 hr 47 mins
• SONY/Columbia Pictures

Our score: 2 out of 5

If there is one thing that the pandemic and the advent of streaming have not changed about the entertainment industry, it’s that any movie entering the marketplace around Labor Day is going to be lacking.

If Sony suspected that this offering from auteur director Darren Aronofsky (Requiem for a Dream, The Wrestler) with an A-list cast had awards potential, they’d probably have released it in the summer or later in the fall.

They know this won’t be much competition to a holiday cookout or the more focused movies coming down the pipeline.

The script by Charlie Huston, working from his novel, features a menagerie of colorful New York lowlifes who torment a lowly bartender named Hank Thompson (Austin Butler) simply because a Mohawk-sporting Cockney named Russ (Matt Smith) has left the Big Apple for his hometown of London without informing anyone else.

Because Russ is out of town, his business partners in illicit trades want a return on their investments. Because Hank is around but Russ isn’t, a pair of sadistic Russian leg breakers (Nikita Kukushkin, Yuri Kololnikov) pummel Hank inches from death even though he has no idea how Russ affords to feed his violent cat or get his gets his well-maintained punk hairdos.

Hank’s smarter paramedic girlfriend Yvonne (Zoë Zravitz) picks him up at the hospital and suggests that he call the cops. The detective who arrives on the scene (Regina King) loves making wisecracks but does little more than warn Hank he’s inadvertently crossed two Hassidic brothers (Liev Schriber, Vincent D’Onofrio) so devout they won’t drive on Shabbos but will deal in chemical recreation and lethal force.

While Huston compiles a formidable body count from his ensemble cast and gives them lots of excentric and sometimes off-putting things to do, Aronofsky’s tone varies from gritty to eye-rollingly silly. When the actors seem to be playing a scene for laughs, Aronofsky dishes out some gore that might make David Cronenberg blush.

In Elvis and The Bikeriders, Butler has proven himself to be a formidable leading man, but here Huston and Aronofsky haven’t given him much of a role. For much of the film, he seems like a hapless bystander who inadvertently invites the fatalities that accumulate in his path.

With the possible exception of Schriber and D’Onofrio’s sibling drug mongers, who manage to be both funny and threatening, most of the oddballs in Caught Stealing aren’t engaging enough to make viewers wonder if they’ll make it to the end. Griffin Dunne as an aging hippie poet and Carol Kane Scriber and D’Onofrio’s matriarch are sadly underutilized. Aronofsky’s frantic pacing may be a disservice to his performers because it reduces their chance to shine.

The central McGuffin isn’t that well-conceived, and Hank’s eagerness for never making it into Major League Baseball can only carry the film so far.

Because this is Labor Day, we can take comfort that all involved will be working on something better soon. It’s a shame they wasted their talents on such an unworthy grift.

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

Starring: Chloe Levine, Will Peltz and Peter Vack
Directed by: Rachael Cain
Rated: NR
Running Time: 92 minutes
Yellow Veil Pictures

Our Score: 3 out of 5 Stars

Humans spend a lot of time trying to decode our dreams. We may hesitate to admit why something as surreal as an ex’s head on a goat’s body matters, but we still wonder why our brains conjured it up. That’s why when we meet Gemma (Chloe Levine), we’re immediately drawn in. She’s a small-town girl who’s come to LA to become a star. Until that happens, she’s pulling graveyard shifts at a sleep clinic called Somnium, where her job is to monitor and record the dreams of strangers.

But Gemma starts seeing something in those dreams. At first it’s just a shadow. Then it appears more frequently. Sometimes it creeps from one patient’s nightmare to another, until it begins to seep into her waking life. Or maybe she’s still dreaming. Imagine if Adult Swim’s Dream Corp LLC turned into an evolving psychological horror and you’ve got “Somnium.”

The film would work better with fewer characters outside of Gemma. Many side characters feel introduced without clear purpose or payoff. An aging actor offers her a shortcut into the industry—whether sincerely or as part of some mass dream manipulation is never made clear. Noah (Will Peltz), Somnium’s leader, is treated like a pivotal figure, but we never get close enough to him to understand who he is or what he wants. The film keeps pulling us back to Gemma’s perspective, which is a smart anchor, but giving these supporting characters more shape might’ve enriched her internal conflict without needing so much exposition.

That’s the film’s biggest flaw and unfortunately it’s not a minor one. “Somnium” sometimes feels unsure of its own narrative focus. These detours dilute the tension and stretch a lean story longer than it needs to feel. Still, Cain delivers a solid, at times chilling thriller. Levine carries the film with quiet intensity, which feels fitting for a character unsure of her own abilities. And Cain, in her directorial debut, crafts genuine unease from familiar genre elements. The shadowy antagonist may not be wholly original, but the way it’s framed and escalated within dreams gives it a fresh edge.

“Somnium” ends on a note that’s mildly satisfying, though still loaded with unanswered questions. Whether that’s intentional ambiguity or not, it leaves the story feeling just short of fully realized. But as a debut feature, Cain’s control over tone and visuals suggests a promising future, but with a more focused script next time, something great might follow.

• JAWS
• Starring: Roy Scheider, Robert Shaw and Richard Dreyfuss
• Directed by:  Steven Spielberg
• Rated:  PG
• Running time  2 hrs 4 mins
• Universal  

Simply stated,  let’s just say it’s the greatest movie ever made!

• CAUGHT STEALING
• Starring:  Austin Butler, Regina King and Zoe Kravitz
• Directed by:  Darren Aronofsky
• Rated:  R
• Running time:  1 hr 47 mins
• SONY/Columbia Pictures

 Our Score:  3 out of 5

The following is from my review of Darren Aronofsky’s last film, “The Whale” –

“As a filmmaker, director Darren Aronofsky can be very hit or miss.  On one side of the spectrum, he created a masterpiece with “Requiem for a Dream.”  On the other hand, I give you “The Fountain.”  “The Whale” is another fine achievement and one that should be seen and appreciated.” 

The above line holds true still with the director’s latest film, “Caught Stealing.”

Hank Thompson (Butler) is a one time baseball phenom whose bad decision making has led him to his present stage of life – working as a bartender.  When he comes home one night he is met by his friend Russ (Matt Smith) who tells him he must leave town to take care of his ill father and asks Hank to care for his pet cat.  When Hank comes home the next night to find a couple of tough guys looking for Russ – and giving Hank a terrible beating – Hank begins to realize there is more to the story then Russ is letting on.

Mr. Aronofsky directed Brendan Fraser to an Academy Award winning performance in “The Whale.”  The star of “Caught Stealing” was Mr. Fraser’s biggest competition for the award, Austin Butler, whose portrayal of Elvis Presley is one of the best biographical performances ever put on film.  Mr. Butler is well cast here, playing Hank as an easygoing person whose past continues to haunt him while he now deals with both the police and the criminals who are convinced Russ gave him something besides a cat.

The story is one of deceit and double cross and you’re not really sure who is who as the film progresses.  Peppered throughout the film are references to Hank’s baseball glory days, though except for giving the film a clever title, they really offer nothing to the story.  Hank could have been an up and coming scientist and found himself in the same situation due to his bad decisions.

The cast is strong, with Butler and Ms. King giving storng performances.  Special mention to Mr. Smith, whose mohawk adorned Russ gives the film a kick in the pants every time he is on screen.

The story is a little formulaic but the biggest problem I had with it was Hank’s almost superhero like ability to run, dive and hang off buildings despite recently having a kidney removed is pretty, well, you know what I’m saying.

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

• NOBODY 2
• Starring:  Bob Odenkirk, Connie Nielsen and Christopher Lloyd
• Directed by:  Timo Tjahjanto
• Rated:  R
• Running time:  1 hr 29 mins
• Universal

Our score:  3 out of 5 

Bob Odenkirk…action star?  That’s the first thing I thought when I saw 2021’s film, “Nobody.”  Could Saul Goodman actually kick some ass?  Yes he could, and he was very good at it.  Four years later he’s still good at it, but looking for a break.  He takes his family on vacation to his favorite childhood water park, where no one will bother him.  Right?

Action packed, “Nobody 2” follows Hutch (Odenkirk) and his family, including his bad ass father David (Lloyd) enjoying the sites and sounds of small town America when Hutch’s son gets into a scrap with the son of the town sheriff.  Hutch is given a dressing down and thinks the situation is over, but some people just never learn.  The more involved Hutch gets the more he discovers that his childhood memories may not have been all good.

The action here is well staged and Odenkirk does indeed prove to be a fine action star.  However, unlike Arnold or Sly, Odenkirk plays Hutch as a real man, one who isn’t bullet proof and gets winded easily.  A fine presentation.  It’s always great to see Christopher Lloyd on screen and he has more to do here then he did in the first film.  The big surprise here is Sharon Stone, who plays the criminal mastermind of the town with a coolness she hasn’t shown since “Casino.”

The film is quite short, but it doesn’t feel rushed.  Some times less is more.  That certainly applies here.

On a scale of zero to five, I give “Nobody 2” ★★★   

• THE NAKED GUN (2025)
• Starring:  Liam Neeson, Pamela Anderson and Danny Huston
• Directed by:  Akiva Schaffer
• Rated:  PG 13
• Running time:  1 hr 25 mins
• Paramount

Our score:  3.5 out of 5 

I think I’m one of the very few people that watched the original “Police Squad” television show.  Created by the comedy genius’ behind the film “Airplane” the short lived series starred Leslie Nielsen as Frank Drebbin, a bumbling cop who still managed to get the job done.  Like “Airplane,” and their next film, “Top Secret,” the team of Brothers David and Jerry Zucker and Jim Abrahams, immortalized as ZAZ, the show kept bombarding the audience with jokes.  Some stuck, some didn’t, but the results were always funny.  I would be remiss if I didn’t mention writer Pat Proft, who also contributed to the humor.

“Police Squad” spawned three feature films, beginning with “The Naked Gun.”  Following the same formula as their previous projects, ZAZ (and Proft) gave audiences comedy gold.  Can Frank Drebbin, Jr. follow in his father’s hilarious footsteps?

The story line, as it were, finds Frank Drebbin, Jr. (a hilariously deadpan Neeson) foiling a bank robbery thanks to the power of disguise.  The opening moments set the tone for the rest of the film.  Yes, this is your father’s “Naked Gun.”  Frank’s partner, Ed Hocken, Jr (Paul Walter Hauser), like Frank, is the son of a former Police Squad detective, played in the original films by George Kennedy.  A great scene show the sons paying tribute to their fathers while the son of former officer Nordberg just dismisses his pop.  If you know, you know.

Neeson, who has shown his comedic chops in films like “Ted 2” and “A Million Ways to Die in the West” (both done my Seth McFarlane, who also produced this film) is perfect here.  His rugged face, and action film cred, make his character especially likeable.  Kudos also to Danny Huston, who is making an excellent living out of playing bad guys.  In a role where she is almost unrecognizable, Ms. Anderson proves herself to be a fine film comedienne.

If I have one issue, it’s that the film is quite short.  The 85-minute running time noted above includes the end credits. Hopefully the next one (fingers crossed) will be longer.

On a scale of zero to five, I give “The Naked Gun” ★★★1/2   

• SUPERMAN
• Starring:  David Cornsweat, Rachel Brosnahan and Nicholas Hoult
• Directed by:  James Gunn
• Rated:  PG 13
• Running time:  2 hrs 9 mins
• Warner Bros

 Our Score: 3.5 out of 5

47-years ago, several of my high school friends and I gathered at the Hillsboro Theatre in Tampa to catch the first show of “Superman: The Movie.”  We loved it.  As fate would have it, not only are we all still great friends, but I was back home in Tampa when the latest adventures of the Man of Steel hit the big screen.  We went.  We liked it.

As told by director/co-writer James Gunn, some things are different in the DC comic universe that I grew up reading about and watching.  We now find Clark Kent (Cornsweat) and Lois Lane (Brosnahan) in a committed relationship.  Of course, this means Lois knows his secret identity, which was always a bad thing in the past.  However, the chemistry between the two is such as you don’t mind that this fact is one of the many that are now apparently cannon for the character.  We are introduced to Krypto, the Superdog.  And a pretty amazing Fortress of Solitude.  Everything for comic book lovers to fawn over and discuss.  One blink and you’ll miss it line, which I won’t divulge, took me by surprise though I was assured after the movie by two of my true comic books reading chums that the fact in question was pointed out in a late 1970s edition of the comic.  OK, back to the film.

As usual, Superman is put upon by the evil machinations of one Lex Luthor (Hoult), who is quite good here.  For some reason, from Gene Hackman to Jesse Eisenberg, Lex Luthor has been played to laughs with his schemes.  In my opinion, only Kevin Spacey in “Superman Returns” really nailed the Lex Luthor I remembered from my youth.  Hoult is right up there with Spacey, giving Luthor the menace he truly exudes.

The rest of the main cast is strong.  Cornsweat has big boots to fill.  To me, the late Christopher Reeve will always be Superman, but I’ve had no issue with how the character was portrayed in later films by Brandon Routh and Henry Cavill.  Cornsweat is very reminiscent of the character the way he was portrayed in film serials by Kirk Allyn.  If I have one issue with the casting it’s that apparently James Gunn has never been to Kansas.  In the past, Superman’s adoptive father, Jonathan, has been a strong, simple man who offered advice when needed, be he played by Glenn Ford or Kevin Costner.  Here, as portrayed by Pruitt Taylor Vince, Pa Kent is a yokel in coveralls.

Still, the special effects are outstanding and there are enough Easter eggs – one character is named Otis Berg – to make longtime fans happy.

On a scale of zero to five, I give “Superman” ★★★1/2   

PHOTOS BY VALENTINO CAPONE

It has been one heck of a summer.  With the return of Jaws to the big screen this weekend, I felt the need to take a look back at the 50^th Anniversary Celebration, which took place on Martha’s Vineyard from June 19-22.  I was not only there as a fan.  I had the amazing honor of taking part in many of the festivities.

The official Amity Homecoming Weekend kicked off on Thursday, June 19^th, when the Martha’s Vineyard Museum allowed myself and my co-hosts, Nate Jones and Jane Jones Clark, to record our long running YouTube show, “Let’s Talk JAWS Live!” in front of a sold-out audience, most importantly because it was a fundraising event for the Museum.  We were joined by such JAWS celebrities as Production Designer Joe Alves, actors Jeffrey Kramer, Tom Dunlop and Gary Springer, author Dennis Prince and special effects creator Kasey Erokhin.  Also joining the show via the Internet was actress Gigi Vorgan.  For 90 minutes, the audience had the opportunity to ask questions in an up-close and intimate setting.  What those in attendance didn’t know was that a very special guest had decided to join the show.  The crowd rose as one and burst into applause when Matt Hooper himself, Oscar winner Richard Dreyfuss, entered the room.  Taking his place in front of the room, Dreyfuss answered questions and shared stories with Alves and Kramer.  As I write this, the video of Dreyfuss’ surprise entrance has received over two million views on Tik Tok.

Friday, June 20^th, the film’s official 50^th Birthday, saw myself and Joe Alves, along with Dennis Prince, at Edgartown Books, which sponsored a book signing for Joe’s new biography as well as my own “FINATICS – 50 Years of JAWS.”  The crowd was steady for the two hours we were there, often stretching down the street in front of the bookstore.  Other authors, including Ryan Dacko (“The Book of Quint”) and Ira Marcks (“Shark Summer”) also graced the porch of the bookstore that week. 

Friday also saw two major panels at the Museum.  The first, “JAWS: A Deep Dive” was presented by Historian and JAWS expert Bow Van Riper.  Later in the day, director Guy Masterson took fans behind the scenes of the Broadway show “The Shark is Broken,” which was scheduled to make its Vineyard debut in July. 

Friday also saw the return of two classic modes of transportation to the Island.  Michael Sterling, who had created his own replica of the famed ORCA, docked it along the water in Oak Bluffs, allowing fans the opportunity to take photos of the classic ship.  On the land, fans were treated to Gabe DiSaverio’s replica of Chief Brody’s Amity PD 1974 Chevy Blazer. 

Finally, Friday also saw the beginning of the largest non-official event of the weekend:  a cast and crew meet and greet held at the Wharf Restaurant.  The event, which took place on Friday, Saturday and Sunday evening, was hosted by the Wharf’s longtime manager, Jeffrey Voorhees, who is better known as shark victim Alex Kintner.  As I did not attend the event I reached out to fans that had for their thoughts.  While some enjoyed the experience of having the opportunity to see so many famous Jaws celebrities in the same room, others complained about ticketing issues, the confined space – one attendee wrote “packed like sardines in a hot tin can does come to mind” – while others lamented the fact that guests promoted as appearing via the internet, most notably actor and co-screenwriter Carl Gottlieb, were “inexplicably absent.”  Still, many enjoyed the opportunity to meet a who’s who of Jaws alumni.

Saturday featured two more packed panels.  “Growing Up with Uncle Quint,” featured author Christopher Shaw Myers, the nephew of Jaws co-star Robert Shaw.  Mr. Myer’s mother, Joanna – Robert Shaw’s sister – had appeared at the 2012 JawsFest.  Also speaking that day, Wendy Benchley, the wife of Jaws author Peter Benchley.  Ms. Benchley not only shared stories from the set of the film but also highlighted her work highlighting global ocean conservation efforts.

Later that evening, fans gathered at the Winnetu Oceanside Resort for an outdoor screening of the film, accompanied by the Cape Symphony.  The show began with an appearance by Richard Dreyfuss, who addressed the crowd prior to the screening.

Sunday was the last day and the promoters of the event saved the best for last.  Panels with Joe Alves, with Dennis Prince, Hollywood makeup master Greg Nicotero, and Deputy Hendricks himself, Jeffrey Kramer, were presented to sold out audiences.  The lawn of the Martha’s Vineyard Museum took on a carnival vibe as “Reunion Day,” a joint effort between the Museum and the Vineyard Gazette Media Group, welcomed fans from literally all over the world to mingle with special guests, participate in Jaws trivia games, and get autographs from the special guests in attendance.  One such guest was Molly Scheider, the daughter of Chief Brody himself, the late Roy Scheider.  As a young man, with Roy’s permission, I had started and ran his official fan club.  It was truly an honor to meet Molly.  As we said hello I surprised her with a gift – a scrapbook of photos and articles featuring her father that I had begun collecting 50 years earlier.  Just the expression on her face told me I had given her something special, something I hope she passes on to her children.

As the sun set at the end of a perfect weekend I said goodbye to old friends, some I’d known for years and some I’d just met.  It was that kind of weekend!     

Starring: Austin Butler, Regina King and Zoe Kravitz
Directed by: Darren Aronofsky
Rated: R
Running Time: 107 minutes
Sony Pictures

Our Score: 4 out of 5 Stars

It’s always hard to know what you’re going to get from Darren Aronofsky. Three years ago, he gave us a rough, intimate drama that won Brendan Fraser an Oscar in “The Whale.” Eight years ago, he gave us one of Jennifer Lawrence’s lowest career points in “mother!” 11 years ago, he managed to get Fox News riled up over “Noah.” So, what should audiences expect from his latest film, “Caught Stealing?” It’s a violent, offbeat misadventure through 1990s New York City; a genre mashup of crime, thriller, comedy, and an oddly specific love for the San Francisco Giants.

Hank (Austin Butler) tends bar at a grimy, hole-in-the-wall dive. He drinks with customers, stumbles home to his dingy apartment, keeps drinking, and sleeps with Yvonne (Zoe Kravitz), who genuinely loves him despite his downward spiral. Once, Hank was a rising baseball star with legitimate MLB dreams, but alcohol wrecked those plans, quite literally. His dear friend booze continues to derail his life, pulling him deeper into trouble when he crosses paths with both the Russian and Jewish mob.

Everything kicks off when Hank agrees to watch his neighbor Russ’ (Matt Smith) cat while Russ heads back to England to care for his ailing father. Unfortunately, Russ leaves behind dangerous unfinished business, and a string of furious mobsters want something badly enough to beat Hank within an inch of his life and start killing anyone around him. What exactly they want becomes Hank’s mystery to solve, and Aronofsky uses that hook to drive a steadily escalating spiral of violence, paranoia, and absurdity.

Most of “Caught Stealing” thrives on tension and intrigue: what’s hidden in Hank’s past, what’s driving the chaos, and how far he’ll go to survive. Aronofsky stages the violence with care by grounding the stakes when it matters but leaning into absurdity when the tone allows it. The film moves between gritty realism and pitch-black comedy, creating a sense of unpredictability even when the plot itself edges toward the familiar.

The ensemble helps hold it all together. Character actors like Vincent D’Onofrio, Carol Kane, and even Bad Bunny bring bursts of personality to every chaotic encounter. Butler’s brooding performance anchors the chaos, though the tonal mismatch between his straight-edged intensity and the stranger supporting turns occasionally clashes. Still, the off-balance approach mostly works, creating a sense of danger that feels earned rather than manufactured.

Ultimately, “Caught Stealing” is a pleasant surprise because it’s part “North by Northwest” paranoia and part “Big Lebowski” absurdism. It doesn’t quite reach the brilliance of either, but it refuses to play by genre rules, and there’s an admirability in that. It’s bloody, darkly funny, and weirdly endearing. Considering Aronofsky adapted this from a series of books, Sony might greenlit a sequel or two if the box office dictates it. If they do, I’m in for more breezy, violent fun.

Starring: Bob Odenkirk, Connie Nielsen, John Ortiz
Directed by: Timo Tjahjanto
Rated: R
Running Time: 89 minutes
Universal Pictures

Our Score: 3.5 out of 5 stars

Where was there to go after 2021’s “Nobody,” the suburban-dad-as-assassin sleeper hit? You’d expect Derek Kolstad, the creator of “John Wick,” to expand the world of Hutch (Bob Odenkirk). You’d expect him to introduce new allies, explore past enemies, and deepen the mythology of Hutch. Instead, “Nobody 2” takes a hard roundhouse kick left: it’s time for Hutch to take the family on a nostalgic summer road trip.

This time around, Hutch (Bob Odenkirk) is struggling to keep up. He’s rarely home, bouncing between violent freelance gigs to pay off the debt he racked up in the first film. His wife drinks alone at the dinner table and his kids barely see him outside of breakfast small talk. We even get the sense that divorce and alienation is around the corner. To save his marriage and reconnect with his family, Hutch piles everyone into a van and heads to Plummerville, a water park he visited as a kid. Trouble, of course, is waiting for him.

The chaos includes a corrupt amusement park owner (a grounded John Ortiz), a small-town sheriff oozing smug entitlement (Colin Hanks, doing what he does best in a jerk role), and a Russian gang leader played by Sharon Stone, who tears through scenes like a villainous vulture gnawing on a carcass. The plot may be thin, but the characters liven it up. Once again, Odenkirk grounds the mayhem with his unique blend of exasperated dad and quietly lethal badass.

The film’s biggest asset is its tight 89-minute runtime, about 20 minutes leaner than most action flicks. Whether by necessity or design, it understands that time is precious and that a quick jolt of adrenaline can be just as satisfying as a full-course meal. That said, there are still a few slow spots, and even Odenkirk’s charisma can’t mask every lull. “Nobody 2” may not be as fresh or impactful as the first, but it offers a tiki drink of an experience. It’s light, fast, and playfully violent. It’s a late-summer treat, perfect for when you need one last splash of cinematic fun before the season ends.

• HOW TO TRAIN YOUR DRAGON (2025)
• Starring:  Mason Thames, Nico Parker and Gerard Butler
• Directed by:  Dean DeBlois
• Rated:  PG
• Running time:  2 hrs 5 mins
• Universal

Our score:  4 out of 5

In case you haven’t noticed, there has been, for the past few years, a trend in Hollywood.  Take a beloved animated film and do a live action remake.  It makes sense.  The studios already own the property so need to pay the screenwriter any more money.  And, if the animated film was a success, you already have a built-in audience.  When they work, like Disney’s latest “Lion King” films, they work beautifully.  When the don’t, well they don’t (and I’m looking at you “Snow White.”  I hope you’ve blinked since I last saw you.)  Another risk is that they spoil the affection fans of the original have.  I’m happy to say that that affection still runs deep in me after seeing “How to Train Your Dragon.”

Like the 2010 animated feature, the film tells the story of young Hiccup (Thames), a well-meaning lad who tries his best to impress his father, the head of the Viking village he lives in.  However, no matter what he tries, and how well intentioned his plans are, disaster usually follows.  Then one day he meets a very special dragon.  And his adventures begin.

Beautifully shot, with amazing visual effects, the film manages to capture the feel of its predecessor thanks to a strong cast.  As Hiccup, Thames is just quiet enough to hide his new-found skills and Ms. Parker is a strong asset to the group of youngsters hoping to become first-rate dragonslayers.  Butler, who also voiced tribe leader Stoick in the original animated film, is his usually blustery best.  Whether he’s fighting dragons or haunting Paris opera houses, Butler has never met a role he couldn’t yell through!

The visual effects are top notch though I will warn that some of the more intense scenes scared several of the little ones that attending the screening I was in.  However, children over the age of eight should enjoy the action.

On a scale of zero to five I give the live action version of ‘How to Train Your Dragon” ★★★★

• JURASSIC WORLD:  REBIRTH
• Starring:  Scarlett Johannson, Mahershala Ali and Jonathan Bailey
• Directed by:  Gareth Edwards
• Rated:  PG 13
• Running time:  2 hrs 13 mins
• Universal

Our score:  3 out of 5

I love dinosaurs.  My favorite is the triceratops, a love I developed as a child from reading the book “The Enormous Egg.”  Apparently, a lot of people love dinosaurs as the EIGTH film in the Jurassic Park series comes to theatres.

Set five years after 2022’s Jurassic World: Dominion, the film tells the tale of a group of people, led by Zora (Johansson) and Duncan (Ali) to escort a scientist (Bailey) back to Isla Nublar, the island that contained the original Jurassic Park on a mission to retrieve DNA from three very large, and very nasty, species of dinosaurs who were left behind on the island because they were too terrifying.  Apparently the nicer members of the species are now free to wander the world aimlessly, including the brontosaurus who blocks traffic in Brooklyn!  I can hear those car horns now.

While entertaining, the film lacks what made 1993’s original “Jurassic Park” such a great film.  Emotion.  Not just yelling and screaming, but a true emotional connection with the characters.  The most recent films in the series have pretty much just thrown characters you’re not emotionally invested in amongst a series of bigger and more terrifying monsters.  Like a great roller coaster ride you’re caught up in the excitement of the moment but on the ride home from the amusement park you’re talking more about the giant corn dog you ate instead of the ride.  That being said, the monsters are scary and you do get those brief moments of excitement.  You just may not remember them on the ride home.

On a scale of zero to five I give “Jurassic World: Rebirth” ★★★

• BALLERINA
• Starring:  Ana de Armas, Keanu Reeves and Ian McShane
• Directed by:  Len Wiseman
• Rated:  R
• Running time:  2 hrs 4 mins
• Lionsgate

Our score:  3 out of 5

When I interviewed ballerina Moira Shearer who starred in “The Red Shoes,” she happily informed me, “Dancers and boxers lace their boots the same way.”

As the analogy indicates, deadly force can come in seemingly dainty packages.

That may explain why “From the World of John Wick: Ballerina” usually works. Ana de Armas proved she had what it took to be an action hero in “No Time to Die.” In her brief turn, her awkward demeanor belied formidable speed and agility. Her precision dagger was a nice complement of James Bond’s blunt instrumentation.

This time around she plays Eve, a young woman struggling to deal with being orphaned after trained killers murdered her dad. Winston (Ian McShane), who acts like a referee in the universe that Eve and John Wick (Keanu Reeves) inhabit, puts her in the care of the Director (Anjelica Huston).

Eve now has a unique regimen. Most of us don’t have to train for the rigors of both ballet, which can decimate a dancer’s feet, and for martial arts and target practice. Because she’s as sturdy as she is agile, it’s no surprise she spends less time on stage than she does guarding clients or selectively ending lives.

After a few successful missions, she discovers that the people who killed her father are still around. The Director has had a long truce with the rival troupe of killers and their leader The Chancellor (an appropriately chilly Gabriel Byrne).

Eve couldn’t care less about those arrangements. She wants revenge and is willing to charge into a village populated entirely with seasoned assassins.

If anyone could survive such a seeming act of folly, she would be the one. Her bravado is accompanied by the sort of creativity that comes from an education in the arts. This enables her to neutralize larger, stronger opponents.

Watching de Armas leap, kick and shoot is expectedly exhilarating. Screenwriter Shay Hatten, who wrote the last two John Wick films, comes up with a delightfully goofy solutions when Eve runs out of ammo.

Director Len Wiseman (“Underworld”) stages the mayhem with appropriate finesse, but he deviates little from the template that Chad Stahelsski established in the first two movies. “Ballerina” might have been more fun if it gave Eve a stamp of her own. The pneumatic tubes that send death warrants across the oceans in seconds are here, but it the idea of blending classical dance and combat is only partially realized.

Reeves, who produced, returns as Wick. He seems committed, but the script incorporates Wick as an afterthought. Reeves and de Armas share little screen time and don’t get a chance to play off each other much. It would have been more fun if their contrasting styles could have been clearly delineated.

De Armas at least shows that her lean shoulders can carry a shoot-em-up with confidence. Here’s hoping her next turn behind a gun is as nimble as she is.

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