Lou

Movie Name: Lou
Year of Release: 2022
Director: Anna Foerster
Starring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Asha Bateman, Matt Craven, Greyston Holt, Daniel Bernhardt, Marci T. House, Toby Levins, Andres Collantes, RJ Fetherstonhaugh
Genre: Action, Drama
Score out of ten (whole numbers only): 4
Watch it on Netflix

Synopsis and Review

Director Anna Foerster who made her feature directorial debut with "Underworld: Blood Wars", has since then gone on to direct various prestige TV shows, including "Westworld" and Netflix's "Jessica Jones". "Lou", which takes place in 1986, follows the story of Lou, a solitary woman living on Orcas Island in Washington. She has her dog Jax has her companion, but is also the landlady for a woman named Hannah, who lives in one of her homes with her young daughter Vee. When Vee is kidnapped, Hannah reaches out to Lou, just as she's about to commit suicide, wanting her help in locating her daughter. Hannah explains that the kidnapper is actually Vee's father Philip, a former Green Beret and war criminal she thought was dead. As the two women set on their way to track Philip and Vee, they have to portend with some challenges. For starters Lou has to deal with some of Philip's friends, whom she handles rather swiftly, implying that she's also more than she has led people to believe. She explains to Hannah she's in reality an ex-CIA agent. When Lou eventually catches up and confronts Philip, it's revealed she's in reality his mother, and that Philip has devised an elaborate plan to kill them all. It's up to Lou and Hannah to attempt all they can to derail his plans.

"Lou" had enormous potential from the get go. The somewhat isolated locale where the narrative takes place, partnered with the inclement weather, married with a character who feels she's at the end of her rope, could have made for a truly fascinating story of redemption tied with survival. And while some interesting traces of that does remain in the film, it sadly ends up lacking quite a bit in terms of grit, character development, or even originality. Allison Janney's take on Lou, as someone seasoned and as someone burdened by her past choices is inspired, since she is able to convey these multiple layers to a character who is not necessarily heart warming or even redeemable. She has done what needs to be done throughout her life, even if at times that has been at the cost of her own family. However and as is the case with this particular type of "mysterious loner narratives", the screenplay fails to give a bit more extra dimension to what has driven her to her current mindset. Whereas Ted Kotcheff's "First Blood" for instance introduced John Rambo as a solitary drifter who gets pushed too hard and then rebels against those who want to demonize him, in this case Lou is somewhat isolated of her own choice, and though not as lethal as Rambo, she is indeed resourceful, but is also trapped by the guilt associated with her own actions. The film doesn't really know if it wants to be an unbridled action survivalist narrative, or this narrative of a woman who wants to atone for her past actions. In the end, it limits what Allison Janney and even Jurnee Smollett can do with their characters, aside from some clichés, the same going for the villainous Logan Marshall-Green, whose motivations and ultimate plan are simply slight an nonsensical. Sadly this film doesn't entirely work, though Allison Janney is a compelling presence, with good support from Jurnee Smollet, while Logan Marshall-Green's talent is completely wasted in a rather thankless role (and he was so good in Leigh Whannell's "Upgrade"). The production team is solid, including the dark tinted cinematography from Michael McDonough, and the production design from Brent Thomas. Another Netflix release that falls under the chapter of watchable and forgettable. 

Fenomenas/Phenomena

Movie Name: Fenómenas/Phenomena
Year of Release: 2023
Director: Carlos Theron
Starring: Belén Rueda, Gracia Olayo, Toni Acosta, Emilio Gutierrez Caba, Miren Ibarguren, Ivan Massague, Oscar Ortuno, Antonio Pagudo, Lorena Lopez, Fran Cantos
Genre: Horror, Comedy
Score out of ten (whole numbers only): 4
Watch it on Netflix

Synopsis and Review

Yet another Spanish horror film released by Netflix, and one that features the well known Belén Rueda, who audiences may be familiar with from the film "The Orphanage" from J.A. Bayona. "Fenómenas/Phenomena", which is based on the real-life Spanish Paranormal investigation group "Grupo Hepta", follows the story of three women including Sagrario, Paz and Gloria, who alongside Father Pilon have been investigating paranormal occurrences for quite some time. The film, which takes place in 1998 in Madrid, starts with the group trying to solve whatever attacked Father Pilon and rendered him at the hospital. The more they investigate the more they all realize that not everything is what it seems. A woman and her daughter who live next to the locale where all the strange events are taking place, are actually involved in the situation, with the mother being seemingly possessed by a spirit. Gloria, who wants to move on from the group and find some comfort in her life beyond the paranormal and is actually the group's medium, senses something more nefarious in the locale. Whatever is in motion seizes her, forcing Sagrario and Paz to come to her aid, and solve the entire darkness that is seizing the place.

Carlos Therón who has started his career not that long ago, has managed to diversify his output across both TV and feature films (with a few shorts in between). "Fenómenas/Phenomena" follows "Operación Camarón" and tries to mix the horror genre with some lighthearted banter/comedy, which is mostly derived from the close relationship the three women have shared throughout the years. While this banter and this rapport between the central characters is nicely conveyed, not much is actually disclosed or substantiated about who these characters actually are, aside from some facts that are peppered in to provide some context. Sangrario for instance, the psychic, is still trying to come to terms with the passing of her husband, while Paz the videographer, has a family she at times feels she neglects a bit. While these small details humanize the characters a bit further, it doesn't necessarily make them that much more interesting. The film almost comes across as a TV pilot where these characters are introduced with the hopes that subsequent episodes (or sequels) will expand on the narrative of these characters (or for that matter, of the supporting ones). There are dashes of color in certain details that are provided to the supporting characters, but even then they're portrayed very much in a singular minded fashion, without much dimension to them. The paranormal aspect of the narrative is also never entirely convincingly illustrated, with the director failing to stylistically create an ominous environment for these characters to exist in. In the end the film is saved by the performances of the three leads, with Belén Rueda, Gracia Olayo and Toni Acosta bringing these ghostbusters to life with enough gusto, humor and drama which makes the film watchable (though not entirely memorable). The production values are not necessarily the best, which also doesn't make this feature that much more enticing. Ultimately it's a watchable, but not memorable feature.  

Ghost Ship

Movie Name: Ghost Ship
Year of Release: 2002
Director: Steve Beck
Starring: Julianna Margulies, Gabriel Byrne, Ron Eldard, Desmond Harrington, Isaiah Washington, Alex Dimitriades, Karl Urban, Emily Browning, Francesca Rettondini, Boris Brkic
Genre: Horror, Mystery
Score out of ten (whole numbers only): 2
Watch it on Amazon

Synopsis and Review

"Ghost Ship" was the sophomore directorial effort for Steve Beck following his debut with "Thir13en Ghosts". The film focuses its attention on a salvage crew who is approached by a weather service pilot who mentions he has spotted a vessel adrift in the ocean. The vessel can be claimed by whomever brings it to port. Turns out the ship is the Antonia Graza, a ship that has gone missing since 1962. Once they reach their destination and board the ship, they quickly discover boxes containing gold bars. However as they explore the ship, strange occurrences start happening, which makes them quickly decide to abandon the ship with the gold. However their salvage boat explodes which leaves them with no option but to repair the Antonia Graza. The supernatural entities they encounter unveil what has happened to the boat, and the entity who has been precipitating all these events. As casualties pile on, Maureen Epps finally decides to sink the ship, since she has uncovered the sinister intentions of the entity behind what has been happening in the Antonia Graza. 

"Ghost Ship" is a rather straightforward film that wastes no time in setting up the demise of its central characters. The preamble to the narrative already sets up the context for something quite awful that took in place in the ship, and the minute the salvage crew reaches it, it's clearly visible that there won't be much subtlety to whatever action is about to occur there subsequently. All the characters are flimsy sketches, with the goal for the narrative ultimately being for the supernatural occurrences to start taking place, alongside the demise of each of the rescuers in some gratuitously violent way. Ultimately it's a film that doesn't offer much in terms of character or narrative development, trying to elicit a surprise gasp from the villainous entity who is uncovered towards the end, sadly that reveal isn't much of a surprise or much shock, since not much has been built in terms of creating a bridge from the audience towards the characters themselves. It's a film that tries very hard to be suspenseful, but one where the director doesn't really know how to build momentum. The cast which is populated with solid actors, doesn't get to do much with these characters, the same going for the production team which while competent, also can't avoid the film from falling into a generic look and feel. It's ultimately a forgettable endeavor. 

Event Horizon

Movie Name: Event Horizon
Year of Release: 1997
Director: Paul W. S. Anderson
Starring: Laurence Fishburne, Sam Neill, Kathleen Quinlan, Joely Richardson, Jason Isaacs, Sean Pertwee, Richard T. Jones, Jack Noseworthy, Holley Chant
Genre: Horror, Sci-Fi
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

After making his debut with the well received "Shopping", director Paul W. S. Anderson followed that feature with the adaptation of the video game "Mortal Kombat", which even though it was met with tepid reviews, it still managed to find an audience. His third feature was "Event Horizon", which focuses its narrative on the adventures of a group of astronauts in space, who are sent on a rescue mission. The small crew is joined by Dr. William Weir who designed the ship they're aiming to salvage. The ship was considered lost, but has re-emerged much to everyone's surprise, alongside with what seems to be a recording asking for help. Dr. Weir explains what is so special about the ship, essentially that it has figured out a way to bend space, creating a wormhole in order to travel faster across considerable distances. Upon reaching the Event Horizon, the rescuers quickly realize something wrong happened there, though they can locate any of the previous crew. They also start experiencing hallucinations. They eventually discover a video log of the previous crew, which hints at what actually happened. Weir eventually communicates that the ship opened a gateway to horrid dimension and that the ship itself has attained sentience. Captain Miller from the rescue crew decides to take his chances and blow up the ship, but Weir who at this time has been compromised by is transpiring on the ship has other plans.

"Event Horizon" benefits firstly and foremost from its very talented and diverse cast, led by the always reliable Laurence Fishburne, with great support from Sam Neill, Kathleen Quinlan, Joely Richardson and Jason Isaacs. The film clearly has noticeable influences from very iconic features such as Ridley Scott and James Cameron's "Alien" films. The director manages to set up the initial premise of what the characters are looking for with almost a shorthand type of precision, very much in line with a B-movie, in the process providing very little backdrop or insight into who these characters actually are, but nonetheless giving them just enough color to justify our attention. The storyline starts going off the rails once the crew hits their destination, and the film tries to be a mix of "The Haunting" with "Hellraiser". The problem lies with the fact that we know very little of these characters, and the device that is used to elicit horror from them (and for them) is predicated on us having some empathy with their journeys (which based on what has been illustrated thus far, doesn't really happen). As the gore mounts, so does the increasingly less interesting part of this narrative. All the chatter about this new dimension and how horrific it supposedly is, and this villainous entity or dimension that has taken hold of the ship itself, just never amount to something substantial, and in the end it feels rather lifeless and bloodless (which is something, considering all that is illustrated onscreen). There isn't much in terms of motivation for what this nefarious entity actually wants, and therefore the narrative itself feels inconsequential. The cast tries their best to bring these characters to life, with whatever little they can, with Sean Pertwee and Sam Neill in particular managing to bring some charisma to their performances. The cinematography from the late Adrian Biddle is solid, as is the production design from Joseph Bennett. It's a missed opportunity from a director who definitely has become a deft B-movie storyteller (of sorts). 

Don't Listen/Voces

Movie Name: Don't Listen/Voces
Year of Release: 2020
Director: Angel Gomez Hernandez
Starring: Rodolfo Sancho, Ana Fernandez, Ramon Barea, Belen Fabra, Lucas Blas, Nerea Barros, Beatriz Arjona, Jose Bermudez
Genre: Horror, Drama
Score out of ten (whole numbers only): 3
Watch it on Netflix

Synopsis and Review

After a career directing short features, "Voces" is the feature directorial debut for writer/director Angel Gomez Hernandez. The narrative is focused on a Spanish family who has recently bought a beautiful property in need of restoration. They typically buy properties such as that, renovate them and then sell them for a profit. While they're renovating the property however, they live in it since they invest the proceedings from the sale into the next property they purchase. However with this property in particular things start going slightly awry since Daniel and Sara's son, Eric starts listening to voices coming through the house all the time. Eric draws what the voices are telling him, but no one seems to pay much attention. He also gets in trouble at school because of those voices and eventually a therapist is brought in to see what's going on with him. The therapist sadly dies in a car accident, while a dramatic event occurs at the house when Eric is found lifeless in the pool. Daniel and Sara are inconsolable, and while Sara goes to visit her parents, Daniel stays in order to finish the house restoration so they can move on. However he starts noticing some strange occurrences and voices, including Eric's, and seeks out the help of an expert in order to assess if what he's listening is real or not. German and his daughter Ruth show up with the intent of uncovering what's going on. 

"Voces" is a film that has influences which range from Alejandro Amenabar's "The Others" to some of the work Leigh Whannell and James Wan have been doing with the series "Insidious" and also "The Conjuring". Angel Gomez Hernandez is successful in establishing a sentiment of unease in the house, however is less interested it seems in capturing the relationship between the members of the family. Those characters are all fairly superficially rendered, including the relationships between all of them. After the death of young Eric and as Sara leaves to stay with her family, there isn't much exchange between her and Daniel. Things warm up a bit more when German and Ruth enter the picture, but their stories and exchanges, while trying to illustrate their own trauma, not enough backdrop and context is provided about the both of them to make their contribution to the narrative more compelling. The director seems to be more focused on the supernatural element of the narrative, more so than establishing the live characters that ultimately anchor it. While there is an element of tension that is effectively built out, this narrative needs more lived-in characters to really bring a sense of doom, fear and loss to life. As it is it seems rather lifeless. The cast tries their best to bring these characters to life, with Rodolfo Sancho, Ana Fernandez and Ramon Barea being the highlights. The production team is competent, but the rather paltry budget is noticeable. Filled with good intentions, but it's ultimately a forgettable endeavor. 

Rumble in the Bronx/Hung fan kui

Movie Name: Rumble in the Bronx/Hung fan kui
Year of Release: 1995
Director: Stanley Tong
Starring: Jackie Chan, Anita Mui, Françoise Yip, Bill Tung, Marc Akerstream, Garvin Cross, Morgan Lam, Lauro David Chartrand-Del Valle, Kris Lord, David Fredericks, Guyle Fraizer, Harold Gillespie
Genre: Action, Comedy
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

Writer/director Stanley Tong had already shaped a successful working relationship with the iconic Jackie Chan before "Rumble in the Bronx" premiered, courtesy of their successful series "Supercop", which premiered in 1992, quickly followed by a sequel in 1993 (also featuring the always fantastic Michelle Yeoh). "Rumble in the Bronx" follows the story of Keong, who is visiting the US with a double of purpose of checking on his family, but also helping his uncle who is getting married and is off to celebrate and enjoy his honeymoon. The helpful and humble Keong quickly makes friends with a neighborhood kid (Danny), but also gets in trouble with a local gang who just thrives on creating mayhem wherever they go. Keong soon becomes romantically interested in Danny's older sister, who unbeknownst to him is part of the gang who has been trailing him. Both Keong and the gang however soon find themselves in a dicier situation when a dramatic heist takes place and some serious criminals come to their neighborhood with stolen items, that coincidentally find themselves under the unknown guise of Danny. Keong has to rely on his resourcefulness to solve this tangled mess.

Jackie Chan is an undisputed icon and someone who has made a name for himself with a lengthy career, where he has always managed to created these hybrid adventures that are a mix of martial arts/action caper and comedic entanglements. While Jackie Chan has been a titan in the Hong Kong movie industry for decades, "Rumble in the Bronx" was one of the first big attempts to bring his brand to the US. And for the most part his trademark remains consistent in this film: he is typically the central hero who is someone humble, somewhat unaware of the machinations of the world, always pure of heart, but who is lethal and possessed of both fighting and a moral fiber that is undisputedly unique. In this case, he finds himself at odds firstly with an urban gang, which eventually turns out are people mostly looking for purpose in life, and secondly with a nefarious group of criminals, who will stop at nothing to get what they want. And while these types of narrative elements feel at times very much like part of a recipe common to most of Jackie Chan's films, there's an undeniable freshness and lack of pretentiousness to these films, which allow him to both showcase his comedic timing, but also his fantastic acrobatic skills. And his films have long become great showcases for expertly choreographed fight scenes and at times perilous stunts, which is also the case for "Rumble in the Bronx". This is essentially a slickly crafted B-movie where everything works, from the stunts to the comedic tones. And while the characters are indeed instantly forgettable, Jackie Chan and his group manage to set up a flurry of events that is always compellingly watchable. Worth revisiting. 

Forgetting Sarah Marshall

Movie Name: Forgetting Sarah Marshall
Year of Release: 2008
Director: Nicholas Stoller
Starring: Jason Segel, Kristen Bell, Mila Kunis, Russell Brand, Jonah Hill, Bill Hader, Liz Cackowski, Jack McBrayer, Maria Thayer, Taylor Wily, Paul Rudd, Branscombe Richmond, Da'Vone McDonald, Steve Landesberg
Genre: Comedy
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Writer/producer/director Nicholas Stoller started his directorial career and collaboration with writer/actor Jason Segel with this feature. The film focuses on the story of Peter Bretter, a music composer who is in a relationship with the famous Sarah Marshall, an actress currently with a hit tv-show. Much to his surprise Sarah decides to break up and Peter has a hard time dealing with the sudden implosion of the relationship. His stepbrother Brian intervenes, giving him solace and some advice on how to move on. Peter tries to go on several dates, but his depression doesn't seem to get any better. He eventually decides to take a vacation to Hawaii, and decides to check in on a hotel that he has not previously booked. Much to his surprise, the hotel is fully booked, but Sarah is also there enjoying some time off with her new fling, rock star Aldous Snow. Peter gets a break when Rachel, one of the hotels employees handling the check in, commiserates with his situation and finds a suite to stay on. As Peter navigates the awkwardness of being once again close to Sarah and her new love interest, he and Rachel also become friendly and in the process something sparks between the two of them. 

"Forgetting Sarah Marshall" is derived from the authorship of Jason Segel, who has since written "The Muppets", "The Five Year Engagement", "Sex Tape" and more recently the TV Show "Shrinking", to name but a few. He typically tries to find humor in awkward moments that people go through in life, moments that can be even painfully embarrassing but that he eventually manages to convert to heartfelt and even endearing ones. What is particularly successful about "Forgetting Sarah Marshall" is the fact that these characters are actually given enough time to be more than your typical cliché, namely Peter who may seemingly be just the rejected klutz, but who turns out to be someone with his fair share of problems, and who in the process of this breakup has to figure out a way to grow up and be an adult. The same happens with the supporting characters, including Sarah Marshall, Rachel and even Aldous Snow (who does get his time to shine in the follow up film, "Get Him to the Greek"). It's a film that pushes some of its funnier moments to some interactions with characters who have less screen time, such as Paul Rudd's Chuck or Jonah Hill's Matthew, but it's still a film filled with heart for all these characters. And its disarmingly raw approach to some of the events that take place is both tender and funny. The cast is uniformly solid, with Jason Segel, Kristen Bell, Mila Kunis, Russell Brand, Jonah Hill and Paul Rudd all creating a solid ensemble who brings all these characters to life. The production team is competent, with highlight going to production artist Jackson De Govia. Worth watching. 

Get Him to the Greek

Movie Name: Get Him to the Greek
Year of Release: 2010
Director: Nicholas Stoller
Starring: Jonah Hill, Russell Brand, Elizabeth Moss, Rose Byrne, Colm Meaney, Sean Combs, Aziz Ansari, Nick Kroll, Ellie Kemper, Jake Johnson, Kristen Schaal, Dinah Stabb, T.J. Miller, Stephanie Faracy, Carla Gallo
Genre: Comedy
Score out of ten (whole numbers only): 7
Watch it on Amazon

Synopsis and Review

Following the well received "Forgetting Sarah Marshall", writer/director Nicholas Stoller reunited once again with actor/writer Jason Segel and devised "Get Him to the Greek", focused on the story of Aaron Green, another every day man who works for a record company in LA (he is a talent scout), who is going through a series of substantial challenges. Aaron suggests creating a unique concert experience with rocker Aldous Snow, celebrating the 10 year release of one of his records. Aldous has fallen out of grace with audiences due to a lackluster performance and tone deaf release of a record named "African Child", which also precipitated the demise of his romantic relationship with the mother of his child, fellow pop star sensation, Jackie Q. Aaron is assigned the task of bringing Aldous to LA for the concert, at the same time his partner Daphne informs him that she has gotten a residency job offer in a Seattle hospital. They don't seem to align on where they stand and put their relationship on a break, while Aaron goes to London, on what seems to be a straightforward job. That turns out to be anything but the case, with Aldous making matters complicated for Aaron, by partying excessively, forcing them to constantly almost miss their flights, not to mention the flurry of awkward situations they find themselves in.

Nicholas Stoller has made a name for himself by finding the humor in awkward yet relatable situations. That was the case with "Forgetting Sarah Marshall" and is also the case with "Get Him to the Greek" and has also transpired in subsequent films which has included "The Five Year Engagement", "Neighbors", and even the more recently "Bros". What makes "Greek" so interesting is the journey that both central characters go through, and how even though they're at such different places in their lives, they both eventually realize that they have to grow up, and that life isn't solely a selfish pursuit of hedonistic pleasures. However and until they get to that realization, we get to witness all sorts of debauchery typically associated with the high life of the clichéd rock star, with sex shenanigans mixed with drugs, in ways that are at times surprising. What makes this film work so well is the fact that these characters are given an opportunity to be more than simple clichés, and we get to witness a bit of the sadness, anxiety, lunacy and even shallowness that lies within each one of them. Most of these characters get to go on a journey, even if some of them have a more robust journey than others. The film is impeccably cast, with Jonah Hill and Russell Brand making for a great comic duo, with fantastic support from Elizabeth Moss, the hilarious Rose Byrne and the always reliable Colm Meaney. The production team is fantastic, featuring the great cinematography from Robert D. Yeoman (who is Wes Anderson's usual collaborator) and production design from Jan Roelfs (who is the formidable talent who worked on Sally Potter's "Orlando", to name but one illustrious film from a fantastic career). Worth watching and savoring. 

Dumb and Dumber To

Movie Name: Dumb and Dumber To
Year of Release: 2014
Director: Bobby Farrelly, Peter Farrelly
Starring: Jim Carrey, Jeff Daniels, Kathleen Turner, Rob Riggle, Laurie Holden, Rachel Melvin, Steve Tom, Don Lake, Elizabeth Cooper
Genre: Comedy
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

20 years after the original and very successful "Dumb and Dumber", the Farrelly siblings have reunited with their lead stars to bring back more adventures of Lloyd and Harry. The story finds Lloyd initially committed to a mental institution, with Harry visiting him frequently. Turns out Lloyd was just pranking him and has been doing so for 20 years. Harry reveals he needs a kidney transplant, but sadly his parents can't be of assistance since he's been adopted. While visiting his parents, Harry finds out that his ex-girlfriend Fraida Felcher has given birth to daughter by the name of Fanny, whom she had to give out for adoption, and that he is quite possibly the father. Happy at the thought of having a potential donor, they both set out to meet her, only to discover she's headed to El Paso, to give a speech on her adoptive father's work. They set out to connect with her, but hot on their trail is Travis, who has been working with Adele, to kill Fanny's adoptive father (Adele being married to Fanny's adoptive father). Once they arrive at the convention however, all sorts of shenanigans ensue. 

What was always so interesting about the original "Dumb and Dumber", aside from the obvious chemistry and camaraderie between Jim Carrey and Jeff Daniels, was the anarchic tone the film had, twisting conventions on their head. And while some jokes and set ups were indeed juvenile and in poor taste, the energy the film managed to capture was somewhat an interesting legacy of what Frank Tashlin and Jerry Lewis did with their films (for instance "Cinderfella"). This sequel tries to recapture that unique energy that transpired in 1994, and while instances and moments can never be truly recaptured, the film does manage to have some really solid moments of humor. The relationship and rapport between Harry and Lloyd persist and it's one of the highlights of the film, and while some attempts at tying the narrative to what happened in the first feature are not quite so successful, there's still plenty to enjoy in the interactions that occur with Rob Riggle (who in this case plays the spiritual legacy character played in the original by the late Mike Starr). If there are indeed some unnecessary plot points (the plot to kill Fanny's adoptive father), the addition of some scenes with Kathleen Turner's Fraida Felcher are hilarious. While both "Dumb and Dumber" features never had at their core a substantial character development, their situational humor and anarchic tone does make for an interesting watch, if nothing for the sheer opportunity to witness Jim Carrey and Jeff Daniels be unhinged. While not as successful as the original, this sequel is still worth watching. 

Love Sarah

Movie Name: Love Sarah
Year of Release: 2020
Director: Eliza Schroeder
Starring: Celia Imrie, Shelley Conn, Shannon Tarbet, Rupert Penry-Jones, Bill Patterson, Andrew David, Max Parker, Lucy Fleming
Genre: Drama
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

"Love Sarah" is Eliza Schroeder's feature directorial debut, following a series of TV movies and shorts. The film focuses on the story of three women who come together due to a tragic circumstance. Isabella who is planning on opening a bakery with her best friend Sarah, suddenly finds herself in a precarious situation when she dies. Mimi, Sarah's mother, who was trying to reconnect with her after a fallout, also finds herself anguishing over what could have happened and what she should have done. And Clarissa, Sarah's daughter, finds herself lost, unable to continue her dance studies, and crumbling apart when her relationship also ends. Clarissa reconnects with Isabella and decides to bring the bakery idea back to life, something she soon understands will need quite a bit of an investment. Needing a place to live, she asks for her grandmother's help, and soon convinces her to invest and run the bakery, as an homage to Sarah's memory. While all three women are ready to get things going, they still need a cook. That manifests itself in the presence of Matthew, a well known chef and former colleague and love interest of Sarah, who was also friends with Isabella. After some initial reticence, they all start working together and try to bring the bakery which they name Love Sarah to life.

"Love Sarah" is a breezy film that is filled with good intentions, ultimately reinstating the fact that earth shattering events can bring people together, and that mutual assistance and support can uplift and provide meaning for people. All these are commendable intentions, and the film illustrates fairly well how all these characters come together, however it also does so in a fairly idealized reality, where these characters don't have much substance, and where financial hurdles can easily be surpassed by a well off family member who is available. It's a fairly straightforward narrative, one where all the characters are eventually healed by the bakery, who is indeed an ode to a lost loved one, but that also seemingly becomes a hub for all the multicultural groups of London, looking for a culinary connection to their homeland. So much more could have been probed with the materials that underly this narrative, namely Sarah's connection to all these characters, or even Felix's presence, but the film shies away from illustrating these, providing instead a lighthearted and breezy view of their interactions. The cast is solid in bringing these sketches to life, particularly the always reliable Celia Imrie and Bill Patterson, with good support from Rupert Penry-Jones. The production team is competent, but the film doesn't necessarily have a distinctive and stylistic point of view. It's a watchable but also easily forgotten endeavor. 

Whitney Houston: I Wanna Dance With Somebody

Movie Name: Whitney Houston: I Wanna Dance with Somebody
Year of Release: 2022
Director: Kasi Lemmons
Starring: Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, Clarke Peters, Daniel Washington, Kris Sidberry, Dave Heard
Genre: Drama
Score out of ten (whole numbers only): 2
Watch it on Amazon

Synopsis and Review

The success of Bryan Singer's "Bohemian Rhapsody" has opened the floodgates for a series of late and iconic singers' lives to be portrayed on the big screen, which has since included Dexter Fletcher's "Rocketman" (based on the life of Elton John), and upcoming features which will focus on the lives of Amy Winehouse and Michael Jackson (at least for now). Director Kasi Lemmons (who started her career as an actress, including Jonathan Demme's "Silence of the Lambs"), whose most recent directorial effort "Harriet", was also a dramatic rendering of the life of an iconic individual, namely Harriet Tubman's, illustrates the script from celebrated screenwriter Anthony McCarten (who previously wrote Joe Wright's "Darkest Hour", James Marsh's "The Theory of Everything" and also Bryan Singer's "Bohemian Rhapsody"). The film focuses on the life of Whitney Houston and her humble beginnings as a backup singer for her mother and also singing in the choir of her church. While her mother is strict, Whitney's talent is quite apparent and following a performance in a club where Clive Davis is in the audience, he quickly signs her up for Arista Records. At the same time, Whitney finds a stable romantic relationship with Robyn Crawford. After the success of her debut album and her first live TV performance, Houston's star is on the rise. Looking to keep Robyn close by, Whitney wants to hire her as an assistant, something her father disapproves of. Eventually their romantic relationship fizzles, but they keep their professional relationship intact. Whitney eventually gets tangled with Bobby Brown, who has a bad boy reputation and while they have a rocky start to their relationship, they eventually get married. Their marriage is peppered by friction, including drug usage, but they eventually have a daughter and manage to stay together. Whitney becomes aware of issues in her career management prompted by her father, which leads to his dismissal as he nears the end of his life. Whitney's own turmoil and drug issues continue, until she attempts a comeback starting with a Grammy party.

The rise and fall of a rock star is something that has been the focus of innumerable stories. Bradley Cooper's recent adaptation of "A Star is Born" is a good example of it. This take on the life of Whitney Houston however is a pale rendition of someone who always had a larger than life persona, and whose life was also peppered with many publicly visible challenges (courtesy of reality shows). The script is a somewhat sanitized version of someone's life, failing even to give Whitney Houston, the character/person, a personality beyond the artist facade she puts on for everyone to consume (and whenever the facade does crumble it only does so for very little periods of time). The struggles and challenges that do appear, either with her family, or her sexuality, and eventually her romantic relationships, are superficially illustrated and demonstrate very little of what she actually wanted (aside from wanting a family). Whatever demons haunted this character, very few of them see the light of day in this feature, which chooses instead to focus quite a bit on the music choices she had throughout her career. It's a film that reads more like a LifeTime or Movie of the Week type of rendition, one that bears no distinct point of view, and it's merely illustrating a well known formula. It fails to illustrate someone's cultural background, ambition and challenges in life, even if in the end that makes them more human. As it is, it reads like promotional material for someone who didn't need it to begin with. Highlights in the cast include Tamara Tunie and Clarke Peters' performances: they're both riveting and manage to bring some edge and dimension to underwritten roles. The cinematography from Barry Ackroyd is fantastic, as is Gerald Sullivan's production Design. Ultimately, this is a mediocre feature unworthy of the talent of the person depicted in it. 

Tag

Movie Name: Tag
Year of Release: 2018
Director: Jeff Tomsic
Starring: Ed Helms, Jon Hamm, Jeremy Renner, Jake Johnson, Lil Rel Howery, Isla Fisher, Annabelle Wallis, Hannibal Buress, Nora Dunn, Steve Berg, Leslie Bibb, Rashida Jones, Indiana Sifuentes, Thomas Middleditch, Al Mitchell, Sebastian Maniscalco
Genre: Comedy
Score out of ten (whole numbers only): 3
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Synopsis and Review

"Tag" is the feature directorial debut for Jeff Tomsic, though he has had a lengthy career in TV shows (he directed episodes of shows such as "Broad City" and "Wrecked" to name but a few). The film, which is based on a true story, follows the story of a group of men who have been close since they were children, and who get to play tag during the month of May. Jerry out of all in the group, is the only one who has never been tagged. Hogan, alongside his wife (who is not playing since girls were not allowed when the game was devised in their childhood), recruits Bob, Chilli and Kevin for one last attempt at tagging Jerry, since Jerry has informed them he plans to retire after this year's game due to his impending nuptials. The group is also joined by Rebecca Crosby, a Wall Street Journal reporter doing a piece on Bob. When they get to their hometown, they locate Jerry and attempt to tag him, which proves to be unsuccessful once again. They all agree no to play tag at any wedding-related events, but as they try to find ways to catch Jerry outside of those, they keep failing. They finally crash the wedding and Hogan tries to tag Jerry at the end of the ceremony, but he fails once again, but with some unexpected outcomes.

"Tag" is powered by its unique premise, one of a game played by friends throughout decades, as a means to keep a friendship alive and never lose the child within each and everyone one of them. While this is indeed a great premise, sadly the film latches on to this playful aspect alone and never truly gives much insight into who these characters actually are, and what exactly makes them compelling (or for that matter, what makes them stay friends throughout all those years). While the levity of the description of these characters may seem like a quirky way to invite situational humor (Jeremy Renner's character Jerry reads as series of different personas for instance, whereas Jake Johnson's druggy Chilli, is persistently characterized as simply that), it mostly comes across as lazy story writing, which also extends to the female characters, who literally have nothing to do but "tag along". This is a concept that could have had at the core of its narrative the mix of the lunacy of these friends tagging each other year after year, married with an actual human element of people who support each other and characters who are more than just a single paragraph description, meant to illustrate them by one single aspect of how they present themselves (case in point Jon Hamm's successful business man). There are aspects that work in this film, namely the camaraderie which is captured between the group, and things indeed get more interesting when Rashida Jones makes her entrance and brings some edginess to the narrative, but sadly she never gets much screen time, and neither gets the opportunity to know more about these characters. It's an interesting concept that never really lands, oscillating between trying to be a somewhat riveting physical comedy (which it never commits to) and an ode to friendship (which again never carves the depth for). The cast tries to bring their characters to life, but out of the whole bunch it's actually Rashida Jones who manages to get away with the film. She actually is puzzled by who and what these people turned out to be, and in the end so are we. 

Beau is Afraid

Movie Name: Beau is Afraid
Year of Release: 2023
Director: Ari Aster
Starring: Joaquin Phoenix, Patti LuPone, Amy Ryan, Nathan Lane, Parker Posey, Kylie Rogers, Denis Menochet, Zoe Lister-Jones, Armen Nahapetian, Julia Antonelli, Richard Kind, Stephen McKinley Henderson, Bill Hader, Alicia Rosario
Genre: Drama, Comedy
Score out of ten (whole numbers only): 6
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Synopsis and Review

After a making a huge splash with "Hereditary" and "Midsommar", writer/director Ari Aster is back with an unexpected tale, focused on guilt and swarming with powerful metaphors. The narrative focuses on the story of Beau, a middle aged man who is going through therapy and is about to go visit his mother. Beau lives in a rough area and is particularly prone to anxiety. The day he's about to take off to see his mother, a series of unexpected problems occur, which prevent him from being able to catch the flight. When he communicates this to his mother she becomes upset. After another flurry of surreal events, Beau is confronted with an unexpected occurrence when he calls his mother the following day, only to discover that a UPS man has found a corpse of what seems to be his mother whose head has been decapitated. As Beau tries to escape a series of additional odd occurrences, he is unexpectedly hit by a food truck. He wakes up in the house of a married couple by the name of Grace and Roger (who also hit him with the truck). This couple have a teenage daughter, and are also taking care of an emotionally damaged war veteran named Jeeves, who was part of the same platoon as their late son (who was killed in action). Beau is desperate to get to his mom's funeral, but he's in bad shape following the car collision. To make matters worse, Toni, the teenage daughter of their rescuers, also resents him. As Beau navigates these new events, he realizes he has to act soon enough in order to get to his mom's funeral.

Working with his biggest budget yet, Ari Aster has crafted with "Beau is Afraid" what many reviewers and audiences may deem a "brave" film. And typically that statement always underscores something that has a strong subject, but one that doesn't necessarily is communicated in the most successful manner. And that is indeed the case here, where the film is filled with metaphors and analogies but it is very much focused on the concept of parental love riddled and poisoned by guilt towards its children. This poison stems from the expectations of parents, and in this case in particular, from the overbearing, larger than life Mona and the impact and implications her attitudes, secrets and hangups actually have on Beau. The distance that Beau has created from his mother is a buffer for him to lead a semblance of a normal life, even if he lives in an environment that feels like an exposed raw nerve, which dramatically contrasts with Mona's locale, a place of serenity, seclusion and privilege. Beau is indeed haunted by all these issues imposed on him by his mother, things that control to this day his relationships, his anxieties, even his sexuality and ultimately his fear of death. It's an ambitious film, that indeed illustrates Beau's journey through a quasi hellish ground to get to his destination, and while there's so much to admire, there's also a very distinct notion that Beau is portrayed always in the exact same way. He's never a truly and fully realized character, as he is always seen in the exact same way, and even though he has this lovable schlub aspect to it, that's always the unique way in which he's rendered. Of the supporting characters, the one that rises and has a striking impact is of course Patti LuPone who creates a character both terrifyingly monstrous and also at times strangely fearful and resentful. Most of the supporting characters exist as a symbol for something, and while they're cleverly brought to life (such as Amy Ryan and Nathan Lane's creepy couple), they're still very much defined in terms of Beau's journey, and never as standalone characters. This is a film that is indeed distinctive, featuring a tremendous performance from Joaquin Phoenix (who is indeed brilliant), with an impeccable production team (including the score from Bobby Krlic), but one who also loses itself in the topic that is trying to illustrate. However, it's a feature that grabs you and stays with you, and that is a testament to Ari Aster's capacity to weave this story and Joaquin Phoenix's embodiment to bring this character to life. It's a flawed yet worth seeing film.

Snakes on a Plane

Movie Name: Snakes on a Plane
Year of Release: 2006
Director: David R. Ellis
Starring: Samuel L. Jackson, Julianna Margulies, Bobby Cannavale, David Koechner, Nathan Phillips, Rachel Blanchard, Flex Alexander, Kenan Thompson, Keith Dallas, Lin Shaye, Bruce James, Sunny Mabrey, Tom Butler, Todd Louiso, Gerard Plunkett, Terry Chen, Elsa Pataky, Emily Holmes, Casey Dubois, Daniel Hogarth, Taylor Kitsch
Genre: Action, Adventure
Score out of ten (whole numbers only): 5
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Synopsis and Review

Late director David R. Ellis initially made a name for himself in stunts before jumping into directing, starting with the film "Homeward Bound II" and then directing the second installment of the "Final Destination" franchise. Following the fairly well received "Cellular" Ellis took on "Snakes on a Plane", which was a title which generated a lot of interest online alone. The film follows the story of agent Neville Flynn who has to accompany the witness to a crime, the young Sean Jones, from Hawaii to Los Angeles so that he can testify against a crime boss. The flight starts fairly well, with Head Flight Attendant Claire Miller initially somewhat annoyed by the fact that the crew wasn't informed two FBI agents would be onboard. Things however take a quick turn for the worse, when mid flight a slew of venomous snakes is unleashed on the plane wreaking havoc and killing a series of passengers. Neville and Claire have to work together, since soon even the pilots fall prey to the snakes, and they have to prevent the plane from crashing and killing everyone onboard.

This film is one where the title aptly and accurately describes what takes place during its narrative. It's a film that clearly knows it's a B-movie, and David R. Ellis wastes no time in establishing the context of what's about to take place and defining its main characters. The tone isn't so much about the suspense of an unknown danger, but more about surviving these snakes who are seemingly everywhere and who are lethal in their attacks. Both Neville and Claire, the lead characters in this ensemble, while thinly characterized, manage to have a good chemistry between each other, which makes for an interesting watch, particularly since they're embodied by the always charismatic Samuel L. Jackson and the underrated Julianna Margulies. The director also manages to make good use of the claustrophobia associated with being inside an airplane, exploring the space in which the characters can flee and seek refuge (and others where they are indeed more vulnerable). It's an unpretentious film, one that knows the ridiculousness of its premise, but nonetheless one that creates an over the top watching experience, inspired by catastrophe films (and frills) from the 70s, including George Seaton's "Airport" and even Ronald Neame's "The Poseidon Adventure". The supporting characters are barely sketches, but Bobby Cannavale, David Koechner and Todd Louiso manage to create compelling characters. The production team is solid, featuring the cinematography from Adam Greenberg and score from Trevor Rabin. Watchable but forgettable. 

The Snowman

Movie Name: The Snowman
Year of Release: 2017
Director: Tomas Alfredson
Starring: Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, Jonas Karlsson, Chloe Sevigny, Ronan Vibert, J.K. Simmons, Val Kilmer, Toby Jones, Genevieve O'Reilly, James D'Arcy, Adrian Dunbar, Michael Yates, David Dencik, Jete Laurence, Jamie Clayton
Genre: Crime, Drama, Thriller
Score out of ten (whole numbers only): 3
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Synopsis and Review

After breaking through with "Let the Right One In", director Tomas Alfredson soon returned with "Tinker Tailor Soldier Spy", which was another critical darling. "The Snowman" was his following big project and was his first resounding setback, both critically and commercially. The film is an adaptation of one of the novels by author Jo Nesbø, which focuses on the character of police detective Harry Hole (unfortunate name, but so be it). The film introduces us to Harry as he's going through a rough patch in his life, being completely consumed by his alcohol addiction, which has sacrificed his relationship with Rakel, and estranged him from her son Oleg. A series of murders starts occurring, targeting women who have had family issues or have had to make some difficult decisions regarding bearing children. Harry starts receiving notes from the killer regarding these murders, all of which have a very similar and violently graphic staging. In parallel Harry starts working with a new partner by the name of Katrine, who also has an agenda of her own, and whose past may even have connections with this killer. Harry has to find ways to navigate this puzzling investigation, and still maintain his relationship with Rakel and Oleg, which in the meantime has become more complicated with the introduction of Mathias, whom Rakel is dating. 

While "The Snowman" has all the ingredients to make a superb confection, the film was sadly riddled with issues during shooting, which included substantial amounts of the script not being shot, which explains why some characters are somewhat inconsistently depicted and showcased throughout the film. Inconsistencies seems to be one of the things that immediately springs to mind, since all the characters in this film seem to all be hailing from very different narratives. They all have substantially different accents, with some speaking with a British accent, others with a Swedish accent, and others a mix of American accent with something else, all of this of course considering that the narrative takes place in Sweden. The intention of using the icy landscapes as a backdrop for these clinically precise and methodical killings makes sense, however the killer and his intent are given very little attention, the same going for the characters who are in his pursuit. The adaption of the novel is clumsily put together, which means we never really understand or get any context as to why Harry is an alcoholic, nor what makes him such a celebrated detective (or the sudden interest of the killer in him). The relationship he has with Rakel, while filled with chemistry is also never explored much, the same going for the sub-plots involving Val Kilmer and Toby Jones' characters (why are they such antagonists). It's a film that needed a better script, with better context into why these characters find themselves in the situations they're in, and where the characters themselves have the opportunity to have some nuance and a sense of a journey (J.K. Simmons character is underused, as is the actor himself). What is left is indeed the talent of this cast who tries to do the best they can in a chaotic universe, with Michael Fassbender and Charlotte Gainsbourg being the highlights. Rebecca Ferguson who is always a welcomed addition to any film, has little to do here, as do Chloe Sevigny (why was she even doing this film), Toby Jones and Val Kilmer (his character and plot thread in particular deserved some additional attention). The cinematography from the great Dion Beebe is sadly wasted here. A wasted opportunity. 

Cocaine Bear

Movie Name: Cocaine Bear
Year of Release: 2023
Director: Elizabeth Banks
Starring: Keri Russell, Alden Ehrenreich, O'Shea Jackson Jr., Ray Liotta, Isiah Whitlock Jr., Brooklynn Prince, Christian Convery, Margo Martindale, Jesse Tyler Ferguson, Kristofer Hivju, Ayoola Smart, Aaron Holliday, J.B. Moore, Leo Hanna, Matthew Rhys, Kahyun Kim, Scott Seiss
Genre: Comedy, Thriller
Score out of ten (whole numbers only): 6
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Synopsis and Review

Actress, producer and director Elizabeth Banks is back, with one of her most interesting and diverse films yet. The film which is based on a true story which took place in 1985, in which a corrupt Kentucky cop and lawyer turned drug smuggler, flew in a smuggling expedition and dropped packages of cocaine over Georgia before attempting to escape with nearly 80s pounds strapped to his body. The narrative starts with this event, where Andrew Thornton gets rid of the cocaine, but dies trying to escape. In the meantime the drugs that were dropped in the Chattahoochee park area start getting the attention of many. Initially of a bear who gets all hyped up on it, attacking a couple of tourists hiking in the forest and immediately killing one of them. The bear then attacks a couple of kids who are skipping school, Dee Dee and her best friend Henry. Dee Dee's mother, nurse Sari comes to the park in order to investigate where they are. She gets acquainted with Ranger Liz and Peter, both of whom are not too thrilled to help her out. They soon locate Henry, who is up on a tree, avoiding the bear, who soon appears once again, going on a rampage. Coming to the park is also Detective Bob who identified Andrew's body and understood what had taken place, and also Eddie and Daveed who are intent on retrieving the drugs for Eddie's father, Syd. 

One of the most interesting things about "Cocaine Bear", besides its otherworldly premise, is of course the fact that the film doesn't take itself very seriously. Elizabeth Banks is herself a great comedienne, and she tackles this narrative as an ensemble piece, but one where one of the players is a viciously violent bear who has no qualms about killing everything and everyone in sight. While most characters are thinly characterized, Elizabeth Banks grounds the events that are occurring on the always excellent Keri Russell, playing the concerned nurse Sari, who is desperately seeking her daughter, while being both horrified by what she's witnessing, yet remaining as cold headed and collected as she can. If Sari is indeed the grounded one, all the other remaining characters in this film are going through something that is affiliated with the drugs which of course places them in the trajectory of the drug addled bear. It's a brutally funny film, one where the surreal aspect of the events taking place and the way the characters react to it, make it even funnier (the ambulance escape is a good example). The cast is uniformly good, including the aforementioned Keri Russell, who gets great support from Alden Ehrenreich, Margo Martindale, Ray Liotta (in one of his final roles) and O'Shea Jackson. The production team is solid, including the cinematography from John Guleserian and score from Mark Mothersbaugh (and the soundtrack is fantastic). It's a brutally funny comedy with a surreal premise, with a great cast and an economical direction. Worth watching. 

Firestarter

Movie Name: Firestarter
Year of Release: 2022
Director: Keith Thomas
Starring: Zac Efron, Ryan Kiera Armstrong, Sydney Lemmon, Michael Greyeyes, Gloria Reuben, Kurtwood Smith, John Beasley, Tina Jung, Hannan Younis 
Genre: Drama, Sci-Fi
Score out of ten (whole numbers only): 1
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Synopsis and Review

After launching his directorial career with the well received "The Vigil", director Keith Thomas decided to tackle the adaptation of one of Stephen King's most charismatic novels, "Firestarter". The film follows the story of the McGee family, comprised of father Andy, mother Vicky and the young daughter by the name of Charlie. They all keep a low profile as Andy and Vicky were actually test subjects for an experimental drug which resulted in them getting special abilities. While their artificially enabled abilities have brought them some physical issues, their daughter Charlie has the natural capability to generate fires, alongside other abilities. The family is being pursued by Captain Jane Hollister who wants Charlie under the control of her department. She enlists the services of John Rainbird to track them. Rainbird eventually locates them, and does more than just track them. He kills Vicky, though Charlie and Andy manage to escape. As they try to make their way to Boston they get helped by a man named Irv, who takes them to his farm and provides some assistance. However they're soon located once again, and this time around Andy is captured, while Charlie manages to escape. She eventually decides to go to the DSI to rescue him.

"Firestarter" had a previous adaptation directed by Mark L. Lester featuring Drew Barrymore in the central role, with supporting turns from George C. Scott, Martin Sheen and David Keith. Though not a great adaptation by any means, that film has withstood the test of time thanks to a solid central performance from Barrymore and the great score from Tangerine Dream. This new adaptation hailing from Scott Teems (who also co-wrote David Gordon Green's "Halloween Kills"), takes some considerable liberties with the original novel (a really good one by the way), but sadly it never injects a fresh perspective or dimension to the characters and events taking place. If anything, Andy and his wife Vicky have even less to do in this feature than before, whereas Charlie in this version while a bit older than the prior incarnation of this character, also fails to exhibit the sheer panic the character always felt from using her power and possibly harming others in that process (that was always her inner conflict). It's a truly terribly executed and ultimately perplexing film hailing from Jason Blum's studio. It feels like an undercooked project where plot points are dastardly abandoned, motivations for characters are risibly brought forth but never truly explained, all wrapped around a film that feels as if though it had a budget of a few cents. For a studio such as Blumhouse which has managed to release fairly interesting features with relatively low budgets, this film actually poses some serious questions on their taste level and actual respect to the original material. Zac Efron and Kurtwood Smith manage to redeem themselves as much as possible, but there's literally nothing much to appreciate about this adaptation. Avoid at all costs.