'Night Call' Reviews: Film "stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead"

     On January 17, 2025, with a streaming release on January 24th, Magnet Releasing released 'Night Call', which has earned predominantly positive reviews from critics. In the film, "One evening, Mady--a young student by day, locksmith by night--receives an emergency call from Claire to open a lock. But the door the young woman wants to open isn't hers, and the bag she runs away with isn't hers either. It belongs to Yannick, a vicious mobster who blames Mady and will stop at nothing to retrieve his stolen goods. Mady has only one night to prove his innocence and save his neck. What started out as an ordinary night shift turns into a brutal descent into violence. NIGHT CALL is a no-holds-barred crime thriller that ambitiously combines genres, from film noir to action-packed survival." The ensemble cast includes Jonas Bloquet, Thomas Mustin, Romain Duris, Jonathan Feltre, and Natasha Krief. But what did the critics say?

    Shawn Van Horn of Collider says, "Oftentimes, it can feel like if you've seen one action thriller, you've seen them all. The genre often follows the same beats, with the same action set pieces, and the usual results. Night Call, a French-Belgian movie filmed and set in Brussels, has a familiar plot you've come across many times, but thanks to the writing efforts of Michiel Blanchart and Gilles Marchand, with Blanchart also in the directors' chair, Night Calls stands with better efforts due to its relentless high stakes and a believable and sympathetic performance from its lead, Jonathan Feltre. Night Call does nothing new, but it does the standards the right way." Adding, "Deciding that Night Call would happen throughout one night is Blanchart's best choice. The film could have dove deeper into who Mady, Yannick, and a select few other characters are, giving us many more scenes of them outside the plot, but instead of questions being answered, we're dropped into the middle of the action and have to figure things out as we go along. We're not even going to get answers to the motivation of every character, but that's not needed. Do we need to know every detail behind why Mady is a good person, or why Yannick does what he does? We're given just enough, because it's not the backstory we're here for, but the chase."

   Avi Offer of NYC Movie Guru notes, "Mady (Jonathan Feltre), a locksmith, gets into serious trouble when Claire (Natacha Krief) tricks him into opening the door of someone else whom she steals from and runs away. The owner, Yannick (Romain Duris), a crime boss, returns and holds Mady hostage while demanding that he find the stolen goods from Claire before dawn or he'll kill him in Night Call. Screenplay by writer/director Michiel Blanchart and co-writer Gilles Marchand is a by-the-numbers, witless and shallow crime thriller that's low on palpable thrills. Yannick, the villain, is among the many underwritten characters with little to no backstory which makes him a weak and forgettable villain. He's more like a caricature of a villain. Mady is also a character who's poorly introduced. It seems like every character merely exists to move the plot forward. It's never a good sign when you can feel the wheels of the screenplay turning nor does it help that the plot becomes increasingly preposterous. Sure, there's some violence and gritty cinematography, but those strengths aren't enough to compensate for the unimaginative and pedestrian screenplay. Tarantino and Luc Besson could've turned this premise into a much more wildly entertaining ride rather than one that just goes through the motions while often falling flat. At a time of 1 hour and 37 minutes , Night Call opens in select theaters via Magnet Releasing."

Photo by Mike Von on Unsplash

    

'Survive' Reviews: Film "gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise"

     On January 10, 2024, Samuel Goldwyn Films released 'Survive', which has earned predominantly positive reviews from critics, currently holding at 70% on Rotten Tomatoes at the time of this writing. "In SURVIVE, Julia and her loving husband celebrate their son's birthday on their boat in the middle of the ocean. When a violent storm nearly capsizes them, the family awakes in a desert land. Earth has undergone a tragic polarity reversal, draining water from the oceans. The family must race to safety before the water returns all while battling hungry creatures from the abyss that hunt for fresh flesh." The ensemble cast includes Émilie Dequenne, Lucas Ebel, Lisa Delamar, and Andreas Pietschmann. Read the full review round-up below.

    Jennie Kermode of Eye for Film says, "One of those films that’s always going to be at its best when watched in a group, this really packs in the action, with Dequenne’s intensely physical performance and Nicolas Errèra’s energetic score ensuring that it keeps its grip throughout." Adding, "We live in a world which is undergoing massive changes, and perhaps that’s what this kind of film, and those kind of games, really exist to prepare us for. Once things really get bad, there’s no time to think about the long term. With Survive, the less you think, the more fun you’ll have."

   Phil Hoad of Guardian notes, "This directorial pep, along with invested performances across the board, allows Survive to build a sense of family vulnerabilities that is rawer than the standard cheap audience-identification tactics usually used in blockbuster disaster movies." Continuing, "With a stark preference for visual over verbal storytelling, Jardin woozily milks this surrealistic canvas (filmed on location in Morocco) for dreamlike snapshots: their boat exploding in the wilderness, bats escaping a stricken private jet, a hammerhead shark in a watercourse. But he doesn’t settle just for that: Jardin also goes for vigorous camera moves – to the point of occasional effortfulness in wringing out fresh juice from familiar setups, like the wild-eyed “man with the harpoon” (Arben Bajraktaraj) who torments the family."

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   Brian Orndorf of Blu-ray.com was less impressed, stating, "While Jardin is committed to following characters as they experience an unthinkable situation of self-preservation, his sense of upheaval could use some work, as the endeavor is missing a more intense appreciation of global ruin." Concluding, "“Survive” gets off on the right foot, but it quickly becomes clear that Jardin doesn’t have the money to do much with the premise. Tom’s family regains consciousness in the middle of dry land that was once the ocean, only understanding what’s happened after making contact with Nao (Olivier Ho Hio Hen), the submersible team leader who can offer shelter for two more individuals before the water returns. Parental duty kicks in, as Tom and Julia set out to make sure Cassie and Ben remain safe, encountering a series of survival challenges along the way. There’s growing thirst, a need for shelter, open wounds, and falling rocks, but perhaps most pressing is a violent stranger looking to claim the family’s resources. Questions about this development are mostly unanswered, but Jardin is primarily pursuing visceral highlights as the drifter threatens to kill everyone. “Survive” shows some surprising ruthlessness during this sequence, but it ends up becoming the last offering of suspense until the climax."

'Hazard' Reviews: "a well-intentioned picture, bolstered by two very strong central performances"

     On January 10, 2025, Emphatic Films released 'Hazard', which has earned predominantly positive reviews from critics. In the film, "Will, a reluctant drug dealer played by Alex Roe, fights to shield his family from the same devastating addiction that has ravaged their community. Despite his efforts, every choice threatens to pull him and his loved ones deeper into chaos. Co-starring Sosie Bacon, HAZARD is a powerful portrayal of resilience and sacrifice, as Will must decide whether to succumb to the addiction he despises or rise above it to save his family." but what did the critics say?

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   Mike McGranaghan of Aisle Seat says, "The specifics of the plot will be recognizable to any viewer who has ever seen an addiction movie. At times, it’s poignant, as when Will’s father, screaming in agonizing pain, begs his son for drugs. Other times, it’s a bit manufactured, as in the scene showing a doctor who sits in a downtown store front, writing bogus prescriptions for the paying addicts lined up on the street. The best moments are the ones between Will and Sara, as they try to figure out their relationship amid two different states of sobriety. In fact, the performances are the main reason to see Hazard. Alex Roe authentically captures the distracted energy of an opioid addict who can only focus on anything for a certain amount of time before a craving for the drug hits. The actor also makes Will a fully fleshed-out character we care about, as opposed to the one-dimensional scumbag he could have come off as. Sosie Bacon brings a wounded quality to Sara, showing how she’s stared into the abyss and fears her husband will inadvertently drag her right back to it. Together, the stars create a portrait of addiction and codependency that’s heartbreaking. Hazard absolutely gets you thinking about the toll opioids take on a community, especially one that’s already dealing with economic despair. It’s a well-intentioned picture, bolstered by two very strong central performances." 

   Richard Propes of TheIndependentCritic.com notes, "In some ways, you can likely predict the story that's going to unfold, though Mensore does take some unique angles along the way. Truthfully, I doubt I'd be recommending it if not for the strong chemistry and relationship between Will and Sara. It's a relationship brought powerfully to life by Roe, who is absolutely riveting here, and Bacon, one of the younger Bacons who is rapidly proving her acting chops. Individually, they're both fantastic here and the screen really lights up when they're together. I suppose "lights up" isn't the best way to put it. Hazard isn't the easiest film to watch, however, Mensore has captured a vivid and realistic portrayal of addiction and its impact on rural life. Lensing by Matthew Boyd impresses throughout the film's 88-minute running time and original music by Mauricio Yazigi amplifies the film's emotional rhythms without ever feeling manipulative. While Hazard occasionally crosses the line into cliche', Mensore has created characters we care about brought to life by a leading duo that's always worth watching. Yes, you've probably seen this story before but it's a timely and vital one and it's easily worth it to watch Alex Rose and Sosie Bacon bring it all to life so powerfully." 

'The Day the Earth Blew Up: A Looney Tunes Movie' Delights Critics

     On February 28, 2025, Ketchup Entertainment releases 'The Day the Earth Blew Up: A Looney Tunes Movie', which is currently holding at 100% on Rotten Tomatoes at the time of this writing. In the film, "Porky Pig and Daffy Duck, one of the greatest comedic duos in history, are making their hilarious return to the big screen in the sci-fi comedy adventure, THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE. This is the first-ever fully animated Looney Tunes feature-length movie created for a cinema audience. Porky and Daffy are our unlikely heroes and Earth's only hope when facing the threat of alien invasion. In this buddy-comedy of epic proportions, they race to save the world, delivering all the laugh-out-loud gags and vibrant visuals that have made the Looney Tunes so iconic, but on a scope and scale yet to be experienced. It's going to be out of this world!" The ensemble cast includes Eric Bauza, Candi Milo, Fred Tatasciore, and Peter MacNicol. Read the full review round-up below.

    Douglas Davidson of Elements of Madness says, "The Day the Earth Blew Up is by no means perfect. Daffy is, perhaps, just a little *too* daffy for the story’s own good, creating problems frequently enough to make one ponder if they should just get on with moving to the next scene. There’s also a comment made about Porky’s stutter which feels slightly offensive within the negative connotation the dialogue creates. Looney Tunes aren’t exactly saints with the characters frequently pushing the bounds of what is and is not transgressive (see: Bugs Bunny, queer icon), but they do tend to be inoffensive at their core. To that end, the first is mere annoyance and respective to personal taste while the second can be explained (though not excused) within the context of the scene and what Daffy is trying to articulate. This version of Daffy is so well-intentioned that his stupidity and resulting damage is not charming exactly, but forgivable. If there’s a favorite moment for this reviewer, it’s one that comes very late and breaks the fourth wall in a manner that harkens to another atomic age homage, Return of the Killer Tomatoes (1988), as Daffy acknowledges that they’re in a movie. It’s a choice that works as a gag in the moment, but also throws a great deal of complaints about inconsistency or preference for the depiction of Porky and Daffy out the window — this isn’t *them*, they’re playing characters just like Duck Dodgers and Space Cadet — therefore allowing a bit more leeway in how the writers of this film play the characters."

   Peter Debruge of Variety notes, "Daffy (whose greatest desire is to smash things with his wooden mallet) wears on the nerves after a while, but the entire project -- including a handful of fun fourth-wall-shattering asides -- is crafted with love and a genuine respect for the franchise."

Photo by Jared Murray on Unsplash

    Rafael Motamayor of IGN Movies praises the film, stating, "Despite the '50s sci-fi plot, it all feels quite modern. The (gorgeous) animation is slick and fluid, and the pacing relentless – the jokes-per-minute ratio is astounding. The influence of 21st century cartoons like The Marvelous Misadventures of Flapjack and Chowder is apparent; there’s a randomness to the humor that echoes absurdities like the running Nosferatu gag on SpongeBob SquarePants. At the very least, The Day the Earth Blew Up proves that these characters are more than capable of carrying their own movie (and without Bugs Bunny!) and make it a laugh-out-loud riot. Hopefully, the lack of a "That's all Folks!" tag at the end means this is not the last we’ll see of the Looney Tunes on the big screen." Continuing, "The Day the Earth Blew Up: A Looney Tunes Movie has enough gags per minute to leave audiences short of breath with laughter, but also a big heart that shows why these characters are so beloved even after nearly 90 years. With crisp animation, some truly hilarious and bizarre gags, and a  plot that hearkens back to 1950s sci-fi, this is the Looney Tunes movie fans have been waiting for."

'Wolf Man' Reviews: "a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite"

     On January 17, 2025, Universal Pictures releases 'Wolf Man', which has received a mixed reception from critics, currently holding at 61% on Rotten Tomatoes at the time of this writing. "From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale The Invisible Man, comes a terrifying new lupine nightmare: Wolf Man. Golden Globe nominee Christopher Abbott (Poor Things, It Comes at Night) stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte (Emmy winner Julia Garner; Ozark, Inventing Anna), fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger (Matlida Firth; Hullraisers, Coma). But as the family approaches the farmhouse in the dead of night, they're attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. As the night stretches on, however, Blake begins to behave strangely, transforming into something unrecognizable, and Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without." But what did the critics say?

   Seth Katz of Slant Magazine says, "After such high-profile flops as 2010’s The Wolfman and 2017’s The Mummy, the latter of which failed to launch Universal Pictures’s intended Dark Universe franchise, came a rare standout amid the studio’s ongoing project of rebooting its classic horror movies: Leigh Wannell’s The Invisible Man, which reframed the 1933 film (based on H.G. Wells’s novel) as an extreme case of stalking and gaslighting. While this ostensibly feminist spin on the story earned the film some appreciation, its pointed topicality was less compelling than Wannell’s masterful orchestration of suspense and, during the middle stretch, use of a single location. Following that success, Wannell has been given the reins to Wolf Man, nominally based on the 1941 version with Lon Chaney Jr. that, along with its sequels, proved to be one of the most influential entries in Universal’s monster cycle. As with The Invisible Man, there isn’t much tying this new version to the original other than the title. In fact, Wolf Man retains almost none of the well-known lore around the werewolf. There’s nothing here about the full moon or a silver-handled cane, nor is the word “werewolf” even used. The most familiar and predictable notion is that someone who’s wounded by a werewolf and survives will become one." Adding, "The theme gets muddled here, though, as the film contrasts Grady’s stern parenting with Blake’s gentler approach, with the idea being—as the infection takes hold—that he’s trying not to turn into his father. Third-act revelations telegraphed within the first few minutes are treated as big surprises as Wannell struggles to overcome the obviousness of his story construction. More confounding, the wolfman design is more generally demonic than specifically lupine. Blake’s transformation—which for some reason sees him going bald even as his body hair grows—occurs gradually rather than recurrently, and the use of special makeup effects is convincing. Yet the film misses out on the rich gothic atmosphere traditionally mined for this genre, opting instead for murky compositions and a self-serious tone that robs the proceedings of any potential fun. Wolf Man neither embraces the fundamentals of the werewolf folklore from which it draws nor convincingly reinvents them, landing instead in somber, predictable territory, dully satisfied with a few cheap jump scares and a perfunctory nod to thematic resonance."

Photo by Jared Murray on Unsplash

   Matt Oakes of Silver Screen Riot notes, "Much of what makes Wolf Man effective is its economy. The story revolves primarily around the family trio, with only a handful of minor characters appearing along the outskirts. This tight focus works in the film’s favor, creating an intimacy that amplifies the tension and the tragedy. As Blake shares with Charlotte after his father’s death, “I realized that you’re all the family I have left.” But like a rabid dog, friend and foe become indiscernible under the confusing spell of instinctual violence. Whannell roots much of the emerging terror in this family’s isolation, underscoring how small their world becomes—trapped in the woods, far from their city life—as they are stalked by a beast that once sought only to protect them. This theme of inverted instinct is mirrored in Blake’s transformation, where his primal instincts threaten to consume the connections he’s dying to preserve. Wolf Man suffers from being a little too tidy, its narrative edges smoothed to a fault, and its mythology only faintly sketched. While there are nods to deeper lore—such as an introductory title card invoking an obligatory Native American legend—the film never fully commits to weaving these elements into its DNA. The result is a climax that feels restrained when it could have been explosive, leaving a lingering sense that Wolf Man is content to stop just shy of greatness. The ending, while thematically consistent with the film’s balance of heart and horror, resolves too neatly, missing the kind of raw emotional devastation that might have elevated it into a modern classic. Nevertheless, Whannell’s craftsmanship and clear affection for the material shine through, making Wolf Man a thoroughly satisfying thrill ride that doesn’t shortchange its own internal logic or well-established melodrama. It’s a chilling fable about being unable to protect your family from the forces of the world — from both external threats and the internal forces that pull us apart. And, like a derelict pickup truck, while it may not quite shift into the next gear, it’s a worthy, thoughtful addition to Universal’s monster movie canon and a compelling argument that the wolfman still has plenty of bite."

   Emma Kiely of Collider writes, "What makes the majority of Wolf Man such a disappointment is the first twenty minutes. The opening act promises a far more interesting tale than the one we eventually get. The insight into Blake’s childhood is a Leave No Trace-type story, blending horror mythology with tense human drama. But just when the film starts garnering steam, it skips 30 years, and the whole story falls into the same, repetitive trappings of the latest Blumhouse fare. A family of half-written characters who, in an attempt to come closer together, find themselves in the crosshairs of a waking nightmare. Blumhouse yet again promises a horror experience like no other only to serve up a boring, contrived family drama that lacks scares and hammers home the importance of the all-American family unit." 

'The Prosecutor' Reviews: An Action Spectacular

     On January 10, 2024, Well Go USA Entertainment released 'The Prosecutor', which earned predominantly rave reviews from critics, currently holding at 95% on Rotten Tomatoes. "Inspired by an actual legal case in Hong Kong, THE PROSECUTOR follows the story of a man who falsely pleads guilty to drug trafficking after being framed. Despite the confession, the veteran policeman-turned-prosecutor (Donnie Yen) handling the case is convinced of the man’s innocence and pursues his own investigation, risking both his career and his life to bring the real perpetrator to justice." But what exactly did the critics say?

   James Marsh of Deadline Hollywood Daily says, "The prosecution never rests in Donnie Yen’s new action-infused legal drama The Prosecutor, in which the veteran martial artist plays a righteous cop who quits the force to join the Department of Justice when he feels the legal system is letting too many criminals slip through its fingers.Yen directs as well as stars alongside a host of familiar faces including Francis Ng, Julian Cheung and the increasingly ubiquitous Michael Hui, but Yen’s hardcore action fanbase may be left wanting. The Prosecutor too often feels more invested in bludgeoning its audience into submission using the tenets of Hong Kong’s rule of law, rather than the iron fists of traditional street justice." Adding, "Though the legal details sewn throughout The Prosecutor may well be accurate, the script regurgitates facts, figures and procedures with such relentless force that the sheer volume of information soon becomes overwhelming. This is only exacerbated further for non-Cantonese speakers forced to skim-read reams of subtitles detailing complicated legalese at a breakneck pace, while also catching the frequent online captions detailing the various stages of the trial, and attempting to follow the unfolding action. The Prosecutor arrives at a sensitive moment for Hong Kong, where the recent introduction of the National Security Law and subsequent passing of Article 23 of the city’s Basic Law — often referred to as its mini-constitution — have sent shockwaves through not only the legal system but all areas of society. These legal tenets, designed to quash criticism of, and political opposition to, Beijing’s ultimate authority are vaguely worded and far-reaching in application. While not specifically addressed in the film, The Prosecutor repeatedly emphasizes that upholding justice is of paramount importance, even when evidence and truth remain elusive or prove insufficient."

Photo by LexScope on Unsplash

   David Ehrlich of indieWire notes, "To that point, “The Prosecutor” is perhaps best enjoyed as the meta story of an action star who refuses to be aged out of his metier; at a time when the Hong Kong film industry might be expecting less of Yen, he’s actively finding ways to ask more of himself. His full-bodied commitment to this movie creates a charismatic undercurrent all its own, and while the various obstacles and villains introduced to Fok’s case range from “sure” to “whatever” before limply — and inevitably — doubling back to invoke the character’s previous life as a cop, the movie works because Yen brings the same grinning relish to the courtroom scenes as he does to, say, the brawl where he takes on 20 different guys in the middle of a rooftop bar. And while Yen makes sure to acknowledge that he isn’t as young as he used to be, such admissions prove needlessly self-effacing. Maybe the digital trickery he leans on during the opening skirmish is just a clever way of lowering the bar for the rest of the movie to come, but Yen is still an elite martial artist with a rare knack for combining balletic grace with brutal force. Sure, his foley effects have never been louder (every punch sounds like a golf club swinging into the trunk of an oak tree), but Yen flings his body around with tremendous purpose, and he knows how to mine real fun out of seemingly banal locations. Even something as bland as the back of a cargo truck can turn into a visual playground within the span of a single kick."

'Disfluency' Reviews: "a hugely empathetic, emotive and rewarding experience"

    On January 10, 2024, with a streaming release on January 24, 2024, Buffalo 8 releases 'Disfluency', which has earned rave reviews from critics at the time of this writing and a score of 100% on Rotten Tomatoes. In the film, "After flunking her final college class, Jane retreats to her Michigan hometown for one last, carefree summer vacation. She soon rekindles an old friendship with a single mother, teaching her sign language so she can reconnect with her son. Despite her best efforts, however, Jane can't hide the traumatic secret that caused her academic failure." The ensemble cast includes Libe Barer, Ariela Barer, Chelsea Alden, Dylan Arnold, and Travis Tope. Read the full review round-up below.

    Rob Aldam of Backseat Mafia says, "While the term post-traumatic stress disorder might have first been officially used in the late 1970s for the diagnosis of Vietnam War veterans, the concept of an extreme stress reaction predates it by a couple of decades. Of course, the actual symptoms of PTSD were nothing new, though the condition has been known by a variety of names over the centuries. There’s no doubting its connection with warfare, but also any form of severe interpersonal violence. One young woman struggles to process what happened to her in Disfluency. Jane (Libe Barer), the prodigal daughter, returns suddenly to her parents’ lake house after unexpectedly flunking her final college class. Her mother (Diana DeLaCruz) is beside herself that her youngest has ruined her prospects, although her father (Ricky Wayne) is a little more upbeat. She returns to her hometown and finds consolation in her older sister (Ariela Barer), high school friends and crush (Dylan Arnold) for the long hot summer. Trying to process what has happened to her. On the face of it, the premise of Disfluency might not sound particularly original, but the way the drama unravels in writer/director Anna Baumgarten’s debut feature is brilliantly done. This is largely thanks to some great writing and a wonderful central performance from Libe Barer. The use of language, especially speech disfluency, as a way of conveying how Jane is feeling works exceedingly well. While the luscious cinematography captures the hazy days of youth. All helping to make Disfluency a hugely empathetic, emotive and rewarding experience."

Photo by Edgar Soto on Unsplash

   Brian Eggert of Deep Focus Review notes, "Director Anna Baumgarten’s Disfluency uses a linguistic term as a metaphor for our sometimes delayed response to trauma and how that can upset the course of our lives. The title refers to vocalized pauses such as “um” and “like” that so many of us involuntarily use as interrupters to our thought flow. “I’m sorry” is the term of choice for Jane (Libe Barer), a talented student who nonetheless just flunked her final undergraduate course—about disfluency, of course. After returning home to Michigan for the summer, Jane says “I’m sorry” as a reflex, and in turn, buries the reasons why she flunked. But with the help of some hometown friends and her sister Lacey, played by Libe’s real-life sibling Ariela Barer, Jane works up the confidence to tell people what happened. Disfluency comes with a content warning that some viewers may find its themes difficult. Indeed, Jane confronts her repressed trauma with the suspicion that she may have been raped at a college party. Libe is particularly good in her scenes of teary recollection during an anxiety-ridden trip to the police station with her sister. And the off-screen relationship between the siblings helps give the sisters’ on-screen dynamic a naturalness—the best parts of the film are the scenes between them. However, the film’s dramaturgy and generic form resemble a production suited for a Lifetime Original movie or even a movie-of-the-week circa 1995. But that shouldn’t be held against it. Even if Disfluency feels maudlin and commonplace in its execution, the Barers sell every emotion in their performances, making the result undeniably effective. 3/4 Stars."

'Sonic the Hedgehog 3' Reviews: Latest Entry into the Franchise Thrills Fans

         On December 20, 2024, Paramount Pictures released 'Sonic the Hedgehog 3', which has earned predominantly positive reviews from critics, currently holding at 87% on Rotten Tomatoes at the time of this writing. In the film, "Sonic, Knuckles, and Tails reunite against a powerful new adversary, Shadow, a mysterious villain with powers unlike anything they have faced before. With their abilities outmatched in every way, Team Sonic must seek out an unlikely alliance in hopes of stopping Shadow and protecting the planet." The ensemble cast includes Keanu Reeves, James Marsden, Jim Carrey, Idris Elba, Krysten Ritter, Adam Pally, Colleen O'Shaughnessey, Tika Sumpter, Ben Schwartz, and Lee Majdoub. Read the full review round-up below.

        Robert Kojder of Flickering Myth says, "Frenzied action and loopy comedy aside, Sonic the Hedgehog 3 has heart and is aware it doesn’t always “gotta go fast,” occasionally slowing down to ensure we care about these characters while laying out its themes with affecting sincerity" Adding, "With Sonic the Hedgehog 3, Jeff Fowler and company have found the right balance of humor (even Jim Carrey feels reinvigorated and energized more than in the first two, up for the goofy acting challenge presented that is right inside his slapstick wheelhouse, while also simply given mostly funnier material to work with) and frenzied action elevated by strong, vibrant CGI (this is unquestionably one of the better-looking special-effects extravaganzas of recent memory) alongside an engaging story. There is a case to be made that Shadow’s back story could have been even longer and not limited to a couple of flashbacks, but the right characters here are put front and center, which makes all the difference for a Sonic adaptation to click."

       Rodrigo Perez of The Playlist notes, "If you’re not a parent, you may have no interest in seeing Paramount’s “Sonic” movie franchise unless you’re like my dear friend Caleb, who is in his early 30s, loves anime, and seemingly has the same taste as my eight-year-old son. ¯\_(ツ)_/¯ But this is fine, “Sonic” movies are definitely movies for children first and foremost”— and there’s nothing wrong with that either—and “Sonic 3” mostly continues down that same path." Concluding, "However, presuming you don’t know the “Sonic” movies—I certainly would have never seen them without my kiddo—they’re actually quite surprisingly endearing, lighthearted, amusing and entertaining. And when they’re at their best, they’re essentially stories about outsiders trying to fit in, our collective need to belong and the heartening qualities of found families; all good emotional qualities that put an extra pep into the wacky energy of these fun movies."

Photo by Adam Mills on Unsplash

       Jordan Hoffman of The Daily Beast was less impressed, stating, "This is a movie you take your 9-year-old nephew to when he won’t shut up about Pokémon and you need something to occupy him for a few hours before you lose your mind." Continuing, "There’s a big battle in Japan that involves lasers flying all over the screen. Then, after some Japanese marshmallows sing The Jackson 5’s “I Want You Back,” the trio joins forces with their former nemesis, the Eggman, aka Dr. Ivo Robotnik, played by Jim Carrey. Carrey, who has pretty much stopped appearing in studio movies except for the Sonic franchise, has decided on a performance style that I suppose you could politely call “a choice.” It mainly consists of sticking his belly out and doing a voice that sounds like Robin Williams at his most zany crossed with the “I Got Starbies Girl.” What else did it remind me of? Hmmn, let me think. Ah, yeah, the time I had to see a doctor for an inflamed hemorrhoid. It reminded me of that."

'Dahomey' is Short-Listed by the Oscars

         On October 25, 2024, 'Dahomey' was released by MUBI, earning rave reviews and a score of 99% on Rotten Tomatoes. Soon after, on December 17, 2024, the film was short-listed for Oscar glory as it could nab a nomination, which would bring the film to an even bigger audience than ever before. "From acclaimed filmmaker Mati Diop (Atlantics), DAHOMEY is a poetic and immersive work of art that delves into real perspectives on far-reaching issues surrounding appropriation, self-determination and restitution. Set in November 2021, the documentary charts 26 royal treasures from the Kingdom of Dahomey that are due to leave Paris and return to their country of origin: the present-day Republic of Benin. Using multiple perspectives Diop questions how these artifacts should be received in a country that has reinvented itself in their absence. Winner of the coveted Golden Bear prize at the 2024 Berlinale, DAHOMEY is an affecting though altogether singular conversation piece that is as spellbinding as it is essential." But what did the critics say?

        Wendy Ide of Screen International says that the film "Feels like an important contribution to an ongoing conversation about the legacy of colonialism in Africa, and to the thorny topic of restitution and repatriation of cultural heritage to the country of its origin." Adding, "The effect is slightly disconcerting at first, but the arcane otherworldly quality and Orcel’s lyrical words work to powerful effect. Elsewhere the use of sound, together with electronic music by Wally Badarou and Dean Blunt, plays an important role in giving a sense of the power and significance of the items, as they embark on their belated return journey. Another key voice in the film is that of Calixte Biah, the Beninese curator who accompanies the treasures from Quai Branly to Cotonou. His reverence in the face of the artefacts, and his detailed assessments of their condition and identity provided a crucial historical context for the items."

        Adam Solomons of indieWire notes, "For those who know little about the subject matter, “Dahomey” is a bold and memorable history lesson. But with Diop’s expressive talents as they are, it’s fair to hope that she returns to the world of fiction next time." Concluding, "Filmmakers reflecting on ceramics as a symbol of colonial happenings is not new: Diop has said that one of her only conscious influences was “Statues Also Die”, a 1953 film about looted African art in French museums directed by Alain Resnais, Chris Marker and Ghislain Cloquet. Parts of it are so critical of colonialism that it was banned in France. That film is thirty minutes long and “Dahomey” might have worked better at a runtime closer to that: the student debate, though well staged, becomes a bit repetitive, and some of the shots of boxes being loaded and unloaded go at a snail’s pace. The weight of history clearly weighs on “Dahomey”, and the fantastical elements need time and space, but a little more pace where possible would be no bad thing."

       David Rooney of The Hollywood Reporter praises the film, stating, "Words delivered in the low rumble of Ghezo’s voice suggest the disorientation of emerging from “the kingdom of night” into a place “far removed from the country I saw in my dreams.” Imaginative use of electronic music by Wally Badarou and Dean Blunt, who hail from Beninese and Nigerian roots, respectively, amplifies the mythical and spiritual aspects of travel across centuries. With a fluidity of form and subject comparable to what Ava DuVernay achieves in Origin, Diop folds the poetic into the political, without ever becoming didactic. The film reflects on sensitive issues pertaining to the return of looted property and on the partial erasure of Dahomey’s history and language once schooling in French became the educational norm."

Photo by Charlie Solorzano on Unsplash

       Jessica Kiang of Variety writes, "Diop fashions her superb, short but potent hybrid doc “Dahomey” as a slim lever that cracks open the sealed crate of colonial history, sending a hundred of its associated erasures and injustices tumbling into the light." Adding, "One of the young debaters calls the return of the 26 pieces “a savage insult.” Another sees its motivation as solely political, a token gesture made by the French to distract from domestic pressures. And when one young woman locates the occasion’s importance in how it can help to rewire the population’s understanding of their own history — “I was told I was descended from slaves,” she says fiercely, “But I was descended from Amazons” — even that triumph is tempered by Diop’s careful inclusion of another of the returned artworks: an ornate Dahomey throne adorned with dozens of figurines representing the Kingdom’s powerful slave trade. Dahomey, particularly under Gezo, derived a great deal of wealth and a good portion of its national identity from conquering and enslaving neighboring peoples."

'Mufasa: The Lion King' Reviews: Origin Story of Disney Icon Divides Critics

         On December 20, 2024, the world of 'The Lion King' roars back onto the big screen with the origin story of Mufasa in 'Mufasa: The Lion King'. In the film from Walt Disney Pictures, Kiara is told of her grandfather's rise to power from the wise Rafiki as Timon and Pumbaa provide their signature humor in color commentary. The ensemble cast includes Aaron Pierre, Preston Nyman, Thandiwe Newton, Blue Ivy Carter, Donald Glover, Keith David, Tiffany Boone, Kelvin Harrison Jr., Lennie James, John Kani, Seth Rogen, Beyoncé, Billy Eichner, Anika Noni Rose, Mads Mikkelsen, and Kagiso Lediga. With a score of 59% on Rotten Tomtaoes at the time of this writing, critics are currently divided over the film, but predominantly impressed. But what did they say?

        Laura Clifford of Reeling Reviews says, "Director Barry Jenkins ("Moonlight," "If Beale Street Could Talk") takes the reins from Jon Favreau for one of the more convincing computer generated 'live action' films from Disney yet. Jeff Nathanson's (2019's "The Lion King," "Young Woman and the Sea") screenplay is not only a prequel, but an original story for such characters as Rafiki, Sarabi (voice of Tiffany Boone), hornbill Zazu (voice of Preston Nyman) and Scar. Themes of blended families continue, but brotherhood is at the heart of this one as well as providing an emotional explanation for Kiara's parents' absence. Lin-Manuel Miranda provides the songs, but there is nothing as memorable as 'Hakuna Matata' here and several could have been excised for a leaner run time." Adding, "While I'm no fan of Disney's 'live action' remakes, only "The Jungle Book" having really delivered, "Mufasa" is a step up from its predecessor and good programming for families during the holiday season."

Image Courtesy of Walt Disney Pictures

           Nicholas Barber of BBC.com notes, "Yes, we're talking about a prequel to a remake. And, yes, it's as pointless as that description makes it sound. This contrived cash-in may be worth sitting through on Disney+ if you're a Lion King superfan, but, like so many prequels, it devotes tremendous amounts of thought and energy to answering questions that nobody was asking in the first place. When did Simba's dad Mufasa meet his wife Sarabi? Where did Rafiki the mandrill get his walking stick? How did Zazu the hornbill become Mufasa's right-hand man (or, I suppose, right-paw bird)? The film is directed by Barry Jenkins, who made the Oscar-winning Moonlight, and the songs are by Lin-Manuel Miranda, the most feted Hollywood and Broadway songwriter of his generation, so a more pressing question might be: don't the supremely talented artists involved have anything better to do with their time?"

        Robert Daniels of IGN Movies praises the film, stating, "Mufasa: The Lion King is the best version of a Barry Jenkins-directed children’s film imaginable. That compliment might read as backhanded, but considering many were afraid the Disney machine would chop and screw the visual and storytelling splendor of the director behind Moonlight, such an astonishing result is a mighty win. This photorealistic prequel to Jon Favreau’s 2019 remake of The Lion King is a major technical achievement and an emotional leap forward from its predecessor. And while the story of Mufasa and Taka, two brothers turned enemies, isn’t altogether new, Jenkins adds enough twists and turns across varied terrains for their predictable sibling rivalry to have some bite. Seeing Jenkins guiding this material, no matter how assured, will surely rattle many who’d rather he make an original film. But there isn’t the sense Jenkins made Mufasa to satisfy only adult filmgoers (though there is an aching tribute to James Earl Jones that’ll touch many older viewers). This movie is aimed at a younger audience. There's mischievous humour and jaunty show tunes to accompany the campfire-story mood. Sometimes the desire to keep the audience engaged – accomplished through a framing device that sees Mufasa’s story told to his granddaughter, Kiara (Blue Ivy Carter), by the sage mandril Rafiki (John Kani) – restricts us from fully immersing ourselves in this digital world. By the end, however, Jenkins works enough enchantment for Mufasa to conjure real joy and urgent poignancy." Concluding, "It helps that unlike Favreau, Jenkins isn’t restricted to making a shot-for-shot remake. As related by Rafiki – and frequently, annoyingly interrupted by asides from sidekicks Pumbaa (Seth Rogen) and Timon (Billy Eichner) – Jeff Nathanson’s script finds young Mufasa (Braelyn Rankins) living in a cracked, drought-stricken land and dreaming of a far away verdant paradise called Milele (a Swahili word meaning “forever”). After a sudden violent flood (which mirrors both the action and emotional impact of the animated original's wildebeest stampede) rips the cub away from his mother and father, he drifts miles down river, where he’s saved by the prince of another pride, Taka (Theo Somolu). Thematically, you can already see why Jenkins would be attracted to this material. His miniseries adaptation of Colson Whitehead’s The Underground Railroad previously demonstrated his keen interest in kinship, ancestry, oral storytelling, and maternal love. The last of those themes takes shape through Taka’s mother, Eshe (Thandiwe Newton), who raises Mufasa despite the grumblings of her husband Obasi (Lennie Jones), who sees outsiders as a plague to be purged. As portrayed by a commanding Aaron Pierre, the orphan grows to become more like Eshe, learning empathy, imagination, and sensitivity; Taka (a cagey Kelvin Harrison Jr.), on the other hand, learns deceit and laziness from his father."

Image Courtesy of Walt Disney Pictures

'A Complete Unknown' Brings Bob Dylan to the Big Screen

         On December 25, 2024, Searchlight Pictures releases 'A Complete Unknown', which has quickly earned Oscar buzz as well as Golden Globe Awards nomination, as well as a score of 74% on Rotten Tomatoes at the time of this writing. In the film, "Against the backdrop of a vibrant music scene and tumultuous cultural upheaval, an enigmatic 19-year-old from Minnesota arrives with his guitar and revolutionary talent, destined to change the course of American music. He forges intimate relationships with music icons of Greenwich Village on his meteoric rise, culminating in a groundbreaking and controversial performance that reverberates worldwide. Timothée Chalamet stars and sings as Bob Dylan in James Mangold's A COMPLETE UNKNOWN, the electric true story behind the rise of one of the most iconic singer-songwriters in history." The ensemble cast includes Monica Barbaro, Elle Fanning, and Edward Norton. But what did the critics say?

Photo by Markus Spiske on Unsplash

        Brian Tallerico of RogerEbert.com says, "Mangold’s film fluidly captures the intersection of art and fame with solid performances, unshowy direction, and organic editing." Adding, "Mangold’s approach demands a great deal of Mr. Chalamet, and he nails it. Not only does he sound like Dylan when he’s singing, he somehow captures the newness of these moments. When he plays “The Times They Are A-Changin’” for the first time in a great scene, it’s a song that a lot of people in the movie audience know by heart. Still, Chalamet and the production somehow convey the immediacy of that moment at Newport when these people are hearing a masterpiece for the first time. It gives the film an electricity that biopics almost always lack, feeling urgent instead of merely like a jukebox that’s been played a hundred times. Chalamet is ably supported by a great ensemble. Norton and Fanning have been getting some early attention—both have won critics awards already—but the standouts for me are the captivating Monica Barbaro as Baez and a playful turn from Boyd Holbrook as Cash. Barbaro subtly nails how equally enraged and enraptured people could be by Dylan while Holbrook plays Cash as someone who spotted the raw genius in Dylan through all the stuff that fame and expectation put around him. They’re the angel and the devil on Bob’s shoulders."

       Johnny Oleksinski of New York Post praises the film, stating, "Because Mangold has made a quiet and intimate film — not a cliche, showboating one of tears and tragedy — Chalamet never pushes these traits into a silly tribute act. Far from an animatronic impersonator, the actor is always honest and believable."

        Siddhant Adlakha of IGN Movies writes, "It’s formally straightforward, but its focus on the characters in Dylan’s life – rather than the musician himself, played by Timothée Chalamet – turn him into an enigma, for better or worse." Concluding, "Unfortunately, A Complete Unknown doesn’t offer much hand-holding for those unfamiliar with the creative, political, and interpersonal drama in and around the circles traveled by Dylan, Baez, Seeger, and Rotolo. It keeps such details opaque while casting a sense of grandeur upon its proceedings: The camera always floats toward and alongside Dylan, following him through crowded spaces, and becoming trapped by his allure in private moments. Mangold seems less concerned with the musician’s place in our collective history, and ends up more focused on Dylan the enigmatic individual as seen through the eyes of each supporting character."

'The Brutalist' Becomes an Early Oscar Contender

         On December 20, 2024, A24 releases 'The Brutalist', which has earned rave reviews from critics and a score of 97% on Rotten Tomatoes alongside a Critics Consensus that reads, "Escaping post-war Europe, visionary architect László Toth arrives in America to rebuild his life, his work, and his marriage to his wife Erzsébet after being forced apart during wartime by shifting borders and regimes. On his own in a strange new country, László settles in Pennsylvania, where the wealthy and prominent industrialist Harrison Lee Van Buren recognizes his talent for building. But power and legacy come at a heavy cost...." The ensemble cast includes Joe Alwyn, Guy Pearce, Raffey Cassidy, Felicity Jones, and Adrien Brody. Read the full review round-up below.

        Roger Friedman of Showbiz 411 writes, "It looks like a masterpiece, it’s long, and rises to enormous heights many times during its showing. You could say it’s like a piece of Brutalist architecture."

        Brianna Zigler of AV Club notes, "The Brutalist is impressive, but like the technically brilliant construction at its core, never feels wholly worthy of the suffering put into it." Continuing, "Racism and persecution guide László’s brutalist designs, erecting a monument meant to mirror the prison which held him in Buchenwald, to the complete ignorance of the Van Burens. With the (obvious) reveal of László’s artistic intentions late in the film, The Brutalist’s Israel references come across somewhat conflicting. Is László’s structure a memorial, or is it just another prison? Is Israel truly free for the Jews, or is it more similar to America than the Tóths care to admit? The Brutalist tip-toes around the issue and the questions it sparks, too annoyingly subtle to spark outrage from either side. But the building is outwardly less memorializing than it is blanketly intimidating. Shots inside the structure—filmed magnificently by cinematographer Lol Crawley—are sometimes evocative and deeply shadowed, other times stark and plain, the intensity of the raw concrete enough to threaten on its own. In fact all of The Brutalist, filmed in stunning VistaVision and screened on 70mm, is thrillingly composed. Across its three-and-a-half-hour runtime, it grapples with themes of assimilation, American mythology, colonization, and self-imprisonment; although, by the second half of the film the story feels wanting. The Brutalist hinges upon the sum of its parts, similar to Corbet’s more divisive Vox Lux, which also dealt conflictingly with America-specific trauma. Still, there is a cynicism that separates The Brutalist from your typical immigrant rags-to-riches tale. László is tormented, his relationship with Erzsébet is deeply troubled, and Jones’ performance is one of pain and vulnerability toughened by unspeakable suffering. But the boilerplate nature of the narrative (co-written by Corbet and Mona Fastvold) undercuts the technical strengths, and emphasizes some of the other various hitches along the way. Isaach de Bankolé’s character, for example, exists to show that László is compassionate to Black people during this difficult era, and there is a shocking literalization of Harrison and László’s relationship that leaves little room for nuance."

        Avi Offer of NYC Movie Guru praises the film, stating, "Beautifully shot and initially captivating, heartfelt and spellbinding before it loses steam and becomes clunky and undercooked. Adrien Brody gives an Oscar-worthy performance, one of his best since The Pianist."

        Ross Bonaime of Collider writes, "It’s also fascinating to watch how László’s journey changes depending on who enters his world. When he lives in Attila’s furniture shop, holed up in an old stock room, he’s much more meek and unassuming; he gets his work done, but he mostly stays out of sight. Yet once he’s shown his greatness through old newspaper clips by Harrison and given a job worthy of his talents, he tackles the opportunity with vigor. Pearce is also giving one of his finest performances yet as Harrison, a symbol of how rich men in power utilize the work of immigrants to get ahead in life. Harrison isn’t a character who’s easy to parse out, shifting from a screaming madman to a welcoming figure in the community for László in his first two scenes. Even when The Brutalist is more blunt about Harrison’s intentions in the second half of the film, one of the movie’s rare missteps, Pearce plays Harrison with the stoicism and hypocritical moralism that makes the character work." 

Photo by Claudio Schwarz on Unsplash

'The Count of Monte-Cristo' Reviews: Film "brings both new life and stifling tradition into this arena"

        Alexandre Dumas will forever be my personal favorite author, but not until now has an adaptation of 'The Count of Monte-Cristo' has not wowed me. Trust me guys, having watched all the adaptations to date, this is by far the best and deserves the perfect score of 100% at time of this writing on Rotten Tomatoes. In this adaptation, which was released on December 3, 2024 by Samuel Goldwyn Films, "Edmond Dantes becomes the target of a sinister plot and is arrested on his wedding day for a crime he did not commit. After 14 years in the island prison of Château d'If, he manages a daring escape. Now rich beyond his dreams, he assumes the identity of the Count of Monte-Cristo and exacts his revenge on the three men who betrayed him." The ensemble cast includes Pierre Niney, Anamaria Vartolomei, Bastien Bouillon, Anaïs Demoustier, Laurent Lafitte, Pierfrancesco Favino, and Vassili Schneider. But what did the critics say?

Photo Courtesy of Samuel Goldwyn Films 

        C.J. Prince of The Film Stage says, "While these large-scale productions typically get the life taken from them by committee in Hollywood, this film’s stone-faced commitment to executing such silly spectacle makes for an uneven, mostly good time." Adding, "Unfortunately, not everything can be fun and games, and much of The Count of Monte Cristo’s final act stumbles as it leans into sappy romance and character drama. Part of the issue is that, for the most part, this film has no real interest in engaging with the source beyond materialist enjoyment. There’s a bit of hypocrisy in telling a story about an ordinary man who infiltrates high society to take them down using his education, wit, and sheer self-determination, then filming it in such a lavish way that you can practically see the Euros on the screen. But that’s where the escapist part of escapist entertainment kicks in; thus attempts to grapple with actual ideas fall flat and lead to a disappointing climax. For a good stretch of time, though, The Count of Monte Cristo is a prime example of popcorn fun, even if its filmmakers might have not intended for it to be laughed at as much as I did. But whether it’s for the right or wrong reasons, a good time is still a good time."

       Jordan Mintzer of The Hollywood Reporter notes, "It’s a lot to take in at first, but Delaporte and de la Patellière are specialists at dishing out plot points both smoothly and expeditiously. The Count of Monte Cristo is the kind of movie where, after 180 minutes and many, many more plot points, you walk out of the theater without having felt the time pass. That’s a good thing if you’re looking for a fairly entertaining, swords-and-puffy-shirts revenge tale — and Dumas’ novel is probably the mother of all revenge tales. But if you’re looking for something with more depth and staying power, this polished adaption (budgeted at $47 million, which is huge for a French film) offers lots of conniving and scheming without anything more meaningful."

       Josh Parham of Next Best Picture praises the film, stating, "In many ways, “The Count of Monte Cristo” feels like a take that brings both new life and stifling tradition into this arena. The stunning imagery is a wonder to behold, impressive at conveying a grand scale that is arresting in its pageantry."

'The Last Showgirl' Reviews: Pamela Anderson Could Nab an Oscar Nod!

         On December 13, 2024, Roadside Attractions releases 'The Last Showgirl', which has earned predominantly positive reviews from critics and a score of 80% on Rotten Tomatoes at the time of this writing. In the film, "a glamorous showgirl who must plan for her future when her show abruptly closes after a 30-year run." The ensemble cast includes Pamela Anderson, Dave Bautista, John Clofine, Jamie Lee Curtis, and Billie Lourd. Read the full review round-up below.

        Gregory Ellwood of The Playlist notes, "When Curtis walks onto a table in the middle of a casino and starts dancing to Bonnie Tyler’s “Total Eclipse of the Heart,” throwing her job away as visitors barely notice, you know there is something special here. You just wish there was more of it" Concluding, "For most of the film, Anderson has played her role, for lack of a better description, as very demure, very mindful. It’s been mostly a quiet, confident performance. Shelly has her own set of street smarts but has almost lived her entire life in this Vegas strip bubble. When the bubble pops, Anderson unleashes an unforeseen wave of emotion encapsulating Shelly’s pain. Many may have recognized that Anderson was an underrated actress before “The Last Showgirl.” That being said, few believed she could project this from deep within her soul. Describing it as a revelation may be a stretch, but it’s damn close."

Photo Courtesy of Roadside Attractions

        Amber Wilkinson of Eye for Film says, "The script marks a step up from TV shows for Kate Gertsen (The Good Place, Mozart In The Jungle) and she brings a lot of verve to the dialogue, especially in early scenes where talk of the price of lemons mixes with costume snagging and general conversation as the dancers scramble about backstage, captured with grace by cinematographer Autumn Durald Arkapaw. But while Gertsen proves sure-footed in the melee, her characterisations lack the detail in the film's more quiet moments to fully sell the emotional beats. Anderson, for her part, acquits herself well, bringing an edge of panic to the perpetually sunny-side-up Shelley as she finds the illusions she has carefully crafted for herself start to crumble. The supporting cast are uniformly strong, particularly Bautista, who brings a real soulfulness to his role and Jason Schwarzman (Coppola’s cousin), enjoying a sharply written cameo."

       Peter Debruge of Variety was less impressed, stating, "The Last Showgirl intends to reclaim the nobility of these women, to remind that they’re real people, with dreams and disappointments of their own. But a little more dimension would have gone a long way." Continuing, "Granted, there’s something poignant and vulnerable in Anderson’s decision to play a Las Vegas dancer who’s lost her sparkle. Shelly joined the “Razzle Dazzle” revue in 1987 (two years before “Baywatch” debuted on TV), sacrificing everything — including the traditional duties expected of parents — to live her dream of performing on the Strip. More than three decades later, she struggles to keep up with the younger girls, whom she treats like adopted daughters. While Jodie (Kiernan Shipka) and Marianne (Brenda Song) are flexible enough to get other jobs, Shelly is knocked sideways when she hears from stage manager/old flame Eddie (an uncharacteristically gentle Dave Bautista, doing his best Kris Kristofferson) that the show is closing."

'Teddy's Christmas' is a Holiday Delight

         On December 1, 2024, with a streaming release two days later, Capelight Pictures and Blue Fox Entertainment released 'Teddy's Christmas', which proved to be an unexpected holiday delight. In the film, "While visiting a Christmas market in her Norwegian town, eight-year-old Mariann suddenly sees an unbelievable sight: on the top shelf of a carnival game booth, the most adorable stuffed teddy bear has just moved his head and sneezed. Feeling an instant connection with the living stuffed-animal, Mariann can't think of any better Christmas wish than to win him as a prize. But when someone else wins Teddy, it's up to him and his new hedgehog friend, Bolla, to reconnect with Mariann and discover the true importance of family and friendship." The ensemble cast includes Zachary Levi, Marte Klerck-Nilssen, and Jan Gunnar Røise. But what did the critics say?

        Leslie Felperin of Guardian says, "Teddy has a “B” plot adventure as he is bought by an international man of mystery and meets a chatty plush hedgehog, while Mariann learns why breaking and entering is wrong, a life lesson surely all parents will get behind. Grandparents come to visit, little brother has an existential crisis over whether Santa is really his father, his actual dad (Jan Gunnar Røise) takes a bravura pratfall over the newly decorated Christmas tree, and mum (Mariann Hole, sporting a truly gorgeous teased-up tousled blond bob) manages not to burn the rice pudding. This one has all the Norwegian drama of Yuletide in one tidy package, yes sir. If you are not a child under the age of eight or nine, you may find yourself distracted by scrutinising how the film-makers have tried to disguise the disconnect between the actors speaking their original Norwegian and the requirement to dub into other languages. This means no one’s mouth is visible for too long, and if possible moustaches are deployed to disguise lip movements. Obviously, that doesn’t work so well between children and women, so they mug a lot for the camera in order to distract attention from their mouths. The animation, incidentally, is seamlessly executed and quite charming."

Photo by Monika Grabkowska on Unsplash

       Avi Offer of NYC Movie Guru notes, "Co-screenwriters Lars Gudmestad and Harald Rosenløw-Eeg keep the plot simple, easy-to-follow and lighthearted. Young children will be enchanted and amused. However, older audiences looking for something as witty and entertaining for the whole family along the lines of Paddington won't find much to hold their interest. What makes the teddy bear so magical, you ask? It's alive and can speak. Beyond that and how cute it looks, there's nothing really that special about it. Marianne spots it at the Christmas market and instantly forms a bond with it which fuels her desire to have it all for herself. The teddy bear goes on a bit of an adventure as well as it meets a hedgehog named Bolla. His adventures aren't very exciting, though. That said Teddy's Christmas does have some uplifting messages about the importance of family, friendship, the spirit of Christmas, joy and the power of one's imagination. Teddy's Christmas is presented in a version that's dubbed in English; the original is in Hungarian. That's a double-edged sword because, on the one hand, it makes the film accessible to children who wouldn't be able to read English subtitles. On the other hand, though, the dubbing is very subpar and clunky except for the voice of Zachary Levi. The pace moves briskly, there's some lively music and the decent CGI effects, but in terms of production values there's nothing exceptional that stands out. Perhaps Teddy's Christmas would've worked better as an entirely animated film like the recent Glisten and the Merry Mission which would pair well with it in a double feature. At a running time of just 1 hour and 20 minutes, Teddy's Christmas is a wholesome, harmless and enchanting adventure that will delight and amuse young audiences."

'September 5' Reviews: Film "will pin you to your seat"

         On December 13, 2024, Paramount Pictures releases 'September 5', which has received rave reviews from critics, earning a score of 88% on Rotten Tomatoes at the time of this writing. In the film, which is generating Oscar buzz, "During the 1972 Munich Olympics, an American sports broadcasting crew finds itself thrust into covering the hostage crisis involving Israeli athletes." The ensemble cast includes Peter Sarsgaard, John Magaro, Ben Chaplin, Leonie Benesch, and Zinedine Soualem. But what did the critics say?

        Peter Travers of ABC News says, "The massacre of the Israel team at the 1972 Munich Olympics becomes a riveting docudrama on journalism under fire as seen through the contro lroom of ABC Sports doing live coverage. Peter Sarsgaard, John Magaro and Leonie Benesch will pin you to your seat" Adding, "Scaling this testosterone wall is "The Teachers' Lounge" breakout Leonie Benesch as Marianne Gebhardt, the only German-speaking member of a boys club unashamed of underestimating women. Start an Oscar campaign pronto for the brilliant Benesch, who is so good you want to cheer. All the actors could not be better or more fully committed."

       Lucia Ahrensdorf of The Film Stage writes, "September 5 may aim to represent the uncomfortable ethics of media, but this is no Ace in the Hole. About the final shootout that results in hostage deaths, Marianne (Benesch) tearfully says, “I stood with hundreds of people, waiting for something to happen so we could take a picture of it.” This line is meant to implicate our protagonists as voyeurs, media vultures. Yet this moment doesn’t resonate deeply when the film goes out of its way to cast these characters as blameless. (What can they do? It’s their job!) With a matter-of-fact, procedural tone, September 5 treats journalism as a sport––not one of blood and sweat, but something more like ping-pong. The plot builds up to the infamous moment when the journalists misreport the escape of the hostages, only to then have to backtrack and report that, actually, they’ve died. The mistake evokes an emotional reaction from the staff, but the show must go on: they quickly pivot to working on tomorrow’s broadcast of the memorial service. The theatergoers around me exclaimed variations of “wow!” and “phew!” after the film had ended––as if they had just gotten off a roller-coaster ride. I wondered what value there is in these straight re-tellings of the reporting of historical events. It’s true to the characters’ experience to design the film as 90 minutes of adrenaline, but shouldn’t we ask more of films than simple recreation? Watching September 5, it’s hard not to miss the messy agony of Steven Spielberg’s Munich. Here, humanity is condensed and trapped in professional gestures––a bloodless upholding of American corporate-media machinations. Such moments of humanity among the bloodless professionalism are the point, the filmmakers might say. Some may feel a thrill, but I left feeling cold and blank, the buzz quickly worn off."

Photo by Josh Chiodo on Unsplash

        Gregory Ellwood of The Playlist notes, "A breezy 91 minutes, “September 5” is captivating on multiple levels and, frankly, a surprising success considering Fehlabum‘s previous work. Even though the fate of these hostages was determined over five decades ago and you witness the events from a distance, Fehlabum and his editor Hansjörg Weißbrich will keep you in suspense as the drama plays out. The filmmakers’ decision to use real broadcast footage could have easily backfired, but intertwining just McKay with Walker’s portrayal of Jennings strikes the perfect balance (it also helps they have the larger-than-life Howard Cosell call into the control room rather than have him appear on screen). It only reinforces the sense that you are part of a live news story and the genuine tension that accompanies it. Oh, and as a lesson in the craftsmanship that went into what is now “old school” analog television coverage, the movie will be eye-opening for many." Adding, "Quizically, the only aspect of the story “September 5” fumbles is the political ramifications of Black September’s actions. It gives the innocent Israeli victims their due but simply leaves it at that. This is not a movie that wants to seriously dive into the Palestinian-Israeli conflict. The terrorists are largely lifeless which, granted, was what was known during the actual broadcast. It’s mostly captivated by the inherent drama capturing the event. The balance of brilliant decisions and unfortunate mistakes that plague coverage of an event like this. And it’s smart enough to recognize that for these television creators, this isn’t something they will shake off in a day or two. But they did their job and like no one before them. You just wish what happened next was explored beyond the requisite title card before the credits roll."

'Moana 2' Reviews: "a rousing, entertaining, and inspiring family adventure that hits all the right notes"

         On November 27, 2024, Walt Disney Pictures releases 'Moana 2', which has earned a predominantly positive reception from critics, currently holding at 70% on Rotten Tomatoes at the time of this writing. In the film, which is a sequel to the juggernaut hit animated film, "After receiving an unexpected call from her wayfinding ancestors, Moana must journey to the far seas of Oceania and into dangerous, long-lost waters for an adventure unlike anything she's ever faced." The Critics Consensus reads, "Riding high on a wave of stunning animation even when its story runs adrift, Moana 2 isn't as inspired as the original but still delights as a colorful adventure." The ensemble cast includes Auli'i Cravalho, Dwayne Johnson, Alan Tudyk, and Temuera Morrison. But what did the critics say?

        Matt Oakes of Silver Screen Riot was unimpressed, stating, "A limp and uninspired sequel that lacks a reason to exist and memorable tunes, Moana 2 washes ashore with all the grace of a dazed hermit crab—a lightweight spectacle scuttling for purpose. Much ado has already been made about its metamorphosis from a Disney+ series to a full-fledged, theatrically-released tentpole for the animation arm of the studio but it’s fair to point out that this creative retooling can be felt all over the final product. It’s a tedious sequel that doesn’t seek to engage anyone over the age of 12, adrift without purpose, slogging from one unremarkable set piece to the next, unmoored by instantly forgettable musical numbers. It’s one of Disney’s most baffling creative misfires in recent memory – even if it’s not a box office miss like Disney’s previous two efforts – is remains narratively empty and as uncharted as the ocean depths it pretends to explore." Adding, "For children already enamored with Moana, this sequel will likely deliver enough colorful vistas, noisy antics, and action-packed escapades to hold their attention for its 100-minute runtime. Parents might even find themselves swept up in the vicarious joy of their children’s delight – and who can blame them?  But for anyone watching Moana 2 without the buffer of a kiddo’s enthusiasm, it’s an endurance test. Those expecting the animated sequel to present as an actual movie with anything resembling actual movie weight – rather than a distraction or babysitter – will be deeply off put by Disney’s latest effort to pass replication off as innovation. One simply can’t forget that the entire endeavor was calculated as a means to extract maximum dollars from family wallets, a soulless exercise in merchandising masquerading as a movie."

        Andrew Parker of The Gate notes, "Despite never reaching the emotional or musical heights of its predecessor, Moana 2 is a rousing, entertaining, and inspiring family adventure that hits all the right notes. It’s one of those sequels that gets the band back together, takes them out to accomplish a new quest, and wraps things up in a tight, ninety-ish minutes package. Moana 2 isn’t breaking a lot of new ground, but it retains the original film’s dazzling sense of visuals, consistently taps into the talents of its voice cast, and follows an entertaining current from start to finish."   

       Ross Bonaime of Collider says, "2016’s Moana was all about looking to the past to improve the future. This wasn't just because the title character (voiced by Auli’i Cravalho) learned from the choices of her elders to pave a new path for her people; it also felt like a step forward for Disney animation, providing a strong female character with her hopes and dreams and not motivated by a love interest. Moana certainly played in the tropes of Disney animation, but it also charted its own course, using those elements to create something much stronger. For all its strengths, Moana often kept moving forward, keeping an eye on what was next. We are introduced to the people of Montunui before Moana goes on her own adventure, leaving them behind. Or after befriending the demigod Maui (voiced by Dwayne Johnson) near the end of the film, we don’t get the opportunity to experience this new dynamic that was formed. And how do you introduce a character as adorable as the pig Pua and leave her behind?? Like Moana, its sequel, Moana 2, learns from the choices of the past to create an intriguing future that allows us to spend more time with the threads set up in the first film. In doing so, Moana 2 expands this world greatly, taking time to play around with these new relationships, and builds this into a universe that demands exploring. In the first film, we are shown Moana’s passion for freedom and the possibilities of what could lie beyond her island. With Moana 2, we finally feel that excitement about expanding beyond what we’ve already seen, making this the best animated Disney film since Encanto."

Image Courtesy of ©Disney

       Mae Abdulbaki of Screen Rant states, "Sometimes a movie is only as strong as its villain, and Moana 2 could have used a better one. On paper, Nalo is interesting, though the fact that he doesn’t appear onscreen until the mid-credits scene (yes, really) is a glaring weakness of the film. We’re often told about Nalo — from Maui and Matangi (Awhimai Fraser), a goddess who’s also bound by Nalo’s curse — but the lack of him is strange. The characters claim he gains power by separating the islands, but we don’t see what that looks like from a visual storytelling standpoint, lessening his villainous power overall. I thought about this a lot while watching the film, which took away from the experience of enjoying it. Younger audiences may not be so worried about what Nalo is or isn’t up to and why, but it’s a hole in an otherwise decent sequel that pushes the limits of its main character and how far she’s willing to go to help her beloved island. Nalo’s absence undermines the Disney sequel as a whole. Without his appearance, Moana is left fighting a scary thunderstorm in the god’s place, which is far less effective. It’s a good sequence that ultimately falters."