Category: Film Review

Abel “The Weeknd” Tesfaye really wants to be an actor. Being a successful singer isn’t enough, reaching chart-topping highs and attracting significant media attention. Becoming a thespian seems to be his new goal, though he’s probably not going to achieve it if he keeps picking projects like “Hurry Up Tomorrow.” While the film is being sold to the public as some type of psychological thriller, co-writer/director Trey Edward Shults (“Krisha,” “It Comes at Night,” and the little-seen “Waves”) isn’t making something like that. The endeavor is more surreal and meandering than a simple ride into a broken mind, and it’s incredibly determined to sell Tesfaye’s dramatic range, along with his music. The offering is a valentine to the greatness of The Weeknd “persona” and musical accomplishments, finding the script more of an afterthought as Shults is tasked with staying tight on the star as he hopes to deliver a powerhouse performance. “Hurry Up Tomorrow” accomplishes extraordinarily little dramatically, strictly made for those who share the same appreciation for The Weeknd as Tesfaye does. Read the rest at Blu-ray.com

In 2023, “Mission: Impossible – Dead Reckoning Part One” was released, facing stiff, ultimately overpowering competition from “Barbie” and “Oppenheimer.” The sequel’s box office potential wasn’t reached, but as an offering of blockbuster filmmaking, star Tom Cruise and director Christopher McQuarrie delivered a real epic supported by excellent technical credits and a ripping pace. However, production woes on “Part Two” failed to sustain the adrenaline rush, and there’s not even a “Part Two” anymore, as “Mission: Impossible – The Final Reckoning” finally arrives to provide a monster payoff in length (170 minutes) and big screen spectacle, once again finding Cruise and McQuarrie on a quest of their own to make sure viewers are left completely wowed by this endeavor, which is possibly the final “Mission” movie, at least for quite some time. “The Final Reckoning” isn’t nearly the fist-pumping viewing experience “Dead Reckoning” provided, but it does the trick, keeping the production devoted to huge thrills and character peril as Ethan Hunt accepts one last mission to save the world. Read the rest at Blu-ray.com

It comes as some shock to realize that the original “Final Destination” was released 25 years ago, emerging as a potent box office player during the horror cycle of the era. It comes as a surprise to understand the last chapter, “Final Destination 5,” came out 14 years ago, and while ticket sales were down, profitability didn’t seem to be threatened. However, New Line Cinema didn’t ask for more, letting the series conclude while genre fans moved on to new obsessions. With the successful revival of “Scream” currently grinding out sequels, it’s time for other older franchises to be revived, inspiring the creation of “Final Destination Bloodlines,” which returns the saga of Death and his sick games of torment to theaters, looking to unite old and new fans as a tightly choreographed massacre is rejuvenated, possibly for many more years to come. That’s not to suggest “Bloodlines” is a thrilling feature, but it’s definitely enthusiastic at times when it comes to orchestrating bodily harm to maintain brand name appeal. Read the rest at Blu-ray.com

From the directors of “Swamp Shark,” “Ghost Shark,” “Trailer Park Shark,” and “Nightmare Shark” comes “A Breed Apart,” which, weirdly, doesn’t feature any sharks. It remains an animal attack picture, this time using rabid dogs on a tropical island to fuel B-movie pleasures. The production is also something of a remake, building on the premise of 2006’s “The Breed” to inspire a new take on canine-based horror, updated for the social media generation. Helmers Griff and Nathan Furst (who also script) have a design for craziness, but they don’t have much money to pull off the visually ambitious endeavor, which aims to generate a dog-pocalypse situation of survival featuring a cast of humans running away from ferocious animals. Sadly, “A Breed Apart” looks painfully cheap, almost unfinished at times, and getting a sense that a fear factor isn’t going to happen in the offering, the Fursts turn to campiness, and that doesn’t work at all. Read the rest at Blu-ray.com

Directors Josh Gordon and Will Speck have been involved in comedies throughout their entire career. Responsible for the silliness of “Blades of Glory,” “Office Christmas Party,” and “Lyle, Lyle, Crocodile,” the helming team hasn’t really expanded their storytelling horizons, sticking with what works. For “Long Distance” (a.k.a. “Distant”), Speck and Gordon take on a sci-fi story from screenwriter Spenser Cohen, though they don’t completely lose their sense of lightness with the movie. “Long Distance” is a tale of survival, featuring a few heated acts of self-preservation, but it endeavors to remain upbeat with its two main characters, who develop an emotional bond as they physically get closer to each other while stranded on a hostile planet. There’s warmth to be found for those who crave it, but what Cohen really has in the material is a short story, and that’s not enough to truly command attention in this misfire. Read the rest at Blu-ray.com

Paul Rudd is certainly drawn to tales of male bonding. He scored a few hits in his career exploring relationships between friends learning to have fun and relate to each other. Silliness ensued in offerings such as “I Love You, Man” and “Role Models,” but “Friendship” is a much stranger, darker overview of camaraderie. Writer/director Andre DeYoung goes the anti-comedy route with the picture, detailing the mental health decline of a man who simply wants to be accepted by others, unable to control himself when his idyllic life is denied. “Friendship” pairs Rudd with Tim Robinson, a former “Saturday Night Live” player who’s built a small empire of strangeness on television. DeYoung is ready to utilize this bizarre intensity, setting Robinson loose in the feature, which has some laughs, plenty of awkwardness, and an uneven way of delivering a psychological study of human need. Read the rest at Blu-ray.com

If you’re a movie fan, you’ve probably experienced golden theatrical moments where a bond between entertainment and audience is born. For me, the release of 2014’s “John Wick” contributed a beautiful moment involving slightly disinterested viewers suddenly snapped to attention by the picture’s level of ferocity, while its eventual displays of violence extracted a jubilant group reaction that’s extremely rare to find. Ticket-buyers were changed when they left the theater, understanding they just watched a film made with care and commitment to shaking things up in the world of action cinema. “Wick Is Pain” is a documentary out to celebrate the entire “John Wick” franchise, as director Jeffrey Doe examines how the chapters came to life, often through blood, sweat, and a few tears. It’s a celebratory offering, but an earned one, as the series has become a mighty monetary force for distributor Lionsgate Films, who’ve turn all things “Wick” into an event, keeping director Chad Stahelski and actor Keanu Reeves busy over the last eleven years, generating towering valentines to big screen stunts and style. If you dig the brand, “Wick Is Pain” is an enormously engaging viewing experience. Read the rest at Blu-ray.com

Director Stephen Chbosky (who struggled to find an audience for his last release, “Dear Evan Hansen”) and screenwriter Liz Maccie take on the “based on a true story” ways of “Nonnas,” which is an Italian word for grandmother. It’s a tale of a middle-aged man taking a chance on a restaurant idea that’s meant to preserve the cooking traditions of his family, sharing the warmth of such gatherings and food with the public. It’s a reality for restaurateur Jody Scaravella, and Vince Vaughn receives a chance to restore some of his screen charms in the part, portraying a man taking on a tremendous financial and culinary challenge while trying to mend his broken heart. Chbosky and Maccie are in crowd-pleasing mode with “Nonnas,” and they prepare a familiar dramatic feast of problems and neat resolutions, but it’s hard to resist the spirit of the feature, which makes plenty of room for its actors and their unique screen appeal. Read the rest at Blu-ray.com

“Shadow Force” is a generic title that immediately brings to mind all the bland B-movies being cranked out for streaming and VOD services these days. The types of films that feature terrible action sequences, paycheck-focused stars, and paint-by-numbers screenwriting, leaving the subscribed left with empty calorie viewing experiences that are immediately forgotten. The picture is the latest from co-writer/director Joe Carnahan, who’s been doing okay with bruiser entertainment in recent years (“Boss Level,” “Copshop”), but he stumbles with his attempt at a superspy saga. Perhaps the flatness of the title is actually a proper fit for this thoroughly uninspired endeavor, as Carnahan doesn’t have freshness or ferocity to share in the offering, which plays almost exactly like every other actioner in the marketplace, and a few of the helmer’s previous efforts. Read the rest at Blu-ray.com

Andy Tennant was once a very in-demand director. He collected a few hits during his career, most notably in the romantic comedy arena, helping to bring 2005’s “Hitch” and 2002’s “Sweet Home Alabama” to box office highs. Primarily known as the helmer of fluff, Tennant looks to get a little dark with “Unit 234,” which features very few warm emotions and candied scenes of comedy. It’s a thriller from screenwriter Derek Steiner, who imagines a long night of pursuit and violence involving desperate people sneaking around a storage facility, mixing victims and aggressors while attempting to stay one step ahead of viewers. Tennant isn’t known for style, and his feel for pacing is off in the film, but there’s a level of payoff worth sticking around for. “Unit 234” actually makes its way to refreshingly dark final act, and the actors assembled mostly understand what’s required of them, getting the offering to moments of misery that are more compelling than the usual in chases and near-misses. Read the rest at Blu-ray.com

It’s been a little while since we’ve heard from co-writer/director Eli Craig. His last release was 2017’s “Little Evil,” an entertaining follow-up to his raucous debut, 2011’s “Tucker & Dale vs. Evil.” Craig is a talented helmer and someone who clearly loves genre moviemaking, heading right back into the darkness with “Clown in a Cornfield,” which is an adaptation of a novel by author Adam Cesare. It’s a YA title handed the R-rated treatment, as Craig transforms a potentially self-aware concept into a bloody but amusing ride of slasher cinema, paying tribute to the traditions of the subgenre while also exploring a little more characterization than what’s usually pursued. “Clown in the Cornfield” has substance, which is impressive, and strong performances, which is rare, and while the writing fights a feeble climax, the build to a payoff is exciting and intentionally funny. Read the rest at Blu-ray.com

Jillian Bell has made a positive impression as an actress over the years, bringing her quirky sense of humor to a few movies that needed her help, hitting a career high with her starring turn in 2019’s “Brittany Runs a Marathon.” Seeking greater control over her work, Bell makes her directorial debut with “Summer of 69,” also co-scripting with Jules Byrne and Liz Nico. It’s meant to be a throwback to the wilder ways of sex comedies from the 1980s and ‘90s, offering silly antics concerning one teen’s quest for carnal excitement as she battles her virginal state. Bell gets the endeavor up and running with a bright sense of humor and a tremendous amount of playfulness from the cast, suggesting a farce in the making. “Summer of 69” applies the brakes at the midway point, and it’s a hard, unpleasant stop for the feature, but there’s enough charm to carry the viewing experience. Read the rest at Blu-ray.com

Jason Buxton hasn’t made a movie since 2012’s “Blackbird,” and he returns with a claustrophobic study of one man’s obsession concerning car accidents and life demands in “Sharp Corner.” The writing doesn’t offer an expansive understanding of troubling behavior, remaining small in scope as it examines the unraveling of a person newly exposed to hidden thrills. While it seems positioned to become a thriller, “Sharp Corner” remains mostly modest when it comes to suspense, preferring to push viewers in different ways. It’s a picture of surprising events and disturbed characters, and though it doesn’t pursue bigger levels of excitement, Buxton lands a few of his ideas on a troubled mind finally freed to explore a little darkness when horror arrives on his front door. There’s just enough disturbing behavior and dark comedy to keep the feature together, and it gives actor Ben Foster a substantial role that doesn’t welcome his habitual quirkiness. Read the rest at Blu-ray.com

Co-writer/director Victor Danell is part of a filmmaking collective known as “Crazy Pictures.” “Watch the Skies” is their second feature (after 2018’s “The Unthinkable”), with Danell (and co-writer Jimmy Nivren Olsson) attempting to launch an alien conspiracy thriller for a family audience, going a bit softer with the material’s depiction of paranoia and pursuit. Released in Sweden three years ago, “Watch the Skies” attempts to crack the North American market with its presentation of emotional wounds and physical endangerment, using a special A.I. program to help match lips to the English dub, hoping to attract more than the usual specialty cinema crowd. It’s a lively endeavor, and one that benefits greatly from its engaged acting, which lifts an occasionally familiar screenplay that’s often trying to replicate the Spielberg Experience without a truly inspired story. Read the rest at Blu-ray.com

Lexi Alexander hasn’t made a movie in quite some time, and when she did, the director created highly divisive pictures that went directly to cult appreciation (including “Green Street Hooligans” and 2008’s “Punisher: War Zone”). She returns to feature-length filmmaking in “Absolute Dominion,” restoring her button-pushing ways with a tale about a post-apocalyptic fight tournament meant to establish the one true religion to reign supreme over Earth. It’s a Big Idea crammed into low-budget moviemaking, but the tale remains provocative, following the brawn of atheism as it collides with spirituality, or perhaps complete madness. “Absolute Dominion” bites off more than it can chew when it comes to visuals and ideas, but there’s an interesting journey to enlightenment at the core of the endeavor, and its ambition, while faulty, is something to see. Read the rest at Blu-ray.com

In 2021, cinematographer Halyna Hutchins was killed on the set of “Rust,” shot with a loaded weapon in a horrible accident that sent shockwaves throughout the film industry. There’s been headline news, lawsuits, and even a crude documentary released just month (“Last Take”), and now, surprisingly, there’s an actual feature. Cast and crew set out to complete the movie years after Hutchins’s death, a production push eerily reminiscent of 1994’s “The Crow,” which also carried on after a tragic loss. Now a completed picture, “Rust” arrives in theaters, hoping to offer cinematic artistry and a thought-provoking story, as writer/director Joel Souza endeavors to realize his vision for a decidedly “Unforgiven”-esque tale of violence and the corrosive effects of such living on those who choose darkness. There are obvious challenges when watching the effort, especially getting past its real-world horror, but Souza also doesn’t make a very compelling offering, taking an exceptionally long time (140 minutes) to stew in mental illness, which doesn’t hold much dramatic power. Read the rest at Blu-ray.com

2018’s “A Simple Favor” was an adaptation of a Darcey Bell novel. The literary thriller was handed over to screenwriter Jessica Sharzer and director Paul Feig, who elected to turn the material into camp, getting comedic and broad with a study of suspicion and murder. The picture found an audience, becoming a minor hit during its theatrical release, and now seven years later, there’s “Another Simple Favor,” with Feig and Sharzer (joined by Laeta Kalogridis) returning to get even wilder with Bell’s original creation. They’ve prepared a second helping of problems for the main character and her addiction to true crime situations, cranking up the cartoon-iness of it all with an overstuffed sequel that’s aimed strictly at those who thought the original feature wasn’t silly enough. “Another Simple Favor” craves wild twists and turns in a luxurious Italian setting, and perhaps that’s enough to entertain. However, the endeavor doesn’t contain suspense, and wit isn’t Feig’s thing, making for another uneasy sit with overprocessed writing and obnoxious characters. Read the rest at Blu-ray.com

Phase Five of the Marvel Cinematic Universe has been rocky for the comic book corporation. Fans haven’t necessarily loved the releases in this cycle, and the last picture, “Captain America: Brave New World,” struggled for editorial consistency and heroic urgency as the storyline follows an Avenger-less world that still needs saving. “Thunderbolts” is the final release of Phase Five, and it attempts to set things in a more superhero-y direction, going the “Suicide Squad” route as a team of misfits tentatively come together to take on evil. The formula is there, as is a curious choice for a director, putting indie helmer Jake Schreier (“Paper Towns,” “Robot & Frank”) in charge of a major endeavor with an enormous amount of tonal shifts from screenwriters Eric Pearson and Joanna Calo. “Thunderbolts” is intermittently exciting, and some casting here really works, but it remains an uneven film that takes broad swings of silliness and sadness, which often disrupts the flow of the offering. Read the rest at Blu-ray.com

Cinematic puzzles. Disorientation. Madness. For director Lorcan Finnegan, time playing with the mushiness of the mind is time well spent, previously delving into the bewildering nightmare realms of “Vivarium” and “Nocebo.” He’s a visual filmmaker, embracing the elasticity of reality in his endeavors, and he’s not about to give up on his obsession, as his latest, “The Surfer,” is similar in confusion and claustrophobia as his last two features, only now he has the mighty thespian power of Nicolas Cage on his side. Portraying a character enduring a prolonged break from reality, Cage commits to the part of a shattered man, easily becoming the most interesting thing in the picture. Screenwriter Thomas Martin has a vision for an emotional breakdown, and Finnegan provides a distinct visual approach to the effort, which is most definitely reserved for more adventurous moviegoers. “The Surfer” is weird and wily, and while it doesn’t always connect, it maintains a strange presence that’s intriguing. Read the rest at Blu-ray.com

“Salvable” is the feature-length directorial debut for Johnny Marchetta and Bjorn Franklin (who also scripts), who come from the world of music videos. Instead of staying with slick visuals, the duo head in the opposite direction, creating a gritty drama about an aging boxer attempting to maintain some glimmer of hope as all the mistakes in his life threaten to destroy his spirit. It’s not a stunningly original concept for a picture, but Marchetta and Franklin treat the central crisis with care, generating a tough drama offering deep emotional wounds to explore. They also provide star Tony Kebbell with perhaps the best role of his career, pulling the normally hammy actor back down to Earth, portraying a man gradually recognizing his situation in life. “Salvable” isn’t a “Rocky” clone, sustaining a welcome gloom as it deals with difficult feelings, creating a periodically powerful sense of despair as the writing inspects the mysteries of hope. Read the rest at Blu-ray.com