Category: Film Review

While a fine sequel with a pure heart and a wonderful final scene, 2017’s “Paddington 2” has become a religion for some people, evolving into a true test of cineaste authority, newly treated as one of the best family films of all time. It’s an excellent movie, and it gives the producers a tremendous challenge in following it up, and perhaps this is why it’s taken “Paddington in Peru” so long to reach screens. The second sequel is the first not guided by co-writer/director Paul King (who turned his attention to the “Paddington”-esque “Wonka,” establishing a new franchise), who hands helming responsibilities over to Dougal Wilson. And there’s a change in location, pulling the eponymous bear and his family out of London and into South America for a jungle adventure. Marmalade and slapstick remains, and “Paddington in Peru” successfully sustains the merriment for another chapter, keeping things light and funny while the screenplay attempts to locate a way to match the unbeatable emotional content of the last installment. Read the rest at Blu-ray.com

The comeback story for Key Huy Quan has been remarkable to watch. He was once a child actor who offered wonderful, natural work in “Indiana Jones and the Temple of Doom” and “The Goonies,” only to find career opportunities dry up as puberty hit, taking him away from acting for quite some time. Quan returned in a scene-stealing role in 2022’s “Everything Everywhere All at Once,” restoring his visibility with moviegoers and winning an Academy Award for his performance. With “Love Hurts,” Quan is giving this career revival its first major test, taking a starring role in the hardcore actioner, which marks the directorial debut for Jonathan Eusebio, who previously worked as a stunt performer in the “John Wick” series and “The Fall Guy.” “Love Hurts” is out to display flashy physicality and brutal violence, also looking to sell a few relationship issues along the way. The picture isn’t a stunner when it comes to storytelling, but it definitely packs a punch. And there’s Quan, who continues to impress with his enthusiastic acting, giving the endeavor his full commitment. Read the rest at Blu-ray.com

Adam Sandler’s nephew, Tyler Spindel, returns behind the camera for another Adam Sandler production, featuring Adam Sandler relatives in supporting roles. The helmer behind “Father of the Year” and “The Wrong Missy” tries another crude comedy on for size in “Kinda Pregnant,” welcoming comedian Amy Schumer to the Happy Madison family, and she’s ready to unleash her love of R-rated shenanigans in the feature. “Kinda Pregnant” details the mental and physical gymnastics involved with a woman who turns to faking a pregnancy to solve her emotional problems. Laughs are intended, but this is a Spindel joint, so viewers will have to settle for plenty of groans and sharp exhales while watching this witless endeavor, which, of course, tries to marry the screaming highs of slapstick with the honeyed ooze of romance. It’s a terrible movie, but it does provide colorful background noise for a streaming audience, which might be the ultimate purpose for this picture. Read the rest at Blu-ray.com

1997’s “Titanic” was supposed to be a failure. It went wildly overschedule and overbudget, even missing a key release date in the process, giving James Cameron’s epic take on an oceanic disaster a special industry stink as the world awaited its release. And when it was finally put into theaters, it stayed there for nearly a year, creating a dedicated fan base happy to return to the movie over and over again, racking up views as the romantic fantasy and tragedy of the picture was almost too much to bear. “Titanic” became a box office and pop culture behemoth, meeting its event cinema potential for generations of viewers. “Ship of Dreams: Titanic Movie Diaries” dares to return to the days of production, as director Alexandra Boyd goes on a journey of remembrance, joined by other cast members armed with memories concerning their days on the set, creating an emotional reunion with thoughts, feelings, and experiences generated back in the mid-1990s, when Cameron was in the middle of crafting his most complex creative endeavor. Read the rest at Blu-ray.com

“Renner” marks a return of sorts for actor Frankie Muniz. He’s been chipping away at an acting career over the last two decades, occasionally playing himself, but his new film puts him in a leading role for the first time in a long time, hired to carry a feature that attempts to expand his thespian range. Co-writer/director Robert Rippberger (“Those Who Walk Away,” “Strive”) joins a wave of storytellers looking to inspect the mysteries of artificial intelligence, and he lands on a drama about a young man and his computer-fu dealing with something he’s never encountered before: a woman’s interest. “Renner” is a glacially paced character study that eventually graduates to more physical interests, but Rippberger is in no hurry to get anywhere with the picture, overseeing a drab examination of an unraveling that’s way out of Muniz’s range. Read the rest at Blu-ray.com

“Heart Eyes” is co-written by Christopher Landon, who’s found his niche in recent years as an architect of horror comedies, trying to crank up the humor on slasher cinema offerings. He’s been involved in the “Happy Death Day” franchise, “Freaky,” and “We Have a Ghost,” driven to take the sting out of scares while chasing silliness. “Heart Eyes” remains in line with Landon’s previous projects, this time bringing the action to Valentine’s Day, going holiday with a tale of a hulking killer on the loose, targeting lovers out in the open during a season of tenderness. It’s not a “My Bloody Valentine” remake, as Landon isn’t interested in being serious, taking his latest into overkill when it comes to cutesiness, ruining any potential fear factor the story has to offer. The odd tonality of the effort really disrupts the fun ride the writing is straining to deliver. Read the rest at Blu-ray.com

If you’re under the belief that original ideas are missing from the movies today, here’s “Love Me.” It’s the debut feature for writer/directors Sam and Andy Zuchero, and the siblings attempt to explore the human condition from an unusual perspective. Technology is the theme here, following the development of sentience as an ocean buoy and orbiting satellite strive to experience a relationship in a post-apocalyptic setting. The ruined Earth is the location for the picture, and the Zucheros often retreat into a digital world to help the characters connect, with animation representing most of the viewing experience. “Love Me” is specialized work for a specialized audience, and not something made for casual viewing. It’s not entirely successful in the storytelling department, but there’s vision to the endeavor that remains interesting, along with writing that tracks the messiness of relationships and the mysteries of life. It’s a big swing for the helmers, who attempt to deliver something quite unique while inspecting universal ideas on personal connection and experience. Read the rest at Blu-ray.com

Writer/director Nicholas Stoller’s career began with help from producer Judd Apatow, putting the pair to work creating R-rated comedies that used a lot of improvisation and a cast of comedians to find the funny in sometimes less-than-funny screenplays (including “Neighbors” and its sequel). Stoller hasn’t really pushed himself creatively since his helming debut (“Forgetting Sarah Marshall”), falling into routine, and such professional stagnancy continues in “You’re Cordially Invited.” A wedding comedy about battling guardians and their control issues, the feature is more of the same from Stoller, who oversees a “wacky,” profane picture that’s meant to delight with its comedic insanity and still touch the heart with some offerings of warmth and romance. “You’re Cordially Invited” isn’t an inspired endeavor, and while stars Will Ferrell and Reese Witherspoon are committed to the cause, the staleness of Stoller’s approach is overwhelming at times, and laughs are nonexistent. Read the rest at Blu-ray.com

“Dog Man” began life as a spin-off of “Captain Underpants,” as author Dav Pilkey elected to expand his graphic novel universe and refresh its slapstick potential. After a 2016 debut, the series immediately found its audience, and Pilkey has recently released the thirteenth installment of the saga. As with “Captain Underpants,” such success is eventually chased with a big screen adaptation, giving the “supa cop” and his half-canine instincts a cinematic expansion in “Dog Man.” Writer/director Peter Hastings (an animation producer who last helmed a major feature in 2002’s “The Country Bears”) does an excellent job capturing Pilkey’s vibrant imagination and mischievous sense of humor, overseeing a highly entertaining and visually commanding offering. It’s an incredibly playful and snappy movie, and one that preserves most of what makes the book series so endearing and enjoyable. Read the rest at Blu-ray.com

There are turns and twists in “Companion,” and for those especially sensitive to spoilers, it’s probably best to avoid reviews, commercials, trailers, social media posts, word of mouth, and the poster for the picture, as everything tends to expose what’s really happening in the feature. Writer/director Drew Hancock has a bit of sinister business in mind with the material, presenting a study of a relationship that’s not entirely built on a foundation of honesty. Robotics is a more accurate origin story for “Companion,” which transforms a tale of love into an odd situation of survival involving a character newly exposed to a harsh reality that’s carried on without her knowledge or consent. Hancock doesn’t have enough drama to really pack the run time, but he comes armed with solid ideas, strong performances, and fantastic visuals, crafting a mostly involving thriller that zigs and zags with some authority. Read the rest at Blu-ray.com

Co-writers/directors Alexi Pappas and Jeremy Teicher were previously focused on the wide world of sports. They explored the troubles of a long-distance runner in 2016’s “Tracktown,” and spotlighted an outbreak of love for a cross-country skier in 2020’s “Olympic Dreams.” They ditch athleticism for a different kind of competition in “Not an Artist,” which follows the general anxiety and collision of personalities that occurs at a retreat for creative minds and all the insecurities they can carry. It’s another winner for Pappas and Teicher, who do very well with characterization and mood, exploring the semi-comical ways of the getaway and all the internal chaos it inspires. “Not an Artist” eventually moves too far away from humor, but up to this point, it connects, presenting an amusing take on self-imposed pressures and life woes, sold with terrific performances that capture a few complex emotions. Read the rest at Blu-ray.com

1988’s “Mac and Me” was a film presented by McDonalds, finding the hamburger chain looking to reach its target demographic (children) with a movie that played to their interests and, hopefully, strengthened brand loyalty. “Green and Gold” is not another “Mac and Me,” but it does share a similar interest in merging entertainment with fast food, as Culver’s sponsors the feature, trying to offer its target demographic (senior citizens) a study of midwestern living, and perhaps encourage a post-showing burger run. Both pictures also share a common, and unexpected, darkness, as co-writer/director Anders Lindwall explores the death of the American dream in “Green and Gold,” going where many filmmakers have gone before during his study of farmland aches and pains. The offering isn’t original, and Lindwall is determined to hit every cliché he can, but he has a strong cast to help sell the effort’s emotional beats, making performances the most compelling aspect of the endeavor. Read the rest at Blu-ray.com

I want to believe that writer/director Barry Jay is trying to do something important with “Like Father, Like Son.” There’s a message buried deep in the picture about cycles of abuse, even reaching into hereditary traits to spotlight the continuation of evil, and Jay looks to use such simmering rage to inspire a horror film of sorts. It’s a psychological take on slasher cinema, striving to be a bit more menacing than the usual in serial killer tales. However, the execution of “Like Father, Like Son” is completely botched, as Jay has no real clue how to deliver this study of generational pain without turning the whole thing into a cheap looking, poorly acted, and roughly crafted feature that doesn’t possess a single scene of profound feelings. Jay oddly goes for trashiness with the endeavor, and it’s a painful sit, watching the movie fumble every idea it has. Read the rest at Blu-ray.com

“Presence” is a ghost story. However, it’s a ghost story from director Steven Soderbergh, who’s usually not interested in giving viewers exactly what they expect, endeavoring to mix things up with his indie-minded ways. His latest is no different, but Soderbergh isn’t in an esoteric mood with the feature, heading in a more observational direction in a story about a spirit studying a dysfunctional family’s life inside an old house they’ve recently moved into. Scary business isn’t the focus of the offering, as screenwriter David Koepp is primarily interested in broken relationships and domestic issues, gradually working on a developing mystery involving a roving phantom. “Presence” isn’t going to please horror junkies used to more pressurized haunted house tales, but those with patience and some appreciation for Soderbergh’s filmmaking ways are offered an engrossing puzzle of death and household distance. Read the rest at Blu-ray.com

Nine years ago, Mel Gibson managed to slip past many personal problems and publicity nightmares to make “Hacksaw Ridge,” earning award season attention for his work on the World War II feature. He didn’t capitalize on the success of the film, with “Flight Risk” his first helming assignment since the release of “Hacksaw Ridge,” returning behind the camera to make a B-movie that almost entirely takes place inside a small plane. It’s a serious downgrade in terms of creative ambition, as Gibson eschews his penchant for epic moviemaking to organize a bland trip of terror in the skies. “Flight Risk” is underwhelming work, finding the script by Jared Rosenberg largely uneventful, primarily focused on psychological battles and brief blasts of violence. It’s difficult to understand what Gibson is trying to achieve here, as he adds little to the effort, missing an opportunity to give this Randall Emmett-style production some real teeth. Read the rest at Blu-ray.com

Co-writer/director Sasha Rainbow makes her helming debut with “Grafted.” The film comes armed with all kinds of ghoulish imagery tied to the concept of stolen identity through the exchange of flesh, and its release timing isn’t ideal, coming so soon after “The Substance” managed to impress critics and do some box office business with its arrangement of body horror. Similarities are noted but not hurtful, as Rainbow tends to find her own personality in the picture, which delivers a gruesome understanding of one Chinese woman’s way with skin grafting science and all the blood that needs to be spilled to find biological success. “Grafted” is graphic and gross, also sharply made by Rainbow, who follows her dark heart in the movie, organizing a mess of evildoing and revenge, looking to deliver a case of the icks with viewers in the mood for something squishy and sick. Read the rest at Blu-ray.com

“Into the Deep” doesn’t have much going for it, with the possible exception of co-star Richard Dreyfuss, who returns, 50 years later, to shark cinema, trying to offer a little “Jaws” magic to the production. Unfortunately, director Christian Sesma is no Steven Spielberg. He’s a B-movie guy typically in charge of pictures with generic titles (such as “72 Hours,” “Take Back,” and “Paydirt”) and limited action, and he continues down this career path with “Into the Deep,” which actually contains very little shark activity. Instead of panic in the ocean, there are dim-witted pirates, diving challenges, and basic screenwriting (credited to Chad Law and Josh Ridgway). Suspense isn’t invited to the endeavor, and while film fanatics might get a charge out of Dreyfuss’s appearance, they probably won’t feel much of anything for the rest of this flat, lifeless chiller. Read the rest at Blu-ray.com

“Brave the Dark” (shot in 2021) shares the story of Stan Deen, a kindly teacher from a Pennsylvania town who showed interest in his students, especially a young, deeply troubled teen named Nathan. The screenplay (by Dale G. Bradley and Lynn Robertson Hay) brings Nathan’s story to life, following this relationship as it develops a level of trust to help investigate the pain of a boy who’s seen too much in his life at such a tender age, lacking the proper guardianship to better understand everything he’s feeling. It’s a good-natured effort, and director Damian Harris (“The Rachel Papers,” “Deceived,” “Gardens of the Night”) tries to keep the picture as deeply felt as possible when dealing with the sensitive subject matter of unprocessed trauma. Harris can’t always get the feature past a television movie atmosphere, but he has family assistance, with co-star Jared Harris (his brother and fellow son of late actor Richard Harris) delivering a lively performance to get “Brave the Dark” to a few emotional spaces it wouldn’t otherwise reach. Read the rest at Blu-ray.com

“Inheritance” arrives on the scene offering a filmmaking gimmick of sorts. The entire feature was shot with an iPhone, giving co-writer/director Neil Burger (“The Marsh King’s Daughter,” “Voyagers,” “The Upside”) an opportunity to take the production anywhere he pleases, as filming was completed without much in the way of crew members. Making movies on a phone isn’t anything new (Steven Soderbergh has done it on multiple occasions), but “Inheritance” aims to become a globetrotting thriller, yet it doesn’t possess much excitement to share with viewers. Stiff, empty, and a good example of European actors unable to manage American accents, the offering is primarily about showing off mobility, as Burger is determined to highlight in-the-moment cinematography for a picture that doesn’t have screen energy to share. Read the rest at Blu-ray.com

“Back in Action” marks Cameron Diaz’s return to the acting game. She hasn’t been in anything since her self-imposed “retirement” ten years ago, and she didn’t exactly leave on good terms, starring in dismal comedies “Sex Tape” and “The Other Woman,” also participating in a misguided remake of “Annie.” She was stuck in sameness, and chooses formula to refresh her star stature in “Back in Action,” joining a streaming actioner that’s similar to most efforts made for home viewing (including “Trigger Warning,” “The Union,” and “Lift”). Diaz and co-star Jamie Foxx try to look excited throughout the endeavor, but the generic nature of the writing (credited to Brendan O’Brien and Seth Gordon, who also directs) flattens the viewing experience, finding violence too glossy and laughs too limited in this spy game that resembles many other secret agent adventures. Read the rest at Blu-ray.com