Category: Film Review

It took 12 years to make a second sequel to 2001’s “Bridget Jones’s Diary,” and “Bridget Jones’s Baby” was a mildly entertaining return to the ways of the eponymous character and her struggles in life and love. “Bridget Jones: Mad About the Boy” represents another production gap for the franchise (nine years this time), but this reunion with author Helen Fielding’s creation is much more satisfying. The screenplay (by Fielding, Dan Mazer, and Abi Morgan) sets a slightly mournful tone for the picture, giving it a pleasant softness between expected bits of slapstick and humiliation as Bridget confronts all the losses in her life and deals with new adventures in romance. “Mad About the Boy” is quite amusing and nicely balanced by director Michael Morris, and it’s a treat to see star Renee Zellweger return to screens (six years after her Oscar-winning turn in “Judy”), backed by an outstanding supporting cast. Read the rest at Blu-ray.com

“The Gorge” is the latest film from director Scott Derrickson, who went the lower budget route for 2021’s “The Black Phone” and ended up with a surprising hit. There’s a “Black Phone 2” coming later this year, but before Derrickson returns to small scale horror, he tries the blockbuster business back on for size in “The Gorge,” which was shot two years ago. Screenwriter Zach Dean (“The Tomorrow War,” “Fast X”) cooks up material that’s somewhere between a zombie film and a YA romance, gifting Derrickson room to go big with the endeavor, delivering major action set pieces and monster attacks, which gives the effort a glossy, CGI-laden appearance. The tone and pacing of the picture are off, making for a bit of a slog as the characters gradually find their way to love and eventually encounter dangers. It’s no nail-biter, and Dean’s command of mystery definitely lacks snap, as the unknown is far more interesting than the fully explained in his mediocre offering. Read the rest at Blu-ray.com

Last summer, Osgood Perkins scored a surprise box office hit with “Longlegs.” The horror picture wasn’t much different from everything else he’s created, but marketplace magic was certainly on Perkins’s side, enticing people to spend time in a deadly serious world of mystery and evil. Less than a year later, the writer/director is back in theaters with “The Monkey,” which is also a tale of mystery and evil, this time sourced from a short story by Stephen King. The iconic genre author required just under forty pages to deliver a strange journey into a cursed life, but Osgood isn’t fully committed to moodiness. Instead, the movie is a presentation of shock value that loses effectiveness the longer it lasts, as Perkins can’t extend King’s ideas for a feature-length offering. He goes spotty with a limp sense of dark humor and gory events, keeping “The Monkey” more about grisly visuals than an engrossing study of dread. Read the rest at Blu-ray.com

Mark Waters once made big screen comedies of various quality (“Mean Girls,” “Freaky Friday,” “Ghosts of Girlfriends Past”), and now he’s making streaming movies of various quality (“Mother of the Bride,” “He’s All That,” “Magic Camp”). It’s a career move that hasn’t inspired a lot of creative filmmaking, and Waters returns to the ease of formula in “La Dolce Villa,” which serves as comfy sweater cinema for viewers who enjoy the reassurance of romantic comedies set in exotic locations. In this case, it’s Italy, offering the production team a pleasant work trip to capture the usual in relationship development and easily solvable problems. Waters doesn’t push himself with the endeavor, but “La Dolce Villa” does have the benefit of an enthusiastic cast, as lead Scott Foley treats the acting assignment with enthusiasm, which lifts up an otherwise leaden effort. Read the rest at Blu-ray.com

“Captain America: Brave New World” is meant to become the first step forward towards a new “Avengers” movie (due in 2026), beginning to realign heroic forces for a fresh team-up against a new source of evil. The production wants to be a big screen spectacle, but it carries a little homework, as some of it plays like a sequel to 2008’s “The Incredible Hulk,” and the rest picks up after the 2021 Disney+ streaming show, “The Falcon and the Winter Soldier.” If you haven’t kept pace with the Marvel Universe, the latest chapter will be a tad puzzling. And if you’re a faithful student of all things comic book entertainment, the picture might be a little infuriating. “Brave New World” boasts some impressive technical credits and a wonderful supporting turn from Harrison Ford, who’s new to the superhero game. It’s storytelling that’s a real struggle for the endeavor, as director Julius Onah (“The Cloverfield Paradox”) shows little authority with this collection of battling characters, making it difficult to get involved in the loosely knotted tale. Read the rest at Blu-ray.com

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