Category: Film Review

While Hollywood usually works very hard to rob movie titles of their uniqueness, the producers of “The Supremes at Earl’s All-You-Can-Eat” have decided to leave things be, retaining the name of author Edward Kelsey Moore’s 2013 novel. The adaptation challenge is left to screenwriters Gina Prince-Bythewood and Tina Mabry (who also directs), who are tasked with fitting in as many of Moore’s subplots as possible. “The Supremes at Earl’s All-You-Can-Eat” is one stuffed viewing experience, with Mabry challenged to balance numerous relationships and moments in time, tasked with weaving together a study of friendship and devotion during the highs and lows of life. The material doesn’t always command attention, going where many soap operas have gone before, but the cast assembled here gives their all, working to make somewhat odd characters into feeling people, and it’s enjoyable to watch these interpretations come to life. Read the rest at Blu-ray.com

Writer/director/actors John Adams and Toby Poser attracted some critical attention with 2021’s “Hellbender,” making a minor breakthrough in their careers. The married filmmakers also delivered 2023’s little-seen “Where the Devil Roams,” building their interest in horror experiences. With “Hell Hole,” a return to genre storytelling is found, taking the action to Eastern Europe with a low-budget monster movie involving a small collection of characters. “Hell Hole” deals with the rampaging survival needs of a vicious, body-inhabiting cephalopod, but those expecting a lively picture with plenty of bloody encounters are sure to be disappointed with this feature. Adams and Poser don’t have money for physical events, keeping the endeavor talky and mostly uninteresting, asking viewers to participate in what’s basically a filmed play with a cast of unseasoned actors. Read the rest at Blu-ray.com

Screenwriters David Guggenheim (“The Christmas Chronicles”) and Joe Barton (“The Lazarus Project”) aren’t out to reinvent spy cinema with “The Union.” In fact, they play it pretty safe, adding a slight “Men in Black” element as the story follows an Average Joe into a secret world of black ops and globetrotting heroism. It’s meant to be light and also pack a punch, putting pressure on director Julian Farino (a television vet) to deliver something big for the mass audience. “The Union” doesn’t have surprises, and perhaps it’s too generic at times, failing to amaze viewers with its offering of espionage and teamwork. However, all is not lost in the feature, which has slight appeal thanks to stars Halle Berry and Mark Wahlberg, who are joined by a decent supporting cast out to add personality to an otherwise mild effort. It’s nothing outrageous, but as this type of afternoon distraction goes, the movie speeds along comfortably enough. Read the rest at Blu-ray.com

In “Crescent City,” there’s the threat of immediate danger with the presence of a serial killer in the area. There’s also pressure building in various relationships, putting partners and lovers at odds during a dark time in Little Rock, Arkansas. Screenwriter Rich Ronat (“American Sicario,” “The Rising Hawk”) appears to have an idea to go beyond the usual in police thrillers, trying to complicate a central situation of investigation with various motivations and secret histories, making it difficult for viewers to stay one step of ahead of all the troubled people hunting for a murderer. The execution of this screenplay is another story, as director RJ Collins (“Don’t Suck”) isn’t skilled with shades of gray, also lacking a great deal of style and suspense with “Crescent City,” which clumsily tries to be a whodunit, but mostly remains a whocares as little of the endeavor becomes passably interesting. Read the rest at Blu-ray.com

After directing 1979’s “Alien,” Ridley Scott returned to the series in 2012’s “Prometheus” with hopes to infuse it with a Big Idea. His vision was a little unsteady and noncommittal, with 2017’s “Alien: Covenant” putting the series back to bed. Now helmer Fede Alvarez (2013’s “Evil Dead” and “Don’t Breathe”) goes into “Force Awakens” mode to revive the franchise, with “Alien: Romulus” looking to embrace the entire “Alien” universe while submitting a new battle between xenomorphs and the space travelers who hate them. There’s a lot of rehash going around in the sequel, but Alvarez also has some fresh ideas to share with the audience, expanding on corporate rule and ship exploration. It’s executed superbly at times, providing a fantastic thrill ride that plays with sequel iconography and plotting. “Romulus” achieves most of its creative goals, giving the faithful another showdown with the “perfect organism,” while also setting things up for a new generation of viewers. Read the rest at Blu-ray.com

One of the most popular social media experiences this year has been the “Man or Bear” debate, where women are left to choose whom they’d feel more comfortable with when alone. The question explored the reality of safety in the female experience, hitting on uncomfortable truths about predatory behavior, especially from men. “Blink Twice” is essentially the cinematic representation of the issue, with co-writers E.T. Feigenbaum and Zoe Kravitz (who also directs) bringing viewers into a disorienting situation of submission in the middle of nowhere, where seemingly harmless flirtations are exposed as something more. Kravitz lifts moves from Jordan Peele and Ari Aster, but she’s also looking to create her own version of a wide-awake nightmare, offering a technically precise and well-acted understanding of a cruel awakening. “Blink Twice” eventually goes full exploitation to find a finale, but up to this point, it’s an intriguing examination of danger. Read the rest at Blu-ray.com

“Skincare” has an unusual approach to its tale, introduced as a “fictional story inspired by true events.” The screenplay by Sam Frelich, Deering Regan, and Austin Peters (who also directs) weaves the real-world horrors of online stalking into a study of business world paranoia and competition, coming up with a dark story of obsession and manipulation. “Skincare” explores the ugly side of Hollywood life, and does so with style and aural menace from Peters, who aims to deliver a pressure cooker viewing experience that keeps escalating until the feature’s final moments. “Skincare” is wicked work, with Peters creating a compelling nightmare on a low budget. Even more impressive is star Elizabeth Banks, who digs into the acting challenge, emerging with one of her best performances, skillfully playing a character who’s unlikable and sympathetic in a picture that welcomes such a disorientating journey. Read the rest at Blu-ray.com

The mourning process is examined in “The Good Half,” as writer Brett Ryland attempts to find his way around the pain and pressures of personal loss, especially when it comes time to deal with family. Ryland has his brighter moments with the film, but he’s mostly interested in creating something tender with the effort, which tracks a young man’s experience after the loss of his mother, confronted with all that’s no longer in his life, also handling people and decisions he doesn’t want anything to do with. Director Robert Schwartzman (“The Unicorn”) sets a softer mood for the feature, which doesn’t have major dramatic plans. Instead, the material looks to explore intimate spaces of distress and confusion, also reinforcing the power of relationships, which helps the picture find some interesting areas of communication. Read the rest at Blu-ray.com

“My Penguin Friend” is “inspired by a true story,” and one that originated as a news report that went viral eight years ago, spotlighting a special relationship between an older Brazilian fisherman and the penguin he befriended. It’s the stuff of a Disney movie, and there’s plenty of cute in the film, but screenwriters Paulina Lagudi Ulrich and Kristen Lazarian try to maintain a stronger emotional presence in the feature. “My Penguin Friend” explores the darker side of loss and mourning, hoping to become a heartwarming study of soulful repair. Director David Schurmann gets most of the way there with the picture, which easily charms with its animal antics and cuts a little deeper with character pain, though it remains a sunny examination of friendship and askew therapy from an unlikely source of comfort. Read the rest at Blu-ray.com

In many ways, “The Purge” franchise is already comedic in nature, but screenwriter Rob Yescombe and director Paul Feig offer full-out silliness with “Jackpot,” which is a very “Purge”-like in its violence and premise. The picture brings viewers six years into the future, where lottery winners are considered fair game for murder for a set number of hours, creating a mad dash to slaughter the target on what should be their luckiest day. There’s a foundation for a terrific thriller in “Jackpot,” following one lottery victor’s quest to survive, “Warriors”-style, while Los Angeles comes after the character. However, seriousness isn’t the goal here, with Feig and Yescombe endeavoring to merge highly choreographed action and goofiness, tasking stars Awkwafina and John Cena to play profane and panicked for most of the feature. Unfortunately, the film doesn’t have inspired funny business to share, presenting a riff-happy journey that grows obnoxious in a hurry. Read the rest at Blu-ray.com

In 2018, writer/director Tilman Singer received the career boost of a lifetime when his thesis film, “Luz,” was picked up for distribution. It was a small-scale brain-bleeder with some effective scenes, but clearly lacked dramatic meat, becoming more appreciable for its style and mood. Singer returns with “Cuckoo,” and he’s a little more prepared to deliver a full story for viewers, at least ones willing to follow along with the overall strangeness and initial stillness of the endeavor. Much like “Luz,” “Cuckoo” is a bit out there and in no hurry to get where it’s going, but the destination is intriguing, and Tillman does well with atmosphere, providing a few artfully crafted freak-out sequences. He also has a cast invested in exploring physical and mental distress, with actress Hunter Schafer going full-body with her depiction of a young character experiencing a complete dismantling of her reality. Read the rest at Blu-ray.com

“Borderlands” hasn’t enjoyed an easy ride to a theatrical release. Production began three years ago under the direction of Eli Roth, who was eventually replaced during numerous reshoots working to make the endeavor more appealing to the masses. The screenplay (by Roth and Joe Crombie) is an adaptation of a video game series that began in 2009, making any cinematic representation tricky as console adventures don’t easily translate to the screen. For “Borderlands,” Roth (who remains the credited helmer) selects noisiness as his inspiration, looking to merge “Guardians of the Galaxy” and “Star Wars” in a large-scale sci-fi action comedy that always seems to be struggling to come together. It’s not dull, but “Borderlands” can be overkill at times, and its sense of humor flatlines almost immediately. There’s star Cate Blanchett in bruiser mode, which has its appeal, but little else works in this misfire. Read the rest at Blu-ray.com

“It Ends with Us” is an adaptation of a 2016 best-selling book by Colleen Hoover, which takes on the delicate subject of domestic abuse, wrapping horror in the warmth of romantic experiences. Director/co-star Justin Baldoni (“Clouds,” “Five Feet Apart”) hopes to sell iffy escapism to viewers, approaching the material (scripted by Christy Hall, “Daddio”) as a lesson on empowering behavior in the middle of traumatic events. It’s such a bizarre cocktail of messages and tones to begin with, leaving Baldoni to attempt to realize a literary event without truly touching on the dangers facing the main character, who should embark on a profound psychological journey. In the movie, she doesn’t, with the production turning the whole thing into a fashion show at times, while the violence at the core of the story is transformed into a game of reality, cheapening the very real stakes spousal abuse creates for those trapped in a dire situation of survival. Read the rest at Blu-ray.com

Writer/director Kelly Blatz (“Senior Love Triangle”) looks to do something a bit grittier with “Rocky” formula in “One Fast Move.” Instead of boxing, the movie welcomes viewers into the world of motorcycle racing, where tensions run nearly as hot as the vehicles, especially for a young man in need of a trainer and a father figure while working on his underdog status. Blatz is trying to offer a bit more in the way of characterization with the endeavor, keeping things human for at least the first half. “One Fast Move” eventually succumbs to formula and tired writing, with the helmer giving up on pushing through some complicated relationships, which would make the overall effort more unique. A few scenes manage to connect on an emotional level, but the rest of the feature fails to be meaningful as Blatz goes déjà vu with the structure of a sports film. Read the rest at Blu-ray.com

Director Neil Marshall has spent the last four years of his career trying to turn his romantic partner, Charlotte Kirk, into a movie star. The pair have previously collaborated on “The Reckoning” and “The Lair,” two dreadful films, and they return with “Duchess,” also claiming credit for the screenplay. Unlike their previous endeavors, the new offering isn’t a horror experience, but a criminal one instead, with the couple going the Guy Ritchie route with yet another study of British gangsters getting caught up in underworld power plays that require brute force to break. “Duchess” isn’t an inspired intimidation game, and, once again, Kirk can’t carry the picture, offering flat work in the central role of a woman going to extremes while seeking revenge on those who killed her crook of a boyfriend. Marshall has nothing much to offer, relying on cliché and shots of a half-naked Kirk to make it through the lifeless feature. Read the rest at Blu-ray.com

As it goes in the world of horror, when one movie becomes a surprise hit, or merely eeks out a small profit, other productions soon follow. In 2023, the producers behind “Winnie-the-Pooh: Blood and Honey” elected to take advantage of the treasured character’s entry into the public domain, turning the lovable bear into a mass murderer. The feature was awful, but it attracted attention, and with cult interest came a little box office hustle. Now there’s “The Mouse Trap,” with director Jamie Bailey (“What Lurks Beneath,” “Deinfluencer”) and screenwriter Simon Phillips out to do something hostile with Mickey Mouse’s addition to public domain usage, working with “Steamboat Willie” imagery to generate a slasher film involving a collection of clueless young characters and their battle against a man in a mouse mask. It’s “Blood and Honey” all over again, with limited effort put into the final production, which is caught between becoming one big goof and one colossal bore. “The Mouse Trap” merely exists to collect a quick buck from the curious. Read the rest at Blu-ray.com

“Running on Empty” creates an alternate reality where citizens are offered a chance to know the date of their own deaths. It’s a miracle of science, giving those invested in the information an opportunity to understand exactly when the sands run out, permitting a chance for a new sense of life to develop. Writer/director Daniel Andre has an idea worth developing here, examining the strange psychological areas created from this awareness of mortality, and how the limitations of the future impact a character not ready to deal with his final moments. Instead of a fascinating understanding of behavior and reaction, Andre delivers a movie about a young man trying to avoid a vicious pimp out to extort money from him that he doesn’t have. “Running on Empty” goes the wrong way with ideas, eschewing dramatic opportunity to become another weak, R-rated comedy that doesn’t have any laughs. Read the rest at Blu-ray.com

“Saving Bikini Bottom: The Sandy Cheeks Movie” is a spin-off endeavor from the world of “SpongeBob SquarePants.” The goofy yellow sponge was last seen on-screen in 2020’s “The SpongeBob Movie: Sponge on the Run,” a lackluster effort that definitely showed franchise fatigue. The beloved character is back, but he’s in a supporting role this time around, with “Saving Bikini Bottom” focusing on Sandy Cheeks and her brand of adventure, taking the series to the heart of Texas for some dry land shenanigans. Never fear, the whole Bikini Bottom gang is here, albeit in small roles, but some of the old “SpongeBob SquarePants” flavoring is present in the feature. Just not enough of it, as director Liza Johnson (“Hateship Loveship,” “Elvis & Nixon”) makes a perfectly acceptable diversion with the film, but it’s far from remarkable or even hilarious, showing reliance on aggressive cartoon action that wears out its welcome long before the picture concludes. Read the rest at Blu-ray.com

It only takes a few scenes before realization sets in that the thriller “Trap” isn’t out to be Hitchcockian with its level of suspense and surprises. It’s the latest from writer/director M. Night Shyamalan, and he’s determined to keep the feature, well…Shyamalan-ian. After exploring the mysteries of a deadly beach in “Old” and taking on the end of the world in “Knock at the Cabin,” the helmer remains in contained mode with “Trap,” which is partially set inside an arena concert. It’s a cat and mouse game around a giant concrete maze, and there’s tremendous potential in the idea, watching a serial killer use his wits to stay out of police custody while plans form to capture him. For the first 50 minutes, Shyamalan makes some effort to hold audience attention with the location and the stakes, but he can’t bring the premise all the way to a satisfying conclusion, gleefully going absurd with the ending to this disappointing film. Read the rest at Blu-ray.com

“Harold and the Purple Crayon” began life as a children’s book in 1955, with author Crockett Johnson looking to shape a magical adventure of imagination and curiosity for young readers. The work turned into a major success, with generations discovering Harold’s way with creativity. It’s 64 pages of literary goodness, and cinematic and television adaptations have been produced over the years, but “Harold and the Purple Crayon” is now handed a big Hollywood interpretation from director Carlos Saldanha (“Ferdinand,” “Rio,” “Ice Age: The Meltdown”), who merges animation and live action for his take on childlike wonder. Saldanha has some accomplished visual effects to help bring the material to life, but the rest of the film is a formulaic, unfunny bore, with all the spark of Johnson’s original creation turned into a lifeless, charmless viewing experience. Read the rest at Blu-ray.com