Category: Film Review

Director Doug Liman makes movies quickly, with “The Instigators” his second feature of 2024. The first was the “Road House” remake that launched last spring, with the helmer struggling to make something slightly silly and mostly rough with the project, failing to revive the simple pleasures of the 1989 picture. Liman’s in a similar position with “The Instigators,” which also looks to deliver some punchiness with action and humor, with screenwriters Casey Affleck and Chuck MacLean straining to add some emotional layers to the effort as well. It’s a shot of reality in a film that never really settles with tone or humor, becoming scattershot as Liman tries to land the story as something of dramatic value. It’s an uphill battle for the cast and crew, who look to craft a wild ride with prickly personalities and crime world threats, but the helmer’s heart just isn’t in the work, making for a frustratingly mediocre viewing experience. Read the rest at Blu-ray.com

Co-writer/director Felipe Mucci is attempting to be surprising with “Detained,” which hopes to become a sneaky thriller loaded with suspicious characters and secret motivations. It’s a low-budget affair, rarely leaving a single setting, putting pressure on the screenplay (co-written by Jeremy Palmer) to bring viewers on a ride involving a woman’s night inside a police station, dealing with accusations of murder and the blurriness of her reality. “Detained” struggles a bit with turns of plot, but Mucci has a destination in mind with the material, working to give the production some teeth as it gradually grows comfortable with ruthlessness to inspire reactions from the player in this dangerous game. It’s not a sharp puzzler, but when it comes to moments of shock and intimidation, the effort offers a little more danger than most B-movies. Read the rest at Blu-ray.com

Didn’t we just do this? Eight weeks ago, there was “Summer Camp,” which detailed the experiences of four older woman working on relationships while dealing with a vacation getaway. And now there’s “The Fabulous Four,” which follows four older women working on relationships while dealing with a vacation getaway. There’s some serious déjà vu going on here, but this can all be traced back to the unexpected success of 2018’s “Book Club,” which found an audience for its sustained mildness and use of seasoned thespians. “The Fabulous Four” looks to drink from the same fountain, offering its target audience more silly shenanigans with capable actresses, but the screenplay (by Jenna Milly and Ann Marie Allison) is relentlessly awful. Hope for sharp humor is lost in the opening moments of the picture, and elements of heart are simply DOA. What’s left is a dispiriting collection of sitcom moments that’s increasingly dire to watch. Read the rest at Blu-ray.com

It’s been six years since the monster success of “Deadpool 2,” and it’s amazing that producer/star Ryan Reynolds didn’t immediately continue the series. There was room to grow and an appreciative audience ready for more, but Deadpool was put aside while comic book cinema worked on its blockbuster appeal, and world events certainly stopped production interest. Reynolds finally resurrects his most famous character, and he’s not coming alone, looking to conquer the box office with “Deadpool & Wolverine,” reteaming with Hugh Jackman to deliver a crazy, violent, reference-and-cameo-heavy exploration of superhero cinema via Deadpool’s insane universe of commentary and mockery. Action helmers Tim Miller and David Leitch had their way with the first two installments of the franchise, but “Deadpool & Wolverine” elects to change the approach, with Shawn Levy (“A Night at the Museum,” “Free Guy”) looking to butch up with the R-rated event, and he’s not the right person for the job, struggling with tonal balance and repetition. However, it’s hard to deny the spirit of the endeavor, which is meant to be wild and surprising, and the second sequel reaches a few highlights during its lengthy run time (130 minutes). Read the rest at Blu-ray.com

It’s summer, which means it’s shark movie season. It’s that special time of year when producers seek to cash-in on “shark week” fever and deliver some underwater horror for viewers in the mood for such escapism. “The Last Breath” sticks closely to formula, delivering a survival tale concerning five divers who shouldn’t venture deep into the ocean, facing a swift predator in the darkness when they elect to push their aquatic journey too far. Director Joachim Heden previously helmed 2020’s “Breaking Surface,” another deep sea disaster film (remade last year as “The Dive”), giving him some practice when it comes to organizing such suspense. “The Last Breath” initially presents itself as a study of financial need and dangerous diving, and it finds some momentum with the basics in risk. A shark eventually arrives to pressurize the situation, giving Heden a chance to get a little schlocky, which is far less interesting to watch. Read the rest at Blu-ray.com

Screenwriters Greer Ellison and Alexander J. Farrell (who also directs) tease a world of horror with “The Beast Within.” It’s the specificity of this terror that’s open for interpretation in the movie, which seems more like a theatrical adaptation, keeping characters and points of pressure contained to a few settings. And perhaps the material would’ve been better off as a play, finding the intimacy of a small room potentially helping the intended creep of the story, which deals with terror both real and imagined. As a film, “The Beast Within” fails to inspire suspense, with Farrell (and 33 producers) neglecting the needs of storytelling pace to leisurely explore an arc of awareness as a young girl encounters the possibility that her father might be a werewolf. The endeavor has mood and competent performances, but there’s very little to the production that’s meant to grab the viewer, often caught struggling to find intensity with a tale of growing threat. Read the rest at Blu-ray.com

Former actress Buffy Charlet attempts to make a comedy about pornography in “Spread.” It’s a delicate subject, with many looking to use the coarseness of the industry to inspire laughs, and Charlet is no different, mostly avoiding an original take on the business of sex to make a crude endeavor with few likable characters and a dismal appreciation for amusing moments. Director Ellie Kanner offers journeyman-like work on the feature, overseeing a tired premise built with limp gags and paint-by-numbers writing. Those hunting for cheap thrills and amusing antics are likely to come up short with “Spread,” which doesn’t do enough with its central concept of female gaze interests in the world of X-rated entertainment. There’s room for sharpness and enlightenment, but Charlet would rather play dumb instead. Read the rest at Blu-ray.com

Harry Connick Jr. seemed primed for an acting career in the late 1990s, with the lauded musician finding his way in supporting roles (“Independence Day”) before graduating to more substantial parts (“Hope Floats”). For reasons not immediately understood, Connick Jr. moved away from thespian ambitions, taking smaller roles here and there for the last 15 years. With “Find Me Falling,” Connick Jr. is front and center in a romantic comedy about an aging rock singer looking for retirement peace in Cyprus, only to get caught up in family business in a tight-knit community. While not as wacky, the production certainly wouldn’t dismiss comparisons to the ”My Big Fat Greek Wedding” series, playing up the local culture and the lone American’s response to such intensity. Writer/director Stelana Kliris isn’t pushing too hard on viewers with “Find Me Falling,” which sticks with the rom-com playbook, but she has Connick Jr., who keeps the picture at least somewhat charming, also busting out a few songs to add a musical mood to the endeavor. Read the rest at Blu-ray.com

If one squints hard enough, there’s a chance the basic idea behind “Clear Cut” makes sense. Screenwriter Joe Perruccio is on a mission to make a manhunt film, and one that takes advantage of outdoor locations, allowing a low-budget production to capture some action quickly, free from outside interference. And there’s the novelty of the story, which is partially set in the logging business, which is a vocation rarely explored in features. Perhaps it’s not potential, but there’s a concept here that could use developing. Patience with it all isn’t prioritized by director Brian Skiba (“Dead Man’s Hand,” “Pursuit,” and “Beverly Hills Christmas”), who gets messy early with the storytelling particulars of “Clear Cut,” having trouble making sense of the writing’s flashback structure and primary motivations. It’s a quickie from Skiba, who’s stuck with dismal technical achievements and a limited cast, unable to conjure some B-movie magic. Read the rest at Blu-ray.com

“My Spy the Eternal City” (which used to have a colon in its title until just this week) is a sequel to 2020’s “My Spy,” which was an overly aggressive, decidedly unfunny movie meant to soften star Dave Bautista’s screen image. It was his “Kindergarten Cop,” blending heavy violence with softer moments of child guardianship, allowing the bulky star to showcase something more than simple hostility on screen. The feature pinballed around theatrical release dates before finally landing streaming distribution during the early days of COVID-19, and a captive audience must’ve materialized for the endeavor, because now there’s more. Bautista and most of the original cast returns for another round of superspy activity, and Peter Segal once again directs. “My Spy” was a rough sit with the weirdest sense of its primary audience, and, perhaps unsurprisingly, “Eternal City” is more of the same, offering families(?) hard PG-13 material and a dismal level of humor as the tale travels to Italy for the same old save-the-world stuff. Read the rest at Blu-ray.com

“Oddity” is a horror movie released during a year that’s been filled with spooky stories from a variety of filmmakers and their specific interests in delivering slow-burn creep to the masses. Writer/director Damian Mc Carthy returns to the tried and true approach of ghostly experiences and unstable people with the effort, which explores the death of a woman and the different ways her loved ones react to her sudden loss, turning to the unexplainable for answers. Mc Carthy gets farther than most with his understanding of screen tension, building a suspenseful reunion situation for the characters, while adding touches of the supernatural to keep the whole thing periodically surprising. “Oddity” is strong work from the helmer, who conjures mood and does well with mystery, generating an engrossing sit with uneasy relationships and the addition of dark magic. Read the rest at Blu-ray.com

1996’s “Twister” was a moviegoing event. A fast-paced disaster film about storm chasers pursuing deadly weather while working on their relationships along the way, the feature provided chaotic theater escapism for the summer season, giving ticket-buyers a real ride. The screenplay was simplistic and acting was loaded with hammy turns, but director Jan be Bont created a visceral picture with major technical achievements. 28 years later, we have “Twisters,” which isn’t attempting to be a sequel, but a replication of the original endeavor. The writing (credited to Mark L. Smith) traces over the same story beats as before, and director Lee Isaac Chung (“Minari”) is in charge of summoning big screen mayhem, but the creative team manages to revive that special blockbuster magic for what’s essentially a do-over. “Twisters” isn’t a grand reimagining of tornado alley terror, but as pure entertainment with several menacing storm and rescue sequences, it works, reviving large-scale weather nightmares for the masses. Read the rest at Blu-ray.com

Director Thomas Napper has a special creative challenge with his work on “Widow Clicquot.” The feature tells the story of Barbe-Nicole, a woman who, against all calls for her dismissal, worked to save the champagne business she once shared with her husband. It’s a tale of a vineyard and growing resentments, which doesn’t automatically translate to riveting cinema. The film is an adaptation of a 2008 “business biography” by Tilar J. Mazzeo, and the screenplay (by Erin Dignam) manages to make something vital with the story, which touches on the struggles of commerce, the reality of relationships, and the strength of a woman trying to stand alone in a world run by men. It’s elegantly made by Napper and gracefully acted by lead Haley Bennett, who offers a complex understanding of stress, adding some emotional sophistication to an interesting picture. Read the rest at Blu-ray.com

“Sing Sing” takes viewers into the prison experience, but it’s not the usual offering of hard men playing games of respect and violence while behind bars. There’s a more sensitive story to be found here concerning the Rehabilitation Through the Arts organization, which offers inmates a chance to explore different sides of themselves through the stage, participating in the creation and performance of plays. Co-writer/director Greg Kwedar (who co-scripted “Jockey”) examines this odyssey of the mind and body with care for the characters, moving away from cliché to understand the people beyond the crimes, especially when placed in a situation where emotional intimacy is encouraged from participants who’ve lived most of their lives in a state of fear. “Sing Sing” takes chances with acting and tone, and it mostly hits the mark, with Kwedar (and co-writer Clint Bentley) using a real world organization, giving it dramatic highs and lows, sending viewers on a journey of profound feelings. Read the rest at Blu-ray.com

“Longlegs” is the fourth film from Osgood Perkins (son of actor Anthony Perkins), and it remains firmly in line with the rest of his oeuvre, including his last endeavor, 2020’s “Gretel & Hansel.” Osgood has a very specific way of making movies, and he’s not in the mood to deviate from his obsessions, with his latest another descent into slow-burn horror with deliberate framing, aiming to generate a nightmare visually without much of a story to back up what’s meant to be creeping intensity. “Longlegs” is more of the same from Perkins, with this odyssey into evil not dense enough to overwhelm audiences, finding the screenplay offering limited darkness and lukewarm mystery before it eventually reveals itself, and what’s here is…a bit goofy. It’s also the rare picture that doesn’t benefit from the presence of Nicolas Cage, who appears in a small role, bringing his usual eccentricity with him, and it manages to make something that’s desperate to disturb into something that’s hard to take seriously, finding Perkins in no hurry to restrain what’s become expected broadness. Read the rest at Blu-ray.com

Tyler Perry has always made ridiculous movies, but he pushed his luck with last February’s “Mea Culpa,” an “erotic” thriller that quickly slid past heat and went right to absurdity. Perhaps Perry’s fanbase is happy with such lunacy (though even that’s up for debate, as the faithful rejected “Mea Culpa” as well), and the helmer is in no mood to creatively challenge himself, returning to pure ludicrousness with “Divorce in the Black.” As with previous Perry melodramas, the new film offers an uneasy blend of God and violence, doing what it can to trivialize abusive relationships while remaining close to the helmer’s recent interest in softcore sex scenes. “Divorce in the Black” is a baffling viewing experience, and while it opens with a comfortable sense of theatrical nonsense, it quickly dissolves into tediousness. Read the rest at Blu-ray.com

“Fly Me to the Moon” marks the screenwriting debut of Rose Gilroy, daughter of actress Rene Russo and writer Dan Gilroy, who’s written such features as “Nightcrawler,” “Velvet Buzzsaw,” and “Roman J. Israel, Esq.” She’s also the niece of Tony Gilroy, creator of “Andor.” It’s fairly safe to assume Rose Gilroy understands how Hollywood works, and this comfort with formula is easily spotted in “Fly Me to the Moon,” which endeavors to blend Space Race suspense with a romantic story of opposites attracting, peppered with a bit of government conspiracy elements, and topped off with an overview of tortured pasts. It’s a bit of everything, but doesn’t really amount to anything too memorable, with director Greg Berlanti (“Life as We Know It,” “Love, Simon”) fighting to find the tone of the picture as it moves unsteadily from comedy to tragedy. It’s meant to be easily digestible with a certain broadness to keep it accessible, but Gilroy loses the battle of balance, making for an uneven and somewhat bewildering movie. Read the rest at Blu-ray.com

Laurent Bouzereau, the man responsible for some of the finest documentaries to be found on home video releases dating back to the laserdisc age, is clearly a fan of Faye Dunaway. The legendary actress is handed the spotlight treatment in “Faye,” with Bouzereau working his way through the highlights of her career and the tempestuousness of her private life. He’s aiming to humanize Dunaway in a manner Hollywood has refused to do, electing to scrape way her somewhat villainous reputation to better understand the determination that drives her creativity and life choices. “Faye” isn’t a completely complex inspection of a sophisticated woman, but Bouzereau does excellent work understanding the Faye Dunaway experience as it once was and how it stands today. There’s more here than just “Mommie Dearest” memories, with Dunaway taking some control of her story, explaining all the facets of her personality and push to challenge herself. Read the rest at Blu-ray.com

In 2017, the New York Times published an article about comedian Louis C.K. and the stories concerning his history of exposure and sexual activity with women working with or for him. The writing went through years of rumors and accusations, highlighting Louie’s disregard for others and his predatory behavior, growing comfortable with abuses in power. For those in the world of stand-up comedy, the revelations were no revelations at all, as Louie’s behavior was often whispered about. As a documentary, “Sorry/Not Sorry” (which is an extension of the original article) isn’t interested in relitigating the allegations, partially because Louie previously admitted his guilt. What directors Cara Mones and Caroline Suh are mostly concerned with are the women involved in the mess, giving them a chance to share their perspectives and intimate tales, reclaiming the reality of what went down between them and a popular comedian who retained little regard for personal or professional boundaries in the pursuit of sexual satisfaction. Read the rest at Blu-ray.com

Producers want musician and band bio-pics, as there’s money to the be made from devoted fans and, for some of these releases, a sweet hit of nostalgia also drives ticket sales. “Girl You Know It’s True” doesn’t exactly check any of those boxes, exploring the saga of Milli Vanilli, tracking the rise and fall of performers Rob Pilatus and Fab Morvan. In 1989, the men managed to become one of the hottest acts in the music business, turning into a global sensation with their distinctive style and succession of hit singles. These were songs they didn’t actually sing, becoming the face for producer Frank Farian and his team of session musicians, carrying a lie that burned them in many ways. Writer/director Simon Verhoeven (“Friend Request”) looks to return to the heat of the moment with “Girl You Know It’s True,” which is extremely sympathetic to Pilatus and Morvan, depicting them as excitable guys caught up in the temptations of fame. The reality of this adventure is up for debate, but Verhoeven’s feature plays the complex situation much too simplistically. Read the rest at Blu-ray.com