Category: Film Review

Marketing for “Civil War” is trying to sell a movie writer/director Alex Garland didn’t make. Trailers and T.V. spots display a more distinct understanding of American conflict and leadership, but Garland (“Ex Machina,” “Annihilation”) focuses on those sent in to capture the horrors of combat instead, highlighting the contributions and self-control issues of photojournalists during a divided time in the country’s history. “Civil War” doesn’t paint a larger portrait of disputes and it’s not too concerned with resolution. It’s more about the strangeness of the experience, with Garland clearly lifting from “Apocalypse Now” to inspire his own take on the madness of warfare. Striking imagery is periodically displayed in the feature, along with steady performances from the cast, finding Garland intermittently inspired to take this story somewhere at times, seeking to depict a special mindset that’s challenged by the growing insanity of a broken nation. Read the rest at Blu-ray.com

“Puffin Rock” was an animated television show that aired in 2015. The program was aimed at preschool audiences, looking to bring a little gentleness and animal activity to impressionable viewers. It was also created by Cartoon Saloon, the Irish studio responsible for magnificent films such as “Song of the Sea,” “The Breadwinner,” and “Wolfwalkers.” “Puffin Rock” has stayed in circulation and popularity due to its quality, and Cartoon Saloon revisits the series with a feature-length adventure, “Puffin Rock and the New Friends,” which is meant to reunite with familiar faces and establish new characters. The picture isn’t created to launch a major cinematic event, holding true to the tone of the original series with some upgrades in animation and a bit more suspense when it comes to storytelling. Perhaps the target demographic for the movie remains small, but anyone can genuinely enjoy “Puffin Rock and the New Friends,” which provides a brightly animated and honeyed voiced journey with charming characters and vibrant environments. Read the rest at Blu-ray.com

“Irena’s Vow” shares the story of Irene Gut Opdyke, who faced the intensity of World War II as a Polish orphan, soon coming into contact with Nazi leadership and desperate Jews as Europe was thrown into chaos. As events from WWII go, moviegoers have seen quite a few of these tales (including last month’s “One Life”), but director Louise Archambault (“The Bad Seed Returns”) finds a special sensitivity to the feature, which isn’t an epic about saving lives. It’s more of a survival film with some emotional ties, and the helmer manages to locate suspense while presenting a reminder of history’s darkness. “Irena’s Vow” is carefully handled and capably performed, with star Sophie Nelisse articulating the panic and concern of Irene’s experience, which found the young woman trying to pull off the impossible, protecting the innocent right under the nose of the Nazis. Read the rest at Blu-ray.com

A movie like “LeRoy, Texas” isn’t going to win any awards for originality. Writer/director Shane Atkinson (making his feature-length helming debut) returns viewers to the south, meeting dim characters stuck in a series of misunderstandings and betrayals, and there’s a suitcase full of money that’s gone missing, and everybody is interested in claiming it. Add in a body count and some exaggerated personalities, and Atkinson is pouring his filmmaking foundation in Coen Brothers land. Plot-wise, there’s not a lot to get excited about here, as the writing winds through story turns and crazy encounters without much in the way of inspiration. What’s more appealing are performances, finding the cast providing just enough commitment to make this tale of crime and heartbreak snappy at times, with some meaningful moments of understanding. “LeRoy, Texas” isn’t a rocket ride of bad behavior, but Atkinson handles select moments with suspense and silliness, wisely counting on the actors to do something compelling with his endeavor. Read the rest at Blu-ray.com

In 2021, there was “Blue Miracle,” with co-writer/director Julio Quintana overseeing an underdog story about sport fishing involving Latin characters and a supporting performance from Dennis Quaid. For 2024’s “The Long Game,” Quintana returns with basically the same movie, only this time he’s following the true story of the San Felipe High School Golf Team and their battles against competition and racism in Texas during the 1950s. And it also features a supporting performance from Dennis Quaid. “The Long Game” finds inspiration from a 2010 book by Humberto G. Garcia, and also dozens of sporting journey endeavors, with Quintana focused on making a picture that’s easily digestible while also touching on troubling times for post-war America and its relationship with bigotry. Surprises are minimal in the effort, but it does offer a heartfelt message on perseverance, attempting to provide viewers with a study of endurance while also highlighting golf achievements from young men facing adversity as they seek acceptance. Read the rest at Blu-ray.com

“Damaged” is a serial killer story, using the familiar approach of an obsessed cop on the case of a madman to inspire a few thrills to go with the usual in law enforcement investigation formula. Screenwriters Paul Aniello, Gianni Capaldi, and Koji Steven Sakai have an ending in mind with the material, but the journey to the final 15 minutes of the picture is quite tedious at times. Director Tery McDonough is a veteran of television (working on productions such as “Killing Eve,” “Better Call Saul,” and “Suits”), and he brings that sensibility to “Damaged,” which often plays like an extended episode of a T.V. program. There’s flatness here that’s dispiriting to watch, and early promise for a more emotionally complex chiller is left unrealized. There’s talent with the cast, but one gets the feeling professional interest in anything here was limited at best, creating an unquestionably somber but lifeless viewing experience. Read the rest at Blu-ray.com

Dev Patel was once a cheery young actor who made his mark in pictures such as “Slumdog Millionaire” and “The Best Exotic Marigold Hotel.” Patel has worked to change his cinematic presence as he matures, aiming for harder hits and challenging parts, including his participation in 2021’s “The Green Knight.” Making his feature-length directorial debut, Patel aims to shake up the senses with “Monkey Man,” which presents a gut-rot tale of revenge in India, with the helmer endeavoring to use as much local culture and troubles to infuse the movie with a distinct personality. It’s an actioner, but Patel and co-writers Paul Angunawela and John Collee aren’t making a wall-to-wall bruiser. They take their time with the work, giving viewers a clear path to vengeance and a feel for Hell as the lead character experiences a transformation of his own while seeking to destroy those who’ve ruined his life. “Monkey Man” is made of chaos, and that fury tends to be exhausting as the effort enters its second hour, but Patel definitely has a vision for the film, with this concentration on darkness sporadically thrilling to watch. Read the rest at Blu-ray.com

The film is titled “The First Omen,” but it’s really the sixth feature in a series that began in 1976. Director Richard Donner managed to sustain post-“Exorcist” fervor for antichrist activity into a major hit, and producers and studios have been chasing that high ever since, including a crummy 2006 remake and even a short-lived 2016 television show. There’s been a lot of “Omen” over the years, but screenwriters Tim Smith, Keith Thomas, and Arkasha Stevenson (who also directs) hope to rejuvenate the brand name with a prequel, going back to the early 1970s for an origin story involving the creation of ultimate evil. “The First Omen” doesn’t bring anything new to the saga, covering old news while trying create a backstory capable of inspiring fresh sequels, forcing Stevenson to get intensely visual with the endeavor, often sacrificing pace in the process. There’s some voltage in select scenes of physical corruption, but the picture doesn’t pack much of a punch, and it doesn’t come near the strange eeriness Donner (joined by composer Jerry Goldsmith) managed to create nearly 50 years ago. Read the rest at Blu-ray.com

Damian Hurley doesn’t have many industry credits, but he does have access to an established actress, which certainly helps to launch a directorial career. Hurley’s mother, Elizabeth (best known for her work in the “Austin Powers” series), is one of the stars of “Strictly Confidential,” which has designs on becoming an erotic thriller with turns of plot to keep viewers interested and some sexual activity to heat up the screen. The screenplay (also credited to Damian Hurley) is mostly focused on the development of a mystery involving troubled, duplicitous characters, and it also serves as study of seduction in many forms. Hurley doesn’t have the experience to bring out the De Palma-esque intention of the writing, offering a lifeless, bloodless examination of a few emotional breakdowns. The helmer doesn’t push the picture’s sauciness and he’s mostly fatigued when it comes to blowing minds, but “Strictly Confidential” does have the novelty of a son exploiting the sex appeal of his mom for the benefit of an otherwise uninteresting whodunit. Read the rest at Blu-ray.com

In his last feature, “Smoking Causes Coughing,” writer/director Quentin Dupieux brought the ways of superhero cinema down to a manageable, indie film size, remaining with his career goal to provide short, humorous pictures that permit him complete creative control. Dupieux goes even smaller with “Yannick,” which takes place entirely inside a theater, following the disruption of a mediocre play by its most disappointed audience member. Expectations are in place for a comedy about the critical and creative process, but the helmer doesn’t pursue a more satiric study of art appreciation. Instead, Dupieux aims for a dry, argumentative understanding of frustration and personality, with some detours into creative expression. “Yannick” doesn’t have many hilarious moments, but it still scores with select scenes, and acting is superb, bringing life to Dupieux’s customary simplicity. Read the rest at Blu-ray.com

“The People's Joker” opens with a few paragraphs of legalese, putting the picture behind the protective wall of “fair use” before it begins. And one can understand the anxiety of the production, as co-writer/director/actor Vera Drew wields the world of D.C. Comics and the D.C. Extended Universe to inspire a “queer coming-of-age film” that uses the history of Batman and Superman in ways never before seen on screen. Drew attempts to create a subversive comedy about identity, self-worth, and the many ways of love with the endeavor, employing pop culture sacred cows to propel a highly bizarre movie that remains somewhat formulaic with characterization, but essentially lives to poke at superhero entertainment. Drew goes the DIY route with “The People’s Joker,” basically building a greenscreen odyssey into comedy and concern that’s impressively imagined at times, representing a real homegrown effort to complete a personal vision for mischief and creative expression. Actually sitting through the feature is a bit more challenging. Read the rest at Blu-ray.com

Many people, including myself, believed 2020’s “Rifkin’s Festival” would be the final film for writer/director Woody Allen. However, the 88-year-old helmer stays committed to his career, taking his business to Paris for “Coup de Chance,” reemerging with a darker tale of love and death in France. Allen’s visited the cruel edges of humanity before, plenty of times, and largely remains minimal and somewhat sinister with this, his 50th feature-length endeavor. It’s not a suspense piece, but more of a moody offering from Allen, who examines the whirlwind of attraction and the strain of marriage in the effort, taking the tale into bleak areas of jealousy and mistrust while lingering on his love of conversation and peculiar character business. “Coup de Chance” is Allen’s best picture in a decade, easily topping recent forays into mediocrity with a reasonably tight and mildly twisted tale that’s capably performed by the cast. Read the rest at Blu-ray.com

Thea Sharrock, director of “The One and Only Ivan” and “Me Before You,” takes on a true story of obscenity and mystery in “Wicked Little Letters.” Jonny Sweet claims a screenplay credit for this examination of written horror in Britain, which tracks levels of hysteria as explicit letters are mailed by an anonymous writer, pitting neighbors against each other as blame for such hostility triggers a war between women. “Wicked Little Letters” has a magnificent cast, with Olivia Coleman and Jessie Buckley portraying battling characters, and the supporting team is also stellar, bringing flavor to a sour study of spitefulness. It’s an uneven tone that ultimately gets in the way of the viewing experience, as Sharrock is tasked with creating balance as the material reaches light and dark spaces. She’s unable master the challenging mood of the film, which can’t quite decide if it wants to be a farce or a serious study of empowerment. Read the rest at Blu-ray.com

God(zilla) only knows that 2021’s “Godzilla vs. Kong” didn’t have it easy. Created to revitalize the MonsterVerse and build it into something bigger, the movie was ultimately unleashed during the fog of the COVID-19 pandemic, enduring a simultaneous release in theaters and on streaming, potentially weakening box office possibilities for the sequel. However, there was an audience hungry for giant creature action, and “Godzilla vs. Kong” managed to become a hit, enchanting a global fanbase. And now the kaiju have returned for “Godzilla x Kong: The New Empire,” with the production looking to expand on massive scale and action for a younger generation of MonsterVerse ticket-buyers. Director Adam Wingard isn’t aiming the feature at the “Godzilla Minus One” crowds, going in a more Saturday Morning Cartoon route with the endeavor, which is missing some CGI polish and epic world-building, but scores with pure entertainment and acknowledgment that most people stepping inside theaters to see the film are primarily interested in monster chaos. Read the rest at Blu-ray.com

In terms of career accomplishments, Steve Martin has conquered show business. At 78 years of age, he’s done just about everything, and has been extraordinarily successful at most things, using his wit and love of weirdness to triumph as a stand-up comedian and delight as an actor and writer. Director Morgan Neville (“Won’t You Be My Neighbor?”) looks to examine the extent of Martin’s life and career in “Steve! (Martin): A Documentary in Two Pieces,” creating at challenge for himself as the subject has already covered his personal and professional achievements in books such as “Born Standing Up” and “Number One is Walking.” “Steve!” isn’t revelatory for longtime fans of the star, but Neville brings some gentle reflection to the entirety of this amazing existence, working with Martin to pull out deep feelings and distant memories. And there’s a wealth of A/V evidence to support the journey, gifting viewers a chance to understand the world of Steve Martin as Neville breaks up the adventure into two chapters that deal with different periods of aging. Read the rest at Blu-ray.com

2023’s “Winnie-the-Pooh: Blood and Honey” was a micro-budgeted production that managed to capture headlines due to its use of author A.A. Milne’s beloved characters, transferring gentle personalities into the realm of slasher cinema. The idea of the feature went viral, inspiring ticket-buyers to see what writer/director Rhys Frake-Waterfield was going to do with his button-pushing concept. And then viewers were confronted with the punishing reality of Frake-Waterfield’s amateur filmmaking skills and lack of imagination, turning “Blood and Honey” into one of the worst movies of the year. Alas, money was made, and Frake-Waterfield is right back, one year later, with “Blood and Honey 2,” which does next to nothing to improve on the viewing experience. In reality, things are just as awful in the sequel, which should be boosted by the power of hindsight and newfound budgetary might, but mostly remains an excruciatingly dull, dreadfully acted, and poorly written follow-up that’s really no different than what came before. Read the rest at Blu-ray.com

Liam Neeson has been making the same type of movie for quite some time now. While box office returns haven’t been strong, someone is making money, because the actor keeps finding work with violent entertainment. Neeson doesn’t exactly distance himself from the usual with “In the Land of Saints and Sinners,” but the feature is a slight break from the norm, reteaming with his “The Marksman” director, Robert Lorenz, for an Irish tale of revenge and protection. “In the Land of Saints and Sinners” handles with pleasing hostility, and the script by Mark Michael McNally and Terry Loane creates dimensional characters to follow, making for a deeper inspection of danger. It’s a sharp, involving film, and one of the better Neeson endeavors of the last five years. Read the rest at Blu-ray.com

Writer/director Bob Byington isn’t a filmmaker who’s chasing after grander creative challenges with each endeavor. He makes small, idiosyncratic pictures, spending extraordinarily little money while detailing the vastness of ego and neuroses. He previously helmed “7 Chinese Brothers” and “Infinity Baby,” and now Byington returns with “Lousy Carter,” which, as expected, doesn’t go beyond his creative interests or his budgetary limitations. However, it is a funny examination of curdled people, offering lead David Krumholtz an opportunity to chew on a dimensional character as he manages the effort’s love of deadpan humor and strange personalities. “Lousy Carter” is dry stuff, but there are laughs to be had while Byington details the journey of a depressed man and his adventure into the finality of his existence, and all the oddity and temptation he pursues. Read the rest at Blu-ray.com

Steve Buscemi is primarily known for his acting efforts, frequently achieving greatness with a varied filmography, often portraying itchy personalities with limited patience for others. He’s also carved out a directorial career, but he hasn’t touched it in 17 years, with “The Listener” his return behind the camera, previously helming such films as “Trees Lounge,” “Lonesome Jim,” and “Animal Factory.” Buscemi and screenwriter Alessandro Camon confront the psychological mess of the COVID-19 pandemic with the material, but they remain respectful of the situation, creating an incredibly small-scale study of therapy and connection with the picture, which completely focuses on a single character dealing with helpline callers for 90 minutes. There’s nowhere to go in “The Listener,” giving Camon a chance to create tension through conversations, while Buscemi spends his time highlighting behaviors and calming techniques, working with star Tessa Thompson and a host of voices to explore the darkness of isolation and need for connection. Read the rest at Blu-ray.com

1999’s “Bringing Out the Dead” presented a grim understanding of paramedic life, following a collection of strung-out, freaked-out characters trying to make sense of the job and their encroaching insanity. Director Martin Scorsese wasn’t afraid of the horror, but he wanted something a bit more profound with the film. “Asphalt City” doesn’t show the same restraint, with helmer Jean-Stephane Sauvaire overseeing a direct entrance to urban hell, studying all the points of pressure facing a small assortment of EMS workers as they deal with New York City’s worst. It’s a pressure cooker viewing experience from Sauvaire, who’s looking to generate a level of anxiety that mirrors what the professionals are facing. However, instead of understanding job responsibilities and the sheer violence of the work, Sauvaire looks to get artful and extended with the picture, often distracted by his own moviemaking interests. Read the rest at Blu-ray.com