Category: Film Review

Adele Lim makes her directorial debut with “Joy Ride” after enjoying positive reviews as a screenwriter, contributing to “Raya and the Last Dragon” and “Crazy Rich Asians.” These are pictures respected for their sensitive, knowing takes on Asian culture and personality, but that’s not the creative end game for “Joy Ride,” with Lim working to realize a script created by Cherry Chevapravatdumrong and Teresa Hsiao, with the pair spending many years shaping their comedic instincts on “Family Guy.” Cartoon antics return in the feature, which hopes to revive the freewheeling formula of 2017’s “Girls Trip,” following four characters and their wild experiences in China. It’s a hard R-rated adventure with limited opportunity for genuine wit, finding Lim going all-in on raunchy material, while the writers go the paint-by-numbers route, presenting dismal humor and plasticized heart on par with an early-2000 Farrelly Brothers production. Read the rest at Blu-ray.com

A sea creature of legend, emerging with enormous ferocity, the kraken hasn’t enjoyed the friendliest representation in big screen entertainment. One was memorably released in all versions of “Clash of the Titans,” and the “Pirates of the Caribbean” franchise also depicted the destructive ways of the monster. “Ruby Gillman: Teenage Kraken” hopes to offer a friendlier side to the story, with the eponymous character not an oceanic disaster waiting to happen, but an adolescent trying to find her way in the world, soon encountering her heroic side. DreamWorks Animation attempts to merge coming-of-age anxiety and deep-sea adventure for a slightly older audience with the feature, pumping up the endeavor with plenty of charm, nicely textured animation, and an outstanding voice cast. Dramatic potency is missing with the largely formulaic tale, but “Teenage Kraken” is sharply paced, colorful, and enjoyable. Read the rest at Blu-ray.com

The mysterious ways of trauma are explored in “Run Rabbit Run,” with screenwriter Hannah Kent using the world of horror to explore painful real-life realities when dealing with mistakes and family. It’s the story of a woman’s battle to understand her daughter’s newfound obsession with her mother’s history, with director Daina Reid working to balance a sense of suspense with an understanding of psychological erosion, aiming to give viewers a case of the creeps while examining dark spaces within the characters. Kent comes up with a relatively simple study of a nervous breakdown, but she finds interesting ways to extend the tale, while Reid conjures an atmosphere of terror that’s slow-burn and effective. “Run Rabbit Run” isn’t an aggressive genre experience, but something more sinister, supported by active performances and a distinct conclusion to make the journey worthwhile. Read the rest at Blu-ray.com

Director Catherine Hardwicke fumbled funny business with April’s “Mafia Mamma,” and she immediately returns to screens with “Prisoner’s Daughter,” which asks the underwhelming filmmaker to take on the severity of death and family ties. Screenwriter Mark Bacci aims for the heart with his study of an aging ex-con looking to make things right with his estranged daughter, but he mostly offers the stuff of a television movie, leaving it up to Hardwicke to inject some emotional authenticity into an otherwise routine study of heartbreak and dysfunction. The helmer is not the right fit for the job, finding her blunt ways with performance and tone at odds with the seemingly delicate nature of the story and its concept of rehabilitation. “Prisoner’s Daughter” is boosted by leading work from actor Brian Cox, but the rest remains awkward in execution and limited in dramatic reach. Read the rest at Blu-ray.com

Long ago, Michael Oblowitz was a music video director who received an opportunity to make films, impressing some with 1997’s “This World, Then the Fireworks.” He’s been a journeyman ever since, even dipping his toe into DTV action cinema with a pair of Steven Seagal titles (“The Foreigner” and “Out for a Kill”). Oblowitz hopes to get back to raw behavior with “Confidential Informant,” with the helmer co-scripting (with Michael Kaycheck and Brooke Nassir) a leathery cop drama about the lengths people go to protect others, especially those who break the law to do some good. Perhaps the picture was initially imagined as a return to police movies of the 1970s, but the final cut doesn’t retain much in the way of intensity or personality, and the feature makes a strange creative decision when it jettisons its most promising plot development at a critical point in the endeavor. “Confidential Informant” is clumsy work, with Oblowitz striving to make a point about brotherhood and honor (the bruised kind), but the whole thing is muddled and cliched. Read the rest at Blu-ray.com

While the world waits for the James Bond franchise to restart, the producers of “The Man from Rome” would like to offer audiences some time with a different screen hero. He’s handsome, good with a gun and quick with his fists, and he travels around the globe looking for danger. He’s also a priest. The feature is an adaptation of a 1995 novel by Arturo Perez-Reverte, which sends a man of God into the mystery of a dilapidated church that’s been the site of a few deaths, forcing the Vatican to investigate, sending one of their steeliest soldiers into battle against armed goons, corruption, and financial world vampires. If it reads exciting, it’s unfortunately not, with director Sergio Dow tasked with navigating a dramatic maze of motives and characters, and he takes his time doing it. “The Man from Rome” is meant to be a starter pistol for some type of franchise, with the material better suited for limited series form, as the mix of occasional action and lengthy stretches of exposition doesn’t blend easily here. Read the rest at Blu-ray.com

During the end credit scroll for “Sound of Freedom,” a “special message” is presented, taking attention away from the professionals who helped to create the movie. Actor Jim Caviezel pops up to share the story of the feature’s journey to theaters, encouraging people to share word of the film’s release while noting that it took five years for the picture to reach screens. There’s the passing suggestion that a lack of big studio support was the reason for the delay, but after watching “Sound of Freedom,” it’s pretty clear why such an endeavor was left to gather dust on a shelf. It’s an incredibly dull offering of real-world horror from co-writer/director Alejandro Monteverde (“Belle,” “Little Boy”), who takes on the agony of child sex trafficking with all the depth of a television production, going slow and shallow with this Rambo-esque take on everyday heroism, which is a thinly veiled commercial for Tim Ballard and his questionable activity in the world of vigilantism. Read the rest at Blu-ray.com

“Wonderwell” was primarily shot seven years ago, with the production interrupted by the death of star Carrie Fisher, with her loss disrupting long term plans for the “Star Wars” franchise, and it appears the passing did something to this production, resulting in an incredible release delay. “Wonderwell” has finally made it out of purgatory, which is cause for celebration for its creative team, but audiences aren’t likely to be as enthusiastic about the picture. An adaptation of a short story by William Brookfield (who also scripts), the feature tries to deliver a fairy tale exploration of fantasy threat and female maturity, but director Vlad Marsavin forgets to add some excitement to the proceedings. Fisher has a smaller part in the overall scheme of witches doing battle with the power of nature, and while there’s some emotional value in seeing her onscreen for the last time, its not enough to support the viewing experience, which is glacial and uneventful. Read the rest at Blu-ray.com

After the release of 2008’s “Indiana Jones and the Kingdom of the Crystal Skull,” it seemed impossible that another sequel featuring cinema’s most exciting archaeologist would be put into production. It felt like a victory lap with the original creative team, giving the iconic character one more round of danger to manage. Apparently, nobody mentioned this finality to star Harrison Ford, who suits up again for “Indiana Jones and the Dial of Destiny,” and he’s pretty much alone, with creator George Lucas enjoying some form of retirement and franchise director Steven Spielberg focusing on other features. This leaves co-writer/director James Mangold (the outstanding “Ford v Ferrari,” but also the helmer of “Knight and Day”) to take control of the series, perhaps intentionally diluting the Spielberg-iness of it all to craft his own take on the hero and his magnetic pull to danger. “Dial of Destiny” is missing the maestro’s directorial playfulness and timing, but Mangold doesn’t embarrass himself here, giving the last(?) Indiana Jones extravaganza some pounding action and artifact obsession, while Harrison Ford still maintains enthusiasm for the part, adding his human touch to the massive endeavor and its newfound reliance on visual effects. Read the rest at Blu-ray.com

“No Hard Feelings” is being marketed as a raunchy R-rated comedy, pushing a certain attitude on potential ticket-buyers. The feature has moments of coarseness, but the screenplay by John Phillips and Gene Stupnitsky (who also directs) isn’t entirely committed to delivering an aggressive sense of humor. The material is more interested in finding some form of heart in the middle of all the shenanigans, with the production wise to spend a fortune on the hiring of Jennifer Lawrence. The actress hasn’t enjoyed much practice in the world of big screen comedies, but she gives the part some much needed heft, doing her best to keep the endeavor afloat while it struggles with formulaic writing and strangely sloppy editing (credited to Brent White). “No Hard Feelings” isn’t quite the painful nougie pre-release footage has promised, stuck somewhere in the middle of silly and sincere, with Lawrence always game to supply some much-needed sass to help save droopy moments. Read the rest at Blu-ray.com

“Maximum Truth” is a faux documentary about the political machine, with emphasis on the character assassination aspects of the system. Mockumentaries are seldom found on the big screen, with television largely the domain these days when it comes to this comedic approach, but co-writers Ike Barinholtz (who also stars in the movie) and David Stassen (who directs) try to go the long-form route with their satire. It’s not exactly “Bob Roberts,” but the creative team gets enough laughs out of the premise, which follows the misadventures of a political consultant trying to tarnish the reputation of a congressional candidate, almost physically unable to find success during his mission. Barinholtz brings his customary energy to the lead role, and he’s paired with Dylan O’Brien, who’s trying to change things up career-wise with a silly performance, adding something to a feature that really doesn’t have anything besides a few broad targets and a loose appreciation for personal corruption. But “Maximum Truth” has humor, suited for viewers with low expectations for goofiness. Read the rest at Blu-ray.com

Golf comedies are a rare event, with few filmmakers taking on the challenge of bringing goofiness to the links. Siblings Sophia and Fiona Robert hope to add something to the sports genre with “The Country Club,” which has the basic ingredients for a good time with simple cinema, setting up conflicts among players, adding wacky personalities, and closing with a tournament scenario. Missing from the feature is a sense of life, with the Robert Sisters (Fiona directs and co-scripts with Sophia), skipping opportunities to really energize the endeavor, which is left wide open for “Caddyshack”-style tomfoolery and golfing action. What’s actually in “The Country Club” is a lot of disappointment, finding the picture too permissive with bathroom humor and improvisation, giving the whole shebang an amateurish quality, as though the movie was made on a dare, shot over a long weekend. Read the rest at Blu-ray.com

The screenplay for “Surrounded” (credited to Andrew Pagana and Justin Thomas) looks to balance the bigness of western adventure with the intimacy of a stage drama. The writing follows the saga of a Buffalo Soldier trying to find her way five years after the end of the Civil War, hunting for a sense of freedom while aware that such liberation is impossible to achieve. There’s a hunt for money and intensifying games of trust, but “Surrounded” isn’t a rollicking cowboy picture, but something more interested in the corrosive ways of psychological standoffs and visions of the future. It’s interesting work from Pagana and Thomas, who stick to character while easing in a few more physical acts of violence, and director Anthony Mandler gives the endeavor a rich visual presentation, doing well with a limited budget and a remote location. Read the rest at Blu-ray.com

There was a vague sense of finality at the end of 2020’s “Extraction,” but there’s never truly an ending when there’s a hit film involved. Arriving for streaming consumption during the early days of COVID-19 lockdown life, “Extraction” amassed a major viewership and a positive response, emerging as an action spectacular with a seemingly ravenous appetite for unbroken-take-style mayhem, loaded with amazing stunt work and the steely screen presence of star Chris Hemsworth. And now there’s “Extraction 2,” which revives a seemingly expired character for another round of brutal attack and survival sequences, once again dedicated to the art of cinematographic showmanship and graphic violence, overseen by returning director Sam Hargrave. Much like the original feature, “Extraction 2” has real power where it counts the most, presenting sustained chaos and a simple story of protection and pursuit. Read the rest at Blu-ray.com

“Past Lives” is a delicate picture that’s all about the lure of longing. It’s a small-scale feature that’s primarily focused on conversations, giving it a “Before Sunrise” kind of vibe, but writer/director Celine Song (making her debut) tries to drill a little deeper with her writing. It’s a semi-autobiographical tale of two childhood friends spending the next 24 years of their lives trying to process their time apart from each other, with Song going for the slow drip of emotion in this understanding of South Korean culture and secret desire. She never goes big with the movie, and never tries to squeeze viewers with melodrama, electing to stay as human as possible with the material, which lives for moments when these talkative characters pause and reflect on everything that’s in front of them. “Past Lives” plays to the aching hearts crowd, with Song serving up a romance novel premise with an art-house film approach, capturing a specific pitch of yearning. Read the rest at Blu-ray.com

“Nimona” hasn’t enjoyed an easy production process, with its journey to the screen disrupted by the shuttering of Blue Sky Studios (its original home) and the reluctance of the Walt Disney Corporation when it came time to complete the project. The effort’s been in some state of animation for the last six years, but directors Nick Bruno and Troy Quane (“Spies in Disguise”) finally bring the picture to the finish line, and they do well with this adaptation of a 2015 ND Stevenson graphic novel, which explores the strange relationship between an aspiring knight and the shapeshifting monster that desires to be his sidekick. “Nimona” has style and sensitivity, doing well when developing the central partnership and all the challenges of law and order it encounters. The screenplay (by Robert L. Baird and Lloyd Taylor) runs into some difficulty trying to transform Stevenson’s original material into something more family friendly, and formula is followed, but the film remains a compelling study of identity and fantasy. Read the rest at Blu-ray.com

Director Tim Story isn’t the first name that comes to mind when talk of quality cinema commences. He’s been making mediocre movies for decades, working in the studio trenches, making sure to deliver bland entertainment that’s easy on the senses, recently in command of “Tom & Jerry,” the ill-conceived “Shaft” rework-thingee, and sequels in “Ride Along 2” and “Think Like a Man Too.” He’s not a helmer that values edginess and timing, but he actually does something different with “The Blackening,” which is a horror comedy that’s somewhat playful and genuinely moves for its first two acts. Screenwriters Tracy Oliver and Dewayne Perkins (expanding a Comedy Central short) have a fun idea to play with the genre and the black experience, whipping up a semi-slasher that’s basically in a goofball mood. Story supports with strong casting and a commitment to the screwball tone of the effort, and while the feature starts to sag when it should lift off, “The Blackening” is a mostly exciting ride of mischief, establishing a party mood for all audiences. Read the rest at Blu-ray.com

Actor John Slattery returns to direction with “Maggie Moore(s),” which marks his first feature-length helming project since 2014’s ‘God’s Pocket.” Slattery is attentive to the thespian potential of his offering, and his latest is defined by its colorful collection of personalities and the performers who capably bring them to life. There’s a murder mystery component to the endeavor as well, but screenwriter Paul Bernbaum isn’t focused on building a whodunit. He’s more into a Coen Brothers vibe, with “Maggie Moore(s)” hoping to provide a mild ride of suspicion and violence, with more attention paid to quirky and potentially dangerous types involved in two small-town murders where the victims share the same name. Slattery doesn’t wring much suspense out of the picture, but there’s depth to characterization that keeps it involving, with curious behaviors more interesting than any crime. Read the rest at Blu-ray.com

Two years ago, writer/director Wes Anderson debuted “The French Dispatch.” It was a transitional film for the helmer, who tucked away his usual mischief and aural command to immerse himself completely in his own moviemaking fetishes, showing little care for viewer connection as he lost himself to somewhat tedious world-building. It felt like a rare whiff from Anderson, who’s made some mighty pictures during his career, but with his latest, “Asteroid City,” designating “The French Dispatch” as a misfire appears to have been a mistake. The 2021 feature seems to be the start of a trend, with Anderson once again refusing to have fun with himself, newly committed to another period examination of deadpan stillness that’s loaded with frame details but stunningly hostile to joy. “Asteroid City” has all the talent in the world driving it, but it’s all so flatly executed, getting lost in Anderson’s newfound love of playing his cinematic ideas only to himself. Read the rest at Blu-ray.com

“Mad Heidi” is an offering of “Swissploitation,” with co-writers/directors Johannes Hartmann and Sandro Klopfstein looking to raise a little hell in their home country, bringing B-movie madness to the screen. They’ve chosen to do something messy with “Heidi,” Johanna Spyri’s children’s story from 1880, only here the specifics of innocence and life in Switzerland have been eliminated, replaced with a semi-bonkers prefab cult film that hopes to conjure the attitude of a Leone western and the exaggerated fantasy wackiness of 2012’s “Iron Sky.” “Mad Heidi” gets a little overexcited in the editing department, and the comedic tone of the endeavor isn’t always appealing, but Hartmann and Klopfstein really deliver an impressively constructed offering of pure nonsense, working with technology and dietary impishness to secure an entertaining sit for those willing to go along with its insanity. Read the rest at Blu-ray.com