Chicken Run: Dawn of the Nugget Review | Clever Claymation Sequel Spoofs Mission Impossible and James Bond

Aardman Animations returns to stop-motion poultry greatness with a splendid sequel of daring heroics and comic shenanigans. Chicken Run: Dawn of the Nugget hits Netflix 23 years after the original hen escapades on Tweedy's farm. The fearless fowls absconded to an island paradise of glorious free-range living away from hungry humans. Their sanctuary remains a secret, but a dastardly new threat emerges. An alleged utopia lures away unwitting chickens to a crispy fate as bite-sized morsels in a bucket. The film tickles funny bones while offering sly commentary on corporate meat production and the ethical treatment of animals.


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Family Switch Review: Fun Yet Predictable Holiday Body-Swap Comedy with Star-Studded Charm

Family Switch feels like one of those holiday gifts you’d pluck from a filled stocking, hoping to get your hands on a surprisingly cool present. Instead, you get an acceptable gift card or something of that ilk. You’re grateful, but boy, you find yourself craving something more. That immediately comes to mind when, 20 minutes into the new Netflix body-swapping comedy, four family members wake up one morning in different skin. Mom and daughter have swapped bodies, and so have father and son. Cue: screams of uncertainty.


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How the Gringo Stole Christmas Review | A Wholesome Yet Sloppy Holiday Flick Celebrating Hispanic Culture

How the Gringo Stole Christmas is a wholesome holiday flick about an older, grumpy, stuck-in-his-ways father who's forced to change after the arrival of his daughter's non-Hispanic boyfriend. Starring George Lopez, the film is packed with enough sarcastic lines of comedic dialogue to keep you chuckling throughout. With its endearing characters and relationships, along with the film's pleasant (albeit unoriginal) story, How the Gringo Stole Christmas is a charming holiday film that celebrates Hispanic culture and families. Is it predictable? Sure, but the film's focus and cultural specificity, George Lopez's wise-cracking humor, and the alluring interactions between characters make for an entertaining enough Christmas film.


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Raging Grace Review | An Effective Horror that Highlights the True Terror of Immigrant Life

Steeped in its haunting atmosphere, Raging Grace is an effective horror/thriller that tackles the prejudice, racism, and colonialism that many immigrant workers face in modern society. British-born Filipino writer-director Paris Zarcilla combines competent jump scares and an immersive soundscape to highlight the terror of what it sometimes means to live as an immigrant.


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The Artful Dodger Review | The Reimagined Charles Dickens Story is Hulu's Best New Series

The Australian original series The Artful Dodger is a fast-paced story that drops you into a historic place, providing a contemporary spin on an adapted Charles Dickens character from Oliver Twist. The series often feels like a creative sibling to the Netflix hit One Piece, in that it flows at breakneck speed, often layering a modern score over a period piece with a slew of twists, as the protagonists feverishly maneuver their way through one madcap escapade after another.


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‘Saltburn’ Offers More Empty Shocks from ‘Promising’ Director

Writer/ director Emerald Fennell’s “Saltburn” has a lot in common with her prior film, the celebrated “Promising Young Woman” (2020).

I’m not being complimentary.

Like “Promising Young Woman,” Fennell’s new film tries hard to be provocative but winds up being not enough and not much of anything. I recognized the talent in the filmmaking, a few good performances and plot strands that seemed to offer intriguing possibilities, but all this delivers an audience left with little to do but shrug.

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Barry Keoghan stars as Oliver, an intelligent but socially awkward college student who finds that the dumb kids are being rewarded for their social standing, while he and his only friend excel academically but are shunned by the snobbish student body and teachers.

When Oliver befriends the rich and bored Felix (Jacob Elordi), it opens a literal door to privilege for Oliver but no acceptance. As Oliver becomes more obsessed with Felix, he endangers his ability to maintain his social status in Felix’s world.

There are truly repulsive moments, like a bit with a bathtub that is hard to watch and a you-gotta-be-kidding-me scene involving a freshly dug grave. I actually wish the film had more moments like this to give it true distinction.

Frankly, Brian Yuzna’s “Society” (1989) skewered wealthy monsters and those infatuated with them with greater skill, a far smaller budget and a sense of anarchy that few films today would dare approach.

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In “Saltburn,” the only thing comparable to “Society” is the fearlessness of Keoghan’s performance, though the nature of the character is obvious from the start. The actors perform with conviction, but no one here is sympathetic or offers any true layers.

Everyone on screen is despicable and irritating.

I never rooted for Oliver or the wealthy jerks he sucks up to, nor developed much interest in figures played by great actors like Rosamund Pike and Richard A. Grant.

Despite being overlong and poorly paced, “Saltburn” has dazzling cinematography by Linus Sandgren and an effective score by Anthony Willis to keep us watching, as well as the hope that the film will eventually go somewhere or get better.

Instead, mild scenes of carefree decadence are countered with ugly, bitter confrontations, over and over again. Fennell’s film reminded me Sean Durkin’s “The Nest” (2020), which is equally well made and interesting at first but fizzles out long before the story concludes.

Another quality “The Nest” and “Saltburn” share: the setting is most memorable thing about it.”

I wonder if Fennell needs to stop presenting narratives as social parables, trying too hard to play provocateur and just go full tilt and make a horror movie?

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Some considered “Promising Young Things” to be satire and a cautionary tale, but it came across, despite Carey Mulligan’s efforts, as half-there and underwhelming. I feel the same about “Saltburn,” which gives us a big “Usual Suspects” reveal in the third act that won’t be a surprise to anyone paying attention.

Fennell is talented and can get her audiences talking, but the scenes with easy gross-outs have far more staying power than the power games and character dynamics on hand. Here’s hoping her third film can combine a grabber of a premise with fully realized ideas to elevate a consistant story.

For now, I highly recommend “Society,” which has two rows of razor-sharp teeth and has lost none of its bite, shock value and ability to entertain.

Two Stars

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Bye Bye Barry Review | A Football Icon Revealed

Barry Sanders is widely regarded as the greatest running back in NFL history. His retirement at age 31 after 10 seasons with the Detroit Lions shocked the sports world and a loyal fan base. Sanders was in the prime of his career, just a measly 1,500 yards away from eclipsing the iconic Walter Payton's rushing record.


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Silent Night Review | John Woo Returns in an Action-Packed Movie with the Eye of an Auteur

John Woo might have had his start at the Shaw Studios, which produced some of the most epic Hong Kong movies of the late 1960s and '70s, but it took him decades before he managed to make a name for himself as a director. Known for his action movies, done in the tradition of the industry that had raised him as a filmmaker, Woo has become one of the biggest names in the action genre. Revered for his specific stylistic elements throughout his filmography, like the Mexican standoff or incorporating elements of wuxia into what looks like contemporary action on the surface, Woo's definitely got his trademarks. He's won awards for his films across Asia and even in the United States, and this year, the holidays wouldn't be complete without John Woo's newest movie.


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Why ‘Napoleon’ Will Surprise Everyone

Ridley Scott’s “Napoleon” isn’t “Waterloo” (1970), or that Armand Assante-led TV movie from 1987, nor anything like what Stanley Kubrick designed and nearly made with Jack Nicholson decades ago.

In fact, even if one recalls Scott’s body of work and how often he portrays historical battles (everything from “The Duellists” to “Gladiator” to “Kingdom of Heaven” to “Robin Hood”), “Napoleon” is still a surprise. Yes, the massive action scenes you expect are remarkable, but Scott’s film overall is surprisingly playful, even goofy at times, blending mythic imagery with a rowdy tone.

Scott may be in awe of his central character, but that doesn’t mean he likes him or gives him a movie that avoids how odd and unlikable he presumably was to those closest to him.

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Scott’s film depicts the life of Napoleon Bonaparte (played by Joaquin Phoenix) from 1793-1821, as we witness his growth from a promising young officer to a ferocious and effective leader with the ability to lead hundreds into battle and emerge victorious. While Bonaparte conquers every foreseeable enemy and obstacle, he becomes a French Empower and a leader who is feared worldwide.

Another defining aspect of Bonaparte’s life is his marriage to Josephine (played by Vanessa Kirby) and the film wisely never romanticizes their relationship, nor Napoleon himself. This latter quality is also shared in Scott’s flawed but still underrated “1492: Conquest of Paradise” (1992), in which Christopher Columbus (played by a miscast Gerard Depardieu) was not depicted as a hero but a visionary at sea and an unstable madman with no real leadership skills.

Here, watching Napoleon fumble his way through meetings with dignitaries and trying to maintain control of his unsteady marriage is contrasted greatly with the awesome battle sequences.

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Phoenix and Kirby aren’t giving regal, corseted, stiff and starchy turns that one would expect from a costume drama. Yes, this is still a film with French central characters and supporting characters from all over the world, but everyone is speaking English. Yet, the leads offer quirky, instinctive and frisky takes on their roles, devoid of Richard Burton-esque posturing.

There is a wild, somewhat contemporary quality to what Phoenix and Kirby are giving in their portrayals and it’s a risky choice that makes the more laid-back, exposition-heavy scenes especially fascinating to watch; Scott has given them the freedom to find inspired, even odd choices to make and what emerges is devoid of James Ivory-like posturing.

Scott avoids making the same mistakes that plagued Oliver Stone’s “Alexander” (2004), an entertaining failure that couldn’t overcome some glaring miscasting and a third act that went off the rails. The pacing here is a problem, as “Napoleon” is as overlong as the running time would indicate, but there are more than enough highlights to counter the moments that don’t fully connect.

Events like the beheading of Marie Antoinette, the defacing of Egyptian pyramids and the outcome of Waterloo are all vividly depicted. “Napoleon” is not Scott’s best film, nor the very best of 2023 but the extensive, visionary and positively breathtaking sequence depicting the Battle of Austerlitz might be the scene of the year.

There are many great portions here to cherish but the imagery of cannonballs smacking into a frozen lake and trapping soldiers on horseback into a watery grave will never leave me.

 

 
 
 
 
 
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While I’m mentioning it, lovers of horses in general shouldn’t even consider seeing this- Scott has provided dreamy equestrian imagery before (notably in his 1986 “Legend”) but here, the shots of horses caked in blood, fallen during battle, and even exploding from cannon fire will rattle anyone who watches “The Black Stallion” annually.

Horse lovers should stay away (it may read like I’m being snarky but I’m actually entirely serious).

For everyone else, Scott’s latest has the visionary quality of his earlier films, the jaw dropping spectacle of his “Gladiator” and the giddy delights of his campy “House of Gucci.” For a filmmaker who is still making knockout, risk-taking and remarkable epics at the age of 88-years old, Scott’s work remains essential, especially on the big screen.

Having Scott take on this material was a natural fit and “Napoleon,” while less than perfect and in need of a definitive Director’s Cut, lives up to its must-see status.

Three and a Half Stars

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Relax, I'm from the Future Review | Rhys Darby's Time Travel Comedy Never Lands

The sci-fi comedy, Relax, I'm from the Future, finds a man with a plan traveling to the present day from the future. Rhys Darby of Flight of the Conchords and Our Flag Means Death fame plays the protagonist, Casper, and he is joined by supporting players Gabrielle Graham as Holly, Julian Richings as Percy, and Janine Theriault as Doris. When Casper arrives in the present day, he meets Holly, who houses and clothes him after he promises that he has a plan for their future involving easy income. Unfortunately, Casper's time travel sets off a series of events that will cause trouble in the world's timeline, which results in Doris, a guardian of the timeline from the future, coming after them.


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Frybread Face and Me Review | Uplifting Indigenous Comedy-Drama Makes You Feel Right at Home

I was born the same year Frybread Face and Me takes place, but that's not the only reason I connected with its uplifting story about a young boy making the most of his summer vacation. No, he's not snorkeling in the Bahamas or shooting archery with his classmates at day camp; California native Benny (Keir Tallman) is dumped at the Arizona ranch belonging to his grandma, who doesn't speak English. Scary at first, but we can't help but cheer for Benny as he ultimately makes the most of this experience.


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Cypher Review | Chilling Hybrid Documentary About a Groundbreaking Rapper

"Fame is whack," reads the tagline of Cypher, a groundbreaking new film about Grammy-nominated rapper Tierra Whack from writer-director Chris Moukarbel. The adjective "whack" here is appropriate for a number of reasons, as you'll learn upon watching the new Hulu offering in its entirety. If you believe the 1969 moon-landing was fake, that JFK was assassinated by his own family, and that Paul McCartney actually died all those years ago, you might find the outrageous theories woven into Cypher at least a tad intriguing.


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My Heavenly City Review | An Authentic Exploration Into Immigrant Life in New York City

Big cities possess this distinct, inescapable power to not only consume but completely absorb their occupants. It is easy for those who aren't particularly well-acquainted with these energy-sapping cityscapes to become overwhelmed by the sheer scale, magnitude, and frenetic nature of such vast areas of towering concrete. Whether it's the fast-paced, almost ruthless environment as thousands scurry around the streets like an army of ants to run their next errand, or the stench of in-it-for-yourself capitalism, there is often an innate loneliness in these sprawling towns. This is accompanied by a crushing sense of insignificance for many residents. This theme of isolation in an international city collides head-on with Taiwanese filmmaker Sen-I Yu's debut feature, My Heavenly City, a uniquely shot picture about immigrant life in New York City.


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Godzilla Minus One Review | A Monster Attack Masterpiece Transcends the Kaiju Genre

Godzilla Minus One challenges as the best film of the storied kaiju franchise. Writer/director Takashi Yamazaki delivers a monster attack masterpiece that transcends the genre with powerfully emotional themes. A psychologically wounded protagonist returns to a devastated Japan after the horrors of World War II. Survivors cling to life in the ruins while trying to make sense of their country's heinous actions. This reckoning of sins unleashes a new terror emboldened by the dawn of the nuclear age. Heroes rise to the occasion in thrilling defiance of seemingly insurmountable odds. They discover an embrace of community that shines a light towards a hopeful future.


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Leo Review | Adam Sandler Teaches Life Lessons in a Brilliant Animated Musical

Adam Sandler strikes comedic gold in a brilliant animated musical about raising good children and learning to be better parents. Leo is a 74-year-old lizard-like tuatara that has been stuck in a fifth grade classroom's terrarium since 1949. Decades of seeing kids come and go has given the scaly green reptile keen insight into their personalities. He also understands where adults go wrong in micromanaging every aspect of youngsters' lives. Leo's desire to break free before he croaks spawns hilarious adventures. He has a wonderful impact that inspires positive change. Leo's clever script, incisive songs, and fantastic characters will have families laughing hysterically this Thanksgiving.


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Doctor Who: The Star Beast Review | David Tennant and Catherine Tate Return in Enthralling New Special

2023 is a fantastic year to be a Doctor Who fan. Not only is legendary Doctor Who writer and showrunner, Russell T. Davies returning to the show, but we also get treated to three specials in honor of the show's 60th anniversary, starring the 10th Doctor and his beloved companion, Donna Noble, which, of course, sees the return of David Tennant, and the amazing Catherine Tate in their seminal roles. This, however, is all before Ncuti Gatwa makes his incredibly exciting debut as the 14th Doctor, to reinvent the show for a new generation. Doctor Who fans are eating phenomenally well this year.


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‘Fall of Minneapolis’ Exposes the Media, Democrats and the Truth

It took an upstart news network to debunk three-plus years of lies.

The Fall of Minneapolis,” now playing on Rumble, lets the Minn.-based Alpha News team dissect the death of George Floyd and its aftermath.

 

The Rumble debut makes sense in more ways than one. No Hollywood studio would touch this radioactive material. Streamers would rather air a double feature of “Batgirl” and “Coyote vs. Acme” than share “Fall.”

Plus, the film’s steady drumbeat of shocking revelations may make audiences hit the pause button a time or two.

Veteran Minneapolis reporter Liz Collin is the face of the film, asking simple, direct questions to the officers and family members impacted by the false narratives tied to Floyd’s death. It’s based on Collin’s book, “They’re Lying: The Media, the Left and the Death of George Floyd.”

RELATED: COLLINS SPEAKS TO THE HIT ‘CAST ABOUT UPCOMING DOC

“The Fall of Minneapolis” is soft spoken, never raising its voice to be heard. No Michael Moore-style theatrics or talking heads wagging their fingers at the camera. Even those wronged by the events in question refuse to cry out or take a political stand against the Democrats who betrayed them.

Some could argue they should, but it’s their restraint that registers.

The lies in play are so loud, so shocking that to meet them halfway would be a mistake. Alpha News struck the best way to approach the material. Even the soundtrack is subtle, sometimes imperceptible in its graceful notes.

The volume will come from the audience, watching narrative after narrative crumble before their eyes.

This is one hard, but necessary watch.

RELATED: FLOYD PROTESTS BURN BELOVED BOOK STORE TO THE GROUND

The opening 15 or so minutes of “Fall” prove chilling. We see the various body cams attached to the officers who arrived to greet George Floyd after he tried to pass off fake bills at a local shop.

The vast majority of Americans have never seen this footage. Much of it was held for months, and months, while “mostly peaceful” protests raged across the country. If this reminds you of the Nashville shooter’s manifesto being covered up by the press and police … it should.

We watch several officers try to coax Floyd into a police cruiser after he resists arrest and refuses to follow their simple commands.

The officers show remarkable patience, trying over and again to get Floyd to follow simple instructions. It’s an agonizing watch, especially since we know we’re witnessing Floyd’s final minutes of life.

The four main cops weren’t all-white bigots ready to punish Floyd as they saw fit. Two were white, including Derek Chauvin, while one was Asian-American and another was black.

How many Americans realize that despite the endless coverage of Floyd’s death?

The story shifts to the “mostly peaceful” protests, including the fall of Minneapolis’ 3rd precinct. We hear horrifying stories from the officers on the scene – black and white officers – who were left defenseless while bricks, fireworks and worse were hurled at them.

The footage is chilling.

“Just wear your helmets and stand there,” one officer recalls of the message from their superiors.

No riot gear. No back up. No support.

The rioters ruled Minneapolis, period. They could act with impunity, and they did just that. Is it any different than pro-Hamas radicals rampaging across the country right now with nary an arrest in sight?

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Most of the officers in the film retired following Floyd’s death, and reluctantly so. Several are brought to tears recalling their decisions, anguished to leave a job they cared deeply about.

There’s more, so much more … from the glaring problems with Chauvin’s trial to the actions of key Minnesota players like Gov. Tim Walz and Attorney General Keith Ellison.

Does it matter that the initial Floyd autopsy showed no damage to his neck area but deadly levels of fentanyl in his system?

Apparently not.

The Left’s “narratives” reigned supreme. They still do today.

The chapter on Chauvin’s trial reveals critical evidence wasn’t allowed to be considered. We also hear from both Chauvin and Officer Alex Kueng from prison. They, too, speak calmly about the many false narratives that led to their prison sentences.

“Fall” lacks the razzle dazzle of some Netflix-produced documentaries. It’s stlll handsomely mounted, rigorously assembling the details that matter. That style includes eyewitness accounts, video footage and documents all woven together to support truths too inconvenient for the corrupt press to share.

And, of course, we learn how crime has exploded in Minneapolis since BLM and “Defund the Police” rose up following Floyd’s death.

  • Homicides soared.
  • Carjackings soared.
  • The number of police officers shrank from 892 to 513

Coincidence?

There’s only one major flaw with the documentary. It’s the title.

It’s not “The Fall of Minneapolis.” It’s “The Fall of The United States.” The problems in Minnesota are felt across the country, and they’re not getting any better.

HiT or Miss: “The Fall of Minneapolis” is essential viewing for every American. It’s that simple.

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Please Don't Destroy: The Treasure of Foggy Mountain Review | A Rip-Roaring Comedy

Deriving much of its comedy through witty improv and ludicrous moments, Please Don't Destroy: The Treasure of Foggy Mountain is a charming, rip-roaring comedy about three friends seeking to rekindle their friendship. The chemistry between the cast and their excellent comedic timing makes each anecdote or frivolous line of dialogue punchy and effective. The story is simple, but it's the film's characters and theme of friendship that give this gut-busting comedy its depth. The pacing here is quick and the jokes come fast, making The Treasure of Foggy Mountain easily one of the best comedies of the year.


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The Home Game Review: A Sports Documentary with the Power of Community at its Very Heart

The iconic UK football manager Bill Shankly once claimed that, "Some people think that football is a matter of life and death; I can assure you, it's much more than that." That quote has pulsated through the veins of the footballing world for decades, and unbeknownst to him at the time, Shankly would capture the very essence of what this sport means to millions around the world, especially the sentiment of those involved in Smari Gunn and Logi Sigursveinsson's documentary, The Home Game.


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Dashing Through the Snow Review | Fun and Sweet, Lil Rel Howery Is Your New Favorite Santa

Chris “Ludacris” Bridges leaps off Fast X and morphs into a troubled divorce dad who’s lost the Christmas spirit in Dashing Through the Snow. But the stellar performer lets his costars Lil Rel Howery and young Madison Skye Validum steal the show in the heartwarming new Disney+ holiday family comedy that puts a clever spin on the Christmas-verse.


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SHOCK: ‘Wish’ Trashes Big Government, Hails Free Will

At this point seeing an animated Bernie Sanders in a Disney film wouldn’t shock us.

The studio’s Leftward lurch, both in its battles with Republican Gov. Ron DeSantis and woke agenda, is Hollywood’s worst-kept secret.

It’s sent the mega studio into a fiscal tailspin and left apolitical fans wondering when the studio will rediscover that ol’ Disney magic.

“Wish” isn’t that moment. It occasionally soars thanks to buoyant musical numbers and animation that’s both classic and cutting edge. The film’s biggest surprise? The story asks viewers to make their dreams come true, sans government.

Really.

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Rosas resident Asha (Ariana DeBose, solid) longs to serve as King Magnifico’s apprentice. And why not? The suave King, voiced with elan by Chris Pine, is a benevolent leader of Rosas whose signature move is making his subjects’ wishes come true.

Long live the King!

Except when Asha applies for the position she gets a peek at the man behind the throne. He controls the populace by hoarding their wishes, depicted as glowing blue spheres that float within the castle.

The fine print? Giving the King your wishes makes you forget all about them. And he’s particularly stingy when it comes to making them a reality.

That convinces Asha to storm the castle, or at least sneak in and grab her beloved Grandpa’s wish back before it’s too late. The old timer, voiced by Victor Garber, just turned 100, mind you.

 

 
 
 
 
 
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And she’s not alone in her quest. She wished upon a star (oh, the Disney Easter eggs you’ll find) and snagged an adorable star named Star to guide her way. Star is both cute and bland, a surprising combination from a studio known for clever sidekicks.

We do get a second stab on the sidekick front: Valentino, a talking goat given vocal gusto by Alan Tudyk.

Can we stop and say how weird, and complicated, this all seems? Simplicity matters, and there’s a lot of world building required to get things moving.

Even weirder? The story is a direct assault on Big Government and the quest for protection at all costs. Trust me, King Magnifico coos. I’ll keep you safe and happy. And stop all that dreaming. We’ll do it for you.

Sound familiar?

And, of course, he’ll keep their wishes at arm’s length. Maybe forever.

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“Wish” starts strong and boasts several catchy musical numbers. DeBose voice is a perfect match for Disney princesses. The Mouse House’s animation team, which renders characters as vibrant as any studio ever could, remains unparalleled in their gifts.

The film blends hand-drawn characters with digital flourishes, creating a distinct look that’s easily digested.

Some sequences strain for whimsy and flat-out fail. Star transforms a gaggle of chickens into gargantuan foul to zero narrative effect (or laughs). Supporting players, like the local lad who’s as dull as a brick never comes to life.

Nor does Gabo (Harvey Guillen), Asha’s savvy confidante. Giving the great Tudyk so few funny lines here is darn near criminal.

What a missed opportunity.

RELATED: DISNEY GOT EXACTLY WHAT IT WANTED

It’s as if writers Jennifer Lee, Allison Moore and Chris Buck knew what a classic Disney film looks and sounds like but didn’t dig deeper into its creative DNA.

The saga packs plenty of on-screen diversity, but the woke lectures got left on the cutting room floor. Completely.

Conservatives will be stunned by the story’s core messages, but audiences of all ideological stripes will pine for a third act worthy of the Disney brand.

HiT or Miss: “Wish” offers a shockingly Libertarian message, but it can’t stand tall next to past Disney classics.

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Wish Review | An Emotionally Satisfying Love Letter to 100 Years of Disney Magic

There's a reason that "When You Wish Upon a Star" has become the anthem for Disney. Debuting in the company's second feature-length animated film, Pinocchio, this melody encompasses everything viewers think when they think of Disney. The idea of wishing upon a star is to believe that something out of reach is tangible. The idea of dreaming of something greater has been integral to the identity of Disney as a studio and an idea in the public consciousness. The stories are ones of wish fulfillment. Wish, the latest film from Walt Disney Animation Studios, looks to capture the essence of that story in one tale. Thankfully, they did it and made a movie that looks and feels like a timeless Disney fairy tale.


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May December Review: Natalie Portman and Julianne Moore Psychologically Duel Over the Truth

Todd Haynes and Julianne Moore have been the Ingmar Bergman and Liv Ullman of American cinema the past few decades — a special artistic collaboration between a director who explores the lives of women better than nearly any other man today, and an actor who manifests these visions in startling ways. From their start with 1995's Safe through Far From Heaven, I'm Not There, and Wonderstruck, the pair have brought out the best in each other time and time again. They excavate beautiful, melancholic meaning from the void of our collective condition yet again with a new Netflix film, May December, and Natalie Portman and Charles Melton join them.


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Scott Pilgrim Takes Off Review | A Visually Stunning Animated Series Perfect for Video Game and Anime Fans

Based on the beloved Scott Pilgrim graphic novels, Scott Pilgrim Takes Off is a visually stunning animated comedy series featuring the A-list cast from Edgar Wright's cult classic live-action film, Scott Pilgrim Vs the World. With the show's numerous video game references, 8-bit music, and "VS" title cards, Scott Pilgrim Takes Off seems specifically crafted for video game fans. Its epic fight scenes are thrilling and well-animated, and the main story, which puts a twist on Edgar Wright's adaptation, is enthralling. With its effective dry humor, stunning animation, and breakneck energy, Scott Pilgrim Takes Off will instantly hook audiences, pushing them to cane through its eight-episode run in one binge.


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Thin Skin Review | Ahamefule J. Oluo's Autobiographical Elegy Exemplifies the Importance of Art

In a genre-bending, autobiographical turn, Ahamefule J. Oluo teams up with co-writers Lindy West and Charles Mudede, the latter of whom also directed, in the completely unique Thin Skin. Oluo plays a version of himself, Aham, a father of two who has had to move in with his sister and mother after his divorce. Meanwhile, he is stuck in a bleak office job rather than pursuing his passion for performing jazz music. To make matters worse, his completely absent father decides to contact him out of the blue, which sends Aham into a spiral of disastrous proportions.


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Trolls Band Together Review | A Gloriously Silly Buffet of Dazzling Visuals & Aural Excess

Justin Timberlake and Anna Kendrick spoof boy bands in a groovy sequel with bonkers animation. Trolls Band Together can best be described as a psychedelic trip accompanied by decades of auto-tuned pop music hits. The third installment of the popular franchise gives youngsters boisterous sing-alongs while dropping naughty double entendres on their parents. A simple narrative of estranged siblings reuniting sets the stage for nonstop CGI dance numbers, crooning shenanigans, and dazzling multicolored visuals. It's akin to a box of rainbow skittles erupting in your face.


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Napoleon Review | Ridley Scott Baffles in Flawed Historical Epic

Ridley Scott's (Alien, Gladiator, The Martian) Napoleon baffles as a strangely plotted historical epic that provides no real insight or context into the central characters. The Oscar-winning star Joaquin Phoenix portrays Napoleon Bonaparte as a petulant narcissist whose thirst for power leads to millions of deaths. His fawning fascination with his first wife, Joséphine (Vanessa Kirby) is never explored beyond simplistic sexual idolatry. Gruesome battle scenes are documented by cinematic bullet points that propel the narrative for years at a time. A mostly British cast anglicizes Gallic culture with an unforgivable whitewashing of Napoleon's well-documented racism. It's a myopic approach that gets a few comedic chuckles but leaves the viewer ultimately dissatisfied.


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Rose Review: A Detailed Yet Sensitive Exploration of Mental Illness

What initially appears to be a considerably more dramatic Danish version of the British reality show Coach Trip quickly becomes something far more poignant. Niels Arden Oplev's Scandinavian drama, Rose, is a thought-provoking and integrative depiction of mental illness. In an increasingly enlightened and progressive society that does more than just lend a sympathetic ear to those with mental health issues, whether the film industry will reciprocate this progression remains to be seen. This is a particularly prevalent question when it comes to schizophrenia, a condition that is wildly misunderstood in both real life and cinema.


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David Holmes: The Boy Who Lived Review | Daniel Radcliffe's Stunt Double Gets an Emotional and Inspiring Documentary

David Holmes: The Boy Who Lived is an enthralling HBO documentary that explores the inspiring life of Daniel Radcliffe's former stuntman. It tackles the incredible highs of David Holmes' time as one of the most talented young stuntpeople of all time, before delving into the horrific and emotional moment that would change the trajectory of Holmes' life forever. The first 30 minutes introduces audiences to the amazing talent of an extraordinary passion for his craft. It's a whimsical, awe-inspiring, and hopeful first act which is soon crushed by a drastic tonal shift after Holmes' devastating accident. From there, through a painstaking journey of physical therapy, audiences are left with one of the most inspiring journeys through adversary we've seen in recent films.


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Rustin Review | Colman Domingo Delivers a Powerful Performance in a Biographical Masterpiece

If you decide to research the life of civil rights activist Bayard Rustin, you'll find an intimidating mass of events and achievements. The newest biographical drama to come from Netflix, Rustin, covers what is probably considered his most famous contribution to American society — the March on Washington in 1963. Directed by George C. Wolfe and starring Colman Domingo, the film aims to shed light on an often overlooked (but vital) member of the civil rights movement. This is clear even from the titular character’s introduction, where he literally steps out of the shadows in order to encourage a reluctant Martin Luther King Jr. to stage a protest at the upcoming Democratic National Convention in 1960.


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Next Goal Wins Review | A Funny & Heartwarming True Story of Acceptance

Taika Waititi brings his trademark humor and wit to a heartwarming true story of not achieving sports greatness. Next Goal Wins, adapted from the documentary by Mike Brett and Steve Jamison, captures the infectious spirit and accepting culture of the American Samoa national football team. They were publicly humiliated in 2001 with a 31-0 drubbing at the hands of Australia. It still ranks as the worst defeat in FIFA history. Next Goal Wins chronicles the efforts of Tavita Taumua (Oscar Kightley), head of the Football Federation of American Samoa (FFAS), to qualify for the 2014 World Cup. A miracle by any stretch of the imagination, he just wants the beleaguered team to score one measly goal in international competition.


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Can’t-Miss Sports Drama ‘Next Goal Wins’ Comes Up Empty

Taika Waititi’s moment didn’t last long.

The quirky talent behind “The Hunt for the Wilderpeople,” “What We Do in the Shadows” and, most importantly, “Jojo Rabbit” offered a fresh take on staid Hollywood formulas.

His “Thor Ragnarok” doubled down on his twee aesthetic, blending MCU heroics with big belly laughs.

Then he gave us “Thor: Love and Thunder,” a colossal misstep and the first suggestion his vision has an expiration date.

The director’s “Next Goal Wins” all but confirms it. The fact-based tale of an underdog soccer team seems perfectly suited to his skill set. Yet nearly every element of this can’t-miss story flops like a baller faking an ankle sprain.

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Michael Fassbender stars as Thomas Rongen, a soccer coach in desperate need of redemption. He’s hot-headed and brash, and he’s handed one of the worst coaching assignments for his potential comeback.

Steer American Samoa’s terrible, awful no-good soccer squad to victory, or at the very least the team’s first goal.

Good luck.

Thomas rails against the players’ carefree manner, willingness to pray at select times of the day and lack of competitive fire.

Plus, they’re terrible at, you know, soccer. They once lost 31-0, mind you.

Thomas quickly butts heads with Jaiyah (Kaimana), the team’s trans player. The character is fa’afafine, an American Samoan phrase that roughly translates to nonbinary but comes with a complex series of cultural identifiers.

For what it’s worth, trans athlete Jaiyah Saelua played on the real American Samoan team so the character’s inclusion isn’t woke, just historically accurate.

Jaiyah is the only player on the team who emerges as a fully-dimensional soul. The rest prove interchangeable, and co-writer Waititi shows little interest in addressing that.

The rest of the film feels like Waititi playing in his preferred sandbox, reducing every character interaction to a childish collection of winks and grins. He can’t take much of anything seriously, and the film’s basement-level stakes confirm it.

FAST FACT: “Next Goal Wins” finds Coach Rongen dismissive of the locals’ spiritual side. In real life, the coach quickly rallied behind their daily meditations and joined them in their prayers.

The locals emerge as sweet and naive, spiritually sound and unfailingly patient. They should have sent this version of  Thomas packing on more than one occasion given his gruff nature and fiery temper.

Fassbender is a terrific actor, but no one could make sense of the Thomas Rongen on display in “Next Goal Wins.” His demeanor changes from scene to scene, and the addition of his separated wife (Elisabeth Moss) to the story can’t flesh out his motivations.

Waititi, to his credit, gives Jaiyah depth, maturity and, most notably, flaws. Yet he treats Thomas so poorly it’s like he feared critics would dub him a “white savior” character and trash the film (he could be right). The screenplay literally mentions that phrase.

The screenplay’s contempt for the coach is palpable.

 

 
 
 
 
 
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Shouldn’t a sports movie show some respect for the inspirational coach, instead of showing him crib lines from famous sports movies?

What did Thomas bring to the team, anyway? The film hasn’t a clue and nor will confused audiences on the way out of the theater. Few sports films prove as disinterested in the game in question as “Next Goal Wins.”

Will Arnett of “Arrested Development” fame plays the new man in Thomas’ ex-wife’s life, stepping in for Armie Hammer following the star’s bizarre Hollywood scandal. It’s a glorified cameo beneath Gob’s talents.

Waititi does convey some of the territory’s culture, from its deeply spiritual nature to its curious style of “trash talk.” Except every new wrinkle comes pre-packaged with yuks and smiles, diminishing their dramatic impact.

“Next Goal Wins” may be best remembered for misusing the classic Dolly Parton hit “9 to 5” or for a tone-deaf reveal in the third act that should have arrived an hour earlier 

HiT or Miss: “Next Goal Wins” seemed like catnip to a director like Taika Waititi. Instead, it’s a misfire on every level that counts.

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Blue Eye Samurai: The Revenge Story You Need to be Watching

The most recent show from Netflix Animations, Blue Eye Samurai, is set in Japan's Edo period and follows lonely traveler Mizu, a mixed-race sword prodigy seeking revenge. The warrior disguises herself as a man to pursue her enemies while wearing glasses to hide her blue eyes, which mark her as an outsider. In her quest, she meets other characters who join her, including Ringo, a cook who dreams of greatness; Taigen, a proud samurai who initially challenges Mizu; and Princess Akemi, Taigen’s lover who is trying to escape a forced marriage arranged by her father.


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The Hunger Games: The Ballad of Songbirds & Snakes Recap and Review | A Dark Journey of Ruthless Ambition

The Hunger Games: The Ballad of Songbirds & Snakes takes audiences back to dystopian Panem in a bleak and distressingly violent prequel. The origin of villain Coriolanus Snow is a dark journey of desperate ambition evolving to utter ruthlessness. Cunning and deception become vital tools for survival in a murderous hellscape of fiendish oppressors. Where glimmers of love, mercy, and kindness are easily snuffed by systematic barbarism. The film enthralls until losing considerable steam in a prolonged third act. It never regains climactic footing while trying to explore a deeper relationship between wary protagonists.


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‘Albert Brooks: Defending My Life’ Offers Mash Note to Comedy Legend

Albert Brooks hasn’t directed a film since 2005’s “Looking for Comedy in the Muslim World.”

His last solo venture, “2030: The Real Story of What Happened to America,” came in book form 12 years ago. So seeing Brooks in Rob Reiner’s documentary is an event to savor before the very first question is asked.

“Albert Brooks: Defending My Life” lets the old friends reminisce about the comic’s groundbreaking work, his private life and how Hollywood tried, in vain, to corral his gifts. 

Don’t expect tough questions or salacious Hollywood dirt. “Life” is meant for anyone who loved Brooks’ comedy and wants to relive one of the most peculiar personalities of the 20th century.

On that scale, it’s a roaring success.

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Brooks and Reiner’s ties go back to high school when the former was known by his birth name, Albert Einstein.

The two connected long before they found fame and fortune, and those early memories prove warm and inviting. Brooks’ recollections of his famous father, a radio personality plagued by poor health, suggest the guiding light behind his son’s comic id.

Harry Einstein’s death during a Friar’s club roast is recalled with the kind of bleak humor familiar to Brooks’ best films.

“Lost in America” featured a couple who lost everything after a tragic night at a casino.

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We’re treated to Brooks’ appearances across the talk show landscape, and every time he brought something fresh and unusual to the stage. He might strip down to his underwear one moment, then turn a child’s toy into a hilarious sketch the next.

He was bold, brave and willing to try anything to make us laugh. And it almost always worked. One wonders if today’s safe corporate talkers would have room for an innovator like Brooks.

“Life” features Brooks’ admirers, including Chris Rock, Jon Stewart, David Letterman and Conan O’Brien. Other talking heads seem added for marquee value only.

Why would Reiner invite disgraced anchor Brian Williams to share his thoughts on Brooks? Others, like Jonah Hill and Nikki Glaser, offer glib assessments of Brooks’ work.

We do get some interesting, behind-the-scenes snippets from the artist’s career. Studios repeatedly tried to muffle his films, with mixed results. His breakout film, 1979’s “Real Life,” nearly hit theaters without critical feedback, something Brooks knew in his gut would be a terrible mistake.

That meta comedy previewed the dawn of reality TV and many self-aware stars to come.

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Years later, a studio blanched at putting out a film with the word “Muslim” in the title following an Islamist attack, forcing the film to hit theaters under an indie studio shingle.

It tanked.

Reiner’s career decline has been both precipitous and shocking, and it’s possible his Trump Derangement plays a role in that sorry state. The “Princess Bride” director refuses to bring his hard-Left politics to the affair. His approach is simple, straightforward and heartfelt.

That may be why Brooks allows the film to gently invade his personal life. We meet his wife and two grown children, and for all of the comic’s on-screen dysfunction, his family appears Norman Rockwell-esque.

The most uncomfortable moments come when Brooks and Reiner discuss their mothers. Both had show biz aspirations but were limited by maternal duties. It’s the closest the documentary comes to having an edge, and it’s impossible not to lean in and watch how the pair navigate their emotional wounds.

Brooks still works sporadically as an actor (2015’s “Concussion,” “Curb Your Enthusiasm”) but appears semi-retired as a comedic force.

That’s a shame, but he’s left a legacy few humorists can match. It’s why “Defending My Life” is so satisfying. It’s a rare chance to relive his glory days and hear him crack wise once more. 

HiT or Miss: “Albert Brooks: Defending My Life” recalls the legendary comic’s career in ways that will make longtime fans grin from start to finish.

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Fincher’s ‘Killer’ Finds Auteur Back Where He Belongs

David Fincher’s new film, The Killer” is exactly the kind of movie you’d expect the brilliant dark prince of cinema to make once he got “Mank” (2020) out of his system.

Not based on the landmark 1989 John Woo film of the same name (as I incorrectly assumed when the project was announced) but a French 1998 graphic novel by Matz and Luc Jacamon, Fincher is in his element here.

That is if you’re into his trademark, auteur touches of unflinching darkness, immaculate framing and characters drowning in despair and tainted by the evil around them.

In that case, you’re in for a treat.

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Michael Fassbender stars as a man known to us only as The Killer, a highly disciplined, empathy-free and wealthy assassin who botches his latest hit. When his employers turn the tables on him and get personal, The Killer goes on a worldwide manhunt to eliminate everyone who has suddenly presented themselves as a threat.

Working once again with “Se7en” screenwriter Andrew Kevin Walker, this is a world of isolation and random acts of violence, with The Killer living a vampiric existence of sleeping, hiding, waiting, eating, waiting some more, then finally striking on his targets.

What is the point of such an existence? Who cares? As long as he sticks to the plan and doesn’t improvise (among the many mantras we hear via Fassbender’s inner monologue providing helpful, if redundant, voiceover).

Fincher’s straightforward storytelling matches the no-nonsense occupational approach of his main character. I have yet to see Fincher’s Netflix series “Mindhunters” and last encountered his work in the personal, out-of-character “Mank.”

As always, there is dark subtext in Fincher’s work and, even at its pulpiest (as with Fincher’s best films), we’re in the headspace of awful people in the most vivid and exploratory way.

Fassbender’s character and performance here, as a man possessed and rotting from within, reminded me of his fearless, wonderful turn in “Shame” (2011). Although we often hear the inner thoughts of The Killer via Fassbender’s ongoing voice over, we see the contrast of his on-the-job concentration with the vulnerability he expresses towards a loved one.

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Walker’s sick sense of humor comes across in the identities The Killer uses for each of his stops (20th-century pop culture buffs should recognize it immediately). Otherwise, don’t expect comic relief.

Even Fincher’s “Gone Girl” (2014) is funnier.

“The Killer” has a similar texture to Fincher’s “The Girl with the Dragon Tattoo” (2011), with its slick surfaces, cold landscapes and a scratchy feel to the whole thing. There is a cynicism in how the characters see themselves versus the reality of their existence.

Note how a different killer declares that she’s been good for so long, but is referring to eating healthy and not the business of murdering people professionally.

Fassbender has a chilling scene with Tilda Swinton, as well as a fight scene that is one for the ages. There’s also a great promo for Amazon delivery (among the best uses of product placement to move the plot forward that I’ve seen) and, even when Fincher takes time to slow things down and observe our main character sitting around waiting, the film itself never loses its ability to keep us in its grip.

FAST FACT: David Fincher’s interest in film bloomed at an early age, partly thanks to the influence of a famous neighbor. The future director grew up in San Anselmo, California near “Star Wars” legend George Lucas. Fincher found early work at Lucas’ FX studio Industrial Light & Magic.

Of the missteps, there is one scene that uses voice over that isn’t Fassbender and it doesn’t work. The climactic scene with Arliss Howard as a wealthy businessman also fails to connect as intended.

Despite the subject matter, “The Killer” lacks the concentrated sadism of “Se7en” and the rape content of “The Girl with the Dragon Tattoo.” While Fincher’s latest is as cold hearted as one would expect from Walker as the screenwriter, it’s also always fascinating.

“The Killer” ends abruptly but fittingly – there’s no proper beginning or ending to the life or story of The Killer, just moments.

In the final scene, as much closure as it allows, we’re unsure if we’re exiting the story on a positive note, or if another character will suddenly enter and end things for everyone. Like that final closing shot of “The Sopranos,” we conclude on rejuvenation, the value of family being together, and the horrible uncertainty of any future moment, accept the one we’re living right now.

Mr. Fincher and Mr. Fassbender, welcome back.

Three Stars

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The G Review | Dale Dickey Strikes Back Against Elder Fraud in This New Dark Thriller

There is a lot that happens just within the first eight minutes of filmmaker Karl R. Hearne’s newest film, The G. Somewhere out in the woods, two ruthless hitmen bury a body that is still breathing. In an examination room, an older woman and her doctor have a tense conversation about her husband’s debilitating health. With a relation that is not yet known until later on, this same woman drives home with a younger female. Once they do arrive at their destination, someone in a van watches them from afar, not yet acting on any intent. Whether this bombardment of an intro was meant to be an allegory for senior citizens who suddenly find themselves in a whirlwind of a malicious situation, or it was all actually meant just as exposition, The G ends up successfully taking this harrowing concept and turning it on its head.


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The Gravity Review | An Engrossing Sci-Fi Crime Thriller with a Wild Third Act

The French sci-fi crime thriller The Gravity, not to be confused with the 2013 Alfonso Cuarón sci-fi flick starring Sandra Bullock and George Clooney, is a captivating and unnerving thriller that demands your attention. The stunning cinematography and the film's anxiety-inducing score create an eerie atmosphere, forcing audiences to anticipate an imminent threat. Its story is simple, but it's the characters and their arcs that drive the narrative. Writers Cédric Ido, Melisa Godet, and Jeanne Apkeman's well-crafted screenplay creates multidimensional protagonists we instantly root for.


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Grapefruit Review | Indie Comedy-Drama Sheds Light on Troubled Families Everywhere

What's the most beautiful word in the English language? Travis, played by Chase Joliet, in his new film Grapefruit, will tell you it's a four-letter word that starts with the letter "F." Maybe he has a point. "You can use it as a noun, an adverb," he tells his mom Evelyn (Rosanna Arquette), and the list of reasons goes on. And on that note, the list of reasons why Grapefruit is such a triumph goes on, in addition to this powerful little mother-son moment that sheds light on troubled families everywhere. Though this is no typical family drama film, and you'll find yourself wanting more by the end.


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As We Know It Review | A Charming Buddy Comedy Set in a Zombie Apocalypse

As We Know It (as in, "It's the end of the world as we know it") is a very appealing zombie comedy film in a similar vein as Shaun of the Dead and Zombieland. It may not boast the same level of timeless entertainment as those films or something more complex like One Cut of the Dead, but its quirky comedy and the endearing chemistry between the entire cast make for a fun and simple 90-minute zombie comedy. The romantic relationship between the two lead characters, James (Mike Castle) and Emily (Taylor Blackwell), is a little forced, but it does make for a fairly sweet and satisfying conclusion. The jokes are punchy, and the absurdity of As We Know It only enhances the film's appeal.


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How to Ruin the Holidays Review: Funny Festive Film Is Relatable and Heartwarming

How to Ruin the Holidays is a charming and emotional film that preaches the importance of family. How to Ruin the Holidays is packed with plenty of effective humor and heart, bolstered by performances from its cast of top-tier comic actors. Tackling themes of dysfunctional families, disability, and loss, this holiday film will surely resonate with a large audience. However, the film looses much of its impact with its questionable editing choices and cheesy music, forcing How to Ruin the Holidays to occasionally feel very much like a Hallmark Christmas film, despite its wonderfully different casting.


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Love Virtually Review | Metaverse Comedy Turns Awfully Silly

If you're too scared to ask out your crush, why not enter the Metaverse and try to meet them that way? Love Virtually, a new ensemble comedy from co-writer/producer/director/co-star L.E. Staiman, explores said notion and dares us to accept a society obsessed with the Metaverse and other virtual reality-type norms that the real world has grown accustomed to as of late, especially in these post-COVID lockdown times. Sound familiar?


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Loki Season 2 Finale Recap & Review | The God of Mischief's Glorious Purpose Revealed

This Article Contains Spoilers for Loki's Season 2 FinaleThe God of Mischief finally achieves his "Glorious Purpose" by learning the true meaning of sacrifice. The frenetic and spectacularly convoluted second season of Loki limps to a thoughtful end. A once ruthless, arrogant, and murderous villain becomes the hero to save his dear TVA besties. Loki (Tom Hiddleston) replaces He Who Remains (Jonathan Majors) as the puppet master, literally holding the strings at the end of time. It's a melancholic conclusion that makes sense but seems underwhelming.


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The Hunger Games | The Ballad of Songbirds & Snakes Review: Grim Prequel to an Already-Grim Story

As a fan of the books and first couple of movies, I was excited to revisit The Hunger Games franchise with The Ballad of Songbirds and Snakes, especially after learning that Oscar-winning screenwriter Michael Arndt (Catching Fire, Little Miss Sunshine, Toy Story 3) was back to help with the script. And it shows, though nothing beats the first Jennifer Lawrence installments. The internet is already aflame with reactions to the prequel detailing the infamous villain Snow's rise to power. Featuring a stacked cast and soundtrack with songs from Olivia Rodrigo and more, returning franchise director Francis Lawrence's new prequel is definitely something for loyal fans and perhaps even those simply looking for an introduction to see what the franchise is about. And at a whopping 165 minutes, it will definitely bring you into its world.


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This Much We Know Review | A Great Documentary About the Limits of Knowledge

“A new ignorance is on the horizon, an ignorance borne not of a lack of knowledge but of too much knowledge, too much data, too many theories, too little time," writes Eugene Thacker in the third and final volume of his Horror of Philosophy series, Tentacles Longer Than Night. One certainly gets that feeling while reading John D'Agata's book About a Mountain, and watching L. Frances Henderson's new documentary adaptation of it, This Much We Know. We know a lot — scores of graphs, charts, statistics, experts, theories, and scenarios — but in the face of this excess, we confront the inevitable impasse of knowledge. We can't know the future, and we can't know why people do the things they do. We can't ever really know why he or she died by suicide.


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‘The Marvels’ Lives Down to the Bad Buzz

We don’t appreciate how many perfect casting decisions Marvel made to bring its colorful heroes to life.

Robert Downey, Jr. Chris Evans. Scarlett Johansson. Benedict Cumberbatch. Samuel L. Jackson. Paul Rudd. Elizabeth Olsen. Paul Bettany. Jeremy Renner.

And then came Brie Larson.

The Oscar winner proved a clumsy fit for 2019’s “Captain Marvel,” but the MCU barreled along despite her flat line readings. Now, Larson is back with “The Marvels,” and she looks slightly more comfortable in the superhero setting.

Slightly.

The problem? She’s out-charmed by co-star Iman Vellani as Ms. Marvel, and director/co-writer Nia DaCosta helms a movie with too many tonal shifts and not enough coherence.

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The film opens with a crush of activity, explanations and confusion. New villain Dar-Benn (Zawe Ashton) recovers a magical bangle on a cheap-looking planet, but she had hoped to find TWO bangles that would give her incredible power.

Think Thanos’ Infinity Gauntlet but far less interesting.

Dar-Benn’s actions open up a wormhole in space, and suddenly our three “Marvels” – Captain Marvel, Ms. Marvel and Monica Rambeau (Teyonah Parris) repeatedly switch places.

Or, the wormhole “entangled our light-based powers,” as Monica explains early in the film. 

“The Marvels” does a LOT of explaining, but it doesn’t always make sense.

The trio swiftly line up to stop Dar-Benn from, well, your guess is as good as mine. Let’s take a stab at it.

  • Do Generic Villain Stuff?
  • Steal Natural Resources from Neighboring Planets to Revive Her World?
  • Retrieve the Bangle at All Costs?
  • Get Back at Captain Marvel, AKA ‘The Annihilator?’
  • Max out the MCU FX Budget?

Pick a lane!

“The Marvels” careens from one absurd sequence to one where the leads hug/bond/banter as if the stakes in play were less than vital. We visit a planet where everyone speaks in song (Planet ‘Glee?’) and a tribute to the Beastie Boys “Intergalactic” that produces a few smiles but could easily be snipped.

And if you thought the site of large tentacles spewing from a house cat was funny the first time, you’re in for a treat with “The Marvels.”

This critic didn’t watch all of “Ms. Marvel,” “Secret Invasion” or “WandaVision,” so it’s possible those shows fill in some of the storytelling blanks. It’s not worth scurrying to Disney+ and watching those episodes to prepare for something as mediocre as “The Marvels.”

Young Vellani is chipper and cheerful as the wannabe Avenger with a fangirl crush on Larson’s character. Her family tags along for the space ride, offering a few more smiles.

It all feels like a Disney+ series that doesn’t deserve a big-screen closeup.

 

 
 
 
 
 
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Yet “The Marvels” isn’t the stiff that “Captain Marvel” proved four years ago. It wraps in a brief (for the MCU) 105 minutes, and the pace is frantic enough to keep audiences awake. The tone ensures we don’t mistake the story from something consequential, and the screen brims with so much color it makes for a killer screen saver.

The action sequences are competently assembled but never threaten the legacy of that “Captain America: Civil War” Battle Royale … or anything from the first MCU phases.

Jackson returns as Nick Fury, but he exists to push select scenes forward and spit out a few modest one-liners. Does he need the paycheck that badly?

The biggest on-screen villain? The generic screenplay that makes the industry’s battle against A.I. seem superfluous. Sorry.

The robots already won.

HiT or Miss: “The Marvels” never takes itself seriously, and will appeal the most to easy-to-please teens. Everyone else is better off rewatching the early, great MCU adventures.

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The Marvels Review | The MCU Returns to Having Some Lighthearted Fun

The Marvels is the biggest risk of the MCU since the release of Avengers: Endgame. Not only is the movie a sequel to 2019's Captain Marvel, but it also picks up on plot points from two Disney+ shows, WandaVision and Ms. Marvel (don't worry, they wisely pretend Secret Invasion did not happen and that's fine; the less said about it, the better). It also has to deal with a wave of toxic fan criticism against star Brie Larson that has been permeating for years. Not to mention needing to bear the weight of the massive expectations following not only a year of many significantly disappointing superhero movies at the box office, but many fans turning on the MCU after lackluster installments like Moon Knight, Thor: Love and Thunder, Ant-Man and the Wasp: Quantumania, and Secret Invasion.


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The Marvels Review | A Scattershot Sequel Succeeds with Fantastic Cast Chemistry

Brie Larson returns to save the universe in a scattershot sequel with a plucky teenage admirer and her aggrieved surrogate niece. The Marvels swings wildly between CGI-fueled action scenes, campy humor, and slivers of emotional gravitas. Banner cast chemistry between the likable leads lifts a convoluted plot with a dull and dreary villain. There isn't a second of real tension in the film, but personalities go a long way. Memorable supporting characters, including a wisecracking Nick Fury, alien Flerken cats, and a Jersey City family make the most of their screen time. I would have preferred a more substantive, focused adventure, but was generally entertained throughout.


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Showdown at the Grand Review | Mildly Entertaining, But Very Loving Homage to the Past

In the new action comedy Showdown at the Grand, George Fuller (Terrence Howard) is the proprietor of The Warner Grand, which is an architecturally wondrous and super cool theater that seems like the Music Box in Chicago, which was originally for stage shows before it started showing movies. Times are tough at the moment because the cinematic experience is shrinking, and George has sunk all his money into getting film star and personal hero Claude Luc Hallyday (Dolph Lundgren) to make an appearance during a showing.


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How to Have Sex Review | A Poignant Lesson in Consent

Molly Manning-Walker’s educational, eye-opening debut feature, How to Have Sex, initially has a partial air of the now-canceled BBC Three show Sun, Sex, and Suspicious Parents. That series was a small, albeit noteworthy snippet of British television history, whereby a group of fun-loving, party-going, of-age adolescents descend on a Mediterranean party island blissfully oblivious to the fact their every move is being closely followed by their overbearing and invariably dumbfounded parents, appalled by their drunken indignity and debauchery. While How to Have Sex is devoid of privacy-invading guardians, the very British coming-of-age tradition of “lads” and “girls” holidays collides head-on with Manning-Walker’s understated and subtle lesson in consent.


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‘It’s a Wonderful Knife’ Spoils a Holiday Classic

“It’s a Wonderful Life” remains a Yuletide treat for all the right reasons.

It’s sweet, sentimental and brimming with life-affirming moments that have made generations smile. Can anyone hear the name Clarence and not recall Henry Travers’ crinkly presence as the film’s angel?

The horror spin-off “It’s a Wonderful Knife” runs with that template but can’t stop tripping over its own feet. Clumsy, illogical and burdened by woke, “Knife” is the Christmas coal no one wanted.

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Winnie Carruthers (Jane Widdop) has a picture-perfect life – on the surface. She has a hunky boyfriend, an adoring family and a loving aunt living nearby.

Too bad her father (Joel McHale, solid in a rare dramatic role) works ’round the clock for the town’s Mayor, a toothy jerk given extra smarm by Justin Long.

A serial killer crashes the holiday season, slaying Winnie’s best friend among other innocents. Winnie kills the brute, dressed like a Moon Knight imitator covered in blood. A year later, she can’t forget how the killer took her friend’s life and soured her on Christmas forever.

Can you blame her?

Everyone else in town has moved on, leaving her emotionally unmoored. She didn’t get much praise for ending the killer’s reign of terror, either.

Just the opposite, actually.

Plus, her insipid father bought her brother a new truck for Christmas while gifting her a garish pink jumpsuit.

It’s enough to make Winnie wish she had never been born, and through a magical twist of fate she gets her request. Except she realizes the killer would keep on killing without her there to stop him. Even worse? Her bucolic small town curdled in her absence.

Now, she has to stop the killer (again) and figure out a way to reverse the spell that erased her existence.

 

 
 
 
 
 
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The concept works, on paper, and it’s an original way to spin something sinister from Capra’s blueprint. It’s the execution that’s an unholy mess.

“Knife” clocks in at a tidy 85 minutes, but much of what’s seen on screen makes little sense. The horror genre hearts plot holes, but director Michael Kennedy’s film leaves us scratching our heads so often we might go bald before the end credits roll.

  • Why would anyone attack Winnie for essentially saving the town from the serial killer?
  • Why would loving parents treat their teen kids so unfairly on Christmas? 
  • Why wouldn’t Winnie tell the cops to look for a man with bite marks on his arm after she gives the fiend a good, lingering chomp?

That’s just a few of many nagging questions. The film also embraces woke bromides from the jump.

We get not one but two gay romances in the first 10 or so minutes. We see an interracial couple canoodling, plus a white senior citizen’s black granddaughter. Later, a key character goes from straight to bisexual with the introduction of tortured lesbian pal.

That’s Jessica McLeod, playing the town outcast Bernie.

There’s nothing wrong with having several sexual orientations in a film, of course, so let’s set that straw man on fire, and fast. Overloading a project like “Knife” with diversity box checking takes you out of the movie. It’s forced and condescending, and it does the narrative no favors.

None of this damages the film’s enjoyment factor as much as Winnie’s dispiriting attempt to save her town and herself. Once again, horror movie characters behave in the dumbest ways possible, a trope “Knife” leans into for all its worth.

The third act introduces a supernatural twist that dampens the film’s satirical potential. Just why does this small town worship Long’s Mayor? 

“Knife” qualifies as a horror comedy but in name only. You won’t laugh, or even smile, at the proceedings, but it wouldn’t be the first genre hybrid to miss half its potential.

The film’s horror bona fides prove equally weak, complete with a depressing color canvas befitting an ’80s slasher film, not a story poking fun at small town USA’s Christmas pageantry.

Watch “It’s a Wonderful Life” again over this strained imposter.

HiT or Miss: “It’s a Wonderful Knife” offers a depressing, unnecessary spin on the Frank Capra classic.

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