Trigger Point (2021)


Barry Pepper ain’t saving Private Ryan anymore.

(2021) Suspense (Screen Media) Barry Pepper, Colm Feore, Eve Harlow, Carlo Rota, Jayne Eastwood, Nazneen Contractor, Laura Vandervoort, Karen Robinson, Rainbow Sun Francks, Greg Bryk, John Kirkpatrick, Ryan Malcolm, Reid Janisse, Juan Carlos Valis, Tim Progosh, Brian Cook, Anthony Ferri, Plato Fountidakis, Susie Blanco. Directed by Brad Turner

 

When you’re talking about shadowy spy agencies (not so much the CIA of Jason Bourne or the MI:6 of James Bond) you are generally talking about murky moral compasses and blindingly serious characters who are extremely competent at killing, only without the ability to let loose a bon mot at the moment of vanquishing his opponent.

Nicholas Shaw (Pepper) is one such. He is meticulous, and never ever misses. He is out of the game now, retired to a bucolic small town where he regularly has breakfast in the local café and orders books from the local book store, getting on nicely with his neighbors. They would never suspect that in a previous life, he was a deadly assassin.

And they DEFINITELY wouldn’t guess that he was captured and tortured, giving up the identities of eight members of his team who were then murdered by Quentin, a mysterious crime boss. Nicholas doesn’t remember much of this, only that he needs to lay low for a short time – the rest of his life, say. Then, his past comes walking through his door in the person of Elias Kane (Feore), his former boss. It seems that Elias’ daughter Fiona (Harlow) went out looking for Quentin and has since been captured. She is likely dead, but there is only one person living who knows the true identity of Quentin – that is Nicholas, although he doesn’t remember that crucial piece of information. So as he is the only person who could possibly rescue Fiona, he will have to un-retire and go after the person responsible for taking away everything from him. Sounds fair.

Some critics have compared this to the Bourne franchise, and that’s not inaccurate although Robert Ludlum’s world is much more well thought out. Pepper, who has played sharpshooters before, is perfect for this kind of work, and he is the stand-out here. However, if you can’t figure out who the bad guy is here, you’re either not paying attention or you don’t go to movies much.

The action sequences are decent enough, although the movie could use more of them. The script is on the talky side, which isn’t a point in its favor. Pepper would do better in a role where he has less dialogue – not that he isn’t good at dialogue, but his character would be more effective if he spoke less, and Pepper is a good enough actor that he could pull off getting things across without having to spell things out.

Overall, this isn’t bad entertainment if you’re waiting for a new John Wick film to come down the pike (that’s still another year away, true believers) although I caution you that there is far less action than in that estimable franchise nor is the world here as fully developed as that one. One could say it’s a low-rent Jason Bourne without the exotic locations or the exquisite plotting. No, that’s not it either; this is more a B-movie low-budget spy thriller of the sort Bruce Willis was doing a decade or two ago. There’s something to be said for those films, so long as your expectations aren’t that high.

REASONS TO SEE: Reasonably entertaining super-competent assassin thriller.
REASONS TO AVOID: Overly serious; could have used some lighter moments to break up the monotony.
FAMILY VALUES: There is plenty of violence and profanity as well as some brief sexual content.
TRIVIAL PURSUIT: Turner has more than thirty years of experience, mainly in the television side doing episodes of 24 and Homeland, among others.
BEYOND THE THEATERS: Amazon, AppleTV, DirecTV, Fandango Now, Google Play, Redbox, Vudu, YouTube
CRITICAL MASS: As of 5/6/21: Rotten Tomatoes: 31% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: The Cold Light of Day
FINAL RATING: 6/10
NEXT:
It Is Not Over Yet

The Dead of Night


Colby Crain takes a beer break.

(2021) Horror (Shout!) Jake Etheridge, Colby Crain, Leah Bezozo, Kyle Overstreet, Matthew Lawrence, Lance Henriksen, Charlotte McKee, Darius Homayoun, Merritt C. Glover, Boots Southerland, Jack Lutz, Jesse Kinser, Ellen Gerstein, Mark Speno, Chris Ranney, Tim Stafford, Maria Robison, Brian Patrick Buckley, Harrison Wirstrom, Rudy Benta, Sid Goodloe, Connie Hanley. Directed by Robert Dean

 

Some people prefer the hustle and bustle of a big city. Others prefer a more rural existence. There is something about living in the country – isolated, quiet, peaceful. You quickly learn to fend for yourself in a situation like that because if trouble comes, there’s nobody to come save you.

In a small New Mexico town a couple of drifters, both wearing wolf skins and masks, murder a pick-up truck driver and steal his truck. They move on into town where an annual rodeo is taking place. One of the stars, Colt Skeen (Homayoun) – a local boy – hooks up with Maddie (MeKee), the daughter of unpopular local developer (Speno) who has just announced that he is running for mayor, to a dreadfully stony silence. They repair in Colt’s rundown RV to an empty field (there are a lot of them around town) for a tryst, only to be interrupted by the wolfskin killers.

The killing of the young people take place near the ranch of Tommy (Etheridge), who has some things on his mind. His sister June (Crain) is leaving town the next day to fly out to Germany to be with her fiancée who is stationed on a base there. Young sheriff’s deputy Luke (Lawrence), who has a thing for June, suspects that Tommy has something to do with the killings which makes things even harder for the brother and sister who are already on thin ice with each other – Tommy wants her to stay and help run the family ranch, while June is happy to be anywhere but there.

But June is determined, so her friends Amber (Bezozo) and Ryan (Overstreet) throw a farewell party at her house for her. In the meantime, Tommy witnesses the wolfskin killers murdering an old man. He is detected but escapes, bringing the killers to his ranch – where they’ll terrorize the siblings and their guests. Blood will spill before a twist nobody will see coming gives the movie a punch in the gut.

Up until that twist, this is fairly standard stuff; mysterious masked strangers killing seemingly without rhyme or reason, murdering people at random simply because their paths cross. That has been a popular theme in horror movies, particularly of late. In these anxiety-ridden times, I think we’re all suspicious of just about everyone else. And we’re not too sure about ourselves.

There’s some real nice empty spaces cinematography courtesy of Troy Scoughton Jr., and while there is a country and western feel to the proceedings that give it a kind of Texas Chainsaw Massacre overlay, which is nice and welcome in these times. The performances by the young cast are solid and Dean gives a lot more thought to character development than the average horror director, who tend to line up the body count more than anything else. You may notice genre veteran Lance Henriksen in the cast, but don’t be fooled – he’s only in the film for a very brief cup of coffee, and really has not much of an impact overall, which is a shame because he is the sort of actor who normally adds a great deal to any film he’s in. They could have used him in a larger role.

And there is a body count here, but curiously, not a whole lot of gore. The murders often take place off-screen and the gore is kept to a minimum. That might not sit well with hardcore horror fans, but there are compensations – namely, the character development I mentioned earlier. I wish that there had been a little more thought given to the plot, though, which is fairly derivative throughout until the climax. All in all, not a bad effort but a tame one when it comes to gore and horrific images.

REASONS TO SEE: Manages to build the suspense nicely.
REASONS TO AVOID: A few too many standard slasher tropes.
FAMILY VALUES: There is some profanity, plenty of violence, and some sexual references.
TRIVIAL PURSUIT: The film was shot in New Mexico and is based on a childhood fear of writer/director Dean, who grew up in an isolated rural environment.
BEYOND THE THEATERS: Amazon, DirecTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 3/25/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: The Strangers
FINAL RATING: 6.5/10
NEXT:
Six Minutes to Midnight

Dumplin’


Beauty isn’t always just skin-deep.

(2018) Dramedy (NetflixDanielle MacDonald, Jennifer Aniston, Odeya Rush, Maddie Baillio, Bex Taylor-Klaus, Luke Benward, Georgie Flores, Dove Cameron, Harold Perrineau, Kathy Najimy, Ginger Minj, Hillary Begley, Sam Pancake, Dan Finnerty, Molly McNearney, Tian Richards, Ryan Dinning, Andrew Fletcher, Oscar Gale, Ariana Guerra, Julia Denton, Kaye Singleton. Directed by Anne Fletcher

 

I have to admit, I didn’t have high hope for this Netflix film. For one thing, it’s adapted from a Young Adult novel, a genre that doesn’t exactly scream sophistication. For another thing, the plot sounded pretty pedestrian – and spoiler alert, it is.

And yet, I wound up pleasantly surprised. Danielle MacDonald (Patti Cake$) stars as Willowdean Dickson, a plus-sized gal whose mom Rosie (Aniston) was once a Miss Teen Bluebonnet back in ’91 which is where she pretty much peaked. Rosie runs that same pageant now, the oldest one in Texas. Willowdean, who she called Dumplin’ as a child (a nickname that Willowdean hates with a passion) was essentially raised by her Aunt Lucy (Begley), a fellow plus-sized gal who worships at the altar of Dolly Parton (a religion that Willowdean now shares, along with her bestest friend Ellen (Rush). But Lucy has passed away, forcing Rosie and Willowdean to have to rely on each other, which simply isn’t something they’re used to.

Fed up with feeling alienated because of her size, Willowdean decides to enter the pageant herself, despite the obvious fact that she doesn’t conform to the body type that most pageant girls tend to have. Inspired by her example, Ellen also enlists along with fellow plus-sizer Millie (Baillio) and militant punk feminist Hannah (Taylor-Klaus). The four girls intend to make a statement by virtue of being on the inside, although what exactly they expect to accomplish is a mystery, including Willowdean herself.

The movie is actually pretty warm-hearted and sweet-natured. Willowdean is aided in her subversive act by a group of Dolly Parton female impersonators; she also is dealing with the affections of teen hottie Bo (Benward) with whom Willowdean works at a local diner. It is telling, however, that there is no real villain here; even Rosie basically loves her daughter and wants the best for her. It’s just that Rosie can’t get past Willowdean’s size, nor the notion that fat people can actually be happy.

The movie works well because it takes basic teenage girl issues and tackles them head-on, handling the subject with a rare sensitivity and without taking the temptation to make Willowdean an object of ridicule. She may be full of insecurities – what teenage girl isn’t? – but at the end of the day, Willowdean was taught well by her aunt to love herself for who she is and not because of who she could potentially be.

And I would be remiss if I didn’t say that the real highlight here is MacDonald, who in two short years became a very respected actress who rather than using her size as comic fodder, instead embraces it and allows others to embrace it with her. I’m not kidding when I say that Danielle MacDonald has the talent to become an important actress over the next couple of decades or so, so long as she steers away from movies that use her size as a weapon to heap score on the plus-sized people of the world.

REASONS TO SEE: Surprisingly effective and just offbeat enough to be interesting. MacDonald is absolutely delightful here.
REASONS TO AVOID: Has a few young adult movie tropes.
FAMILY VALUES: There is some mild profanity, body shaming and sexuality.
TRIVIAL PURSUIT: Although Dolly Parton herself doesn’t appear in the film, she did write and record several new songs for it.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 5/18/20: Rotten Tomatoes: 85% positive reviews, Metacritic: 53/100
COMPARISON SHOPPING: Little Miss Sunshine
FINAL RATING: 7/10
NEXT:
Bumblebee

The Old Man & The Gun


A couple of screen veterans doing their thing.

(2018) Biographical Drama (Searchlight) Robert Redford, Casey Affleck, Sissy Spacek, Danny Glover, Tom Waits, Tika Sumpter, Ari Elizabeth Johnson, Teagan Johnson, Gene Jones, John David Washington, Barlow Jacobs, Augustine Frizzell, Jennifer Joplin, Lisa DeRoberts, Carter Bratton, Mike Dennis, Tomas “Dutch” Dekaj, Isiah Whitlock Jr., Patrick Newall, Daniel Britt, Leah Roberts, Elizabeth Moss.  Directed by David Lowery

 

The benefits to having a real, honest-to-goodness movie star in your film is that no matter what, there will be something positive about your film because in the case of stars like Redford and Spacek, they have enough screen presence and expertise on how to best utilize it to make any film they’re in just that much better.

 

Forrest Tucker (Redford) is a man getting on in years, but like others his age still shows up at work. Of course, Tucker’s job is robbing banks and he gets a big kick out of getting away with it. Tucker is not the kind of bank robber who terrorizes folks in the bank and thinks nothing of shooting unarmed people; he’s a gentleman who gives an implicit threat, remarks on gee whiz what a shame it would be if he were forced to resort to violence and he really doesn’t want to shoot you because, for goodness sakes, he really likes you. What bank teller or bank manager would not be charmed?

Decidedly charmed is Jewel (Spacek), a widowed horse rancher whose pickup truck breaks down at the side of the road just as Forrest is trying to get away from the cops after a bank job. Spotting the opportunity for misdirection, he pulls over and assists her while the cops go whizzing by. However, the decoy turns into a romance and Forrest feels comfortable enough with her to tell her what he really does for a living over pie and coffee, although she doesn’t believe him at first.

Decided not charmed is Detective John Hunt (Affleck) who is in the bank while it’s being robbed with his two daughters. Burned out on his job to the point where he’s considering leaving the force, the robbery under his very nose gives him motivation to go after Tucker full throttle. Talk about lighting a fire under one’s butt.

The movie rests on the charm of its actors and Redford, Spacek and Affleck have plenty of charm to go around. They also have plenty of talent at their craft – all of them have Oscar nominations (and wins, in some cases) – to sustain the fairly light-tempered movie. Although the running time is only 93 minutes, it seems a bit longer because the story moves along so slowly and is filled with quite a bit of unnecessary material. Still, it is enjoyable to watch old pros (extending down into the supporting cast) do what they do best, even if what they’re doing essentially is a bit of fluff, despite the opportunity for social commentary – Lowery chooses to simply tell his story simply. I can’t really fault him for that.

REASONS TO SEE: Redford, Affleck and Spacek all deliver excellent performances.
REASONS TO AVOID: A little bit too long; could be argued that it’s too low-key as well.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: The opening credits are written in the same font as Butch Cassidy and the Sundance Kid (1969) which Redford also starred in.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Max Go, Microsoft, Movies Anywhere, Redbox,  Vudu, YouTube
CRITICAL MASS: As of 2/18/20: Rotten Tomatoes: 93% positive reviews: Metacritic: 80/100.
COMPARISON SHOPPING: Bonnie and Clyde
FINAL RATING: 6.5/10
NEXT:
Senior Escort Service

BrightBurn


With eyes all aglow.

(2019) Superhero Horror (Screen Gems) Elizabeth Banks, David Denman, Jackson A. Dunn, Abraham Clinkscales, Christian Finlayson, Jennifer Holland, Emmie Hunter, Matt Jones, Meredith Hagner, Becky Wahlstrom, Terence Rosemore, Gregory Alan Williams, Elizabeth Becka, Steve Agee, Michael Rooker, Steve Blackehart, Mike Dunston, Annie Humphrey. Directed by David Yarovesky

 

Superman was very much a product of his times, an alien baby adopted by human parents when his spaceship crashed to Earth. Possessed of nearly godlike powers, he uses those powers for good and upholding truth, justice and the American way. Even in the midst of a Depression, that seemed very plausible to most Americans, particularly in the Heartland where the Superman saga was initially set.

Nowadays, we see things differently. Take the same storyline – with Elizabeth Banks and David Denman taking the roles of Ma and Pa Kent – and even essentially the same location (Kansas) and set in in 2019 and what you have is not an inspiration but sheer terror. This kid is no way going to use his powers for good but instead to tear this country into pieces – small ones.

=It’s a nifty concept although there have been other dark superhero stories before, even horror tinged ones but almost all of them have been on the printed page. There are plenty of nods to the Superman mythos, from the alliteratively named Brandon Breyer (Dunn), the superhero to the red, yellow and blue color scheme that Brandon often wears to the superpowers themselves. At times it gets heavy handed.

The movie was produced by James Gunn who has been a frequent critic of the President and the movie, written by one of his brothers and a cousin, makes some political allusions that are hard to ignore, although some are a bit more tenuous than others. Certainly, those who are sensitive to such things will notice.

Banks actually does a terrific job as a cross between the aforementioned Ma Kent and Laurie Strode. She captures a mother’s undying need to believe in the best of her child even as her husband exclaims “He’s not our child! We found him in the woods!” which is accurate enough but misses the point completely, just like a man as I can hear many women thinking. Most of the rest of the cast is solid.

The ending is anti-climactic which isn’t surprising because the writers pretty much paint themselves into a corner which leads to predictability. I had high hopes for this one because of Gunn’s involvement but this doesn’t live up to the standards of most of his other films. It isn’t a bad movie but it’s disappointing given its pedigree.

REASONS TO SEE: Dunn is sufficiently creepy in this anti-Superman story.
REASONS TO AVOID: Nice concept but a bit too heavy-handed.
FAMILY VALUES: There are some grisly images, profanity and violence.
TRIVIAL PURSUIT: The school scenes were shot in the same now-closed high school in Georgia where the middle and high school scenes were shot for the hit Netflix series Stranger Things.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Vudu, YouTube
CRITICAL MASS: As of 10/30/19: Rotten Tomatoes: 57% positive reviews: Metacritic: 44/100.
COMPARISON SHOPPING: Superman: The Movie
FINAL RATING: 6/10
NEXT:
Making Waves: The Art of Cinematic Sound

Mister America


Sometimes you drain the swamp and sometimes the swamp drains you.

(2019) Comedy (Magnolia) Tim Heidecker, Gregg Turkington, Terri Parks, Curtis Webster, Don Pecchia, Manuel Giusti, Ndidi Amadi, Sarah Sherman, Corey Landis, Joe Estevez, Michael Diliberto, James Mane Jr., Melinda McColgan, Jesse Popp, Mark Proksch, Alessandro Serradimigni, Inger Tudor, Gabriel Patay, Dan Anderson, Eric Notarnicola, Ayaka Ohwaki.  Directed by Eric Notarnicola

 

Tim Heidecker is a very acquired taste. One of the minds behind such cult comedy shows as Tim and Eric’s Awesome Show: Good Job! and On Cinema at the Cinema, this mockumentary grew out of a plotline in the latter show. Heidecker, playing a none-too-idealized version of himself, was a movie reviewer who knew nothing about movies alongside Turkington, playing a film geek version of himself.

Heidecker, a schemer with anger issues, organized an EDM festival in San Bernardino, distributed vape pens at the festival with tragic results. Indicted for mass murder, he gets off on a hung jury – all documented in The Trial mini-series. This movie proceeds from there, after Tim in a rage-filled rant on the final episode of the series, threatened to run for District Attorney of San Bernardino county.

This is the results of that rant, a mockumentary following Heidecker’s campaign. Heidecker schemes with his hapless campaign manager Toni Newman (Parks) – who also happens to be the one juror who refused to convict him of mass murder. We also get commentary from the Judge (Webster) who retired after the debacle that was this trial and occasionally, we see appearances from the incumbent (Pecchia) who is more concerned with his Democratic challenger (Giusti) than on Heidecker, much to Tim’s frustration. We also get man-on-the-street interviews with bewildered residents of San Bernardino.

If you’ve seen any of Heidecker’s web series, or his other movie (Tim and Eric’s Billion Dollar Movie) you probably have a good idea of whether the sense of humor is going to appeal to you or not. If you’re new to Heidecker, this is as good a spot to start as any; you can pretty much follow along with the story even if you haven’t seen any of the work that preceded it.

This is definitely aimed at young Millennials, particularly of the male persuasion. Heidecker is thoroughly unpleasant and not too smart; Turkington is shifty and obsessive, the kind of movie buff who gives movie buffs a bad name. Heidecker is channeling Trump in a lot of subtle ways, minus the rabid fanbase. I get the sense, however, that he is out to satirize the system and not specific politicians.

The action is fairly slow moving and some impatience sorts might get squirmy by the middle of the film. There are some wonderful bits in here, although the humor is so desert-dry that you might miss them. This takes deadpan to a whole new level.

I will never criticize anyone for having a different sense of humor than I have; everybody’s sense of humor is a highly personal thing and the things I find funny you might not and vice versa. That’s all good; this is really not my own personal sense of humor and I sense that it will appeal to only a narrow band of viewers. I will say that this is pretty typical of what I’ve seen of Heidecker; if you love Between Two Ferns and Adult Swim, you probably will enjoy this a bit more than I did.

REASONS TO SEE: Bone-dry political satire.
REASONS TO AVOID: A slow-moving acquired taste.
FAMILY VALUES: There is a good deal of profanity as well as some brief drug use.
TRIVIAL PURSUIT: The trial scenes were partially re-filmed after Heidecker had filmed them for his The Trial mini-series.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Vudu, YouTube
CRITICAL MASS: As of 10/13/19: Rotten Tomatoes: 64% positive reviews: Metacritic: 42/100.
COMPARISON SHOPPING: Bob Roberts
FINAL RATING: 6/10
NEXT:
Fantastic Fungi

Blue Iguana


The gang that couldn’t shoot straight.

(2018) Heist Comedy (Screen Media) Sam Rockwell, Phoebe Fox, Ben Schwartz, Peter Ferdinando, Simon Callow, Amanda Donohoe, Frances Barber, Al Weaver, Peter Polycarpou, Anton Saunders, Jenny Bede, Andre Flynn, Vic Waghorn, Glenn Wrage, Peter Singh, Pedro Lloyd Gardiner, Paul Chan, Danny Granger, Martin Muncaster, Jack Silver, Pamela Cook. Directed by Hadi Hajaig

 

Stephen Soderbergh is famous for depicting teams of con artists and thieves who are cool, competent and clever. Most times, criminals are anything but those three things. Generally, people go into crime because they don’t have the skills to make a living honestly nor any inclination to obtain any. They want to do things the easy way, not knowing that if you want to get away with a crime it takes some planning, foresight and knowledge.

Eddie (Rockwell) and his buddy Paul (Schwartz) are both ex-cons working in a New York diner while out on parole and trying to keep their noses clean. Into the diner walks a pushy English rose named Katherine Rookwood (Fox) who is the lawyer for an Eastern European businessman named Arkady (Polycarpou). She needs to use the two schlubs for a job in London which would be a clear parole violation but she’s got that all covered.

What she needs is for them to steal a gym bag at one of the museums. If she retrieves the bag, it will erase a crushing debt she’s been trying to work off to the businessman. However, things don’t go entirely to plan; it turns out that the two Americans are way over their heads. Arkady has in his employ a mullet-wearing thug named Deacon Bradshaw (Ferdinando) who has serious mommy issues particularly since his mom (Donohoe) is oversexed and abusive. There are also much bigger fish to fry, particularly after Eddie and Paul – and Katherine as well – are double-crossed by Deacon and his violent thugs.

They work out a plan to take back what they lost and maybe get a little bit more – ok a lot more – than they would have gotten out of the deal; that is if they can keep their butts out of the crossfire. Not necessarily an impossible task since nobody in either gang can shoot worth a damn.

The first thing that came to mind as I watched this was that it’s Soderbergh on a budget. It crosses British gangster films with American heist movies which is a natural mix but one that really hasn’t been tried often until now (other than by Danny Boyle to my knowledge). In addition, it has the always watchable Sam Rockwell leading the cast.

He’s watchable enough here but he’s not nearly as manic as he normally is. The movie could have used a little more energy from Rockwell surprising to say and at the end of the day it is Fox who commands most of the kudos for her performance here. Her character does a lot of eating and if anyone can look endearing with a blog of ketchup on her chin, it’s Fox.

There is a lot of quirky charm in the movie; I liked Ferdinando as the volatile thug Deacon. He goes on profanity-laced rants when his underlings mess up which is just about all the time. Few can curse as well as a Cockney and Ferdinando makes a running gag out of it; in fact, Rockwell makes a point of trying to learn how to do the Cockney accent although to judge how effective he is you’d have to ask a true Cockney. My guess is “not well.”

Towards the end things start getting increasingly violent and that’s where the movie shines. There are several demises that are extremely bloody (particularly the very last one) and Hajaig handles them with a deft comedic flair. There were some moments that left me chuckling (although none that left me doubled over with laughter) and a few moments where I thought they missed the mark, particularly early on. One of my favorite running jokes is that nobody in the film can shoot worth a damn; I’m talking couldn’t hit the side of a barn with a basketball from five feet away type of shooting.

I like these sorts of movie and while the reviews thus far have been pretty poor, I actually thought this was a solidly entertaining and often fun piece of work. Yeah, there are a lot of clichés – you know that Eddie and Katherine are going to get romantic and they do – but for the most part, the fast pace and the humor keep you from wanting to check your cell phone too much. You may think that’s faint praise but in 2018 that’s actually an accomplishment.

REASONS TO GO: Quirky but entertaining. There are some truly inventive moments.
REASONS TO STAY: Rockwell’s performance is oddly subdued.
FAMILY VALUES: There is a good amount of profanity, violence and a smattering of gore.
TRIVIAL PURSUIT: The blue iguana is an actual breed of iguana that is indigenous to the Cayman Islands.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu
CRITICAL MASS: As of 8/25/18: Rotten Tomatoes: 27% positive reviews. Metacritic: 30/100.
COMPARISON SHOPPING: Logan Lucky
FINAL RATING: 7/10
NEXT:
An L.A. Minute

Lucky


The late great Harry Dean Stanton gives us one last hurrah.

(2017) Dramedy (Magnolia) Harry Dean Stanton, David Lynch, Ron Livingston, Ed Begley Jr., Tom Skerritt, Beth Grant, James Darren, Barry Shabaka Henley, Yvonne Huff, Hugo Armstrong, Bertila Damas, Ana Mercedes, Sarah Cook, Amy Claire, Ulysses Olmedo, Mikey Kampmann, Otti Feder, Pam Sparks, Alan Corvaia, Rhandy Torres, K.C. Page, Bonnie Williams. Directed by John Carroll Lynch

 

Hollywood lost one of it’s all time greatest character actors in Harry Dean Stanton on September 15 last year. Fittingly, he had one film left in the pipeline that turned out to be an appropriate farewell for the late actor.

Lucky (Stanton) is a curmudgeonly World War II vet and nonagenarian living in a small desert town in the Southwest. He has an unvarying routine; yoga in the morning, breakfast at the local diner while he does the crossword puzzle, a stop by the local corner grocery to pick up milk and cigarettes, then back to his house to watch the afternoon game shows and water the cacti. Finally, over to Elaine’s, a local watering hole where he drinks down an adult beverage in the company of friends, most especially Howard (Lynch) who is grieving the loss of a tortoise. The tortoise didn’t die, mind you, he just wandered off.

Stanton rarely played lead roles but on the occasions that he did he always shined. This is a Seinfeld-esque film all about nothing really; there’s some lank attempts at deciding who’s figured out life better but in reality this is simply an excuse to watch Stanton do his thing and that in itself is all you really need. There are some fine character actors backing him up (James Darren, Tom Skerritt, Barry Shabaka Henley) and one behind the camera – John Carroll Lynch (no relation to David), best known as Drew Carey’s brother on his sitcom some years ago, who does a pretty decent job of setting the tone and allowing his lead enough space to shine.

This isn’t really a eulogy as such but it is a nice way to say farewell. Stanton was always more of a cult figure than anything else but he still had some moments in films like Alien, Twin Peaks: Fire Walk With Me, Repo Man and particularly Paris, Texas. This probably doesn’t hold up with any of them except the second but still in all not every actor gets a sendoff like this one and it’s nice that someone who didn’t get the acclaim he deserved generally got one.

REASONS TO GO: Stanton’s final performance is a strong one. The soundtrack is righteous.
REASONS TO STAY: Some of the plot points feel a bit contrived. The pacing is a little bit on the slow side.
FAMILY VALUES: There is a healthy amount of profanity, some sexual material, a bit of violence and a surfeit of smoking.
TRIVIAL PURSUIT: Stanton passed away at the age of 91, two weeks before the September 29, 2017 release date for the film.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, Hulu, iTunes, Vudu, YouTube
CRITICAL MASS: As of 3/12/18: Rotten Tomatoes: 98% positive reviews. Metacritic: 79/100.
COMPARISON SHOPPING: Get Low
FINAL RATING: 8.5/10
NEXT:
Wind Traces

Insidious: The Last Key


Someone needs a manicure badly.

(2018) Horror (Blumhouse/Universal) Lin Shaye, Angus Sampson, Leigh Whannell, Kirk Acevedo, Caitlin Gerard, Spencer Locke, Josh Stewart, Tessa Ferrer, Bruce Davison, Aleque Reid, Ava Kolker, Pierce Pope, Javier Botet, Marcus Henderson, Amanda Jaros, Judith Drake, Hana Hayes, Thomas Robie, Josh Wingate, Danielle Kennedy, Melanie Gaydos, Patrick Wilson, Ty Simpkins, Rose Byrne. Directed by Adam Robitel

 

Horror franchises can be very lucrative indeed for a studio. Look at the Friday the 13th franchise for Paramount, the Paranormal Activity franchise for the same studio and the Nightmare on Elm Street and the Conjuring universe for New Line. It’s hard to know where Lionsgate would be had it not for the money generated by the Saw franchise years ago.

Insidious has been part of a renaissance of horror franchises that have taken hold of studio imaginations. For the most part these horror franchises are very cheap to produce and can generate tens and even hundreds of millions of box office profits when all is said and done. They may not be prestige projects or win many awards – or even gain much critical respect – but they are vital to a studio’s bottom line. Insidious has for the most part (especially in the second two of the four chapters to date) followed the story of Elise Rainier, a psychic who is able to communicate with the dead and sometimes venture into a dimension she calls The Further in which the living and the dead can sometimes interact – although it is the supernatural who reign there.

Like the previous installment, this is a prequel. Elise Rainier (Shaye) is at home when she gets a call from a potential client in a small New Mexico town. When she hears the address, immediately it becomes obvious that she is terrified as she abruptly declines to take the job and hangs up.

That’s because the address is her own childhood home, now occupied by a lone man named Ted Garza (Acevedo). As a child (Kolker) and as a teen (Hayes) as her abilities were manifesting themselves, she was tortured by the souls of those who had died in the nearby prison where her abusive father (Stewart) works. He not only doesn’t believe in the supernatural, he thinks his daughter is crazy and whenever she confesses that she has witnessed something supernatural, she is beaten with a cane.

Eventually she runs off leaving her brother Christian to survive alone with his dad but not before she unknowingly allows a terrible entity into this world which ends up killing her loving and supportive mother (Ferrer). Troubled not only by the memories of the abuse she suffered but also haunted by the guilt over her mother’s death, she realizes she can’t find peace until she faces her own demons – literally. So with her assistants Specs (Whannell, who directed the last one) and Tucker (Sampson), she goes to Five Keys to do battle with evil.

There she’ll meet her now-grown brother (Davison) who hasn’t yet forgiven her for abandoning him, and his daughters Imogen (Gerard) and Melissa (Locke) who are both fetching which attracts the attention of Specs and Tucker but also Elise realizes that one of them may have inherited the gift/curse that she possesses.

Elise is one of the most admirable horror heroines ever created. Generally most horror franchises are about the monster and rarely is there a single hero that runs through the series. Insidious is the reverse of that (as is, to be fair, The Conjuring) but in the case of Elise, she is not a young person; Shaye is a rare hero of a certain age group (let’s call it AARP-friendly) who appeals to young people as well as others. She is grandmotherly at times but she kicks spiritual booty when she needs to. There has never been a heroine quite like her and in this film Shaye is at her absolute best.

In fact it’s safe to say that the acting is pretty solid all around. Sure, the two nieces are pretty much interchangeable and Whannell and Sampson occasionally try a little too hard for comedy relief but Davison is a savvy pro who compliments Shaye nicely and Ferrer does a bang-up job as the ill-fated mom. Acevedo also gets kudos for taking a character who has some depth and translating it into performance.

The Insidious series has never been gore-heavy and also quite frankly not really overloaded with scares as well, which makes it a target for some derision in horror fanboy circles. I’ve always appreciated that the scares in the first three movies are well-earned and if there are occasionally an over-reliance on jump scares (or startle scares as I like to call them) when they do go out to get you they generally succeed.

The one thing that keeps this from a higher score in my book is the ending; the final confrontation is a big letdown and is that unusual situation where it should have  gone on longer, even though because this is a prequel you pretty much know the outcome because…well, certain characters HAVE to survive or else the continuity is completely shot to hell. Of course, one of these days a franchise picture is going to shock the living daylights out of us by killing a character who is shown to have survived in one of the earlier films. Perhaps that will cause a paradox that will bring the whole universe to an end – or perhaps just a portion of it, like all politicians. That would be worth it, I’m sure we can all agree.

REASONS TO GO: This could be the best performance by Shaye in the series. In general, the acting is better than the average horror film.
REASONS TO STAY: This installment is a little bit less scary than other films in the franchise. The final confrontation between Elise and the demon is a bit anti-climactic.
FAMILY VALUES: There is some disturbing thematic content and imagery, horror violence, scenes of terror and occasional profanity. There are also a couple of scenes of child abuse.
TRIVIAL PURSUIT: This film is meant to conclude the prequel series for the franchise, leading to sequels that may or may not continue the character of Elise Rainier.
CRITICAL MASS: As of 2/7/18: Rotten Tomatoes: 31% positive reviews. Metacritic: 49/100.
COMPARISON SHOPPING: Annabelle
FINAL RATING: 6.5/10
NEXT:
Downsizing

Baby Driver


Baby and Debora want their Big Mac meals right NOW!!!

(2017) Action Comedy (TriStar) Ansel Elgort, Jon Bernthal, Jon Hamm, Lily James, Elza Gonzalez, Micah Howard, Morgan Brown, Kevin Spacey, Jamie Foxx, Morse Diggs, Flea, CJ Jones, Paul Williams, Big Boi, Killer Mike, Lance Palmer, Sky Ferreira, Lanny Joon, Hudson Meek, Brogan Hall, Richard Marcos Taylor, Viviana Chavez, Hal Whiteside, Brigitte Kali. Directed by Edgar Wright

 

This has been a really good year for quirky action movies and this one is one of the best of the year. British director Wright (Shaun of the Dead, Hot Fuzz) channels Tarantino through a Guardians of the Galaxy soundtrack filter and turns in an absolute gem.

Baby (Elgort) is a getaway driver par excellence. Due to a childhood accident, he suffers from tinnitus – a ringing of the ear that can sometimes be distracting. To combat this, he wears an iPod and ear buds to drown out the white noise with classic rock and roll from such diverse groups as The Damned, Golden Earring, the Jon Spencer Blues Explosion and T-Rex.

He works for a criminal named Doc (Spacey) who robs banks, although he doesn’t actually do the robbing himself; he puts together the master pan and assembles the crews. The only common denominator is Baby who he considers his “good luck charm” and who besides owes Doc a debt which he pays for with each job. Baby has one more job to go before the debt is paid but Doc doesn’t really want to let him go.

The trouble is from Doc’s standpoint is that Baby has found himself a girlfriend, Debora (James) who waitresses at the diner he frequents. The two are eager to get the heck out of Dodge (or at least Atlanta) and drive west and never stop but Doc has Baby sucked in. Still, Baby has his own plans and he might just be able to outthink the brilliant Doc if he gets a few breaks going his way.

The action sequences which were done practically and without CGI are flat-out amazing. Some of the best car chase sequences since Bullitt populate this film. The backstory and mythology of the piece is riveting and Wright populates this world with a cast of characters that would do the aforementioned Tarantino proud. The dialogue as you would expect from an Edgar Wright film is smart and occasionally brilliant.

Elgort who has not impressed me particularly to this point does so here. He’s done a lot of teen heartthrob films and he is completely wasted in them; this is the kind of movie he was born to do and he makes the most of it. The rest of the cast is uniformly at the top of their games, with Hamm and Foxx particularly noteworthy.

Since allegations of sexual misconduct came out against Spacey a few weeks ago, there are likely many who will want to boycott the film because of his presence in it and yes, he plays a very critical role and takes up a good deal of screen time. I won’t begin to excuse his performance or advise for or against boycotting this film because of it but I will say that while he shows off the best of his abilities here, I can understand why people will want to give this film a miss because of his presence. Again, I won’t judge anyone’s moral compass other than to say that the rest of the cast and crew who made this one of the year’s best movies may deserve your support in this case but again, it is understandable if you choose to withhold it. Nevertheless this is one of the year’s best films.

REASONS TO GO: The action sequences are second to none. Elgort gives the best performance of his career to date and has real chemistry with James. The backstory is not only credible but entertaining. The soundtrack is spot on.
REASONS TO STAY: It’s quite possible that the film is too hip for its own good. The presence of the disgraced Spacey may make it a moral choice whether to support this film or not.
FAMILY VALUES: There is plenty of violence and profanity throughout the film.
TRIVIAL PURSUIT: CJ Jones, who plays Joseph (a deaf character) is himself deaf.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Vudu, YouTube
CRITICAL MASS: As of 11/17/17: Rotten Tomatoes: 93% positive reviews. Metacritic: 86/100.
COMPARISON SHOPPING: Logan Lucky
FINAL RATING: 8.5/10
NEXT:
Mr. Roosevelt