jadepietro

IN BRIEF: A great musical documentary that enlightens and entertains.

JIM'S REVIEW: (RECOMMENDED) Long lost footage of this musical concert event becomes a chronicle of the times in Questlove's highly entertaining directorial debut, Summer of Soul (...Or, When the Revolution Could Not Be Televised. Simply stated, it is one of the best music documentary I have ever seen. The subject is the rarely discussed 1969 Harlem Cultural Festival. Haven't heard of it? Neither did I. Just another Black experience erased from memory or rewritten in time? But just look at the roster of performers and ask yourself why: Stevie Wonder, Mahalia Jackson, Nina Simone, The 5th Dimension, Sly and the Family Stone, B. B. King, and Gladys Knight and the Pips, to name a few. Plus, Jackie "Moms" Mabley, The Staple Singers, The Chamber Brothers, Hugh Masekela, and others.

Surprisingly, for 50 years, the actual reels of film of this outdoor concert remained in a basement...unheard and unseen these many years until director and editor Akmir "Questlove" Thompson began to piece the pieces together 40 hours of concert footage. This documentary focuses on the "revolution" that was just beginning and this film captures the fashions, cultures, politics, and social consciousness that was part of the era.

But this is not just a recording of a concert. Deeper issues are set in motion by the director. He culled through archival footage of this staged event and mostly celebrates the music while revealing the prevailing prejudice of those turbulent times when being young, gifted, and Black still met with racism and violence. His film mixes the power of music as a uniting force against the backdrop of protest movements and the ongoing brutality of unjust laws. The film becomes an historic record of the turmoil of the Civil Rights movement as it deftly blends interviews of festival attendees and performers with news footage of life-changing events like the assassinations of Martin Luther King, Malcolm X, and the Kennedys, or the violent looting and rioting that burned down the cities in protest. Many of the performing acts were established or emerging artists and their uptempo musical contributions are more than nostalgic afterthoughts. They become the soundtrack of a new era when a change was gonna come...and it did.

Essentially, this was the "Black Woodstock" and it captures the pangs of youthful rebellion, artistic creativity, and social unrest. The concert was organized and hosted by Tony Lawrence and, fortunately, his dated introductions and preachy rhetoric by religious and political leaders are shown at a minimum. The director lets the music be the main message and his film celebrates the soul of a generation. He emphasizes the festival's musical diversity, a blending of gospel, blues, jazz, and pop intermixed with Cuban and Puerto Rican music. Questlove does not shy away from political hot topics either, addressing poverty, segregation, and drug addiction that permeated Harlem's black and brown communities. Particularly enlightening is a segment about the historic 1969 moon landing and the reaction of the festival-goers, set to The Staple Singers' It's Been a Change.

But there are so many musical highlights to enjoy: Sly and the Family Stone's Everyday People, Gladys Knight & the Pips' I Heard It Through the Grapevine, and The Fifth Dimension, in their orange fringed vests, performing the infectious Aquarius/ Let The Sun Shine medley. (They also discuss the song's history and their need to perform at this festival as a means to legitimize their music to a Black audience.) Perhaps, the pinnacle of artistry in the film is provided in a duet by Mavis Staple and Mahalia Jackson doing MLK favorite hymn, Precious Lord. Or possibly, a dynamic set by The First Lady of Soul, Nina Simone. Her powerful Backlash Blues and an introduction of a new song that would later become a Black anthem, To Be Young, Gifted, and Black, mesmerized the crowd...and this reviewer.

Further insights from the performers themselves commenting on their acts and the reactions from the crowds are an added plus. One small flaw are the many voiceovers which regularly interrupt some of the musical moments and serve as references to the song's history, but the spoken words fade into the vocal interludes most effectively. Some minor acts are also given short shrift to make way for the major headliners, but whittling down the festival's lengthy set-lists was a huge undertaking and the director's chooses most wisely.

Questlove lets the music play. His beautifully edited documentary follows the musical diversities along with the cultural changes. Afros were a statement of Black heritage and youthful freedom. Activist groups like the Black Panthers were now part of the culture divide, "Negro" became a derogatory term, replaced by Black as a symbol of pride in 1969. The film shows this and more. Summer of Soul (...Or, When the Revolution Could Not Be Televised) is plain terrific! (GRADE: A-)

IN BRIEF: A movie too slick and too dumb to be believed.

JIM'S REVIEW: (NOT RECOMMENDED) Please take this mini-quiz before seeing Liam Neeson in his latest action thriller to decide if you wish to see it:

1. Liam Neeson once again: A. Plays a man fighting bad guys, this time generically named Mike McCann.

B. continues to waste his acting talents on silly dreck.

C. sounds gruff, nasty, and always means business.

D. All of the above

2. The plot for The Ice Road is: A. About a treacherous rescue mission by ice road truckers to save trapped miners.

B. Neeson fighting villains and some trucks moving across cracking ice.

C. truly implausible and totally inane.

D. All of the above.

3. Liam Neeson's character actually says: A. "Those b****rds, they caused the cave-in and now they're trying to cover it up?" B. "It's not about the money now. This is personal!" C. "Kiss my Irish a**!" D. All of the above

4. Director Jonathan Hensleigh has made:: A. A heavy-handed mess of a movie.

B. an epic parable of good vs. Evil, corporate greed, and heroism.

C. a laughable rescue movie in need of its own rescue.

D. All of the above, except B.

(GRADE: C-)

IN BRIEF: A horror of a film.

JIM'S REVIEW: (NOT RECOMMENDED) False Positive is a loopy and uninspired horror film about infertility and "mommy brains", a phrase I never heard of, but everyone else in this movie has, since they banter the term regularly throughout the movie. The film is a very bad re-working of Rosemary's Baby without the supernatural ties or the class.

Lucy and Adrian Martin (Ilana Glaser and Justin Theroux) have been desperately trying to have a child to no avail. After Adrian urges his wife to use the services of his mentor and eminent fertility doctor, Dr. John Hindle (Pierce Brosnan), they score a triple run on their first time at bat. But as Lucy contends with her pregnancy complications, be they real or imagined, strange events continually occur, none of which are ever fully explained. Are things being created in her "mommy brain", or are others conspiring around her? She'll find out in nine months. As for moviegoers, you never do with this muddled far-fetched screenplay.

There is no logic or suspense in this foreboding tale, just lots of dopey nightmarish sequences, cheesy CGI that are downright silly, and a blood-spattered Grand Guignol climax that implodes every scene before it. Mr. Lee's direction is consistently sub-par and he unsuccessfully relies on visual excesses and bloody gore effects to build tension. (Cinematographer Pawel Pogorzelski must have taken Mr. Lee's discussions with him about making a dark thriller far too literally, as many "atmospheric" scary scenes are dimly photographed which hides any possible action.)

The screenplay by director/writer John Lee and its leading lady, Ms. Glaser, purport their film to be a disturbing psychological thriller, but everyone acts either so sinister or strangely proper that nothing makes any sense. Scares are at a minimum, unintentional laughs are more a-plenty.

The actors (and the audience) deserve better, although Mr. Brosnan comes off unscathed as the good doctor, and Gretchen Mol as his loyal Stepford nurse provides some nicely underplayed menace. As the new parents, Mr. Theroux has no real character to play and doesn't, and as for Ms. Glaser, let's just say she's no Mia. Good grief, she's more Mamma Mia in her stilted acting choices.

No, there is nothing really positive that I can say about the disappointing and absurd False Positive. Except to add: Prognosis negative...mommy brains and all!

IN BRIEF: A loving documentary about the EGOT winner.

JIM'S REVIEW: (RECOMMENDED) Rita Moreno has been in the biz for many decades and has broken many racial barriers and and achieved many well-earned accolades and this documentary, Rita Moreno: Just a Girl Who Decided to Go for It. This film is a candid look at her legendary life and status. Solidly directed by Mariem Pérez Rier, the film is a glowing tribute to this actress, perhaps too glowing. Filled with gossipy tidbits from mostly interviews by Ms. Moreno there are comments from some of her friends and co-stars such as Justina Machado, George Chakiris, Lin-Manual Miranda, Terrance McNally, and Hector Elizondo, plus devoted fans like Mitzi Gaynor, Eva Longoria, Gloria Estefan, Karen Olivo, Whoopi Goldberg, and Norman Lear. An all-star cast for an all-star.

Ms. Moreno's early family life is rarely on view as the film focuses primarily on her show biz accomplishments and the obstacles she faced throughout her long movie career. She continually discusses her need for fame and yearning for the spotlight, while bemoaning her B movie roles prior to her Oscar-winning role as Anita in West Side Story and her uphill climb after that win. Her personal life is a bit of a shamble until she finds some stability in a marriage and begins her own family later in her life. Political activism and her passion for liberal causes like the civil right movement in the 60's are also covered and exulted. But darker times come to her journey of self-worth and acceptance. Ms. Moreno also confesses to her sexual harassment encounters and date rape by her agent, her volatile 7 year romantic relationship with Marlon Brando, and her need for therapy thereafter. All insightful and sincere cinematic moments, but one wished there were more interest shown with longer clips of her musical performances to reinforce her true star power.

One troubling aside to this reviewer: the side-stepping of stereotyping in many of her earlier roles. Except for a small part in Singin' in the Rain, the actress bolstered and perpetuated the Latin spitfire bombshell or native girl on screen. Granted, those were the parts she was given, but with today's public outcry of racial profiling and her participation in playing other ethnicities during Hollywood's Golden Age, those choices are purposely downplayed in this film. At one point, she disparages her role as Tuptim in The King and I as a silly hapless victim, but she never takes accountability for her one-dimensional stereotypes early in her career that pathed the way for better and more significant roles. Ms. Moreno somehow avoids The Hattie McDonald backlash, an issue that rarely tarnished her reputation and never is honestly addressed here. (The actress does come full circle with her Tony-winning performance in The Ritz, playing an over-the-top third-rate caricature named Googie Gomez, which could have been a perfect segue to that accountability factor that the film avoids.)

Rita Moreno: Just a Girl Who Decided to Go for It remains a fascinating documentary. She seemed to outlive the stigma and shame of racial profiling and made her mark as a cultural icon and survivor in her later years. She has skillfully crafted a memorable career and her accomplishments are quite a remarkable legacy for a poor girl from Puerto Rico. The filmmakers do paint a loving, if biased, portrait of this talented woman amid some gaps in storytelling, but we never really get the entire picture of her struggles and defeats, only more and more emphasis on her many many successes. (GRADE: B)

IN BRIEF: Disturbing yet confusing vision of mental illness that is one part psychological study and one part horror film.

JIM'S REVIEW: (RECOMMENDED) Beware of those religious fanatics, those extremists who share the words of God as a weapon to conquer all non-believers. The title character in Rose Glass' gripping and unsettling directorial debut, Saint Maud, is a recent convert to Catholicism, a hospice nurse tending to a new patient and more worried about her soul than her physical well-being.

After a harrowing hospital experience with a dying patient, Kate (Morfydd Clark) seeks spiritual refuse and renames herself Maud. Wanting to start anew, Maud becomes a private care nurse and is assigned to Amanda (Jennifer Ehle) a terminally ill cancer patient living in an English seaside town who happens to be an atheist. A sermon approaches, especially after Maud sees Carol, a constant visitor of Amanda, whom provides sex for a price. One day, Amanda goes too far showing her atheist tendencies and unwisely mocks her religious fervor at a party, calling Maud "my savior". But Maud will have none of that skepticism. God will guide her and both will forgive and save Amanda too. The fight for salvation is on!

Part psychological thriller and part horror film, we see the story solely from Maud's demented point of view. Lights flicker as she has seizures while speaking to God. A crucifix falling becomes a tell-tale omen to her. She views Amanda's lesbianism which she spied upon as a "sinful" acts in her mind. Tensions mount. However, there is no sense of reality on display and accuracy is at a minimum as nurse takes over the role of protector. Through most of the film, the surreal and off-kilter images, while powerful, still place the moviegoer at a confusing crossroads of what is real and what isn't.

As they bond together, the film has an ominous feeling of dread. Writer/ Director Ms. Glass builds the suspense most effectively. She relies heavily on voiceover narration to explain Maud's thoughts and behavior as a means of clarification, but that is not always successful in her storytelling.

Both actresses are excellent. They create very well defined characters. Ms. Clark downplays the showy title role and blends the role of victim and predator very adroitly. Her character's madness is convincingly realized. Ms. Ehle shows the bitterness of a dying and vein woman with the utmost subtlety.

For the most part, this psychological thriller becomes a finely-drawn character study and a disturbing portrait about mental illness. But in the film's third act, it becomes obvious that Maud has slipped further into madness for everyone, including the audience, to witness. This is when the movie goes full bonkers into the horror genre and overindulges in its gore and scare tactics. The overwrought atonal music does not help matters as it pulsates, booms, and bellows too eerily, becoming a clichéd distraction that one continually hears in many standard horror films. It all leads to a shocking conclusion, one that may not satisfy many moviegoers.

Conceptually similar to the fire and brimstone antics of Hereditary, The Witch, Midsommer, or First Reformed, Saint Maud (the movie) is bi-polar too. While I enjoyed the well-handled psychological thriller aspects of the film, the demonic horror trappings were run-of-the mill cheap thrills, unbecoming of the talented Ms. Glass. Religion may be a double edged sword and Saint Maud cuts very deeply. Too bad it overplays its hand and eventually falls victim to its own excesses. (GRADE: B-)

IN BRIEF: The book may be a letdown, but the visual look of the film is stunning.

JIM'S REVIEW: (RECOMMENDED) Enrico Casarosa makes an impressive directorial debut in his animated film, Luca, which celebrates an Italy of long ago. With its nostalgic yearning of a simple small town life and its cultural traditions, the film, circa the mid-50's, tells its sweet story of two misfits who happen to be sea monsters masquerading as humans, that is, as long as the conditions are dry. It seems that water thwarts their disguises and seems to convert them back to their fluorescently-colored scaly selves. No, they won't melt like the Wicked Witch of the West, but H2O is still a dreaded enemy, although they dry awfully quick.

The screenplay by Jesse Andrews, Simon Stephenson, and the director follow their misadventures in our real world of land monsters. One summer, Luca Paguro (Jacob Tremblay) befriends another sea monster teenager named Alberto (Jack Dylan Grazer) and they spend their days exploring the sun-drenched coastal town of Portorosso, dreaming about owning a Vespa and traveling the Italian Rivera. As luck would have it, they meet an outsider named Giulia (Emma Berman) who is entering a local race, a triathlon with enough prize money to buy this retro scooter. The film's main flaw is a story so slight, with some detours into Luca's dream world that do little to advance the plot, except pad the screen time.

Fortunately, the Pixar artistry is there. With wonderful details to the Mediterranean setting and underwater world, the film is quite lovely to behold. Seas glimmer, tides ripple, and fish scales move with the ebb and flow. The color palette is alive with vibrant aquas and greens and the town contrasts with its russets and orange tones. Character design is also strong and expressive. While Luca is a tad bland as our cute hero, the mostly colorful character happens to be the town bully and Luca's chief competitor in the race, Ercole Visconti (a scene-stealing Saverio Raimondo). Other characters' designs are memorable as well.

Voiceover work remains good but uneven. The thick Italian accents come and go depending on the characters, which seemed too inconsistent for this reviewer. The aforementioned Mr. Raimondo and Ms. Berman are terrific, as is Mr. Grazer and Mr. Tremblay, but other vocal duties are only adequate and fail to bring their characters to life. As Luca's worrisome parents, the usually reliable comedians, Maya Rudolph and Jim Gaffigan, could have delivered more color to their brightly-hued counterparts. Sacha Baron Cohen has a small but indistinguishable part as a creepy Uncle Ugo that lacks real humor.

Luca is a good sentimental family fare for young and old. Its positive view of diversity and inclusion might be rote, but its message is still timely. This fish out of water tale truly entertains and will captivate the younger set. But as ground-breaking and innovative as most Pixar movies usually are, Luca doesn't make waves. In fact, the filmmakers play it too safe in their storytelling. But it is a simply told tale with enough visual beauty to satisfy most moviegoers, including me. (GRADE: B)

IN BRIEF: Despite an uneven book with a sentimental streak, a vibrant cast imbues life in this buoyant musical treat.

JIM'S REVIEW: (HIGHLY RECOMMENDED) Dreams. They are the main incentive that spur on the residents of Washington Heights, a microcosm of immigrants who dream of a better life in NYC. And Jon M. Chu's vivid film adaptation of Lin Manuel Miranda's Broadway musical, In the Heights, is a winner.

The story revolves around the community and its people. Usnavi de la Vega (a very winning Anthony Ramos) who owns the neighborhood's popular bodega, dreams about returning to his native land in the Dominican Republic to escape the gentrification of his city, although he pines for Vanessa (Melissa Barrera) who dreams of being a fashion designer. Usnavi's best friend, Benny (Corey Hawkins) loves Nina (Leslie Grace), who is disillusioned with the white privilege at Stanford University and has returned home. Meanwhile, Sonny (Gregory Diaz IV) hides his undocumented status with dreams of entering college. Taking on the adult supervision is Nina's father, Kevin (Jimmy Smits) and the matriarch of the block, Abuela Claudia (a scene-stealing Olga Merediz). Soon they all hear about a winning lottery ticket for $96,000 won by someone in their neighborhood and wonder just who is that lucky person.

The film celebrates the multi-culture aspects of its community and the pride of its inhabitants with its infectious musical score and many top-notch musical numbers that convey their joy and the sorrow. Mr. Miranda's Latin-influenced Tony-winning score is a mix of hip hop, ballads, and big dazzling production numbers that provide the real excitement.

Mr. Chu shot his film on location, providing the gritty urban appeal and he expertly crafts a memorable time. His direction is sharp and heartfelt. He also hones into the musical numbers as homages to past Technicolor musicals, honoring the likes of Busby Berkeley and a gravity-free Fred Astaire in Royal Wedding. (The film's many highlights include the title opening number which effectively introduces all of the characters in song, a delightful lighter-than-air romance ballad, and an Esther Williams tribute later in the film that is a glorious high with its skillful choreography and editing. Kudos to Myron Kerstein and Christopher Scott, respectively.) The director makes the difficulty of presenting a big Hollywood musical seem effortless. The camerawork by helps immensely as its swoops down and around to immerse the moviegoing audience in the neighborhood and its sense of wonder.

However, just as in the Broadway show, the book lacks focus. There are substantial changes in the screenplay by its original writer, Quiara Alegría Hudes, from his Broadway version which sanitize some issues, particularly the omission of the violent looting of Usnavi's store that served as a catalyst in the stage production. It is as if the filmmakers only wanted to stress the positive karma in its citizenry. However, the current political ramification of illegal immigration and DACA become a moving addition to the film and are handled directly as one of the major plot-line.

The cast is splendid. Mr. Ramos is an effervescent joy as Usnavi. Strong support is given by every cast member to make their roles so memorable, with especially fine work delivered by Ms. Grace and Ms. Barrera. But it is the elder Ms. Merediz who is the heart of the film. Her solo number, Paciencia Y Fe, is beautifully rendered. Other famous stars have smaller but pivotal roles such as Daphne Rubin-Vega, Christopher Jackson, Marc Anthony, and Mr. Miranda and they only add to the enjoyment.

In the Heights hits the heights. While the storytelling is conventional and earthbound, the music and dance soars. The film is an exuberant and highly entertaining musical that deserves to be seen on the big screen. Simply stated (or sung). It's a dream of a musical! Go see it! (GRADE: B+)

IN BRIEF: A supernatural tale of demon-possessing that loses its grip as both a horror film and crime thriller.

JIM'S REVIEW: (MILDLY RECOMMENDED)

The Conjuring: The Devil Made Me Do It is an absurd title for an absurd movie. It's a standard horror film trope about demons, ghosts, witches, and exorcisms, with enough cheap scares, grisly special effects, and eerie-sounding music to satisfy any horror film fan.

Patrick Wilson and Vera Farmiga reprise their roles in the third chapter from The Conjuring series as Ed and Lorraine Warren, two paranormal investigators who take on a case of murder and supernatural mayhem. Purportedly based on "true" events on July 18, 1981 to be exact, the couple witness the exorcism of eight-year-old David Glatzel. To say that this incident went south is an understatement. Just as Arne Johnson who was there and later accused of murder. Was he drunk? Or was it evil demons? Blame the Coors.

The opening scene is a knock-out of tension and very effective CGI moments, but everything else from that point rarely reaches that level of assurance and skill. From there, the screenplay follows a predictable route as horror films go, but an unpredictable route as a crime thriller when the Warrens ask Arne to plea not guilty due to demonic possession. An interesting case of mitigating circumstances? Blame the judicial system.

Director Michael Chaves uses silence and strong images most expertly to build his suspense. Cereal boxes mysteriously move off shelves. Faucets turn on by themselves. Waterbeds explode. Just a typical day in the neighborhood. But don't go into the cellar! (And call the exterminator already!) As the murder investigation slowly unfolds, so does the unconvincing story by David Leslie Johnson-McGoldrick. One store-bought cliché follows the next. Past and present events collide which leads our sleuthing duo to yet another haunting demon-possession story, which never truly gels. The fragmented movie suddenly becomes a police crime thriller, forsaking its haunted house origins. Bad decision. Blame the writer with a very long name.

Despite the good acting by Mr. Wilson and Ms. Farmiga and the fine atmospheric cinematography of Michael Burgess, The Conjuring: The Devil Made Me Do It wants to be taken seriously.. But believe me, there is enough blame to go around in this convoluted otherworldly tale. Blame yourself if you see this muddle. (GRADE: C)

IN BRIEF: Fine production values cannot hide the film's odd and creepy interpretation of the original folktale.

JIM'S REVIEW: (MILDLY RECOMMENDED) Let me begin at the outset to hereby state that I love, love, love Disney's 1940 classic animated film, Pinocchio. That said, this somber Italian fantasy film seems a radical re-telling that clings more closely to Carlo Collodi's 1883 novel but without the enchantment.

Gone is the detailed hand-drawn images. Gone is the infectious music score. Gone is the sentiment story of growing up and wishing upon a star. Gone is the well-earned sense of wonder. The overall story is still recognizable to those who grew up with and know the Disney film. Leave your pre-conceived notions of this folktale behind. This version is definitely different. This Pinocchio is still the story of a puppet who becomes a boy, but the transformation from page to screen this go-round is more akin to a Frankenstein monster let loose in a wicked wicked world. Some moviegoers might ask themselves, "Which becomes the lesser if two evils, the wooden-headed puppet or mankind?" (And Pinocchio wins by a nose!)

Yes, Geppetto (a surprisingly subdued Roberto Benigni) still yearns for a son, be he wooden or not. However, when Pinocchio (Federico Ielapi) appears, he is a full-fledged brat, a juvenile delinquent on a reign of terror. In the original cautionary tale, The Adventures of Pinocchio, our puppet is naive and selfish. As this film adaptation unfolds, Pinocchio begins his coming-of-age tale with a mean streak. He does encounter many obstacles on his series of misadventures, be they, greedy con men or cruel teachers. Yet, some of these incidents are presented more appealingly than others. The screenplay by writer / director Matteo Garrone and Massimo Ceccherini takes the original Collodi source too seriously and in doing so, this film adaptation completely loses its magic.

One can see that there was much care and passion in the making of this lavish movie. Mr. Garrone directs this surreal story with style, although some of our anti-hero's detours go on far too long and the pacing seems lethargic and as bloated as its sea monster. Most of the movie's production values remain strong. The art direction and set design are lovely. Dario Marianelli's melancholy score has many haunting moments while it reinforces the film's more serious tone. The fine camerawork by Nicolai Brüel has a lyrical and naturalistic quality and the CGI is uniformly well done. Pinocchio's wooden complexion is extremely effective throughout the film, but the make-up design with others is inconsistent. A few characters, like the Cricket (far from the Jiminy of yore), the Cat, and the Fox are downright creepy and not fully realized which hinders the film's attempts at magic realism.

The cast is uneven. Mr. Benigni is fine, but young Mr. Ielapi is not very convincing in the title role and eludes the charm factor. In his defense, the character, as written, has no redeeming virtues and remains unlikeable to the end. Rocco Papaleo and Massimo Ceccherrini as the villainess Cat and Fox duo are far too hammy in their roles, although Marine Vacth emits the right degree of innocence as the Fairy with Turquoise Hair (a.k.a. The Blue Fairy) that works quite well.

Pinocchio (2020) is a very mixed blessing. More odd than endearing, the film is always diverting, even if it gets lost in its own Wonderland...without that needed scintilla of wonder. It's a curiouser and curiouser affair, indeed. (GRADE: C+)

IN BRIEF: Tension-filled sci-fi sequel.

JIM'S REVIEW: (RECOMMENDED) Perhaps, the one movie that I most eagerly awaited this past year is John Krasinski's sequel, A Quiet Place Place II. Seeing this sci-fi thriller on the big screen in movie theaters has finally become a reality. (Its forerunner was my top film back in 2018.) That original film was an exemplary example of efficient storytelling, fine acting, and skillful direction that caused liftoff from many seats in the theatre during its many tense set pieces. After numerous delays due to the COVID pandemic and studio's hesitancy to release it, that film's latest chapter arrives to officially kick off the summer movie season. (Dear Moviegoers, I urge you to see the original movie prior to viewing this latest installment. It's a masterwork in suspense.) In this nifty sequel, we again meet up with the Abbott family after their many scary encounters with savage aliens who can attack their prey by detecting the softest of sounds. Now with a newborn baby in tow, they journey across a silent country to seek shelter. (I might want to add a rather obvious caveat here that this just may be the best behaved infant in cinema history, but let's just move on, shall we?)

Writer/ Director Krasinski solidly establishes his suspenseful story-line and doesn't dwell on gore and grisly violence that is so commonplace with many filmmakers nowadays. There are many cleverly constructed set pieces to savor (Some highlights: a knock-out opening sequence, the first of many escapes in a steel foundry). As with his prior film, the director is more interested in the chase than the possibly bloody results. In this second chapter, he wisely inserts the events happening from Day One which helps the continuity of his tale and brings his fatherly character full circle. We view the life-altering adaptations people create in order to survive in their new world, and it becomes a sad reminder to us all as we experience the film now through a COVID mindset, making the sequel even more relatable.

While the originality of the predecessor is missing and some situations begin to strain the script's credibility in this second go-round, the film works most effectively as it builds tension with its deft usage of contrasting sound and silence, a lesson well learned by Mr. Krasinski. (The same sound design team, Erik Aadahl and Ethan Van der Ryn, are back in control and sure to earn their second Oscar nomination. Perhaps they will win this time.) With minimal dialog to convey the storytelling. Mr. Krasinski's screenplay is more than serviceable as it sets up the riveting plot while hinting at the perilous situations for these well defined characters.

The visuals remain haunting as lensed by Polly Morgan and the cast reprises their roles with much gusto. Once again, Emily Blunt radiates strength and determination as Mother Evelyn but it is Noah Jupe and deaf actress Millicent Simmond who become the main focus in this sequel and the young actors are thoroughly convincing as the traumatized children, Marcus and Lee. In fact, it is the complex family drama which elevates the standard horror genre expectations once again. Contributing strong support are Cillian Murphy and Djimon Housou as two survivors who befriend the family, plus a stoic Mr. Krasinski as Papa Lee adds that needed touch of melancholy. Top-notch production design by Jess Gonchor, an ominous sounding music score by returning composer Marco Beltrami, and Michael P. Shawver's concise editing provide the film's many well-earned scares.

Not as great as the original tour de force, A Quiet Place Part II is still a very worthy successor. Let us hope these two installments will lead to a rousing trilogy in the future, but only if helmed once again by the talented Mr. Krasinski and company. (GRADE: B)

IN BRIEF: Well acted but talky drama about the Oslo Peace Accord of 1993 that debates the issues without making its case.

JIM'S REVIEW: (RECOMMENDED) Oslo was a slow go for this reviewer. The more prior knowledge one has about the Israel / Palestinian conflict, the more compelling the film will be. This reviewer must admit to be one of the uninformed. The movie tells the back story about the secret negotiations between Israeli Prime Minister Yitzhak Rabin and Palestine Liberation Organization Chairman Yasser Arafat in 1993. Other political representatives are their proxies and main characters, all leading to Oslo Peace Accords, as two Norwegian diplomats who are also husband and wife, Terje Rød-Larsen (Andrew Scott) and Mona Juul (Ruth Wilson), broker peace talks in Oslo.

Adapting his Tony-winning play for the screen, J. T. Rogers cuts down his three hour play's length by an hour, although the film's pacing still seems much longer. Just how many scenes of constant bickering and debate between pompous men can be exciting, despite his fine prose? That is the central theme of the film. (And who would want to be caught in a room with these politician for an hour or two?) Bartlett Sher makes his directorial film debut and tries to cut back on the stagey proceedings by opening up the play with flashbacks. Archival footage of the war, and scenes of conversational walks outdoors, but he is only partially successful in his approach.

I found the film a tad disappointing. While it does provide some historical and political insights, the overall result was turgid and unemotionally involving for me, despite its uniformly strong cast. Succinctly stated, unlike the movie itself, this dramatization lacks drama. Perhaps, the subject matter remains too frustrating and unsettling for this reviewer. The war in Gaza continues as the casualties mount to this day. Conflicts outweigh commonalities and borders stay ever-present. Since this initial meeting in Oslo nearly three decades ago, treaties have come and gone, with no real hope in sight.

Some may like the fact that both Mr. Sher and Mr. Rogers never cast any blame on either party. But for me, the filmmakers compromise their own personal views and never take any side on the debate when more compassion and outrage is needed to be heard to make a broader impact on the topic. They remain neutral parties, without any solutions. And ultimately, so do I about this well-intentioned film. (GRADE: B-)

IN BRIEF: Wonderful over-the-top costumes and deft comic performances make this movie lots of fun.

JIM'S REVIEW: (RECOMMENDED) Every legendary villain (or villainess) needs an origin story to justify their fame and notoriety. It's a Hollywood tradition. One need only see their cinematic backstories in many films that honor the likes of Hannibal Lecter, Darth Vader, Norman Bates, Nurse Ratched, or the Joker to rectify the issue. Disney is always keen on resurrecting their baddies with updated versions of Maleficent and the Queen of Hearts to keep up the tradition alive. Hence it comes to reason that Cruella de Vil must get her fitting entitlement...and she does in this very entertaining family fare.

So let me begin by saying I loved, loved, loved the outlandish costumes in Cruella, the real star of the movie, and that is, in no way, a put-down of the movie! Send the Oscar directly to Jenny Beavan...STAT! Her artistry is dazzling. Each outfit has its own special theatricality and seems to evoke many designers from that era...as if they had gone stark raving mad. (I particularly loved the garbage ensemble with its lavishly long train and her large-scale head-to-limo evening gown.) Ms. Beaven's ability to exaggerate her kitschy outfits and make them haute couture chic, plus her mix of fabric patterns, immediately establishes the characters' traits and puts the whole film wonderfully off the rail, as it should. (Brava to the hair and make-up design by Nadia Stacey too.)

That said, this film itself is a joyous romp, a raucous comedy made more for adults than kids. The movie follows a young precocious and fashion-minded Estella as she grows in adulthood to embody that infamous evil mastermind, complete with her own set of Dalmatians. However, the story takes a tad too long to get to that destination. Script-wise, the plot gets too convoluted and makes the misstep of earnestly trying to soften the vileness of the title character by providing some vulnerability and a rationale for her bi-polar behavior instead of embracing Cruella's pure evil.

Now Cruella de Vil has always been the epitome of avarice. She is the perfect frenzied quintessence whom one grew up loving to hate. Yet the screenplay by Dana Fox and Tony McNamara wants us to cast that image aside and sympathize with her plight rather than revel in her meanness. She has been morphed into a talented and ambitious lower class fashionista who has been bullied and victimized all her life by an unjust society and is only seeking to avenge her misbegotten existence. Her hard edges have been buffed clean. (There is also a third act reveal that seemed more like a contrived plot device than a well-earned twist.) A few more rewrites and some concise editing would have been warranted to streamline the storytelling, even though the writers do create vivid characters and their dialog has many good one-liners and sight gags.

Yes, there is a great deal to admire beside the grandoise top-notch production design and comic moments on display, especially whenever the two divas take centerstage. As, Cruella, Emma Stone is marvelous. Using her saucer-shaped eyes to her best advantage, she expresses the character's frustration and creative jags which mimic her avatar to maximum effect. However, the real villain in this reboot is Emma Thompson as Cruella's true nemesis, Baroness von Hellman. She out-Cruellas Cruella in her disdain and insensitivity to others. The actress steals the spotlight with her narcissistic snobbery and snide asides, delivering the film's ultimate comic performance. She, and surprisingly not Cruella, is the Queen of Mean and more than worthy foe. (Hopefully Dame Thompson will add another Oscar nomination to her resume.)

But there are many acting joys to experience beside the two unrestrained leads: As Jasper and Horace, Cruella's bumbling henchmen, Joey Fry and a superb Paul Walter Hauser are absolutely wonderful foils. John McCrea is Artie, an openly gay dress designer who brings the necessary pastiche to his/her role. (Uncle Walt might be tossing to and fro in his grave with the movie's pro-gay stance and unflinching outrageousness. Too bad.) Director Craig Gillespie gives his film the perfect 60's mod vs. Punk vibe and builds his characters' interrelationships with much style and glee. Everyone is a walking live-action cartoon who come to life as delightful incarnations of the Disney 1961 animated source.

Cruella is a wicked delight. (GRADE: B)

IN BRIEF: Very entertaining film about the famous singing brothers.

JIM'S REVIEW: (RECOMMENDED) Using interviews, archival, and concert footage, Frank Marshall has assembled a moving tribute to one of the most famous musical trios ever. I am talking about The Brothers Gibb: Barry, Maurice, and Robin, collectively known as The BeeGees. His documentary chronicles the rise of these three brothers from Australia and their 20 number one hits in-between good times and bum times.

The group's classic three-part harmonies and their influence with R&B gave their music a distinctive sound, well before their later falsetto musical stylings led the group into the disco craze which cemented their legend. Robert Stigwood managed them throughout their thirty year career and the film wises uses their musical legacy to tell their story.

However, The BeeGees: How CanYou Mend a Broken Heart tends to focus too much on the positive and whitewashes any negativity in its adoration of the group. The documentary blames the high cost of fame for their mercurial relationship, but downplays the sibling rivalry between Robin and Barry, forcing Maurice to become the chief negotiator of the ongoing conflicts between his warring brothers. The Bee Gees' instant road to fame had some serious bumps along the way, including the death of their youngest brother, Andy, from drug abuse, which is mostly sidestepped. Mere mentions of the other brothers' drug or alcohol issues are only alluded to as well. Their disco era hits from Saturday Night Fever are highlighted and so is the disco backlash. (The origins and engineering prowess of Stayin' Alive is a particularly fascinating tidbit of information.) Also, one wishes more of their complete song-lists would be played instead of little bits and pieces, or spicks and specks, so to speak.

Still, what an entertaining documentary this is! The film has a bittersweet quality within its celebratory mood. The BeeGees: How CanYou Mend a Broken Heart becomes a joyous kaleidoscopic journey of the 60's to the 90's, especially if you are an avid fan of their music. (GRADE: B)

IN BRIEF: Gory mash-up that has the zombies outnumbering the humans.

JIM'S REVIEW: (MILDLY RECOMMENDED) Every generation has its bevy of great film directors: Bergman, Hitchcock, Kubrick, Truffaut, Altman, Scorsese, Spielberg, The Coen Brothers, to name a few. The 21st century has its share of young talent making movies as well...Cuarón, Anderson (Wes and Paul Thomas), DuVernay, Chazelle. However, one filmmaker is establishing his cred as the decade's most popular director, unseating the reigning Michael Bay, and that man is Zack Snyder (Watchmen, 300, Justice League, Man of Steel, Batman v Superman, Sucker Punch; Upcoming is his film version of Ayn Rand's The Fountainhead...yes, I am serious). His stylish comic book superhero flixs are legendary with his fanbase. Which brings us to his latest zombie thriller, Army of the Dead.

Now, you may not be into zombies, but Mr. Snyder certainly is. Over 2½ hours worth of bloody deaths and spattered brain matter. His serviceable story does have, pardon the expression, some meat to it. During a national quarantine, a Rat Pack group of misfits, led by Scott Ward (ex-wrestler Dave Bautista) decide to play the odds and go for broke in Las Vegas for a money-making heist despite a zombie uprising. Who doesn't want to mix their genres: an Ocean 11 crime scenario meets horror movie, at your service. Place your bets on who will be zombie food.

There are many well directed action set pieces and even more zombie munching on human parts. The heist becomes secondary to the gore. But there is also some macabre touches of humor that salvage this monster movie. (How could you not admire a movie with zombie Elvis impersonators, zombie showgirls in their feathery boa headdresses, and even a zombie fugitive tiger from the Ziegfried and Roy Revue...and that's mostly in the opening credits!) Mr. Snyder is strong on his gonzo imagery and he ratchets up the tension rather effectively. But restraint is not in his make-up. Let's face it, he never met an excess he didn't like. One cannot deny that he knows how to direct the action scenes with gusto, although he still relies too heavily on gimmicky slo-mo and in-your-face close-ups, not to mention, bodies being blown to bits. But I guess you can't expect subtlety in a zombie flix.

Be forewarned, this is not a film for the lighthearted. This is a grisly bloodfest of exploding heads and extreme violence. But any moviegoer knows what to expect from Mr. Snyder's warped imagination. Army of the Dead is exactly what it intends to be, albeit some clever tongue-in-cheek moments...literally speaking. Obviously, what happens in Vegas, should have stayed there, but it is entertaining in is gruesomeness...with or without those zombie showgirls. (GRADE: C+)

IN BRIEF: Two powerful performances in a moving love story.

JIM'S REVIEW: (HIGHLY RECOMMENDED) After being in exile for over a year due to the pandemic and poor distribution rights from the studio, one can finally stream one of the most underrated movies of 2020, Supernova. Beautifully acted and sensitively written, the film charts the final days with Sam (Colin Firth) and Tusker (Stanley Tucci), a gay couple who are traveling through England to meet family and friends.

Yet not is all well with the loving couple. Tusker has been diagnosed with dementia and is adjusting to his fading memory and lack of independence. Sam has been steadfast in his love and caring for him and cannot let go. Their 20 year relationship is rock solid, but Tusker's sense of self and his continuing loss of control is taking a toll on him and his marriage. The film, adroitly written and directed by Harry Macqueen, takes moviegoers on this touching road trip. Pack your tissues with you too, dear moviegoers. Your tear ducts will get a workout.

Supernova is an emotionally satisfying film, tragic and candid in its storytelling. The screenplay is insightful, yet one wishes there were more backstory about the couple's bonding and earlier life. The story slowly unfolds but the journey succinctly shows the love between two men with an honesty rarely seen about this subject.

Much of the film's power comes from the nuanced acting of the two straight leads who are simply brilliant. (Some critics took issue with non-gay actors in these roles, but their interpretation of a loving gay couple on screen was thoroughly convincing and extremely moving.) Both actors say as much with their scripted words as they do with their sideway glances, physical intimacy, and subtle stances. (Watch both performers during that testimonial dinner scene as Sam speaks Tusker's words and you will witness acting of the highest order by both of these talented film stars. How neither earned Oscar nominations for their work is shameful!)

Supernova is an excellent love story. It would have been in My Best Film List of 2020...if I would have had the privilege to see it back then. You can now. Do not miss this haunting film. (GRADE: B+)

IN BRIEF: Murder most foul.

JIM'S REVIEW: (NOT RECOMMENDED) The Woman in the Window could have and should have been better. Now, everyone who knows me knows that I love a good mystery... Line up the red herrings and start deducing the motives and mystery. But this movie is one plot contrivance after the next. All of the characters are slightly off, from the erratic tenant downstairs to the strange family next door. The story is all set-up leading to an unsatisfying conclusion filled with lots of LOL (Leaps of Logic), cheap thrills, and a sad feeling of déjà vu.

You may have seen this story before: An incapacitated person may have witnessed a murder nearby and is unable to convince others of the dastardly deed. The inability to leave the home creates a dangerous scenario for our hero in Alfred Hitchcock suspense classic, Rear Window...oh, wait, I have the wrong movie...or do I? This movie wants to appear as an homage to that great 1954 mystery, but it is a shameless rip-off, re-envisioned for today's audience...only this time we have a female protagonist dealing with mental issues who is emotionally confined to her house and sees a murder across the street. Amy Adams takes over the Jimmy Stewart part, minus the plaster cast, wheelchair, and Grace Kelly. (And where's Thelma Ritter when you need her?)

Ms. Adams plays Dr. Anna Fox, a child psychologist in need of one herself. She suffers from agoraphobia and alcoholism and she dare not venture outside. But fear not, persons will knock on her door for a pop-in visit to involve her in a shroud of mystery. It seems The Russells, a new family moving in across the street, don't know their limits and start their good neighbor policy rather quickly: Evan (Fred Hechinger) comes over to talk and share his story of possible abuse, temperamental father Alistair (Gary Oldman) bursts in sometimes, and his wife Jane (Julianne Moore) befriends Anna. Strange goings-on may not be what they seem to be. Or are they? ...Especially the murder of her newest friend. Was Jane's death real or imagined, a hallucination from Anna's daily wine and med regime or actually a grisly crime? The twists come rapidly to hold the moviegoer's interest, yet only one big reveal works midway through the film. Most of the time one wonders about her sanity or your own for watching this dumb predictable tale.

This disappointing movie is directed by the usually reliable Joe Wright with huge chunks of flash and gimmicks that tend to imbalance the narrative. All of his theatrical excesses may add some style to the proceedings but cannot hide the woeful script by the talented Tracy Letts (who also plays Anna's psychiatrist). His screenplay adaptation is based on a best-selling novel by A. J. Finn, with some major rewrites and plot changes I am told. Except for Ms. Adams who makes the most of this showy role, the acting is overwrought, particularly the emoting of Mr. Hechinger, Wyatt Russell as the mercurial lodger, and an underused Jennifer Jason Leigh in a smaller role.

The Woman in the Window remains baffling, even after the movie ends, Its transparency to build a suspenseful mystery is admirable. But the end result is opaque in its storytelling, cliché-ridden, and as clear as mud. Avoid. (GRADE: C-)

IN BRIEF: Standard but tense and well made action thriller.

JIM'S REVIEW: (RECOMMENDED) While I don't wish to send Angelina Jolie any negative vibes, I do want to tell her to choose a script worthy of her acting talents. This isn't it. It's a standard chase thriller with a child-in-danger story about a strong mother figure risking her all to protect her cub. Nothing original or engaging. No real stretch in the acting department either. It's Ms. Jolie as an action figure with movable parts, more in line with her roles from other tense thrillers like Salt or Wanted, both better vehicles.

She plays Hannah Faber, a loner and no-nonsense firefighter who is suffering from PTSD. One day while out on patrol, she finds a scared young boy alone in the fire-consuming Montana wildness. Connor (Finn Little) is being hunted by some evil men and this instant family must now bond and elude paid assassins to save themselves. Will she? What do you think? You don't mess around with Jolie!

What elevates this standard action thriller is the strong direction of Taylor Sheridan who creates a taut and gripping movie, despite a plot that is fairly predictable. Mr. Sheridan, along with with Charles Leavitt and writer Michael Koryta (whose novel from which this film is adapted), keep their screenplay moving at a nice clip and avoid most cliches and stereotypes rather successfully. Some illogical moments do pop up, but the capable cast keeps the level of suspense and excitement at full throttle.

Ms. Jolie and Mr. Little have a nice chemistry together. One hopes their characters survive all of the numerous and frequent perils that they encounter. Nicholas Hoult and Aidan Gillen are the heavies and both talented actors lay on the menace very thickly and become convincing villains. Jon Bernthal plays Ethan Sawyer, sheriff and Hannah's former boyfriend of Hannah, a trite movie conceit if there ever was one, but the actor pulls off this thankless role. Medina Senghore plays Allison, Ethan's loving and pregnant wife. Jake Weber has a relatively short role as Connor's father who starts the whole domino effect and Tyler Perry acts against type.

I suppose that Those Who Wish Me Dead is a diverting movie for its genre. I just wanted the film to be more inventive and less routine in its storytelling. Put me in the category as Those Who Wish for a Better Script. Still, as action thrillers go, this one is lively enough to entertain most moviegoers who are into the chase. (GRADE: B)

IN BRIEF: Overrated period comedy that looks right but is all wrong.

JIM'S REVIEW: (MILDLY RECOMMENDED) Well, I did like the costumes. And the production design, a mishmash of vibrant colors and patterns, was also a delight. (Kudos to Suzie Harman and Robert Worley's unlikely period wardrobe and Cristina Casali's stylish sets) But the film, The Personal History of David Copperfield, was all useless energy and pure nonsense. The film tries to impress with its quirkiness, lavish settings, and hyperactive performances. Figures whose names might seem familiar... Uriah Heep, Mr. Micawber, Betsey Trotwood, Mr. Dick...are strange hybrids of Charles Dicken's more famous characters from his novel. Here, they are thrown together to chronicle the story of the fictional David Copperfield's life. Like a Dicken's novel, characters intersect our hero's coming-of-age journey and add to the pomp although the circumstances are dubious. Unlike a Dicken's novel, in this odd film adaptation, they are shallow, silly, and overstay their welcome.

The film is unevenly directed by Armando Iannucci, who also wrote the screenplay with Simon Blackwell. His movie takes on a surreal quality which impresses in its visual splendor. (Many times while watching this film, I was reminded of Terry Gilliam's dud, The Adventures of Baron Munchausen, and we know how that one went.) But script-wise, it's a mess. The plot is contrived, a CliffNotes summary of the book which misses Dicken's clever prose. In this re-imagined film version, everyone plays their roles like live action cartoons without any restraint or comic timing. They become wind-up dolls dressed to the Victorian nines gone amok.

A good cast belabors the comedy. And Mr. Iannucci does assemble many of England's best actors for his movie such as Peter Capaldi, Ben Whishaw, Tilda Swinton, and Hugh Laurie; only the latter two performers hit their marks most of the time with their outlandish interpretations. He waste their time and talents. As the title character, Dev Petel is completely engaging, but he and the integrated ensemble deserve better material. While the casting may be color-blind, the overall vision lacks focus too. The concept of creating Victorian England with a contemporary attitude is intriguing, but never quite gels.

Critics worldwide have raved about this film. And I waited nearly a year with high hopes, only to be disappointed by the end results. The film looks authentic and, production-wise, has many admirable traits, but it is all surface treatment and sleight-of-hand trickery. A earnest effort, I would agree, but the reality is that The Personal History of David Copperfield is epic, as in failure. It's a farce without any laughs that exhausts rather than thrills. Be careful what you wish for. (GRADE: C)

IN BRIEF: Family animated film that follows its formulaic root in storytelling, despite some clever animation touches.

JIM'S REVIEW: (RECOMMENDED) Whenever one discusses the merits of animation nowadays, the same issue with the genre raises its ugly head: It is a rarity when both the narrative and the visuals mesh seamlessly. Usually, the state-of-the-art animation excels the storytelling. Which brings us to The Mitchells vs the Machines, the latest effort from Sony Pictures Animation, a studio that is primarily known for its Oscar-winning film, Spiderman: Into the Spider-verse. In this case, the same results follow that winning formula.

This family-oriented fare is a flashy road movie with a dysfunctional family trying to save the world from a robot apocalypse. Written and directed by Michael Rianda and Jeff Rowe, the movie is a clever spin on the generation gap with a sci-fi edginess. Despite all the mayhem happening around the family, the Mitchells become the unlikely hope for mankind as they rage against the machines and try to avoid their own destruction. This mission forces the always quarreling father and daughter to begin to bond as they fight off the bots, with an overabundance of underwhelming pop tunes blaring on its soundtrack.

The screenplay tries to focus on the relationships within the family dynamics, but the characters lack depth. The story settles into a series of endless chases and dilemmas. (If you want to see superb animated sci-fi about a family of misfits, may I suggest Pixar's The Incredibles series franchise?) However, the visuals in The Mitchells vs the Machines are consistently eye-catching and well rendered, although some of the animation becomes too manic for my taste. The backdrops are filled with superb detailing and the movie makes good use of its CGI.

There are funny sight gags to enjoy and having all of its characters become stylized exaggerations with big eyes and distorted facial expressions, more in line with the Looney Toons cartoons of yore has its charms. (Especially fun are the comic antics of two defective robots named Deborahbot 5000 and Eric.) But the moviemakers never trusts their own instincts and never allow the moviegoers any downtime to enjoy some quieter moments. The quick edits and garish color palette, along with the jarring camera movement, seem desperate to impress wheneverpossible. Every single moment must be choreographed to be loud, bold, and brash.

Fine voiceover work is done by Mr. Rianda and other better known celebrities such as Danny McBride, Maya Rudolph, Abbi Jacobson as the Millers and Olivia Colman, plus Fred Armisen, and Beck Bennett as the malfunctioning droids.

The movie's main flaws are its breakneck pacing that becomes overdone and a script that needs to calm itself down. As the movie races to its uplifting climax, it switches gears and goes into sensory overload. The jumbled screenplay relies more on tongue-in-cheek cyber in-jokes and sophomoric humor that mostly falls flat as it tries to salvage the plot. The filmmakers make a misstep in breaking through the fourth wall too often in their storytelling techniques with abrupt stops in the action which jarringly interrupt the many well-done chase sequences.

I suppose that The Mitchells vs the Machines would qualify for standard animation fare these days, perhaps a cut above the usual offerings. This Is ambitious and innovative animation to the max, well worth viewing. One cannot deny the talent of Mr. Rianda and company. Still, despite all the lavish creative artistry, this hyperactive film follows a predictable formula for success. It may visually satisfy some moviegoers with many innovative touches, but the movie does little for the intellect or emotions. Perhaps the robots do end up winning in the animation war after all. (GRADE: B-)

IN BRIEF: Flawed but entertaining disaster movie.

JIM'S REVIEW: (RECOMMENDED) It was just another typical day, except for the orange colored fireworks in the sky and the news announcing that a a massive comet was hurling itself to Earth. That was when John Garrity and his family received an emergency amber alert from the President to become one of the chosen few deemed essential to the Earth's survival. They are ordered to board a plane to Greenland to escape the on-coming Armageddon. Bunkers and perils await them on their road trip to hell in Ric Roman Waugh's surprisingly literate disaster movie, Greenland.

John and Allison Garrity (Gerald Butler and Morena Baccarin) are already not in the best of shape as the couple is on the verge of a divorce and their son, Nathan (Roger Dale Floyd), is dealing with a severe case of diabetes. As they take to the road, the family is separated by unforeseen circumstances and bad decision-making. This splintering stretches the plausibility factor to its limits and weakens the story with its various sub-plots of danger and suspense.

It also led this reviewer to question some LOL (Leaps of Logic) that seriously affected the movie: If they don't know the comet's actual point of impact, how do the leaders know Greenland will be a safe haven, complete with bunkers? Wouldn't the government already know that the Garrity's son has issues with diabetes through medical records and therefore unable to meet the requirements as human cargo due to his pre-existing condition prior to their approval? Could this family really reunite on an extensive trip from Atlanta, Georgia to Lexington, Kentucky without transportation, money, and no GPS at hand? With congested traffic conditions, could they get from Kentucky to upstate New York in six hours? Why would you name a comet Clarke?

However, credit must go to Mr. Waugh's no-nonsense direction and screenwriter Chris Sparling's storytelling for avoid formulaic tropes and making a doomsday thriller that focuses on the family drama, avoiding overladen CGI and heroic he-man action fight scenes (minus one perfunctory encounter). They create convincing characters that are given mostly realistic perils to endure, and by doing so, make a rarity of a overblown genre: a satisfying disaster movie.

It is refreshing to see Mr. Butler play a real-life person than his usual macho screen persona. He can act. Young Mr. Floyd continues to be a fine natural actor. Scott Glenn has a few scenes that add some touching moments to the film as Allison's father and David Denham and Hope Davis bring on the menace and plot complications. But it is the excellent Ms. Baccarin who has the biggest emotional range as a mother who contends with overwhelming odds and a wife who begins to question her sense of forgiveness. She makes Allison a complex and wounded character to root for.

Greenland is an atypical apocalypse disaster movie and that's what makes it all the more entertaining.(GRADE: B-)

IN BRIEF: Flawed but entertaining rom-com.

JIM'S REVIEW: (RECOMMENDED) While going through the latest films now streaming, I unexpectedly came across a strange film offering that had been shunned from American cinemas nationwide, although it was distributed throughout Europe and had a successful run this past fall. The movie was deeply embedded among many of the monthly choices found on Amazon Prime, easy to overlook and hard to find. The film, a mild fluff of a romantic comedy, had no shocking sexual situations, overt profanity, or graphic violence. Yet the mere presence of this movie incited such a negative and polarized reaction by most of Hollywood royalty. You may ask why was such a film treated with such horror and disregard and I can answer your query in two words: Woody Allen.

The film is A Rainy Day in New York. It starred a fine cast that included Timothée Chalamet, Elle fanning, Selena Gomez, Jude Law, Diego Luna, and Liev Schreiber, most of which were forced to give up their salaries to charity in order to save face with the public and denounce this filmmaker who has been accused of sexual harassment but never convicted of the crime. The movie never was released in our country, more due to our cancel culture mindset than COVID, although it is hard to decide which rationale is more lethal these days.

For those not aware of Mr. Allen transgressions, I will not dwell on the continuous debate of viewing the life of an artist vs. His or her art. You and your conscience can come up with your own conclusion. As for me, I will concentrate on this filmmaker's latest venture in my review. I can truly say that this film may not be his finest work, on a par with masterworks like Manhattan, Annie Hall, Crimes and Misdemeanors, or Hannah and Her Sisters, or more recently, his Oscar-winning Midnight in Paris (2011). But it may be worthy of your time and attention, especially if you are a serious cinephile or enjoy a love story.

The plot revolves around a young couple's romantic getaway weekend to New York City. Complications ensue that separate the lovers as they pursue other goals. Writer / director Allen is rehashing his similar storylines with mixed results against the backdrop of some of his favorite haunts (Central Park Zoo, the Metropolitan Art Museum, the Carlyle Supper Club, etc.) The sites will seem familiar to those fellow New Yorkers and tourists, as will the narrative to many loyal Allen fans and moviegoers. Signs of Mr. Allen's quick wit do pop up and his cast engagingly delivers their clever lines, even though the characters are not that well written nor fully dimensional. Some of their dialog appears to be anachronistic, as if the screenplay was written years ago and recently re-envisioned. There is plenty of dated references throughout the film honoring the likes of past celebrated icons such as Luis Buñuel or Cole Porter, as if to say that these only modern intellectuals are desiring of worth. One wonders just who would be this film's target audience anyway, certainly not Generation X, Y, or Z. The aura of "been there, done that" hangs like a heavy shroud over the proceedings, although Mr. Allen's go-to cinematographer, Vittorio Storaro, lavishes the film with much beauty.

Mr. Chalmet remains charming as the movie's main figure, Gatsby Welles, an idealist eccentric yearning for love. The actor convincingly fills in as Mr. Allen's nebbish persona, especially with his voiceover narration, since the director is far too old now to act the fool. Ms. Fanning as his present girlfriend, Ashleigh, and Ms. Gomez, as Chan, his newest conquest, bring some charisma too. But much of the interrelationships and their forced situations seem contrived, mere plot devices to move the movie forward. The whole Ashleigh sub-plot is far-fetched and follows farcical rules that fizzle while the more successful Gatsby's portion is pure rom-com down to its jazz-infused score of jaunty 40's tunes. Fine supporting work is also provided in small but memorable turns by Cherry Jones as Gatsby's domineering mother and Kelly Rohrbach as a lovable hooker, shades of Mighty Aphrodite...well, it is a Woody Allen movie, isn't it?

A Rainy Day in New York isn't all wet. It is still diverting entertainment and has some smart lines, although it's just a tad damp around the edges. (GRADE: B-)

IN BRIEF: Too many missed comic opportunities in this superhero comedy, despite the charms of Ms. McCarthy.

JIM'S REVIEW: (MILDLY RECOMMENDED) Thunder Force is a superhero comedy that is not super. What it does have going for it is the immeasurable talents of Melissa McCarthy as Lydia Berman, a misfit who accidentally acquires superpowers and then needs to adapt to those life-altering changes. The first half of the film is the most promising, but as the movie progresses, it misses so many comic possibilities in its storytelling. The central plot about evil super-villains known as Miscreants interferes with the comic momentum. Some needed rewrites were in order to blend action and comedy successfully. Writer / director / husband Ben Falcone sets up his premise well, but never provides enough comic ingenuity and follows formulaic guidelines. The movie has too many inside jokes and unfunny asides while it belabors the superhero action scenes and plot. Many of those jokes fall flat.

The super-strength of the movie is, once again, Ms. McCarthy no-holds-barred approach at physical comedy. Her likability and screen persona make her highly watchable. This performer's main weakness remains in choosing film scripts. As her sidekick who is endowed with the invisibility factor, Olivia Spencer never comes near Mrs. McCarthy comic genius, but the actress does make her character, Emily Stanton, a brainiac and childhood friend, quite an interesting counterpoint.

Providing much needed comic support are the reliable Jason Bateman as Jerry the Crab and Bobby Cannavale as The King, a cartoonish gangster/ politician. That he plays to the hilt. Veteran actors Melissa Leo and Kevin Dunn are essentially given throwaway roles and , in the action sequences, Pom Klementieff makes a determined villainess as Laser.

Despite McCarthy's forceful comic presence, Thunder Force is, dare I say, weak. (GRADE: C)

IN BRIEF: Overblown spy thriller that grows more contrived with each predictable twist and turn.

JIM'S REVIEW: (MILDLY RECOMMENDED) There will be explosions, fights, and convoluted political intrigue. After all, we are in Tom Clancy Country. The plot is basically God bless the USA and kill anyone in your way, especially those Commies. Director Stefano Sollima's Without Remorse is a basic rehash of most of Mr. Clancy's successful novels. The plot devices continue to work...just change the titles. The film is hardly based on his 27 year-old book written in 1993; only the title and some characters remain. This film version has been updated for today's mindset with enough violence and high adrenaline action to suffice any non-discriminating moviegoer.

A Navy Seal named John Kelly (Michael B. Jordan) is out for revenge and embarks on an international espionage Cold War mission. The talented Mr. Jordan is always good and he fills the role as The All-American Black Hero very nicely. He may not have superpowers, but he heals quickly, looks awfully sexy, and can pack a powerful punch. Jamie Bell and Guy Pierce are also on hand in supporting roles, but it is only a winning Jodie Turner-Smith as Karen Greer, Kelly's commanding officer and loyal friend, that cuts a convincing figure.

The screenplay by Taylor Sheridan and Will Staples bears little resemblance to the novel, but it mimics Mr. Clancy's persona quite well. The story is just a mere outline, a way of moving from Point A to Point B. It's rote storytelling, but still an alluring ruse and justification for all of the brutal action surrounding it. The sudden twists and turns are not at all surprising, just bewildering. Conspiracy theories, double crosses, gunfire, car crashes, political hyperbole, and villainy are commonplace here, They are mere filler for the well-choreographed stunt work and hand-to-hand combat scenes that frequent the movie.

As the film tries to unravel its mystery, the narrative becomes more complicated than needed, with an overabundance of LOL (Leaps of Logic) around every corner. By the time we get to the conclusion, the storyline, plus John Kelly's larger-than-life heroic deeds, become more ludicrous, just a few paces this side of absurd. No one could survive some of these physical wartime encounters and come away basically unscathed as our hero does on numerous occasions. Somebody give this man a cape and some colorful spandex tights already!

Despite a strong performance given by the ever-reliable Mr. Jordan, Without Remorse is standard spy stuff...nothing more and definitely less. (GRADE: C)

IN BRIEF: A family film that has some funny moments in its sci-fi parody.

JIM'S REVIEW: (RECOMMENDED) From Aardman Animation comes its first British sequel to its 2014 feature-length film and popular character, Shaun the Sheep (a spin-off from the delightful Wallace and Gromit series entitled A Shaun the Sheep Movie: Farmageddon. Nominated for an Academy Award, the movie is diverting fun, but not up to the high standards from this studio.

This installment takes its title character and his flock, along with Farmer John and his dog, Bingo, into sci-fi territory. The story is slight, and like most animated films these days, does not come near the visual artistry on display. The plot spoofs and overuses the E. T. formula as it centers on a wayward alien named Lu-La and the gang trying to help her "phone home".

As always, the film has wonderful background details with its stop-motion characters caught in a havoc of sight gags and a bit of Brit wit. Everything on view relies on its visuals to tell the story as there is no dialog and the artisans are certainly up to the task to deliver enjoyable family fare for both young and old, even if the story is old and predictable.

Well directed by Richard Phelan and Will Becher, A Shaun the Sheep Movie: Farmageddon is a silly entertaining romp. Be charmed by the whimsical antics and spend an evening with the kids, or just have "the kid in you" see this movie. (GRADE: B-)

IN BRIEF: A sadistic film about road rage that crashes and burns.

JIM'S REVIEW: (NOT RECOMMENDED) When discussing the merits of Unhinged, a gory and useless crime thriller, one can only acknowledge that its primary claim to fame was that it was the first film in 2020 to be released in the middle of the pandemic, in late August. Its sole purpose was to lure moviegoers back to the movie theaters. That tactic didn't work, and neither does this lousy movie.

Or perhaps, the film's major distinction might just be the filmmaker's creative ability to stage massive car accidents with a non-stop frequency that could make any race car enthusiast absolutely giddy waiting for that screeching sound of crashing metal and overturned vehicles soaring and spinning into the air. Call it a cinematic manual for car crash dummies.

Or, better yet, Unhinged may be merely junk food for sadists who love to see violence brutally inflicted onto others with grisly close-ups of multiple bloody deaths.

Whatever you call it, this movie is bad.

The slim and dim-witted story by Carl Ellsworth involves a supreme case of road rage that spirals out of control as Rachel Flynn (Caren Pistorius) cuts off Tom Cooper (an obese Russell Crowe) while taking her son Kyle (Gabriel Bateman) to school. Rachel won't apologize for her misdeed, so Tommy Boy enacts vengance.

As his crime spree progresses and the body count rises, so does the movie's lack of logic. Unhinged quickly veers of the road without any semblance of rational explanation. It becomes a series of outrageous car chases and grisly murders. Its hackneyed plot is contrived and totally baffling. A few questions come to mind: Where are the police during the many violent car crashes? Why doesn't the victim go directly to them for help as she could numerous times during their numerous encounters? How does this psycho avoid any direct law enforcement encounters? Where are the crowds of bystanders that could have intervened? How is he so easily able to invade her life and cause such havoc in her neighborhood and on the freeways without any notice or repercussions? Why am I watching this garbage?

This is Derrick Borte's directorial debut. Better luck next time in choosing a worthwhile script. To his credit, Mr. Borte does keep the action moving, but he seems more enamored of the graphic bloodletting and close-ups of impaled body parts than conveying a cohesive story or any real character development. Mr. Crowe, the film's chief draw, has also seen better days. He plays his character as a one-note villain intent on mayhem and never creates a nuanced character of a troubled man dealing with mental illness issues. The Academy may want to take back his previously well deserved Oscar after this debacle.

Unhinged is the farthest thing from a joy ride you will ever have. This nasty and unpleasant film may be about road rage, but all it creates is movie rage by experiencing this truly repellent film. Avoid. (GRADE: D+)