Monday, August 11, 2025

Cinema Playgriound Journal 2025: Week 32 (My Cinema Playground)

Multiplex Madness


Freakier Friday
⭐️⭐️1/2
Genre:  Comedy, Fantasy
Director:  Nisha Ganatra
Starring:  Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Manny Jacinto, Mark Harmon


Truth-be-told, I haven't seen Freaky Friday.  Neither the original with Jodie Foster nor the more currently relevant remake with Jamie Lee Curtis and Lindsay Lohan.  It's like Mean Girls, where it was a cultural phenomenon for Millennials that came out when I had just barely grown out of that demographic, and I always assumed that the movie was exactly what I imagined it to be, so I never felt the urge to catch up.  I have, however, seen the horror parody Freaky and the Netflix knock-off Family Switch.  I don't know if that means anything, but those are things that happened.

Taking place several decades after the previous film, Lindsay Lohan is now a mom herself, raising her own teenage hellian in Julia Butters.  Lohan then falls in love with the father of Butters' high school rival, Sophia Hammons, and they become engaged, meaning the two girls with a turmoltuous relationship will soon be stepsisters.  One wacky comedic hex later, Butters and Hammons swap bodies with mommy Lohan and grandmother Jamie Lee Curtis.  How Curtis got sucked up into this and why one of them needed to be the grandmother, I'm not certain.  If I'm being honest, she seems entirely irrelevant to the story and is only here because she was in the first movie.  That's probably the primary takeaway from this movie, in that it plays like a TV reunion movie.  It feels more like a play for nostalgic love from Millennial fans of the previous film rather than trying to work up new fans in Gen Z or Alpha.  It might succeed at that modest ambition, but it also seems hopelessly stuck in the past.  When the movie switches Lohan and Curtis's personalities into younger bodies, it doesn't really have very much for the younger actresses to actually do, they just spend their time joyriding.  The teenagers trapped in the older bodies are more relevant to the story the movie is trying to tell, as the girls call a truce to try and prevent Lohan's pending marriage from going forward.  The children are the only ones with an actual arc in the movie, while the elders stuck in youthful bodies are only in this movie to be like "Being young is awesome!"  This keeps Lohan and Curtis center-stage but it's at the cost of giving actual relevance to their own characters.

Some of the gagwork is pretty funny, so those coming for the comedy won't be disappointed.  I quite liked Vanessa Bayer as the fortune teller.  There's an immigration interview where that teen-swapped Lohan tries to sabotage that is probably the highlight of the movie.  But they are countered by other gags that are more oddity.  A teenager stuck in Lindsay Lohan's body awkwardly trying to flirt doesn't seem like proper generational gap humor to me, but I'm assuming the people who made this movie watched Karen Gillan in Jumanji:  Welcome to the Jungle and decided all body swap movies are the same and nobody would notice if they stole her bit.  I also think it's odd that Curtis didn't adopt a British accent when she swapped with Hammons, as the accent just stays put with the body.  An accent isn't a physical attribute but rather an acquired reflexive memory based on teaching and environment, so the stepdaughter character losing her British accent after becoming Jamie Lee Curtis makes zero sense.  The movie is so aloof that it probably doesn't matter.  I suppose what's disappointing is that the movie aims for not mattering.  If you're a fan of the original, this is probably worth a look because it's just more of it.  Bonus points for that.


My Mother's Wedding
⭐️⭐️
Genre:  Drama
Director:  Kristen Scott Thomas
Starring:  Scarlett Johansson, Sienna Miller, Emily Beecham, Kristen Scott Thomas, Freida Pinto, Thibault de Montalembert


Actress Kristen Scott Thomas makes her directorial debut with My Mother's Wedding, a sentimental family drama that is pretty much what you'd assume it is based on the title, chronicling three adult daughters coping with the fact that their widowed mother is remarrying.  Scott Thomas wants to recreate the lost art of those calm chick flicks about sisters that moms would rent from the video store while dads picked up Lethal Weapon and kids watched Toy Story for the billionth time.  I think she has done so adequately, even if My Mother's Wedding doesn't prove itself to be anything particularly memorable.  Scott Thomas does have some interesting flourishes that she provides, including using sketchy animation for flashback sequences.  It's actually pretty smart, because it saves from casting new actors for vintage scenes and allows the film to be just that much sweeter to its target audience.  The movie is just so willowy and awkward, though.  Half the cast is American pretending to be British, and Scarlett Johansson's accent is so forced that it sounds like she's openly mocking her castmates.  It's an unusually bad performance from a usually dependable actress.  It's plot progression can be odd, including unfaithful spouses being unveiled (in a scene that I think is supposed to be funny for some reason?) and Johansson's girlfriend who doing a weird secretive artificial insemination and thought that would convince Johansson to marry her or something (this is the type of ass-backwards thinking that only happens when you're in a relationship and you're trying to do a big romantic gesture, only for your partner to look at you like you're insane and go "wut? but why tho?").  It's trying to be flowery life drama comfort food and commits to the bit, but it just blows out air and flutters away like a deflating balloon.


Sketch
⭐️⭐️⭐️1/2
Genre:  Fantasy
Director:  Seth Worley
Starring:  Tony Hale, D'Arcy Carden, Bianca Belle, Kue Lawrence, Kalon Kox


What the fuck?  An Angel Studios film that isn't dumpster-diving faith pandering?  And it's actually legitimately fun and charming?  This has to be fever-induced death hallucination.  Anybody who has ever heard me talk about movies for the last few years has undoubtedly heard me pummel the small company that specializes in Christian media.  I have held nothing back as I've sat through waves of their filmmaking that are not just outside my demographic but a failure at even being a quality option for their own audience.  If Angel Studios wants to make faith and life-affirming dramas, power to them.  Could they at least make them good?

I need people to know my stance on this so they know that I fully mean it when I say Sketch is actually kind of awesome.

Sketch centers on a young girl coping with the death of her mother, drawing sketches of monsters in her notebook as as outlet for her depression and anger.  In true family fantasy movie fashion, her brother finds a magic pond in the woods that somehow rejuvenates things and her notebook falls into it, bringing all of her sketches to life.  And since they all come from a dark mindset, this is bad.  The movie has a lot to say about depression and mourning, as well as the mentality of young children who are looking for ways to channel their emotions and don't always have the support they need to do so.  Because of that, the movie goes to some dark and deep places.  It centers on ideas that if they had come from a different production of this same studio, it would have only skimmed the surface with the message of "Bad feelings bad, try having good feelings instead."  Instead, the characters are three-dimensional, each with reasons for withdrawing and mourning the way they have chosen to do so.  The father has chosen "We don't talk about this because it hurts too much" and his children have to stew and nobody to really confide their own emotions in.  The sister has her notebook, while her brother takes their mother's ashes and tries to bring her back to life in the magic pond, only to be stopped when giant monsters are brought to life.  But one does wonder what would have happened if he had succeeded.

This movie could have been Pet Sematary so easily.


But as deep as the movie can be, it is very wondrous and funny as well.  The movie understands the sense of magic a movie like this should have, which was astoundingly absent from How to Train Your Dragon a few months ago.  And it's pretty well made, too.  I knew this was going to be Angel's best movie early on when I saw the cinematography and thought "Oh my god, this actually looks like a real movie and not a rough approximation of one."  This is so not Angel's style that I'm assuming this movie had to have been an acquisition rather than anything they put money into, but it just so-happens to be a sweet family-centered movie that is pretty clean-minded save for a few jokes about butts, so it would understandably play well with their demographic.  The humor of the picture is reasonably simple, but it's always based on characterization and the dynamic of everyone's relationship.  Because of that, the movie is full of heartwarming chuckles that one might relate to their own personal bonds.  Add in the fact that the movie's imaginative creature design creates beings that are all constantly interesting to look at, both cute and a little scary at the same time.  It all gels together beautifully.  Compare this to a similar "art comes to life" family film from last year, Harold and the Purple Crayon, Sketch is a similar concept that succeeds in being a fully-fledged movie rather than an empty showcase of special effects.

The one thing that is a little off-putting about this movie is that most of the beasties that come to life are meant to be avatars for harming people and objects, and they do seem to be widespread and viciously attacking throughout the movie.  The movie has no interest in being a horror movie, but it tip-toes too much around how dangerous they actually are to anybody.  It never confirms nor denies whether people are getting hurt, even though common sense dictates that there should be.  That's probably the downside of being in a studio that demands squeaky-clean kids movies, though I imagine that if this movie were made in the 80's, we would have seen much more fucked up shit.  At the same time, Sketch reminds me a lot of the type of rambunctious fantasy movies that came out of that era and it's on the right path of recreating them.  It's so adventurous, enchanting, and sweet that I can't help but fall under its spell.  I would have loved this movie if I were nine-years-old, and I would have watched it over and over again until my parents yelled at me to find something else.  That tells me that this movie did damn near everything right.


Strange Harvest
⭐️⭐️
Genre:  Horror, Mockumentary
Director:  Stuart Ortiz
Starring:  Peter Zizzo, Terri Apple, Andy Lauer, Matthew Peschio


I think we've all seen a movie where we all respond "I see what you want to do.  This ain't it, but you tried."  If only we gave out rewards for understanding intentions, but if we did that, then I would have rated that War of the Worlds movie higher last week.  I didn't, it was bad, and the people who made it need to know it's bad so they never do it again.  Strange Harvest is a better movie, but it's also a movie that fumbles the ball when it comes to achieving its own goals.  This movie is a occult slasher movie presented as a true crime mockumentary, documenting the murders of mysterious serial killer "Mr. Shiny" and the strange occurrences surrounding them.  At the movie's best moments, it's easy to get sucked into the presentation, but occasionally it will slip up in its framing device to make you go "Oh, this kinda sucks, actually."  It happens early on, when an interviewee refers to her deceased friend as a "dope-ass bitch" but says the term of endearment in a way that makes it clear she has never said those words in that order in her life, at which point I sighed and thought "Okay, so that's how it's going to be."  To be fair, when it gets into the grisly details, the movie can successfully be unsettling, but the film's inconsistent talking head performances range from mildly boring to improvizational nightmare.  It's just not an effective storytelling device because it never sells the people relating the story.  The movie's high points come when it finally gives us Mr. Shiny footage, which the filmmakers seem to realize because they put all that they had into the trailers.  There's a rawness to the filmed murder sequences that breathes life into the movie when it desperately needs it, but even then it can't quite shake it's feeling of being completely staged.  It's just kind of weirdly inconsistent with itself, with little things like the film saying he doesn't leave fingerprints behind but the footage showing that he never wears gloves.  Then there are the larger picture details, because the movie shows the aftermath of a lot of decomposing corpses, including children, but then it gets to a dog that happened to be killed along the way and it chooses to censor it.  I know killing animals and pets is a sort of taboo in movies, but it's such a strange choice that it almost accidentally becomes funny.  Strange Harvest is so focused on feeling real that when it feels fake (which is quite often) it almost seems like it's betraying the audience.  Honestly, I think the film only failed itself.


Weapons
⭐️⭐️⭐️
Genre:  Horror
Director:  Zach Cregger
Starring:  Julia Garner, Josh Brolin, Cary Christopher, Alden Ehrenreich, Austin Abrams, Benedict Wong, Amy Madigan


Following up a breakout success can be daunting for a filmmaker.  The one thing you don't want to become is M. Night Shyamalan, who was told he was good at something that one time and spent his entire career afterward seemingly trying to prove the people who praised him wrong.  Zach Cregger is in a similar position, where he had a below-the-radar career in comedy that went nowhere, decided to make a horror movie, and the feedback was "This fucking rocks.  What else you got?"  Cregger doubling down on being a "horror master" can either prove Barbarian a fluke and go the way of Shyamalan or unearth the diamond in the rough and put him on the same pedestal as Jordan Peele.  Weapons shows enough promise in Cregger being someone to keep an eye on, though I found my response to be more subdued than Barbarian.

As one can gleen from the trailer, Weapons is the story of a town in turmoil, trying to solve the mystery of seventeen vanished children from the same classroom who all mysteriously fled from their houses in the middle of the night.  Discovering where it goes from there is part of the experience, so I'll refrain from saying more than that.  Without getting too spoiler-heavy, Weapons is one of those movies that is presented like a set of short films, similar to Pulp Ficton or, more horror relevant, Ju-On.  Each segment centers on a character seeing the events play out from their perspective, providing a little more context and even more questions as it goes.  Some segments are more interesting than others, and I'd even argue that Alden Ehrenreich's could have been cut entirely because it adds almost nothing.  This segment highlights the film beginning to have a struggle with pacing, because it's constantly tip-toeing around it's mystery while saving everything for a climactic info-dump, and that info-dump takes so long that it's practically tension-free.  Like Barbarian, the film is written to subvert expectations as to what's around the next corner, but where we're heading begins to feel stagnant after a while because all clues are leading to the same place and we're just waiting for other characters to catch up.  What I will say about the mystery as it's uncovered is that the big reveal is actually spoiled in the title card if you bother to notice a little flourish in it.  But even if you do get what the movie is aggressively hinting at, there's still the mystery of its source, so it's not too problematic.

But, as a fan of Barbarian, I had a pretty good time watching this.  Cregger has this trolling aspect to his direction where he will linger on certain things long enough to create discomfort, then reveal the one thing that makes it even more stressful, only to linger and create more discomfort.  That's how I'd describe Weapons, a discomforting horror movie rather than a scary one.  But I think that's part of his horror appeal, because he has this Sam Raimi-like tendency to fuck with his audience like that.  If Cregger is an artist of anything, it's waiting for the reveal, because he knows when his audience is anxious and he looks at any given scene and goes "lol, no, hold on, just a second more."  He's a tease.  If I had one issue with Weapons, it would be that he concentrates too much on foreplay and the film never seems to get to the main event that we're all revving up for.  That's just more of an observation than anything that genuinely hurts the film, because it certainly hits the right spot in the heat of thr moment.

Movies Still Playing At My Theater
The Bad Guys 2 ⭐️⭐️1/2
F1 ⭐️⭐️
The Fantastic 4:  First Steps ⭐️⭐️⭐️⭐️
The Naked Gun ⭐️⭐️⭐️
She Rides Shotgun ⭐️⭐️⭐️
Superman ⭐️⭐️⭐️
Together ⭐️⭐️⭐️

New To Digital
The Accountant² ⭐️⭐️⭐️
Sorry, Baby ⭐️⭐️⭐️1/2

New To Physical
Friendship ⭐️⭐️⭐️

Coming Soon!

Monday, August 4, 2025

Cinema Playground Journal 2025: Week 31 (My Cinema Playground)

Multiplex Madness


The Bad Guys 2
⭐️⭐️1/2
Genre:  Comedy, Action
Director:  Pierre Perifel
Starring:  Sam Rockwell, Awkwafina, Marc Maron, Craig Robinson, Anthony Ramos, Zazie Beetz, Danielle Brooks, Natasha Lyonne, Maria Bakalova, Alex Borstein, Richard Ayoade, Lilly Singh


DreamWorks Animation continues with their adaptations of the beloved children's book series into features, and now the titular "Bad Guys" are now reformed and trying to reintegrate themselves into our civilized society.  But, heroes or not, life ain't so easy for convicted felons, and the group has trouble making a living.  Eventually, they are tempted back into their old ways by a group of villainesses, who are out to steal a special material called MacGuffinite (you know you watch too many movies if you understand this joke).  It's more of the same from this series, so if you love the first movie, this one is going to be on your list.  I barely remember the first one.  I remember it being cute, if inconsistent.  I held the same opinion of the this one.  As to which one is better, I plead the fifth because of my fuzzy memory.  What I will say is that The Bad Guys are more fun when they do bad guy things.  Sadly, if the Bad Guys don't go good, there is no story.  That makes any Bad Guys movie an inescapable conundrum.  There a zippy fun heist sequences where this movie genuinely comes alive.  When they're reluctant to do it, it becomes less fun.  But, Sam Rockwell is always a charming lead, and Awkwafina continues to be the most Awkwafina thing to ever have the name Awkwafina.  I've always found the other Bad Guys to be unmemorable set decoration.  One's big and dumb.  One is a snake.  One...farts?  I'd feel like characters can be more fun if they have characterization, but this is a kids movie.  Kid's don't need three-dimensions to love a joke.  Farting in a space suit is funny because it just is, and it will never not be funny.  And if you have kids, you get a fun and colorful adventure that just happens to have a farting piranha in a space suit suffocating a snake with his gas.  Instant A+.


The Naked Gun
⭐️⭐️⭐️
Genre:  Comedy, Action
Director:  Akiva Schaffer
Starring:  Liam Neeson, Pamela Anderson, Danny Huston, Paul Walter Hauser, Kevin Durand


I've heard more than a few right-wing nuts profess excitement about a new Naked Gun movie because "They're don't make movies like that anymore."  This is true, but it's not because of "woke" or whatever.  They don't make parody movies like The Naked Gun anymore because they wouldn't fucking stop making them in the 2000's, and they just kept getting worse until the genre died (thank you very much, Jason Friedberg and Aaron Seltzer, this is why we can't have nice things).  Of course, this isn't unique.  Many genres die from oversaturation of inferior products, like the late 80's slasher movie or Sony strangling superhero movies by making Morbius and Madame Web.  Given the right circumstances, this is also set-up for eventual resurrection.  Without that genre deterioration, you don't get a movie like Scream.

The Naked Gun is a good selection for such a resurrection, because it's one of only a handful of these types of movies that successfully franchised itself out.  As long as there are beat cop tropes to parody, The Naked Gun can thrive.  Originally based upon the short-lived TV series Police Squad!, which adapted the trademark humor of Jim Abrahams and David and Jerry Zucker (creators of Airplane! and Top Secret!) as a weekly series mocking police procedurals, The Naked Gun took the failed show and launched a successful film franchise out of it.  The series and films starred parody icon Leslie Nielson as Lieutenant Frank Drebin, a cop on the edge who finds love in femme fatale Priscilla Presley.  The films also featured O.J. Simpson.  We choose not to talk about that.  It's one of the few instances where a failure turned into something iconic.  It was kind of the Firefly of its day.

The new Naked Gun is the first without the involvement of Nielson, who passed away in 2010, or David Zucker, who hasn't worked on a movie since the declining returns of the Scary Movie franchise and whatever the fuck An American Carol was supposed to be.  Priscilla Presley has a cameo in it, which is about as much of a torch-passing as you're going to get.  The new film hails from producer and Family Guy creator Seth MacFarlane, who is probably as close to a Zucker/Abrahams/Zucker presence as we currently have in this media climate, and directed by Akiva Schaffer, of Popstar:  Never Stop Never Stopping and Chip 'n' Dale:  Rescue Rangers fame.  This is a talented team we have.  The biggest hurdle is finding someone to fill Leslie Nielson's shoes.  Their solution was Liam Neeson.

I'm sold.

The casting of Neeson is a brilliant move because it tells the audience that the new movie understands what made movies like The Naked Gun funny, where the entire world created is chaotic but the protagonist is so straight-faced that he takes it seriously.  This is something that spoof movies post-Scary Movie lost in translation, where the movies began to become so loaded with comedic actors who are playing up and trying to upstage each other.  The movies become less fun if the leads aren't stoic.  This is why Leslie Nielson is so beloved, because he knew how to play these roles.  Neeson's casting is a message to Naked Gun fans, one that says "Don't worry, we get it."  Neeson plays Frank Drebin Jr. in the film, presumably the baby that was born at the end of the The Final Insult.  Like dear ol' dad, he grows up to become a legendary officer of Police Squad.  He has his own run-in with a femme fatale, played by 90's heartthrob Pamela Anderson, and is sucked into a case that leads him into tech company villain Danny Huston, who has a master plan to use a piece of tech called the P.L.O.T. Device to turn the world savage and murder each other while he hides in a bunker.

If the evil villain plot sounds familiar, that's because it was practically cut and pasted from Kingsman.  This is probably the main thing I have against this movie, because it borrows a lot.  There is an interrogation scene that is lifted straight from Mission:  Impossible - Fallout.  There are a series of sexual innundo sight gags that feel more Austin Powers than Naked Gun.  The movie even does its own version of the "I'm Into Something Good" music montage from the original Naked Gun, but much stranger.  I'm unsure about which of these are homages and parody because even the movie doesn't seem to know.  It kind of blurs its own line and has this swagger to it that seems to be trying to convince the audience that everything it's coming up with was its own idea.  I didn't particularly care for that.

Setting that aside, the proper measurement of a movie like this is if it makes you laugh, and I can confirm that I laughed.  Quite a lot.  Neeson is everything I hoped he'd be as Frank Drebin, and Pamela Anderson holds her own as the lady lead who is neck deep in trouble and far too sexually stimulated by the hot load of man-cop that she finds herself next to.  The movie constantly confirms that these are the correct leads for this movie and gives them the material to prove it.  The movie's lack of originality is off-set by its enthusiasm for making a new Naked Gun movie, and it so earnestly persues that goal that it makes a Naked Gun movie that is worthy of being called a Naked Gun movie.  The only thing that doesn't make it a Naked Gun movie in my eyes is that it doesn't have the traditional police siren opening that the other movies have.  However, it does make up for it by doing a closing "freeze frame" gag that is reminiscent of the original Police Squad! show.  I'll allow it.


She Rides Shotgun
⭐️⭐️⭐️
Genre:  Thriller
Director:  Nick Rowland
Starring:  Taron Egerton, Ana Sophia Heger, Rob Yang, John Carroll Lynch, Odessa A'zion, David Lyons


Based on the 2017 novel by Jordan Harper, She Rides Shotgun tells the story about a convict father who finds his family has been targeted for assassination by thugs that he has wronged, so he breaks out of jail and whisks his daughter out on a road trip to Mexico.  It's a pretty solid book, one that starts of as a kidnapping dramatization that slowly comes into focus as a chase thriller, all being underlined by rather sweet father/daughter bonding moments.  For the most part, the film adaptation does a good job of bringing it to the screen, even if certain parts are rewritten to try and give them more relevance to the central characters and to streamline the story to make it move faster.  But, even if it can stray, the basis of the story is there.  My biggest disappointment with the film's reworking is that it completely rewrote the ending from the ground up.  Arguably, this is a sign that the filmmakers had completely missed the point of the book, because the entire closing chapters and epilogue are about what he sacrificed to make sure his daughter is safe for the rest of her life, while adding a bonus theme of what types of people and events create folklore.  The movie then offsets my hesitancy of what they chose to leave out with exceptional performances by its central cast.  Taron Egerton is not who I would have immediately thought of to play this role, but he does surprisingly well here.  But it's Ana Sophia Heger who steals the movie from him as his daughter.  It's a performance that will make you smile as much as it breaks your heart.  Polly is a little girl who goes through a lot of trauma in a short period of time, all the while getting to know the father that has been absent most of her life, while also thrust into situations where she is forced to be a grown up and defend herself.  Egerton and Heger's bonding time makes the movie.  If the movie had held the same regard for it as the novel and had not rushed it for a two-hour pacing, She Rides Shotgun probably could have been one of the best movies of the year.  It settles for being a mostly good adaptation of a pretty good book, even if it chooses to leave some of its most interesting aspects on the floor.


Together
⭐️⭐️⭐️
Genre:  Horror
Director:  Michael Shanks
Starring:  Dave Franco, Alison Brie, Damon Herriman


Come see the horror movie that gives "You complete me" a whole new meaning, as Dave Franco and Alison Brie discover a spooky cave and break the horror movie rule about never, ever drinking the water in a place that looks like it houses murderers and monsters.  Eventually, their bodies begin fusing together, because of course that's a thing that happens.  Together amounts to a horror movie metaphor of that very romantic notion of finding "your other half" and wanting to be "together forever."  Its execution of it can be uneven, especially in the home stretch, which becomes clumsy with shaky CGI, unnecessary lore, and an ending that fulfills the movie's idea, but seems weirdly anticlimactic.  This is compounded by some performance issues, as Dave Franco and Alison Brie are a real life married couple, but that doesn't necessarily translate to onscreen chemistry.  The two do feel like they're acting on different wavelengths, as Brie gives a subtle performance that gets increasingly more panicked as the film goes and Franco is constantly full-throttle, to the point that his character comes off as whiny and irrational.  Part of this is intentional, because they're playing a couple with personal and intimacy issues, but the benefit of them performing this movie together never fully pays off.  In spite of all of this, the movie is too effectively made to not be a recommend, because the horror sequences are stellar (up until the last ten minutes, which are pretty underwhelming).  There are sequences in this movie that are such hard rock J-horror that you would swear that this is an unofficial Ju-On sequel.  Brie's character has a few creepshow contortionist sequences that steal the show.  Whether or not it's actually Brie or a body double is something I cannot say for certain, but if it's actually Brie, all I can say is that she really went through the ringer in this movie.  Horror fans that have been waiting all year for a movie that pulls zero punches will undoubtedly flock to this movie in spite of its rough edges.  It certainly accomplished the thing it set out to do.

Netflix & Chill


War of the Worlds
⭐️
Streaming On:  Prime
Genre:  Science Fiction
Director:  Rich Lee
Starring:  Ice Cube, Eva Longoria, Clark Gregg, Henry Hunter Hall, Iman Benson, Devon Bostick


I didn't even know there was a new War of the Worlds movie until right before I watched it.  I saw that something called War of the Worlds had just hit Prime and was getting raked through the coals, and since War of the Worlds isn't exactly hurting for bullshit that has been associated with its name since hitting public domain, this didn't narrow it down.  Did you know there was a three season television show that had Gabriel Byrne and Daisy Edgar-Jones?  Neither did I.  Apparently, this new one was some cheapie that was filmed during the pandemic that starred Ice Cube and was shelved because it was garbage.

Well, now I have to see it.

The film is your basic alien invasion movie done in the style of Unfriended or Searching, trying to tell an entire film from the point-of-view of a computer screen.  The film's producer, Timur Bekmambetov, also produced both of those movies, as well as directing one of his own in Profile, so this has kind of become his thing.  A decent amount of these movies are surprisingly good, even though they're just a new-age spin on the found footage genre.  War of the Worlds is what happens when one of these goes horribly wrong.

The movie centers on Ice Cube as a DHS agent who is stuck in his office on lock down while the world is being invaded by aliens.  If you're saying "That doesn't sound anything like the novel," congratulations.  You won Captain Obvious of the Year.  I'm sure if H.G. Wells had any concept of of computers, surveillance, drones, and Amazon delivery tenacity, he would have written this exact story, but he didn't and it was up to these filmmakers to brave these waters.  And if you want to get into the nitty-gritty of adaptations, the two most famous film versions (the 1953 George Pal production and the 2005 Steven Spielberg film) were both loose adaptations as well.  Those films at the very least maintained concepts that were present in the original story, though.  This movie takes the Tripod alien warship design and little-to-nothing else.  We don't even get to see people turn into ash.  This is fucking bullshit, man.

I imagine the film only used the title for brand recognition, meanwhile just wanted to use the computer screen format to tell an alien invasion story through media coverage.  If nothing else, you can definitely say this movie is a swing.  There are many issues it comes with.  The biggest problem is that Ice Cube is so isolated from what is going on that any theoretical tension is at a disadvantage, because he feels removed from being a player in a real movie.  But even when the film actually does portray characters deep in the shit, I imagine the movie wants to be seen like a viral social media clip of real life chaos, but the movie suffocates itself because none of these scenes look real.  It looks like a bunch of jackasses running around with phones with an AI camera filter that added a spaceship to the background.

I think we all learned a valuable lesson today:  Seeing an alien invasion through media on your computer screen isn't as terrifying when all the footage looks like deep fake trash.

All of this being taken into account, the movie's script is just awful.  Ice Cube's character is unlikable from moment one, where the movie is trying to portray him as an overprotective parent, but he's using government equipment to spy on his children every waking second.  This is creepy as fuck.  It's also interesting to me that Ice Cube's news media of choice seems to be Fox News, but it's not a very realistic depiction of them because they're actually covering the invasion and not just showing a series of talking heads that are blaming the liberals for it.  He then gets to his low point when it's discovered that the aliens are accumulating data, and gets upset because Facebook died.

PEOPLE ARE DYING AND MY FACEBOOK PHOTOS ARE BEING DELETED!  THIS IS THE WORST DAY EVER!

(for context, the reason he's actually upset that his dead wife's account went down in the cyber attack, but this is such a weird plot point that I think my point continues to stand)

All this leads up to an absurd conclusion, where his son reveals himself to be a superhacker that was trying to take down the government.  He uploads a virus onto a thumb drive and sends it to his father through an Amazon Prime instant shipping drone, where Ice Cube runs to some terminal, kills all the aliens, and ends the War of the Worlds in an afternoon.  Great job, America.  We did it.  Tom Cruise must be kicking himself for not being able to end the invasion like motherfucking Ice Cube.

This movie is ass.  Whatever aspects that could have made it interesting are the very things it puts the least amount of effort into.  The script is nonsense, thriller elements are nonexistent, and we don't even get to see a goddamn alien.  What even is this movie?  It's the equivalent of having an idea that sounded good at the time but when you try to tell someone about it later, you can't remember parts of it and you just spit out a bunch of word salad.  You know the face that person gives you?  That's the entire audience to this movie.  What an achievement.

Movies Still Playing At My Theater
28 Years Later... ⭐️⭐️
Eddington ⭐️⭐️
F1 ⭐️⭐️
The Fantastic 4:  First Steps ⭐️⭐️⭐️⭐️
The Home ⭐️1/2
House on Eden ⭐️1/2
Lilo & Stitch ⭐️⭐️
Oh, Hi! ⭐️⭐️1/2
Sorry, Baby ⭐️⭐️⭐️1/2
Superman ⭐️⭐️⭐️

New To Digital
28 Years Later... ⭐️⭐️
Hot Milk ⭐️⭐️1/2
The Life of Chuck ⭐️⭐️⭐️
The Phoenician Scheme ⭐️⭐️1/2

New To Physical
The Phoenician Scheme ⭐️⭐️1/2
Thunderbolts ⭐️⭐️⭐️1/2

Coming Soon!

Monday, July 28, 2025

Cinema Playground Journal 2025: Week 30 (My Cinema Playground)

Multiplex Madness


The Fantastic 4:  First Steps
⭐️⭐️⭐️⭐️
Genre:  Superhero, Fantasy, Science Fiction, Action, Adventure
Director:  Matt Shakman
Starring:  Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Julia Garner, Ralph Ineson, Sarah Niles, Mark Gatiss, Paul Walter Hauser


Every ten years or so, someone tries to make a Fantastic Four movie.  For the longest time, the film rights were held by Constantin films, and those rights were in danger of lapsing in 1994, hastily putting together a cheap movie (aided by cheap movie maestro Roger Corman) to maintain the rights until they could actually make a real movie.  Sources differ on whether or not the movie was actually intended for release, but it never did, with various reasons given as to why.  What's sad is that it's arguably the best of the Fantastic Four films up until this point.  What it lacks in budget and, well, talent, it makes up for in sheer earnestness.  Whether the film was intended to release is moot, because it was made by people who gave genuine effort in spite of the reality that they didn't have resources.  Comparatively, the pair of Tim Story directed films, from 2005 and 2007, also arguably made an effort, but had less ambition with more resources, churning out domestic family comedies with superpowers.  They had their charms (these movies were excellent babysitting movies, from my experience), but they didn't capture the imagination enough to complete a trilogy or anything.  Another ten years pass, and the rights are in danger of lapsing yet again.  20th Century Fox needs to push ahead with something, and goes ahead with a pitch from director Josh Trank.  The best thing that can be said about this particular movie is that it was made with a clear vision.  The worst thing that can be said is everything else, as Trank tried to fuse the plucky IP with a grim tone of hard sci-fi and dark body horror.  Doing such a take on a superhero movie probably wasn't a bad idea, but doing it with the Fantastic Four was a terrible one.  That's not even bringing up the film's structure, which was an hour-long first act and half of a third act, which made the script feel like it was collapsing halfway through and giving up.  The final film was a monstrosity, single-handedly tanking Trank's then-promising career, as behind the scenes shenanigans came to light and he was subsequently dismissed from helming a potential Star Wars film in the aftermath.  Good cast, though, which included on-the-way-up talents like Miles Teller and Michael B. Jordon.

For the last thirty years, Hollywood has been trying to prove that you can't make a good movie out of the Fantastic Four.  Marvel Studios producer Kevin Feige sighed, stared at everyone responsible exhaustedly, and told them "Hold my beer."

The final product is The Fantastic 4:  First Steps, which is the second MCU-related-but-main-universe-adjacent feature film from Marvel Studios, following Deadpool & Wolverine (third if you count the Loki TV series).  Taking place in an alternate universe that features the aesthetic of retro-futurism intermingled with 60's nostalgia, the Fantastic Four are the established heroes of the Earth of their respective dimension.  They then recieve a message from the Silver Surfer, warning them that their planet is going to be devoured by the cosmic world-eater Galactus, as the famed quartet then quest out to prevent the destruction of Earth.  Basically, it's an entire re-do of 2007's Fantastic Four:  Rise of the Silver Surfer, only done better.  Of course, they could have just remade Rise of the Silver Surfer beat-for-beat and added the third act that it declined to do and it would have been better.  Instead, they made an actual movie this time.  One with a climax and everything!

Aesthetically, First Steps is, for the lack of a better word, a marvel.  The movie's set design really upped its game for superhero cinema possibilities, hitting a hyperreality mark that I imagine Joel Schumacher was aiming for when he made his Batman movies in the 90's (but accidentally created something garish instead).  This is a level we see from animated fare like Spider-Verse and Big Hero 6, a from-the-ground up reinvention based on what cultural reference points it's going for.  The Fantastic Four were created in the 60's, and the film knows they're most at home in the era that they spawned from (other Fantastic Four movies have tried to adapt them to more modern styles and sensibilies and didn't fully take off).  First Steps uses that as a starting point but goes further, establishing them in a world that is what people of the 60's thought the future was going to look like, which is The Jetsons meets Star Trek.  Not only that, it fuses all of this into the stylizings of 60's pop culture, with smiling television personalities and bright pleasantry dominating the overall vibes, masking the darker side of the world with good ol' American gusto.  The 60's were not quite an idealized society, despite what domestic sitcoms of the period would have you believe, as it was putting on a positive face to hide Cold War escalation, civil rights protests, and falling into the Vietnam War.  First Steps actually plays that game really well, with Marvel's First Family being the face of beloved celebrity worship in their culture, heralded as the protectors of the world, only to face overwhelming backlash when they're facing an unstoppable force that asks them to make an impossible choice that they refuse to make, flinging their "perfect world" into a doomsday scenario.  The film is actually a powerful statement on idols vs. the humanity beneath them and the pressure and stamina it takes to maintain such an image when the whole world has a specific expectation of you.  It mixes perfectly with the film's other themes of paternal instinct, and the natural urge to protect one's child from harm, no matter how enormous.

The film is equally brought to life by some of the most pitch-perfect casting in any superhero movie.  Casting Pedro Pascal and Vanessa Kirby as Reed and Sue Richards was an absolute power move.  Pascal is one of the most treasured actors currently working today, and Kirby, well, to be blunt, she's a goddess with two feet touching this world.  Not only that, they fit their roles in a dynamic way and flesh them out with stellar chemistry.  If there is any hesitancy to what they bring to the table, I found it disappating anytime they were given a scene together.  There's even an argument scene before the climax between the two that, quite frankly, any comic reader will identify as the most Sue and Reed scene ever filmed in any Fantastic Four movie.  I have nothing but high praises for them.  I am less familiar with Ebon Moss-Bachrach and Joseph Quinn, but I have just started watching The Bear and didn't realize Moss-Bachrach was also on that show until I was actually watching this movie.  Anyway, he's great as a less moody version of Ben who has seemingly embraced his life as a big rock man, although still has enough self-consciousness about it that he seemingly is hesitant about a romance with Natasha Lyonne.  I'm not going to lie, I feel the movie could have done more with the Lyonne romance, because it's barely present and probably could have easily been cut, but there is always a sweetness to Ben Grimm's love life that's fun to explore.  Quinn is the one I'm least familiar with.  I've heard he's on Stranger Things but I didn't make it past the first season.  Apparently, he was in A Quiet Place:  Day One but I and Gladiator II ,but he just didn't make an impression on me.  Anyway, his character of Johnny Storm has always been played as a "Top Gun generation hotshot with attitude" in movies like this, but Quinn's take is more "fun brother on an 80's sitcom."  Whether or not you like Quinn's take is going to depend on how you like Johnny being depicted, but given the vibe of the whole movie, this take on Johnny is perfect for this specific movie.  Also, Ralph Ineson and Julia Garner as Galactus and the Silver Surfer (Shalla-Bal variation) are here.  Both great actors that probably could have gotten more to do but made the most of what they were given.

If I could level one complaint at the movie, it's that its pacing is not fully efficient.  This movie has two modes:  casual laid-back dramedy and everything happening all at once.  The movie acts as a series of rubber band pulls, slowly stretching out until it finally releases for a major sequence.  Whether or not it hurts the movie is up to the viewer, and will likely depend an how enamored they are with the tone and vibes of the film.  I was more into it than I was Superman a few weeks ago, which had similar problems but worked them out more clumsily, so I'm not going to dock anything significant off my opinion of the film.  To be honest, I couldn't help but watch it and think to myself that this is exactly what a Fantastic Four movie should be, all the while my heart fluttered with pure joy.  And that's the thing that I can't shake about this movie, which is that it gave me the same giddy feeling I got in the pit of my stomach when I watched The Incredibles back in 2004.  Any superhero movie that can do that has achieved the status of one of the best superhero movies ever made.


The Home
⭐️1/2
Genre:  Horror, Comedy
Director:  James DeMonaco
Starring:  Pete Davidson, John Glover, Bruce Altman


Purge creator James DeMonico tries his hand at doing a horror movie that isn't The Purge, basically trying to do Get Out in an old folks home.  Pete Davidson plays a troubled man who is sentenced to community service, spending his hours acting as a super in a retirement home.  Weird things are afoot and Davidson begins to notice oddities, suspecting that not everything is as it seems.  The Home is a part of what seems to be a new wave of horror films that try to play off the primal idea in the back of one's head that the elderly are off-putting.  It's not as unpleasant as The Front Room, nor does it achieve mediocrity like The Rule of Jenny Pen.  The Home's best aspects make one appreciate that there might be a fun time-waster in its DNA somewhere, though it tends to lose its grip on its own sanity the more it tries to explain itself.  DeMonaco's unsettling imagery sometimes gives The Home the push it needs to be just watchable enough.  The problem that the movie can't shake is that he's merely playing with an idea and can't find the story inside it, while its attempts to resolve it are a convoluted dumpster mess.  Still, the climax of the film allows Davidson to go full-on blood-soaked wrath-bringer, which is just entertaining enough to almost make one forget the imperfections in getting to this point.  I have difficulty forgiving the entire movie, but it did bring five minutes of quality chaos.


House on Eden
⭐️1/2
Genre:  Horror
Director:  Kris Collins
Starring:  Kris Collins, Celina Myers, Jason-Christopher Mayer


House on Eden was directed by YouTube and TikTok content creator Kris Collins, better known as KallMeKris.  I don't know much about Collins, or what type of videos she makes.  Apparently, she made the jump from vlogging to filmmaking, choosing to cut her teeth on a found footage horror movie.  Found footage is a good genre for people who have no money and want to get experience under their belts.  Ideally, one would want to offset a lack of resources with creativity, and House of Eden is too tropey for Collins to genuinely make an impression with.  She basically just did her spin on The Blair Witch Project, where three documentarians head into the woods and spooky stuff happens.  Then she merges with aspects of Paranormal Activity and The Last Exorcism, creating a movie that is thoroughly in the realm of things we've already seen before in this format, but done less interestingly.  House on Eden feels like it was made by people who were more interested in having the experience of making a movie rather than having a movie they wanted to make.  It feels very "We did it.  We don't know what it is, but we did a thing."  The movie isn't entirely void of effective moments (there's a bit with a mirror that I quite liked), though they're pretty sparse.  And the movie takes much too long to set itself up, as the film tries to have us settle in with the characters with a series of humorous vignettes.  Some are amusing, while others will make one ask "Why are we even seeing this?"  When you're questioning whether or not a movie that isn't even eighty minutes is too long, something is off-center.  If Collins wants to continue to be a filmmaker (and I assume she might, since this movie was sold to a distributor instead of being uploaded straight onto her YouTube account), my suggestions would be to work on rhythm, pacing, and, if she wants to keep making horror movies, come up with bigger and bolder ideas for setpieces.  Found footage is easy to make, but it's oversaturated.  You're going to want to go big or go home, and House on Eden is too small.  For those who want a scare-ride, House on Eden isn't it.  If you're a KallMeKris fan, maybe you'll be tickled by the fact that she made a movie at all.


Oh, Hi!
⭐️⭐️1/2
Genre:  Comedy
Director:  Sophie Brooks
Starring:  Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, David Cross


Some break-ups can feel like the entire world is crashing down, which becomes a central premise for indie comedy Oh, Hi!  Molly Gordon feels like she is at the start of a beautiful long-term relationship with Logan Lerman, but after a kinky evening involving handcuffs, she discovers that she's more serious about their relationship than he is.  In the heat of the situation, she decides to just not unchain him from the bed.  At first out of anger, but ultimately she decides to use the situation to make the argument that she's his dream girl, as he continues to become more and more terrified of her.  It's the premise of a horror movie (the movie is basically Misery), but it's funny because the instigator is cute, young, and hot and therefor without fault, as the film treats the victim as the antagonist.  Honestly, it's kind of a great idea for a movie, showing Lerman becoming more agitated as it goes while Gordon has a breakdown stemming from one rash decision in an awkward situation that is spiralling out of hand.  The movie is pretty funny, and if it could maintain its momentum, it would be an easy recommendation.  But it hits a third act roadblock, throwing a goofy plot point at the audience and going ride-or-die with it until just washing its hands because it's out of things to do.  If I were judging this movie by its first hour, I'd have more praise to give, even if the movie didn't fully commit to being the dark comedy that it could be.  Judging it as a whole, it fumbled a touchdown, and that's hard to ignore.  Those who just go with the flow will probably be easier on it, though.


Sorry, Baby
⭐️⭐️⭐️1/2
Genre:  Comedy, Drama
Director:  Eva Victor
Starring:  Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, Kelly McCormack


Sometimes it feels weird to call a comedy a comedy.  Usually, it's when it deals with something thematic that feels more serious than the jokey nature of the movie lets on.  Such is the case of Sorry, Baby, an indie from writer/director newcomer Eva Victor.  Victor stars as a college student who has a traumatic experience, one that definitely invites trigger warnings for some audience members, so one might want to do research on the film before jumping into it.  Anyway, she doesn't like to talk about it, and goes about her life in a self-deprecative way, often avoiding socialization and living alone with her cat.  Her loneliness is compounded when her best friend moves away, though she eventually returns with a newborn baby.  The film's brand of humor stems mostly from the protagonist's awkwardness, of a woman who sometimes wishes to connect but it feels like its too much work, so she'd rather not bother and just sits with her life in stationary.  The movie isn't afraid to turn serious when it addresses its taboo themes more directly, but it will derive comedy out of the non-tactful way society tends to discuss it around her.  The film is about a woman who is living with her trauma and taking a day-by-day method in attempting to regain a sense of normalcy, even if she'll never feel fully the same again.  The deft touch of this movie makes it something beautiful, and it identifies Victor as a talent to watch.

Netflix & Chill


Happy Gilmore 2
⭐️⭐️⭐️
Streaming On:  Netflix
Genre:  Comedy, Sports
Director:  Kyle Newacheck
Starring:  Adam Sandler, Julie Bowen, Christopher McDonald, Benny Safdie, Bad Bunny, Ben Stiller, Jackie Sandler, Sadie Sandler, Sunny Sandler


I think history has shown what Gen-Xers and Millennials have known all along and that Happy Gilmore is the quintessential Adam Sandler movie.  And I can hear all the snobs banging at my door calling out "Punch Drunk Love, Uncut Gems, blah blah blah," but the fact remains that movies like that featured Sandler as an actor hired for the use of other filmmakers' creative talents.  If we're purely talking about Sandler as a creative force of his own, making the movies he wants to make, Happy Gilmore was his peak.  And he found his audience in that period in the 90s where teenagers would watch movies on TBS while scarfing down a bag of Cheetos and just chuckling at the sight of Bob Barker getting into a fist fight on a golf course.  But we all grew up at some point, and Sandler's production company, Happy Madison, never entirely changed its output.  We all showed up for The Wedding Singer and The Waterboy, but eventually his fanbase shrank to the barebones of people who thought eating those Cheetos in front of the TV amounted to their "golden years."  But there is one thing that unites all of us who ever watched Adam Sandler movies:  we all fucking love Happy Gilmore.  We all would fucking die for Happy Gilmore.  Don't you talk shit about Happy Gilmore, you son of a bitch.  ::smashes bottle and holds it offensively::  DO YOU THINK I'M PLAYING?!

And, nearly thirty years after the original, now there is a sequel.

Oh...

And it went straight to Netflix.

Oh...no...

But if you love the original, it's actually not that bad.

Oh...yay...?

If your expectations are low enough, Happy Gilmore 2 could be described as the Rocky Balboa of Happy Gilmore movies.  That might be giving it too much credit for its creative ambitions, which are none or less, but it's a fun throwback for old fogies who loved the first one.  The film catches up with Happy decades after the first, having raised five children with his wife, Virginia (Julie Bowen, reprising her role).  But Happy retires from golf after one of his trademark super-drives accidentally kills Virginia, leaving him a widower taking care of a large family and driving him to alcoholism.  Happy's daughter (played by Sandler's real life daughter, Sunny) wants to go to ballet school, but he doesn't have the money, which means he needs to sober up and unretire to pay her way through.  Meanwhile, a douchey rich guy (played by Uncut Gems co-director Benny Safdie) seeks to make golf less boring, creating a brand new version of golf based on Happy's unconventional golf-course behavior (and maybe a little bit on Nickelodeon game shows).  Happy comes to odds with him, eventually hitting the green with a team of traditional golfers to beat him at his own game.

Yeah, this is pretty much what I expected a Happy Gilmore sequel to be.

I'll be honest, I laughed a lot more than I thought I was going to.  I don't think that's because Happy Madison productions have magically aged like fine wine (which they haven't), but I also don't think it's fully because I have the original on a nostalgic pedestal in my head (which I do, but that's beside the point).  There are typical lazy Sandler groaners lacing this movie, but I need to give it credit for having jokes that genuinely land and probably would have lolled at in any production and not just one that I grade on a curve.  My biggest fear is that it would succumb to staleless, because Sandler made a career out of telling the same jokes over and over again and doing them worse every time.  Happy Gilmore 2 isn't entirely free from this, but there is a coziness to this particular version of Sandler's escapades that makes it comfort food.  I do think the movie baits heavy on nostalgia, perhaps too much.  It often feels like it needs to punctuate itself by inserting clips of the original into it, like a Family Guy cutaway gag.  I wish the movie would trust itself more, because the last thing it needs is to literally steal gags from the previous movie, not even bothering to redo them in its own production.

But there is a pulse to this movie that makes it more watchable than it probably should be.  I was disappointed in the fridging of Virginia in this movie, but I was surprised that they kept her as a constant presence (like Rosario Dawson in Clerks III) that was always with Happy.  And they didn't even replace her with someone younger and sexier as a love interest, like you would expect in a movie like this.  The movie makes it clear that she was always Happy's entire world and he doesn't have eyes for any other women (of course, most of the female roles in this movie are played by Sandler's daughters, so that would be weird).  That's actually really sweet.  The movie has that warm and fuzzy nature to it, even in the gratuitous cameos.  Even Margaret Qualley is here, for some reason.  And she is hot shit right now and is in a position in her career that she wouldn't do a movie like this unless she legitimately wanted to be here (I'm assuming she has an affinity for the first movie).  And she's having fun, too.  It's cameos like this that give the movie vibes that it was made for love, even though the movie is basically Netflix pushing nostalgia because "Remember this?" has always drawn huge numbers for them, so it was more likely made for content.  The fact that Happy Gilmore 2 has just enough heart to use those vibes to mask the cynicality of the machine that created it makes all the difference.

Movies Still Playing At My Theater
28 Years Later... ⭐️⭐️
Eddington ⭐️⭐️
F1 ⭐️⭐️
Lilo & Stitch ⭐️⭐️
Smurfs ⭐️1/2
Superman ⭐️⭐️⭐️

New To Digital
Dangerous Animals ⭐️⭐️1/2
Lilo & Stitch ⭐️⭐️
Materialists ⭐️⭐️⭐️

New To Physical
Ash ⭐️⭐️1/2
Fight or Flight ⭐️⭐️⭐️

Coming Soon!

Monday, July 21, 2025

Cinema Playground Journal 2025: Week 29 (My Cinema Playground)

Multiplex Madness


Eddington
⭐️⭐️
Genre:  Drama, Comedy, Thriller
Director:  Ari Aster
Starring:  Joaquin Phoenix, Pedro Pascal, Emma Stone, Austin Butler, Luke Grimes, Deirdre O'Connell, Michael Ward


I don't know why Ari Aster made the pivot from making thematic horror movies to satirical cringe comedies, but whatever works for him, I guess.  All I'm saying is that he was clearly better at one over the other.  And I say this as someone who generally liked Beau Is Afraid.  It's themes were interesting, even if it became overlong and tiresome by the end.  But I could also say the same about Midsommar, so maybe it's an Aster thing.  And, to a lesser extent, I can say the same thing about Eddington.  Eddington is just more inconsistent about it before going completely haywire in its finale.

Eddington centers around a small town in New Mexico during the COVID-19 pandemic, where Joaquin Phoenix plays a right-wing sheriff who is at odds with liberal mayor Pedro Pascal, mostly because he doesn't like the mask mandates that are being enforced.  In retaliation, Phoenix decides to run for mayor against Pascal, and soon finds both his campaign and his life spiraling.  Thematically, the movie is about how politicized news outlets and social media can radicalize those who are obsessed with it, and to Aster's credit, he has very keen observations on the subject.  But his attempts to be a "both sides" satire can grow tiresome and inconsistent.  Austin Butler's role as a media personality that is assimilating easily outraged right-wing followers is understandable in concept, but the movie doesn't actually make a point worth making with it.  There are interesting scenes of Caucasian protesters hassling a Black cop at a Black Lives Matter rally, trying to rashly explain to him about the things he should be outraged about, which is a smart parody, but the film also never fleshes out the police officer enough as anything more than a prop for scenes like this.  But as muddled as the movie can be, Aster's message is clear enough to resonate as easily as it frustrates.  The movie is not only frustrating because Aster wants it to be frustrating, but unfortunately also because it deals with a lot of garbage that most audience members (or maybe I'm speaking for myself) have moved past and have zero desire to revisit, even in artistic form.  But the movie takes a turn for the more demented in the second-half, as Aster's flair for keeping the audience guessing where he's going finally kicks in.  The first turn is more than enough, but Aster insists on going further, rolling the dice on an absolutely bonkers finale that probably sounded fun on paper but feels misguided in practice.  The finale cements that the movie never overcomes its shortcomings and ensures that the audience leaves with a bitter taste in their mouths, remembering the film not for the thought-provocation that it's going for, but rather the feeling that Ari Aster was running at you, flailing his arms and screaming.


I Know What You Did Last Summer
⭐️⭐️
Genre:  Horror, Mystery
Director:  Jennifer Kaytin Robinson
Starring:  Madelyn Cline, Chase Sui Wonders, Jennifer Love Hewitt, Freddie Prinze Jr., Jonah Hauer-King, Tyriq Withers, Sarah Pidgeon, Billy Campbell, Gabbriette Bechtel, Austin Nichols


I Know What You Did Last Summer is probably one of the weirder horror franchises to have had any sort of impact.  Its origins date back to 1973, when Lois Duncan released the original young adult novel, which centered on a group of friends who were involved in a hit-and-run accident, only to recieve mysterious messages a year later.  In the 90's, screenwriter Kevin Williamson used the rather tame mystery novel as the basis for a slasher movie screenplay, which was far removed from what its source material was.  Williamson also wrote another slasher movie around the same time called Scream, which took off, and I Know What You Did Last Summer was put into production to capitalize off of Williamson's success.  The movie is stylish, but pretty mid, with a lot of nonsensical plot details that fail to make sense.  Still, the movie was a success.  It was the right mixture of high-concept premise aimed at teenagers presented by the who's who of late-90's teen heartthrobs, including (Munchie's own) Jennifer Love Hewitt, Sarah Michelle Gellar, Ryan Phillipe, and Gellar's eventual husband, Freddie Prinze Jr.  Like all great/mediocre slasher movies, it spawned an immediate sequel a year later, which was so bad that the parody film Scary Movie wasted an entire joke to just tear it down (especially roasting Jack Black's slight role, who was an unknown at the time). Also like all the best slasher franchises, it also eventually went direct to video, with a threequel which everyone immediately forgot existed.  It is the only film thusfar without the involvement of Hewitt and Prinze, instead starring a handful of unknowns and Z-listers, the nost notable being Animorphs star Brooke Nevin and Chicago Med's Torrey DeVitto, while the Fisherman was played by former Michael Myers maskwearer Don Shanks of Halloween 5.  The series was effectively dead until Amazon Prime ordered a moderately entertaining TV series reinvention a few years ago, which gets so increasingly off-the-rails that I have no choice but to recommend it because it needs to be seen to be believed.  It was canceled after one season, ending on a bizarre cliffhanger where the main final girl, played by Jumanji's Madison Iseman, begins a lesbian love affair with the mystery killer and runs off into the sunset with her, pinning the blame on the guy who was set up to be her love interest throughout the season.  Best ending ever.  10/10.  No notes.

And now, I Know What You Did Last Summer has been pegged to do what the Scream franchise has affectionately called a "re-quel," a film that effectively remakes the original film but brings back legacy characters to keep it in canon to the previous films.  My only question is whether or not it was still canon to the third film, which was already a re-quel in its own right, and had built up to a mystery reveal where they discovered the identity of the killer, only for the reveal to be that it was the OG Fisherman who had come back as a zombie who exclusively murders teenagers a year after they accidentally kill people on the Fourth of July.  If the same thing happened in this movie, I'd be ecstatic.

Or the return of the lesbian runaways from the TV show.  Whatever works.

True to form for a I Know What You Did Last Summer movie, the new one starts with a group of friends involved in an accident that leaves someone dead.  One year later, they begin receiving notes from someone who knows what they did and begins murdering them one-by-one.  If one has a fondness for the original, this new film is probably a must-watch, because it's the closest the series has gotten to hitting the same notes that made it such a Gen-X/Millennial classic.  This could even arguably be the best one.  It's still aggressively stupid, but it wears it better than the other movies.  Mileage may very as it gets into the grind, because the film's murder spree tends to feel soulless after a while and the finale killer reveal starts off underwhelming before taking a huge swing that is ballsy but arguably the wrong move to make.  But the killer reveal in each Last Summer movie has always been kinda dumb and eyebrow raising, as opposed to Scream reveals which invite rewatches just to see what the killer is doing in any given scene.  The value in Last Summer has always been about guilt and karma, which the film delivers on...though, like other films in the series, the killer seems to have no problem with offing innocent bystanders to avenge the murder of an innocent bystander.  I always have to level criticisms like that with a wave of a hand in a "doesn't matter" motion.  These are just traits that this franchise has always had.  If the movie's biggest crime is that it recreates the experience of the original that thoroughly, then maybe it got the job done.


Smurfs
⭐️1/2
Genre:  Comedy, Fantasy, Musical
Director:  Chris Miller
Starring:  Rhianna, John Goodman, James Corden, Nick Offerman, Kurt Russell, J.P. Karliak


Sony made Smurf movies for a while.  A couple of them made money, but I honestly can't think of a single person who has seen them, let alone liked them.  But the first two had Hank Azaria in them.  Good for them!  Anyway, Sony let the rights to the little blue freaks lapse and Paramount quickly nabbed them up, thinking "Fuck yeah, now we can make the Smurfs movie the world has demanded."

There's this old Don Adams bit where he plays a defense attorney which has one of the funniest line deliveries I've ever heard in my entire life:  "Your honor, ladies and gentlemen of the jury, for the last twenty minutes I have sat idly by while my opponent, the prosecuting attorney, has stood up here and made a complete jackass out of himself.  Now, it's my turn."  This feels like this is what Paramount just did.

Now, I haven't seen anything Smurf related since I was in the single-digits, so I'm going to try and keep up with the dense Smurf lore the best I can.  This new Smurfs movie sees evil wizard Gargamel's brother Razamel searching for a magic book that has been hidden in Smurf Village for a century, and kidnaps Papa Smurf trying to find it.  A group of Smurfs then venture out of Smurf Village to find Papa Smurf's brother Ken and rescue Papa.  I guess this is an okay enough story for a Smurfs movie, though it never feels to me as if the Smurfs could adequately carry a feature film.  A group of cutesy characters who are defined by simplistic personality traits work best in small doses on television, and venturing into feature film territory overwhelms them.  But then again, there are four Smurfs movies, so maybe I'm wrong about that.  This new Smurfs movie doesn't convince me of that, though.  I'm not trying to be Smurfist, but the inherent problem with doing a Smurf movie with a dozen protagonists is that most of the Smurfs look alike, and the main Smurf's defining trait is that he has no defining trait.  The main protagonist is called "No Name" and his character arc is that he doesn't have "a thing."  This leads to the film's central moral for children about finding out who you are in your own time, but it's really hard to grasp onto a main character who isn't actually a character when he's surrounded by other character models that are exactly the same as his.  Humor-wise, the movie is stylized like a comic strip, with a lot of gags that are amusing in panel form but fall flat as they try to pull them off in motion.  It doesn't really hit the same, though very young children might be amused.  Otherwise, the movie just sets itself to a pop soundtrack that allows its blue heroes to just do a little dance when they can't think of anything else that's funny to do.  The movie isn't much, though it might be tempting to throw it on streaming to keep children occupied while you leave the room and do something else.  I can't promise those children won't get bored, find you, and request that you change it, though.

Movies Still Playing At My Theater
28 Years Later... ⭐️⭐️
Abraham's Boys ⭐️⭐️1/2
Elio ⭐️⭐️1/2
F1 ⭐️⭐️
Lilo & Stitch ⭐️⭐️
Superman ⭐️⭐️⭐️

New To Digital
Bride Hard ⭐️
M3GAN 2.0 ⭐️⭐️

New To Physical
The Surfer ⭐️⭐️1/2

Coming Soon!