Tag: sony pictures

28 YEARS LATER: THE BONE TEMPLE – Review

Whew, now that is a really quick turnaround for a sequel (they way it sprinted to theatres in just a little over six months, you’d think that it had contracted the “rage”). Usually there’s at least a year between franchise entries, even if they were shot at the same time as the WICKED flicks or even more, like the last two “impossible missions” (who knows if or when we’ll have to endure the conclusion to FAST X). Then, this isn’t your usual “tent pole”, since the original sprinted out in 2002, its first sequel in 2007, then the follow-up last June. That installment was both a box office and critical hit, so a different director and much of the same cast are hoping that audiences will be eager to get out of the January chills and warm themselves by the fiery furnaces of 28 YEARS LATER: THE BONE TEMPLE.


When we last saw the preteen loner Spike (Alfie Williams), he was saved from a rage-infected pack by a group of track-suit wearing, platinum-haired young men and women. But as we see in the opening sequence, Spike might have gone from the “frying pan into the fire”, as he must face off against an older young man as his “initiation” into the group called “the Jimmies”. Watching over the duel is their leader, Sir Jimmy Crystal (Jack O’Connell), in his thirties, making him a veteran of the “plague” world. He “fancies” himself to be the son of “ole’ Nick” AKA Satan. Somehow, Spike triumphs, is dubbed the newest “Jimmy”, and is forced to join them in deadly attacks on human survivors on the mainland, encounters that end with Sir Jimmy orchestrating acts of barbaric cruelty. Meanwhile, Dr. Ian Kelson (Ralph Fiennes) is still tending to the title “Bone Temple”, or “memento mori” dedicated to the dead, the bone towers flanking a massive spire of human skulls. Kelson’s daily routine is broken up by visits (more like roaring attacks) from the hulking “alpha” of the infected, whom he dubs “Samson” (Chi Lewis-Parry). Those encounters turn into a game as Kelson waits until the giant is nearly upon him before using a long tube to blow a dart full of his special sedative, that renders Samson docile. The doctor soon comes to the conclusion that Samson actually welcomes the “rest” and often joins him for a brief “nap”. Kelson then begins to experiment on Samson and somehow is able to counteract the “rage”. However, his research may soon be disrupted when he and his sanctuary are discovered by the Jimmies. What happens when the worlds of these survivors clash? Who will claim the land, Sir Jimmy, Dr. Kelson, or perhaps Samson?

Probably the greatest performance from the last entry was from the gifted Fiennes as the somewhat still sane medical man, somehow learning to adapt to the hellscape of the plague -ridden countryside. Here he actually builds on that work (last time we didn’t meet him until well past the halfway mark), adding some new “layers” to this lonely soul. He shows us that Kelson is yearning for a real human connection, even if it’s with a “zonked out” behemoth. Plus, we get to see a bit of his eccentric side, as his main joy comes from his love of his 80s pop records. Fiennes captures our attention in every one of his scenes (he’s got a long overdue date with Oscar). His character’s “inverse” may be the charismatic O’Connell as the cunning, cruel, and still a bit charming Sir Jimmy. He may be the “wildest card” in the twisted pack of Jimmies, who has a teen idol’s swagger while putting a Manson-like spell on his faithful followers. After his splendid work last year as the “boss vamp” in SINNERS, O’Connell is quite the engaging movie monster. Williams commands our interests and elicits our sympathies as Spike, still a boy, as he tries to survive this world and his still painful family loss. Luckily, he’s got a caring surrogate “big sis” in the enigmatic Erin Kellyman as “Jimmy Ink”, the gang’s “enforcer” who has freed herself from the “cult” of Sir Jimmy. Kudos also to the compelling physical presence of Lewis-Parry who gives some unexpected vulnerability, showing us that like the Frankenstein monster, he could have his cloudy savagery cleansed by a bit of kindness.

Earlier I mentioned that this installment boasts a different director. Taking the reins from Danny Boyle is the versatile, visually elegant Nia DaCosta (after last year’s “chamber drama” HEDDA). She clues us in, with the searing brutality of “Spike’s test” that this second act of a planned final trilogy, won’t dance around its violent, visceral origins. In other words, the blood does flow, like a red storm over the gorgeous green English countryside. The screenwriter of last June’s entry, Alex Garland, does return with a tale that echoes several horror survival themes, showing us how the uninfected humans can be more deadly than the screaming charging hordes. We’re even given an “origin story” set at the beginning s of the “rage”, reminding us that these mindless monsters were exactly like us. What really surprised me this time was the unexpected bursts of very dark, nearly pitch black, humor, especially in the final showdown. Ah, but it’s not really “final” as an epilogue promises another glorious glimpse into this altered Earth. Let’s hope our next visit, probably not a quick seven months wait, will be as well produced and as full of conflict and compassion as 28 YEARS LATER: THE BONE TEMPLE.

3.5 Out of 4

28 YEARS LATER: THE BONE TEMPLE opens in theaters everywhere on Thursday, January 15, 2026

IT ENDS WITH US – Review

It’s only been a couple of weeks since the Summer’s biggest box office smash, y’know those two “fightin’ friends” from the MCU, so it feels a bit odd that a very serious “issue” drama based on a best seller is dropping into the multiplexes. Really, shouldn’t this be an “awards contender” for the much cooler Fall months? Well, literary adaptations other than the “YA” franchises do often get a Summertime release (two years ago WHERE THE CRAWDADS SING arrived that July). And this film does star the wife of one of the aforementioned Marvel spandex-wearing icons. Can she lure away some of the Summer cinema crowds as the novel’s heroine who declares (yes, she actually “drops” the tile in the “third act”) IT ENDS WITH US?

Oh, the actress mentioned above is Blake Lively, who plays the story’s “main focus”, thirty-something Lily Bloom. We first encounter her as she drives back into her family’s lush suburban neighborhood and is greeted at the front door of her two-story childhood home by her teary mother Jenny (Amy Morton). Sure, she’s happy to see Lily, but the reunion happens because of the death of the patriarch Andrew (Kevin McKidd). A visit to her old bedroom evokes many memories, some nice and some not-so-nice. Her nostalgia is interrupted by Jenny who reminds Lily that she will be a speaker at the memorial service (“Just say five good things about him”). Ultimately Lily is unable to come up with anything and marches out of the church as a shocked Jenny looks on. Then Lily returns to Boston and decides to reflect while sitting on the ledge of the top-floor terrace of a downtown apartment highrise. That’s where she meets one of its residents, smoldering (along with tall, dark, and handsome) neurosurgeon Ryle Kincaid (Justin Baldoni). The two flirt and even share some “naked truths” with Lily offering up the biggest stunner. She lost her virginity in high school to a boy who turned out to be homeless. It’s then that the hospital calls him and they go their separate ways. For Lily, she’s rented out some retail space and is turning it into a “high-end” flower shop. During her downtime, Lily recalls that long-ago secret romance with the mysterious loner Atlas (Alex Neustaedter). Her thoughts are interrupted by a quirky local named Allysa (Jenny Slate) who wants to be the store’s first staffer. After the place is open to the public they get their first customers, Allysa’s zany investor hubby Marshall (Hasan Minhaj) and Allysa’s brother…Ryle! Small world! The big romance truly begins, but his darker side emerges soon after they frequent the “hot” new trendy restaurant “Root” which is owned and managed by the now adult chef Atlas Corrigan (Brandon Sklenar). Will the man from her past open her eyes to the warning signs coming from Lily’s current love?

This story’s stumbles are somewhat smoothed out by the confident bravada performance of Ms. Lively, doing some of her best work since that underrated gem A SIMPLE FAVOR. As Lily she projects a no-nonsense demeanor though seemingly aloof to her family tragedy, her eyes tell us that it was a troubled childhood. We see some of that melt away as she begins her relationship with Ryle, but the tough exterior holds as she is determined not to be a new “notch on his bedpost”. We see another side when she’s reunited with that lost first love, making way for her awakening to the dangerous path before her. Baldoni is all smooth silky charm as Ryle, somehow giving their “meet cute” a sultry edge. This gives even more power to the cruel twists in his behavior much later. Slate is the usual scene stealer as the story’s comic relief, doing a modern-age riff on the pampered rich diva who thinks the working class is a fun escape from the “high life” (think a younger Karen from “Will and Grace”). Minhaj is her perfect match as the energetic “money mover” hubby Marshall. Sklenar is effective as the somber, often stoic but empathetic first love Atlas (something in that name) who tries to hide the feelings that Lily has rekindled. Unfortunately, there’s little resemblance to his teenage version played with a defiant dignity by Nuestaedter. On the other hand, Lively’s teen version really works thanks to the splendid casting and dramatic chops of Isabela Ferrer who perfectly captures the euphoria of a first infatuation.

I was surprised to see that the director/producer of the film is the male lead Baldoni, which is some impressive “heavy lifting”. Interestingly his last feature was another literary adaptation from five years ago, FIVE FEET APART. He never lets the pacing sag, even as he indulges in several cliche romantic montages (“boozin’ and bowling”) and veers into the area of “Nancy Meyers lifestyle porn” as we take in Ryle’s “ready for the magazine layout cover shoot” digs. This makes the shift in tone, into a domestic violence drama, so jarring. Yes, it’s an important topic, but so much is hidden from us (Lily even refers to herself as an “unreliable narrator”) that it deflects the message, Plus there are so many wild “callbacks” and coincidences. And like most “rom-coms” a major conflict could be quelled with just a few words (Lly is reduced to chanting a mantra of “Baby…baby…”). There’s an opportunity to explore the motivations of the abuser, but one character provides an explanation that’s too simplistic, reminding me of the Simon Oakland denouncement in the last minutes of the original PSYCHO. Then the final act tosses another element in that isn’t really explored in order to provide an inspiring final fade-out. Maybe Christy Hall’s screenplay from Colleen Hoover’s best-seller needed another “pass” or two. Perhaps fans of the book will enjoy the movie “spin”, but unaware moviegoers may think they’ve entered a high gloss basic cable TV “message movie” with the unwieldy histrionics of IT ENDS WITH US.


2 Out of 4

IT ENDS WITH US is now playing in theatres everywhere

SPIDER-MAN: ACROSS THE SPIDER-VERSE – Review

Maybe the multiplex should seriously consider adding seat belts to their plush reclining chairs (maybe dump the seat warmers). An odd notion you might say, but with this weekend’s huge film release, well you may just agree. So, it’s a sequel and yes, we’ve gotten a few of those already in this summer movie season. And it’s a superhero flick, along with three other flicks this year. And it’s also animated, just like that ground-breaking, game-changing Oscar winner from five years ago. Back then some thought, that this was a “cash grab”, that Sony was trying to squeeze the last penny from their live-action franchise. Wow, were those folks proven wrong. Hey, heads up the much-rumored “super-hero fatigue”, because here’s the “cure”. It’s finally time to swing into SPIDER-MAN: ACROSS THE SPIDER-VERSE, which might leave you with a big “Stan Lee-sized” grin on your face!


They’re not “playing it safe’ this time, as this new entry actually begins far from the main setting of the last one. Over at Earth-65 we get some “backstory’ on their arachnid hero, er heroine, Gwen Stacy AKA Spider-Woman (voice by Hailee Steinfeld) whose worries aren’t drowned out by her pounding drum solo (right before she quits her band). Her dad, Police Captain George Stacy (Shea Wigham) is determined to arrest that masked vigilante. After a tragic accident, he nearly gets his wish until a strange portal opens out revealing two other “spider-beings”, chopper riding (with a “bun in the oven”), Jessica Drew (Issa Rae), and the brooding and buff Spider-Man of 2099, Miguel O’Hara (Oscar Isaac). They’re part of a team that protects the “Multiverse” and they quickly recruit Gwen. And then we’re suddenly back on Earth-1610, the home of Brooklyn’s defender Miles Morales AKA Spider-Man (Shamiek Moore). And this high school sophomore is late, as usual, for a meeting of his parents, Rio (Luna Lauren Velez) and soon-to-be-police-captain Jefferson (Brian Tyree Henry), with the school’s guidance counselor to map out a college plan. But Miles has to stop an ATM robbery at a bodega, Oh, but this isn’t an ordinary hood. He’s a former scientist who was transformed by the dimensional collider five years ago. He’s now a faceless white creature adorned with black dots that open up holes in distant points in nearby space. That’s why he calls himself the Spot (Jason Schwartzman). When he disappears into one of those holes, Miles thinks he’s defeated him. That is until he gets a most welcome unexpected visit from Gwen. It’s soon revealed that this is not a social call, because the Spot can now pop in on other realities and threatens the Multiverse. Thus begins a journey for the old friends as they travel to different worlds, meet other heroes, and face a pre-ordained destiny that could destroy all the countless realms of existence.

The stellar vocal cast returns with renewed vigor and confidence emboldened by a new incredible supporting ensemble. Moore once again carries the emotional heft of Miles, balancing his smooth swagger with a true vulnerability as he looks toward a very uncertain future. He’s half of the story’s soul, along with Steinfrld’s heartbreaking reprise of Gwen, as she believes her beloved papa is her fanatical foe. There’s a real affection for Miles as she’s torn between bonding with him and preventing him from repeating her mistakes. Velez and Henry are again warm and wonderful as the concerned but caring parents of Miles. As the other Spider-Woman, Rae is cool but stern as she mentors Gwen and tries to keep her on the right “path”. She’s the “good cop” who tries to balance the unyielding force that is O’Hara who Isaac gives a scary growl that hides his own tragic past. Of the other “spider-folk”, Daniel Kaluuya is very engaging as Hobi, a guitar-toting Spider-Punk from a totalitarian world who chafes at the rules of O’Hara, just another oppressive “man”. On the flip side, there’s Karan Soni as Spider-Man India who embraces the joys of service and web-swinging. There are many other great talents behind the microphone, but who wants to spoil some super-surprises?

Not me, that’s for sure (they’d take away my official Merry Marvel Marching Society fan club button from 1967). What I can write about is the incredible work of hundreds of gifted artists, spearheaded by the directing trio of Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson. How could they oversee and co-ordinate such an astounding variety of art styles (perhaps they pulled in extra clones from other dimensions)? Early sequences with Gwen have the look of delicate watercolors highlighted by an ever-changing pastel palette. The offsets the closer to our world surrounding Miles and his family, with locations that could be on any busy street corner. Then there’s the shading and tones of the individual character designs with the bright vibrant hues of Spider-Man India and the grungy, clip-and-paste graphic take on Hobi (he seems to have jumped off an early 1980s record jacket). This is multiplied a hundredfold as the “spider-world” expands with one character looking as though he leaped right from a comic book panel complete with pen and ink cross-hatching and melodramatic dialogue (comic fans will enjoy this “take” on a controversial storyline). Some reviewers have said that you can’t take in every visual flourish on two screenings. I like to think this would be the ultimate home video (with streaming services cutting back on content, discs are a solid future investment) as you can pause to savor every frame worthy of hanging in a gallery (and making for a gorgeous coffee-table “art of” hardcover). Of course, this would all be intoxicating eye candy without the clever and heartfelt script by Davis Callaham, Christopher Miller, and from the original, Phil Lord. They’ve elevated the “universal stakes” while still focusing in on the complexities of the Morales household (mainly the keeping of secrets). This is no mere rehash but instead an epic exploration of the superhero mythos, one that energizes the whole genre and the medium of animation art. Find the biggest theatre screen around in order to immerse yourself in the wit and wonders of SPIDER-MAN: ACROSS THE SPIDER-VERSE. I can almost hear “the man” cheering, “Excelsior!!”.

4 Out of 4

SPIDER-MAN: ACROSS THE SPIDER-VERSE is now playing in theatres everywhere

FATHER STU – Review

Stuart Long (Mark Wahlberg) in Columbia Pictures’ FATHER STU.

Now here’s a new studio film release that seems a perfect fit for this time of year. After a bone-chilling winter, spring has finally, though rather slowly, arrived. For many folks, and nature-enthusiasts, it’s a time of rebirth and renewal. In the latter category, and in the wake of the big “health events”, lots of folks are considering a “do-over” or even a “fresh start”, mainly switching their line of work and professions. This aforementioned new flick has one of the most startling, and radical, “reboots” of one person’s life. A real-life, as this is based on a real person. Oh, and with Easter a few days away, the story will certainly resonate with its focus on faith. That’s because this tale is about Stuart Long, a boxer who becomes the priest known and loved as FATHER STU.


This bio actually begins many years before either profession, as pre-teen Stuart lipsyncs and dances to Elvis in his squalid living room, much to the chagrin of his bitter, boozing, chain-smoking pop, Bill (Mel Gibson). Flash forward to the late 1980s as adult Stuart (Mark Wahlberg), upon the recommendation of his doctor and encouraged by his worrying mother Kathleen (Jacki Weaver) finally puts away his boxing gloves. He stuns Mum with his new career plan: he’ll leave Montana and move to Hollywood to become a “big star”. But “tinsel-Town” doesn’t rush to put him on screen, so he works the meat counter at a grocery store. There he’s smitten by a beautiful shopper. She rebuffs his advances, but he finds a flier for her church that she’s posted on the store’s bulletin board, Though he’s not religious, and not a catholic, Stuart shows up for services and reconnects with Carmen (Teresa Ruiz). While courting her, he also looks up his long-estranged pop, who abandoned him and Kathleen to work construction in California. Then one night after “drowning his sorrows”, Stuart is almost fatally injured in a horrific traffic accident. After helping to nurse him back to health, Carmen finally takes their relationship to the “next level”. Later a very somber Stuart tells her that they “need to talk”. But rather than a proposal, he tells her that he wants to become a priest. But the road to the altar is fraught with spiritual and mental challenges, which are nothing compared to the new physical one that threatens to block his dreams of service to the church.

Wahlberg is in full “endearing average Joe” mode for his take on the much-beloved padre. Unlike his recent UNCHARTED he’s a bit unprepared for life’s curves and for the roadblocks to his goals (stardom, Carmen), but his charm and screen charisma have us rooting for him even as he “gets in over his head” since watching him “treading water” is often compelling. Plus Wahlberg can artistically handle all of Stuart’s story arcs (plural, as I’ll explain later). At the other extreme, Gibson is in his “grizzled, raging curmudgeon” lane, pushing his family and the audience aside, but still giving us a glimmer of hope for Bill’s redemption. Weaver’s the ideal working-class mother, protective of her boy, but not reluctant to challenge him on his often “out there” choices. Ruiz is more than the tale’s “object of affection” as she throws up a steep wall to thwart Stuart’s desires while gradually warming to the stubborn but sincere interloper of her ‘sacred sanctuary”. Plus she’s a very expressive reactor to Stuart’s radical religious interpretations while being baffled and more than a little hurt by his “calling”. And kudos to the casting of screen vet Malcolm McDowell who brings some much-needed gravitas to the role of the church hierarchy that makes Stuart jump through many hoops before allowing him into the seminary.

Rosalind Ross makes her feature film directing and screenwriting debut with this faith-focused saga that should appeal to its intended loyal audiences, though they may be as surprised as I was with the many “F-bombs” scattered about (hence the “R” rating). This may be a leap forward for such films in order to break out of their “specialty” category and “cross over” to more mainstream cinema audiences. Unfortunately, this film plays like a basic cable telefilm, though with more “star wattage”. Actually more like several “overcoming the odds thru suffering” telefilms as Stuart’s many hurtles almost feel like a “dogpile” as each act serves up another “helping of hardship”. Unlike last year’s JOE BELL, we do get to see Wahlberg offering inspirational lectures (the former film always cutaway) and his energy and sincerity shine through. Perhaps because of all these “story beats” much of the relationship drama is scrimped on, especially Bill’s mellowing and the very complex dynamic with Carmen. Maybe a cable or streaming miniseries could’ve “fleshed out” the character studies. Much like the recent DOG, the marketers are selling this as a sweet comedy, but if audiences can handle the truly “tough stuff” (that accident is really excruciating) they’ll enjoy learning about his remarkable fellow. As for “movie-bio” buffs, they may feel the message is often muted in the saga of FATHER STU.

2 Out of 4

FATHER STU opens in theatres on Wednesday, April 13, 2022

UNCHARTED (2022)- Review

Victor “Sully” Sullivan (Mark Wahlberg) and Nathan Drake (Tom Holland) look to make their move in Columbia Pictures’ UNCHARTED. photo by: Clay Enos

So getting those winter blues, stuck inside for days due to the weather (and lingering travel restrictions) making you a bit stir crazy? The perfect “cure” might be a virtual “vacay”, namely a globe-spanning adventure starring two actors representing the “next-gen” of action heroes. Hey, one of them is still dominating the box office (and probably playing in the auditorium next door or down the hall). But this is no mere travelogue “romp”. It’s an adaptation (and a hoped-for new franchise). Another comic book, maybe a novel, or perhaps a classic TV show? Get with it Gramps’, this is a computer game that hopes to make as big a splash as Sonic did two years ago. Rather than a CGI speedy critter, here’s the tale of a team who’ll face any danger in their quest for gold and glory hidden in territories still UNCHARTED.

Much like another beloved action franchise, this movie’s opening sequence has the intrepid Nate Drake (Tom Holland) in seemingly unescapable peril until…a flashback. We then meet him as a teen when he and his older brother Sam try to raid a museum in the dead of night. Try is the operative word as the two are hauled back to the orphanage. Before Sami s sent off to “juvie’ he promises Nate that he’ll keep in touch, then disappears into the night. A dozen or so years later adult Nate is mixing cocktails and tossing off historical explorer nuggets as he relieves spoiled “trust funders” of their trinkets and cash. But somebody’s on to his “game”: worldly “collector” Victor “Sully” Sullivan (Mark Wallberg). He approaches Nate and tries to recruit him into his plot to grab to golden jeweled crosses that would unlock the lost treasure of Magellan. Nate’s not onboard till Sully reveals that he worked with Sam. Actually, they just need the cross that’s part of a big “high-end” auction nearby (Sully insists he’s got the other one). The duo sneaks into the swanky event and are immediately spotted by the slinky Braddock (Tati Gabrielle), Sully’s rival and a ruthless retriever for multi-billionaire Santiago (Antonio Banderas) who believes the treasure is part of his family legacy. After the auction ends in chaos Sully and Nate are on the run, first to meet up with a shady operative in Barcelona, Chloe (Sophia Ali), leading to an all-out showdown on a Pacific island. Can the lowly trio get to the loot before Santiago and Braddock’s army scoops it up?

Aside from its gaming roots, this film’s biggest ‘draw” may be Holland, fresh off of last year’s biggest box office hit (now the third biggest domestic B.O. of all time). Here he brings the same infectious energy and boyish charm as Peter P., but offset with a devious, rascally grin as he breezes off with “ill-gotten booty”. That’s tempered with his sense of loss and longing to reunite with his mentor, older sibling. Part of that role is taken up by Wahlberg whose Sully oozes with layback cool mixed with lots of snark, as he tries to suppress a grin as Nate reminds him of his early blunders. Both actors can pull off the dapper and the dirty inherent in their roles. Always looking suave is Banderas who now seems to be the “go-to” guy for the sinister international mastermind (much as he did last year in THE HITMAN’S WIFE’S BODYGUARD). Well, at least he’s not stroking a cat as he reveals his nefarious schemes. One of those listening in would be Gabrielle who makes Braddock both sinister and sexy, an exotic dangerous beauty who will “kiss you deadly” without a moment’s hesitation. On the flip side, there’s Ali as Chloe who has tart chemistry with Nate, though she can’t quite be fully trusted since her past with Sully has made her much wiser…and wiley.

The action sequences are strung together with a manic pace by director Ruben Fleischer, who has jettisoned the subversive satire of his ZOMBIELAND films for gravity-defying (and physics-ignoring) set pieces to keep kids glued to their seats. Unfortunately, these CGI-enhanced stunt exercises are exhausting and eventually monotonous as the film tries to “top” itself and forgo more character development to keep moving to the next exotic locale. Plus the three (!) screenwriters should know better than to namedrop Indiana Jones and Jack Sparrow which reminds the audience of much-better adventure extravaganzas. Holland’s tossed around here as much as the wallcrawler, but he, like most of the characters, may just be made of pixels as they bounce back quicker than the Looney Tunes troupe. At least Indy had some “mileage” as Nate doffs his shirt baring a chest free of scrapes and bruises. And like most thrillers, they don’t know how to wrap things up as they sprinkle in mid-credits “bonus’ scenes to tempt us with future sequels (oh they surely hope). Aside from the future software exploits, this will probably end the big screen capers of Nate and Sully. It’s a shame since Holland and Wahlberg have an easy-going rapport. They’re deserving of a better outing than this “kiddie-spin” (aside from the patricide and some throat-slitting) on the modern swashbucklers that’s more uninspired than UNCHARTED.

2 out of 4

UNCHARTED opens in theatres everywhere

SPIDER-MAN: NO WAY HOME – Review

MJ (Zendaya) prepares to freefall with Spider-man in Columbia Pictures’ SPIDER-MAN: NO WAY HOME.

Who’s ready for a holiday road trip? Oh, the destination? It’s Christmas time in the Marvel Cinematic Universe! Yes, I know we’ve been there three times before in the last six months or so, from BLACK WIDOW to SHANG-CHI AND THE LEGEND OF THE TEN RINGS, and most recently THE ETERNALS, but this is more than a bit unique. First, it’s another co-production with Sony, one that somewhat completes a trilogy. And though it is a journey forward with our favorite “wall-crawler” it also takes a side turn down “memory lane”. In that way, it’s a bit of a celebration since he swung into the comic book world sixty years ago next August, and this coming May it’ll be his twentieth-year “thwipping” through the big screen. But for all that time, poor Peter Parker can’t seem to catch a break with his new amazing adventure, SPIDER-MAN: NO WAY HOME

As you recall from the mid-credits sequence of the last flick Ole’ Pete (Tom Holland) is in big trouble. Blowhard video-blogger J. Jonah Jameson (J.K. Simmons) has revealed his identity to the world while accusing him of murdering Mysterio and unleashing a horde of deadly drones. But the media and law enforcement also go after GF MJ (Zendaya), BFF Ned (Jacob Batalon), Aunt May (Marisa Tomei), and even ‘Happy’ Hogan (Jon Favreau). Of course, this news torpedos the high school trio’s applications to MIT. How in the world can Pete fix this? He can’t just “web it up”. And his big “alibi”, Nick Fury, is “off-world”. Hey, he’s just blocks away from the “sanctum sanatorium” of his “Endgame” cohort, the master of mystic arts, Dr. Strange (Benedict Cumberbatch). After much pleading, the doc decides to grant Pete’s request by casting a complex spell that will make everyone forget that he’s Spidey. Unfortunately, Strange is distracted by Pete’s “add-ons” (except MJ…and Ned…and…). But it looks like everything’s under control as Peter tries to talk with an MIT recruiter that’s stuck in traffic. Suddenly an armored tentacle bursts through the pavement. It’s Dr. Otto Octavius (Alfred Molina), who recognizes Spider-Man, but is baffled by his unfamiliar voice (he’s a stranger to Pete) Then a cackling green troll tosses an explosive pumpkin-like grenade. The Green Goblin AKA Norman Osborn (Willam Dafoe) is on the attack. Later Strange explains that the flawed spell has opened up multiple portals to other dimensions, unleashing many unfamiliar “super-villains”. Can Spidey and Strange, with assists from MJ, Ned, and Happy (who’s got some old Stark tech) capture these powerful “baddies” and send them back? With the Avengers scattered, can anyone else help them out?

Once again, the talented Mr. Holland slips into the dual lead role as though it’s a pair of comfy old sneakers (perhaps more like a pair of “web-shooters”). He retains Pete’s infectious energy and optimism even though his whole world seems to be collapsing in on him. More than in the last two films, there’s much more at stake as his alter ego intrudes on the lives of those he cherishes the most. Holland communicates that through his often halting line delivery, which speeds up as Pete formulates a strategy at “Spidey-speed”. He proves that the character does indeed work best as a high-schooler (but not for much longer). Zendaya’s MJ still has that endearing snark, tinged with her near-pitch-black sense of humor, now tempered with her affection for Pete and the need to support and protect him. Much the same can be said for Batalon as Ned, still loving his role as “the guy in the chair”, but eager to take on more (which happens “in spades”). Tomei channels more of May Parker’s generous empathetic soul, when she’s not in “mama grizzly” mode to protect her dear Pete. Favreau is still a funny lovable “schlub” who’s often Pete’s mentor and cantankerous “Dutch Uncle”. And on the opposite side, several screen vets seem to be relishing their return to villainy. Molins is a malevolent megalomaniac who is baffled by his new, but “old”, enemy. Ditto for Dafoe, whose Osborn is in almost constant battle with the scheming Goblin. Oh, and Jamie Foxx is back as Max/Electro who appears to love hurling insults alongside his deadly lightning bolts. Luckily Cumberbatch as the good doctor/wizard is there to reign them in while proving to be another great teacher/coach and father figure to Pete.

As you can see from the splash page from 1965’s Amazing Spider-Man Annual #2, the Stan Lee/ Steve Ditko creations have been teaming up for quite a while

Returning to the director’s chair is Jon Watts, who proves most adept at juggling the action, comedy, and drama, keeping the pace steady while still hitting all the emotional “beats” of the script penned by some more series vets, Chris McKenna and Eric Summers. It’s quite an impressive balancing act, since several action epics often lurch about, changing done as they speed to the next big action sequence. Mind you, the great stunts and VFX are here “a plenty”, but what stays longest may be the quiet moments as unlikely characters bond despite bickering. Best of all Spidey remains a beacon of light amongst so many “grim and gritty” masked crimebusters (though he’s put to the test many times here). He continues to cling to the hope that people can change. And while other film franchises try to ignore or even discard their past incarnations, this endearing romp embraces all the quirks and foibles of its forebearers. That’s heightened by the sprightly score from Michael Giacchino which seamlessly weaves in iconic melodies. And though many may see this tale as a conclusion (at least to the “home” subtitles), its finale announces a new start (buoyed by word that Holland and Marvel will continue with Sony for another trilogy). SPIDER-MAN: NO WAY HOME is a celebration of the past, a touching look ahead, and an affectionate nod to the faithful fans of the beloved character. Somewhere Stan “the man” Lee is flashing that big grin…

4 Out of 4

SPIDER-MAN: NO WAY HOME is playing in theatres everywhere

GHOSTBUSTERS: AFTERLIFE – Review

Mr. Gary Grooberson (Paul Rudd) with Podcast (Logan Kim) and Phoebe (Mckenna Grace) in Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.

What at first seems to be a nostalgic multiplex return trip to a much-beloved flick from decades ago, actually begs a somewhat interesting question. When a reboot (or “re-imagining”) doesn’t “take” at the box office, can the studios have a “do-over”? Well, it somewhat happened in 2003 with what was really a TV property based on a comic book property. Audiences didn’t embrace Ang Lee’s fairly artsy (and cerebral) take on the HULK, so many were skeptical when the then head of Marvel Avi Arad said they’d be back. And they were in 2008 with THE INCREDIBLE HULK which built on the fan base for IRON MAN and laid the groundwork for the MCU (Doc Banner’s a big “player” there to this day). Jump ahead to 2016 when a new “spin” on an iconic 1980’s fantasy/comedy incurred the “wraith of internet fan-boys” and did a B.O. nose-dive (and it really was undeserving of the vitriol). So Sony now wants to find out if part of the title rings true for its franchise as it goes back to the “drawing board” with GHOSTBUSTERS: AFTERLIFE.

Oh, but we’re not back in the Big Apple where the other series entries were set. Nope, we’re many miles east as a battered old truck careens through the sleepy streets of Summerville, OK as though something was on its tail. It dashes off the “hard-top” onto a dirt road leading to a ramshackle farmhouse. Leaping from the vehicle, its shadowy driver gathers up some strange, but somewhat familiar device, to battle this unseen force. But they’re of no help. Cut to a much larger city as single mother Callie (Carrie Coon) gets word that her long-absent father has passed and left her his home. Since they’re behind on the rent, she hits the road with teen son Trevor (Finn Wolfhard) and pre-teen “whiz kid” Phoebe (McKenna Grace). They’re underwhelmed by the Summerville estate, but since they’re locked out of their previous place (back rent), they’ve got to make the best of it. While Trevor applies for a job at the local burger drive-in, to be close to the cute server Lucky (Celeste O’Connor), Phoebe attends Summer school. There she befriends the energetic Podcast (Logan Kim) and bonds with her teacher Gary Grooberson (Paul Rudd) over the sudden frequent seismic tremors. Back at the house, she discovers hidden labs full of old charts and intricate, though outdated, machines and data collectors. Meanwhile, Trevor starts tinkering with the vintage vehicle in the garage (and what’s with that logo on its side). The tremors appear to be emanating from a nearby closed mine. So what was Grandpa doing there? And what was his connection to a legendary supernational event back in 1084 NYC?

Though the film is dotted with familiar faces (yes, the OGs are present), its biggest strength comes from the excellent performance by young Ms. Grace. Though mainly known for playing the “child” versions of title characters (I, TONYA, and CAPTAIN MARVEL), she builds on the promise we saw in the “under the radar” gem GIFTED. As Phoebe, the coolest “kid brainiac” around, she’s got a sly snarky line delivery that shields her from the dangers of “evils beyond science”. She’s so cool that she’s never “out-cooled” by the always engaging Rudd, who turns the charm dial way up past 11. Who wouldn’t want a teacher so laid-back, popping 80s scare flicks into the ancient VHS player as the “daily lesson” (too bad he didn’t have MAC AND ME)? Plus he’s got an enthusiastic curiosity that matches the “new kids in town”, even ‘Phebe’s’ awkward “hormone-hyped” teen brother played with a smitten daze by Wolfhard. Sure he’s a more mature variation of his “Stranger Things” role, but he’s an endearingly clueless doofus, especially around O’Conner’s Lucky, his ultra-cool dreamgirl who befriends him. But one of the characters must deal with ghosts of the past along with the present. Coons as mom Callie still projects a tragic vibe even as she guides her kids with humor, though everything in their new home is a reminder of the father who was never there. After scene-stealing turns in GONE GIRL and THE NEST, it’s great to see this talented actress again on the big screen (though she was CGI-enhanced in the last two AVENGERS epics).

After the franchise fans were so “riled up” five years ago, this “retry’ feels almost like a “we’re sorry” cinematic greeting card as it almost bursts with nostalgic reverences for those earlier flicks. The new music score by Rick Simonsen presents several clever “riffs’ on Elmer Berstein’s iconic themes. And the film deals with the legacy of the first film even down to the man behind the camera, It’s Jason Reitman, son of the original director Ivan (he also co-wrote the script with Gil Kenan), quite a change from his more “down to Earth” fare like JUNO and UP IN THE AIR. He handles the big action set pieces well, though the interplay between the family (and Phoebe and Gary) resonate more, This “keys in” into the fairly radical approach to the series, in making it more “kid-friendly”, though it has the PG-13 rating, it may be more for the spooky stuff (there’s a couple of good “jump scares”). At times it recalls the “teen gang’ films like EXPLORERS and THE GOONIES that may have occupied the screens next to the first couple of entries. Unfortunately, it also recreates the often sluggish pace of those films, as it enters a “midway slump” which saps the energy and derails the flow. It then seems as though plot points and effects are being “checked off” a big “fan service”.clipboard. “Slimer”-style funny spectre-check. Demonic dogs-check. I will say that the twist on the first film’s towering threat is pretty clever and very well done. But after that bit of whimsy, the piece just trudges along to the mandatory “showdown” and “reconciliation” (which includes some off-putting CGI resurrection). Yes, the franchise’s fervent “base” will enjoy this one more, but it’s a pleasant “look back’ there’s not much to warrant a look forward (as the post-credits scene hints). GHOSTBUSTER: AFTERLIFE will “scare up” a few bucks, but it’s not enough to get new “recruits’ into the jumpsuit and strapping on the “proto-packs”.

2.5 Out of 4

GHOSTBUSTERS: AFTERLIFE is now playing in theatres everywhere

1-sheet of Columbia Pictures’ GHOSTBUSTERS: AFTERLIFE.

SPIDER MAN Films Swing Onto Disney Plus

The Walt Disney Company and Sony Pictures Entertainment today announced a multi-year content licensing agreement for U.S. streaming and TV rights to Sony Pictures’ new theatrical releases across Disney Media & Entertainment Distribution’s vast portfolio of platforms including its streaming services Disney+ and Hulu, as well as linear entertainment networks including ABC, Disney Channels, Freeform, FX and National Geographic. The deal covers theatrical releases from 2022-2026 and begins for each film following its Pay 1 TV window. The agreement builds upon the companies’ prior arrangement which saw SPE movies licensed to FX in the post-Pay 1 TV window.

The deal also grants rights to a significant number of SPE’s iconic library titles, ranging from the “Jumanji” and “Hotel Transylvania” franchises to Sony Pictures’ Universe of Marvel Characters films, including Spider-Man.

This gives Disney enormous programming potential across its platforms and makes them key destinations for a robust collection of Spider-Man films. Notably, the agreement provides Hulu access to a significant number of library titles beginning as early as this June.

“This landmark multi-year, platform agnostic agreement guarantees the team at Disney Media and Entertainment Distribution a tremendous amount of flexibility and breadth of programming possibilities to leverage Sony’s rich slate of award-winning action and family films across our direct-to-consumer services and linear channels,” said Chuck Saftler, head of Business Operations for ABC, Freeform, FX Networks, and Acquisitions in DMED’s Networks division, who played a key role in the negotiations. “This is a win for fans, who will benefit from the ability to access the very best content from two of Hollywood’s most prolific studios across a multitude of viewing platforms and experiences.”

“This groundbreaking agreement reconfirms the unique and enduring value of our movies to film lovers and the platforms and networks that serve them,” said Keith Le Goy, president, Worldwide Distribution and Networks, Sony Pictures Entertainment. “We are thrilled to team up with Disney on delivering our titles to their viewers and subscribers. This agreement cements a key piece of our film distribution strategy, which is to maximize the value of each of our films, by making them available to consumers across all windows with a wide range of key partners.”

Financial terms of the agreement were not disclosed.

BLOODSHOT – Review

Okay action flick fans, it’s still fairly early in the movie year but who’s ready for a high-octane thriller based on a comic book character? I’m guessing the answer’s a resounding yes, though the superheroes don’t generally invade the multiplex for several more weeks. So which comics publishing company is the print home of the possible subject of a new big franchise? It’s not the current “golden stable of stars” Marvel (now part of the “Mouse House”). Nor is it the older line that’s trying hard to “catch up”, DC (linked with Warner Brothers). Perhaps it’s Image, the upstarts that gave us Spawn? Nope, but you’re getting closer. One of its ilk from around the same era is Valiant Comics (Entertainment as they expand), part of the independent press explosion of the early to mid-1990s. Back then the readers were all over the heroes with big “guns” (ripply, veiny muscles and massive artillery). Well, after a quarter-century, here he comes, blasting out of the “four-color” pages and on to the big screen, the man known as BLOODSHOT.

As we meet his alter ego Ray Garrison (Vin Diesel) he is, indeed, toting a big ole’ gun as a “special forces”-type soldier on a covert mission in a hostile foreign land. After a brutal hostage rescue, he’s transported back to a US military base in Italy where he’s reunited with his lady Gina (Talulah Riley). Their romantic getaway is cut short the next morning when a squad of goons grabs them. When their leader, a grinning sadist known as Martin Axe (Toby Kebbell), doesn’t get the intel on Ray’s last mission, it’s “lights out” for the couple. When Ray awakens he’s on a metal slab in the high tech HQ of P.R.S. run by Dr. Emil Harting (Guy Pierce) and has no memory of his name or past life. He explains that Ray was indeed murdered and when no family claimed his remains, Ray was given to them for a risky experiment in which his blood was replaced by “nanites”, thousands of tiny insect-like robots. The doc grabs Ray’s hand and slices the palm open with a blade. To Ray’s shock, the “bugs” swiftly go to work, stitching, repairing, and closing up the wound in a manner of seconds. Plus he’s got enhanced stamina and strength, so he’s a super-soldier who can’t be killed. Again. Ray is then introduced to the doc’s previous “reconstructions” (he himself sports a robotic arm that replaced one lost to cancer). One man, Tibbs (Alex Hernandez), has an all-new visual system since he lost his sight, while Jimmy Dalton (Sam Heughan) has a pair of robotic legs that provide superspeed. Then there’s the lady, K.T. (Eiza Gonzalez), whose damaged lungs were replaced by a P.R.S. breathing apparatus that makes her immune to gasses and able to stay underwater a long time. One evening, as Ray shares a drink with her after training, a piped-in tune sparks a memory in Ray of his last moments. Brushing K.T. aside, he escapes the lab on a fevered quest for revenge. But is it all as simple as that? Could it be that random or is it part of a deeper plan?

Though he’s no doubt pleased to be out from behind the wheel of another super-charged auto and not having every other line of dialogue about “family”, Diesel seems to be doing a docile riff on the 1980s action film stars as Ray. We get to see a tear trickle as he endures his loss and learns the “big truth”, but his role is too much a wooden composite of iconic thriller SF characters. A touch of ROBOCOP, a pinch of THE WOLVERINE, and a big dollop of THE TERMINATOR as he just keeps comin’ at the baddies, only pausing for the “bug bots” to piece him back together. Aside from his weird glowing red chest and pale skin to signify his breakdown, there’s not much that Diesel contributes to making him unique. We keep hoping for him to team up with Gonzalez who makes a most formidable and sultry heroine, but she’s kept on the sidelines to bicker with Pierce’s devious doctor. As usual, he projects an aura of smug superiority, but Pierce never gets a chance to be more than the furious boss bellowing orders. Heughan appears to be having a bit of campy fun as the always sneering Dalton, but he’s reduced to another CGI-aided effect by the finale. Luckily the tone is lightened by the comic relief of Siddarth Dhanjayas Eric the main computer nerd (as Peter Parker’s buddy Ned would say, “The guy in the chair”) and a scene-stealing turn by Lamorne Morris as programming geek god Wilfrid Wigans, whose snappy comic timing and witty retorts makes us wish for a solo spin-off (doubtful).

Former special effects artist and first-time feature director Dave Wilson uses his visual skills to keep the flick moving though it seems to stall during the exposition exchanges in between the big action sequences. His reliance on the new action cliche of going really fast, then slow down for a bit (a spin on “bullet-time” from the now 21-year-old first MATRIX), then suddenly kicking back into double speed quickly becomes tedious. Some effort is made on providing an off-kilter look by using smoke. K.T. goes into battle holding canisters that release billowing red clouds. And Ray’s first big villain “take-down” is in a motorway tunnel turned into a white alienesque landscape due to an overturned semi filled with baking flour. Really? It feels more forced than original. We spared a lot of gore in order to snag the more teen-friendly PG-13 rating, but the carnage count is right up there with the JOHN WICK flicks, though without the sense of “over the top” comic irony. And because of the big “reveal”, we get to see rehashes of previous bits of business, making it seem as though the whole flick is “spinning its wheels” while going nowhere. It finally devolves into lots of noise, massive property damage, and pulsating pixels. Back to the garage, Mr. D. After two dull hours of this monotonous mayhem I felt dazed and truly BLOODSHOT.

1.5 Out of 4

CHARLIE’S ANGELS (2019) – Review

This week’s big new studio flick actually feels like a holdover from the Summer, with its big splashy action sequences and loopy, loose attitude (not at all one of the somber end of the year bits of serious cinema). Oh, as for the “new” part, this one’s roots are pretty old, well over 45 years. It could be called a reboot of a reboot, all going back to an iconic TV show that ran from 1976 to 1981. This hour-long camp caper fantasy was in rerun limbo until a star-packed feature film upgrade hit the screens in 2000, with a sequel three years later. But unlike other TV shows turned film franchises like STAR TREK and MISSION: IMPOSSIBLE, which just keep “chuggin’ along”, it pretty much stalled out, aside from an 8 episode TV series (hmmm from the tube to the movies twice then back) in 2011. Now, just a few weeks since the return of THE ADDAMS FAMILY comes another TV rehash with a twist. With the earlier flick, it’s “new spin” was CG animation., while this weekend’s ‘spin’ is mainly behind the camera. So, was there really a fervent clamoring for this return? Maybe audiences are ready for the 2019 edition of CHARLIE’S ANGELS.

As with the MI and Bond films, this romp begins with the end of an adventure. In Rio, an international criminal and his crew are taken down. Rather than a secret government unit, the heroes are the “angels” of the Charlie Townsend Agency including the street-smart, snarky Sabina (Kristen Stewart) and deadly former MI-6 agent Jane (Ella Balinska), all supervised by their handler “Bosley” (Patrick Stewart). A year or so later, at the office of the Brock Company in Hamburg, Germany, systems engineer Elena Houghlin (Naomi Scott) informs her supervisor Mr. Fleming (Nat Faxon) of the possible dangers of their revolutionary portable power device the Calisto (it looks like a Buckminister Fuller designed Tesseract) after the device puts an associate in the hospital. He dismisses her concerns, prompting Elena to find a way to get the word to Brock (Sam Claflin) himself. Meanwhile, at the LA home of CTA, Bosley is given a retirement party by Bosley (Elizabeth Banks). Confused? Well, it seems that “Bosley” is like a rank in the military, similar to captain. As the celebration ends, Sabina and Jane reteam for their new assignment. Elena has contacted the CTA about her concerns, but her secret meeting with another Bosley and the two angels ends in tragedy because of an attack by a deadly assassin. The scientist joins the angels when all the Calisto devices go missing (along with Fleming). Turns out that they can be weaponized. Thus begins a globe-trotting race against time to recover the devices before they end up in the wrong hands.

Of the three actresses playing the title characters the best known is probably Stewart as the senior angel known as Sabina (a sly nod to original TV angel Sabrina played by Kate Jackson). Freed from the forbidden romance of the TWILIGHT franchise and her recent fairly somber “indie” work, Stewart seems to be the person having the most fun in this frivolous bit of fluff. Particularly in the opening sequence as she dons a long platinum wig to vamp the baddies reminding me of a certain Oscar-winning “wabbit” whose drag diva deceptions always fooled his enemy (Wayne and Garth were right about that “excellent” observation). Perhaps this could lead to many more daffy comic roles. Scott as Elena is also a source of many comic moments as the “novice”, who’s stunned and often overwhelmed in this “super-spy” skewed world. Although she shrieks in panic as a thug lunges for her, she’s able to use her scientific smarts to gain the upper hand on most of the goons. The relative newcomer (at least for moviegoers) is the towering bronze amazon (hmm, maybe she could be a “sister” of Diana’s gone rogue in another franchise) Balinska as the no-nonsense Jane. She easily goes from action queen to strutting runway royalty with equal confidence. Speaking of confidence, their main Bosley, as played by the talented Ms.Banks, is a tough taskmaster, though this delicious den mother enjoys getting in on the jokes and the chases. The other Bosley is played with “old school” cool by Mr. Stewart (no relation to Kristen), who appears to relish a break from the mutants and starships. As for the main adversaries, Faxon makes a superb smirking pig (“You oughtta’ smile more”) as Elena’s jerk of a boss, while Claflin, as his boss Brock, is very funny as he finds out the brutal realities of dealing with the “dark side”. And some real menace is provided by Jonathon Tucker, whose Hodak is a relentless robot-like destructive force.

You recall when I said that the new “spin” was behind the camera? Well, this studio action “tent pole” is directed by a woman, the aforementioned main Bosley, Banks. And that’s not all because she wrote the screenplay from the story by Evan Spiliotopoulis and Davis Auburn. She guides the chases and stunts with great energy and skill while eliciting a great comedic performance from Ms. Stewart. Unfortunately, the film flounders when the angels aren’t defying danger and outwitting those lunkheaded lads who underestimate them. Particularly during the “pit stops” as the ladies grab the gadgets (could “Q” be moonlighting) and sop up the exposition, the story comes to a screeching halt. Plus several scenes remind us of better films. The Angels don matching outfits and Tony Tenille blonde wigs to confuse a security team, much as in the remake of THE THOMAS CROWN AFFAIR, but without a real “pay off”. Ditto the “phone switching” right out of the OCEANS caper “playbook”.And did we really need the “young girls following their dreams” montage for the opening titles (using Benington ad-like outakes)? The same goes for the ridiculous “techno-pop” dance number that adds nothing to the big third act “showdown”. Those camp (some unintended) moments just prove that the angels seem silly and quaint after the gritty thrills of ATOMIC BLONDE and RED SPARROW. Sure some of the winks at their TV and film pasts are cheesy fun (the quick bits during the end credits capture the spirit), but we’re left with the fact that CHARLIE’S ANGELS never soar. They barely get off the ground (cue the harps).


1 Out of 4