The Phoenician Scheme - Review: The Family That Schemes Together

 

There’s a trend of “serious” directors or actors breaking off from their typical material to make films aimed at children shortly after they themselves have children. Martin Scorsese made “Hugo” when his daughter was 11, George Miller made “Happy Feet” and “Babe,” and plenty of famous actors have done voices for animated family films. That kind of realization makes Wes Anderson’s (“Fantastic Mr. Fox,” “The Grand Budapest Hotel”) latest film “The Phoenician Scheme” make a little bit more sense, as the film release just shy of his own daughter turning 9 years old.

Set in the 1950s, the film follows industrialist businessman Zsa-Zsa Korda, played by Benicio Del Toro (“Fear and Loathing in Las Vegas,” “The Usual Suspects”), as he attempts to set in motion a plan to rebuild the infrastructure of Phoenicia. He enlists in the help of his estranged daughter and nun-in-training Liesl, played by Mia Threapleton (“Dangerous Liaisons,” “The Buccaneers”), in seeking out his numerous benefactors, including Prince Farouk, played by Riz Ahmed (“Rogue One: A Star Wars Story,” “Nightcrawler”), bankers Leland and Reagen, played by Tom Hanks (“Toy Story,” “Forrest Gump”) and Bryan Cranston (“Breaking Bad,” “Malcolm in the Middle”) respectively, club owner Marseille Bob, played by Mathieu Amalric (“The Diving Bell and the Butterfly,” “Quantum of Solace”), ship captain Marty, played by Jeffrey Wright (“American Fiction,” “Angels in America”), and Korda’s second cousin Hilda, played by Scarlett Johansson (“The Avengers,” “Jojo Rabbit”), for more money for the venture. The pair are accompanied by Korda’s tutor turned administrative assistant Bjørn Lund, played by Michael Cera (“Superbad,” “Scott Pilgrim vs. The World”), as Korda uses the trip as an attempt to reconnect with Liesl and convince her to be his heir in the event of his death.

Anderson’s films as of late have contained far more fantastical elements than they previously did. Gone are the days of more simplistic setups or worlds like “The Royal Tenenbaums” or “Rushmore.” Rather, like “The Grand Budapest Hotel,” his works as of late have been hyper specific borderline fantasies of European architecture and pastel soaked realism. Unlike previous works such as “Asteroid City” or “The French Dispatch,” where that style was utilized as a narrative technique as well as a stylistic one, here it only serves as the latter. It means that even the film’s most grounded emotional elements have to fight harder to break through the artifice Anderson creates. This serves as a double-edged sword, as his regular players who’re content to simply serve as background characters, such as Hanks or Cranston, do just that. However, it also means that those in his troupe that really push to break through make a bigger impact than they otherwise might.

Del Toro delivers one of the finest performances of his career and one of the best in any of Anderson’s films. His deadpan nature of being completely sincerely silly and serious makes Korda a fascinating person to watch. Threapleton also proves herself a fantastic addition to Anderson’s merry band or misfits. She is the standout amongst the entire cast and immediately catapults her career into newfound heights with her role here. Cera proves to be a remarkable addition as well. His role stands out particularly well given just how obvious of a fit he seems to be in this world. His mannerisms and canter slot perfectly into the material, making him seem as if he’s been working with Anderson for years.

However, all the artifice and performances in the world can’t prevent this “Scheme” from feel likes its moving at a deliberate pace from the very start. At just barely over 100 minutes, this tale proves to be one of Anderson and co-writer Roman Coppola’s (“Isle of Dogs,” “Moonrise Kingdom”) most lethargic in quite a while. It certainly doesn’t drag, but the innate engine of wordplay and intrigue can only do so much. It may just be the very first time in his career where Anderson seems to be spinning his wheels with his own material. There isn’t a grand moment of revelation like in “Asteroid City” or a beautiful moment of visual spectacle like “The French Dispatch.” Even the scenery eventually begins to look like leftovers from “The Grand Budapest Hotel.” Anderson’s leftovers are still pretty delicious leftovers, but they’re leftovers all the same.

Wes Anderson’s latest film is a delight when its laser focused on its central three performances and the father-daughter story caught right in the middle. The surrounding elements meanwhile all feel like the best bits of previous Anderson adventures, from the locations, set designs, music, down to the supporting performances. It’s certainly not bad, but it’s unlikely to win over anyone not already firmly in Anderson’s camp, despite Threapleton’s fantastic performance, nor is it near the best examples of what he’s capable of. 3.5/5

Mission Impossible: The Final Reckoning - Review: Should He Choose to Accept

The past few films starring Mr. Movie Star himself Tom Cruise (“Jerry Maguire,” “Edge of Tomorrow”) seem to have been mirroring the struggles any real-world movie star would be having in this new uber-franchised age of streaming services and A.I. generated content. “Top Gun Maverick” had the air force seek out his character to teach a team of young recruits to do something only a real human could do; no drones, no computer guidance systems, only flesh and blood people. But that film pales in comparison to how on the nose “Mission: Impossible - Dead Reckoning” was in its plot. That film sees Cruise’s character and his team having to fight back against an A.I. algorithm that is all knowing, shape shifting, and threatening to destabilize the sense of truth in our world as we know it.

It’s quite the precedent narrative to have in your borderline three-hour long blockbuster action epic, even without the public figure Cruise has crafted for himself. After all, when your whole identity is doing stunts and action in films with as little digital fakery as possible, making a film about fighting against a digital entity is quite the move. But it takes more than a clever idea and some stunts to make a good movie, especially to make a good finale.

“Mission: Impossible - The Final Reckoning,” the eighth film in the franchise and the fourth written and directed by Christopher McQuarrie (“The Way of the Gun,” “The Usual Suspects”), almost directly follows the events of the previous film and sees Ethan Hunt, played by Cruise, and his team, consisting of former pickpocket Grace, played by Hayley Atwell (“Agent Carter,” “Christoper Robin”), computer hacker Luther, played by Ving Rhames (“Lilo & Stitch,” “Pulp Fiction”), technical field agent Benji, played by Simon Pegg (“Shaun of the Dead,” “Star Trek (2009)”), and former assassin turned ally Paris, played by Pom Klementieff (“Guardians of the Galaxy Vol. 2,” “The Killer's Game”), hunting down Gabriel, played by Esai Morales (“How to Get Away with Murder,” “Ozark”), as he attempts to control the mysterious rogue A.I. known as “The Entity” as Ethan attempts to find and kill it.

The film certainly involves much more than just that, and it's a veritable who’s-who of past MI installments. Angela Bassett (“9-1-1,” “Black Panther”) returns from “Fallout” as the President of the United States, Henry Czerny (“Revenge,” “The Boys of St. Vincent”) as Eugene Kittridge, director of the CIA, returning from “Dead Reckoning,” and even Rolf Saxon (“Woman in Gold,” “Capital City”) reprising his role from the first “Mission: Impossible” film as William Donloe, among many others. It’s a joy to see so many players from past films come back to continue to dance about in Cruise’s wild spy-fiction playground. The franchise is no stranger to having random character actors pop up for one or two scenes, and it never fails to provide a little hit of classic ensemble film nostalgia, like “It’s a Mad Mad Mad Mad World,” “Caddyshack” or “Airplane.”

However, the number of characters from previous films does lead into the film’s biggest issue: the first act specifically is loaded with flashbacks and callbacks to previous films and previous footage to the point where it becomes overbearing. It could simply be a studio note or the nature of this being the “final” film, but it’s surprising to see McQuarrie and co-writer Erik Jendresen (“Killing Lincoln,” “Band of Brothers”) resort to this for a series which has previously had films just as interconnected as this, but resisted delving this deep into saying “remember this” and pointing fingers. The film’s opening 15-or-so minutes, everything before the opening titles, feels particularly rough and over-expository, and while the 30 minutes afterwards slowly shake it off, for a film that’s almost three hours, having its first act be largely an exposition dump is an unfortunate move.

Cruise is just as electrifying as he’s ever been, and his entire ensemble is fantastic, slotting right into their roles in the tale with precision. A surprise highlight is Saxon as Donloe, who appears in what could have been a brief cameo that ends up resonating through the rest of the film as a nice, succinct example of the central themes bleeding through the whole franchise (more on that in a bit). Every character is dialed up to just the right degree that their actions are sufficiently exaggerated for this end of the world scenario, without teetering into cheesy “made for TV movie” territory.

The stunts, as expected, are absolutely thrillingly put together. Each moment comes together as a ballet of production techniques to craft some of the most exciting sequences you’ll see in any movie this year. The submarine sequence that is at the center of the film’s middle chunk is just jaw droppingly impressive and as tense as anything in the franchise before. There’s a very direct sense of isolation before the third act begins its thunderous rise to the climactic finish, and it's an interesting dichotomy that further enhances both aspects of the film. The musical score by composers Max Aruj (“The Ice Road,” “Lansky”) and Alfie Godfrey (“A Town Called Malice,” “Marching Powder”) backs this up, turning in a score that’s far more somber than before, matching the film’s mixture of isolation and action.

Despite its contemporaries, the “MI” series has always been based more around its individual characters than the action, and this installment is no exception. Rather, its a far more emotionally cathartic mission than any of the previous ones. Those previously mentioned flashbacks are one example of the wistful nature of this tale, drawing directly back into each previous installment in interesting and surprising ways. Like with Donloe, it’s a way to tie everything together in ways that will satisfy those who enjoy piecing the whole puzzle together, as well as those who go for the emotional gut-punches. Cruise and his team have always made this a series about the individual humans who do this work, not the work itself, and “Final Reckoning” is a mission statement entirely for that ideal.

If this truly is “The Final Reckoning,” then Tom Cruise and his production and secret agent team have turned in a truly thrilling new tale that easily sits alongside the best of the franchise, even if it doesn’t eclipse them. Once things really get going, you’ll be hard pressed to remember the stiffer opening segments as things just keep crescendoing over and over with the same technical skill you can expect from this series. Think of it like this: Tom Cruise likes running. The hardest part of running is getting started. But once you do, it’s almost impossible to stop and the momentum and feeling is exhilarating. 4.5/5

Lilo & Stitch (2025) - Review: A Soulless Little Abomination

 

“There’s one in every family,” or so the marketing for the 2002 original “Lilo & Stitch” said. It makes sense, given the titular character’s more anarchic and chaotic nature, to juxtapose him against the nicer, calmer Disney fare. It clearly worked, as the original film was not only a box-office success, but the character has become one of Disney’s most profitable cash cows. Now, deep into the age of the Disney live-action remake, it makes sense that a character as popular as him would get the same treatment given to other Disney classics like “Cinderella” and “Snow White.” They’ve even kept the marketing the same, with posters involving Stitch messing with recent Disney live-action films but this time with a far more fitting tagline: “Who asked for this?”

The film stars newcomer Maia Kealoha as six-year-old Lilo, a young Hawaiian girl living with her sister Nani, played by Sydney Elizebeth Agudong (“Infamously in Love,” “At Her Feet”), after the recent death of their parents. Lonely and frustrated with her sister, Lilo wishes for a best friend, and she gets one in the form of the alien experiment Stitch, voiced by Chris Sanders (“How to Train Your Dragon,” “The Croods”), shortly after he crash lands in Hawaii from deep space. Stitch uses Lilo to try and blend in, hiding in plain sight from his creator Jumba, played by Zach Galifianakis (“The Hangover,” “The LEGO Batman Movie”), and Pleakley, played by Billy Magnussen (“Game Night,” “Aladdin (2019)”), while also avoiding the human CIA agent Cobra Bubbles, played by Courtney B. Vance (“Isle of Dogs,” “The People v. O. J. Simpson: American Crime Story”).

Stitch’s chaotic nature is still here in ample supply, even if his strict violence has been toned down a bit. He tears things up with reckless abandon, and the heart of his character is still there. Given her newcomer status, Kealoha also holds her own remarkably well, not only for a child actor but also for one having to play against a non-existent CGI creature. She’s adorable and manages to only occasionally drift into the territory occupied by other child actors. Magnussen is also an absolute delight as Pleakley, either in his human disguise form or voicing his CGI alien counterpart. His gift for extremely physical humor carries over to his voice as well, and he is a scene-stealer in every moment. Stitch himself also looks fantastic and stands as a great example of transforming a 2D character into 3D CGI with ease.

Unfortunately, that’s where the positives end. This new version of the original film, directed by Dean Fleischer Camp (“Marcel the Shell with Shoes On”) and written by Chris Kekaniokalani Bright and Mike Van Waes (“Dear David”), is a bizarre Frankenstein version of the original. It alternates between scenes that are either completely different than what came before or are word for word the exact same, and the difference in material makes for a jumbled mess of central themes. For example, the original film’s main antagonist Gantu is completely absent, with Jumba now fitting into that role. An interesting enough change, but the film doesn’t change Jumba’s character at all to fit this more opposing role, making him lack any sort of menace or danger and making the third act chase to save the day as exciting as a bowl of corn flakes.

This is just one of numerous scripting and plot issues with the film as a whole. It feels as though there were too many various ideas on how to mix things up for a remake and Bright and Waes simply threw a dart at a board to decide what to change. It leads to the central themes and morals lacking the character arcs or impact needed to actually make them work. This coupled with the performances from the rest of the cast, which maintain an overly energetic, hokey feeling, give the entire film this identity of being a streaming film gussied up for a theatrical release. This would be a shocking idea if not for the fact that that’s exactly what happened. This might explain why the colors look flat, the cinematography is basic and bland, and the CGI characters look incredibly ugly besides Stitch. There’s even a moment of product placement so blatant, you’d think the moment was initially shot to be a commercial and was accidentally included in the final film. I hope you like Capri-Sun!

What all of this means is that the identity of the film has been flattened, turned into a generic kid’s movie E.T. knockoff, the kind that used to come out every few years before streaming services became the main home for films of that quality. Yes, the original film still exists and this new remake being subpar will not affect that, but its nevertheless disappointing to see a character and story that are regularly regarded as the height of Disney’s 2D canon turned into a shallow impersonation of the kind of film it was poking fun at when it was originally released.

“Lilo & Stitch” is a bland, bloated, confused, boring mess that changes its story at random and doesn’t even put forth the effort to retrofit its central themes to fit the new narrative. Stitch himself may look and sound great, Maia Kealoha does a fine job and could easily have a bright career ahead of her, and Billy Magnussen tries his best to save what he can, but this is a film that lacks any kind of whimsy or identity apart from being the same thing you’ve seen before, but with a new coat of paint. I’ll remove the critic facade for a moment for a perfect example: the speech Stitch gives at the end of the film about his “little broken family” is word for word the same speech as in the original film. And if you listen closely, it sounds almost exactly like the vocal recording itself was just reused from the original film. If that isn’t a perfect example of what this film is, I don’t know what is. 1.5/5

Friendship - Review: I Think He Should Leave

 

When a comedian finds their niche that really works, you’d be hard pressed to see them ever move outside of it. Whether it’s Seth Rogen’s crude stoner humor, Will Ferrell’s over the top exaggerations, or Eddie Murphy’s fast-talking personas, there are plenty of comedians who find their groove and never move from it. Tim Robinson (“I Think You Should Leave,” “Detroiters”) is a similar kind of comedian, having found great success with his Netflix sketch show after years of writing sketches for “Saturday Night Live” that are a bit outside that show’s sense of humor to say the least. He may have found a film director who knows exactly what his strengths are as well in the form of writer/director Andrew DeYoung with their first film together, “Friendship.”

The film follows Craig Waterman, played by Robinson, an executive working for a company that makes technology more addictive for its users. His wife Tami, played by Kate Mara (“House of Cards,” “Brokeback Mountain”), runs a flower shop out of their house, and seems to be disillusioned with their life, with Craig completely oblivious to the fact. Craig then meets Austin Carmichael, played by Paul Rudd (“Ant-Man,” “Anchorman: The Legend of Ron Burgandy”), an exciting new neighbor who invites him on various excursions and beers at his house. All seems well, until Austin asks Craig to stop hanging out with him, which results in Craig becoming even more invested in their non-existent friendship to awkward and amusing results.

Robinson and Rudd are a match made in comedic heaven, and the film is consistently laugh-out-loud funny, bordering on absurdist filmmaking. One could even easily call this a gateway into more bizarre and absurdist humor, like the kind found in the wee hours of 2am on Adult Swim. If you’re familiar with Robinson’s work and Rudd’s performances on sketch shows like “Tim and Eric Awesome Show, Great Job!” then you’ll know exactly what you’re getting into. But it does manage to be just “general audience” friendly enough to provide a jumping off point for anyone looking to get into those other, weirder shows.

The entire film seems to exist in this realm of off-kilter reality, where Rudd and Robinson are able to be completely free-wheelingly weird without consequence or care. It leads to a kind of comedy that will certainly not be for everyone but is extremely rewarding. The way it sets up jokes and bits is like a set of pins, eventually making them all crash to the ground with the joke equivalent of either a bowling ball or a bulldozer. This is the kind of film that does this one aspect exceptionally well, with virtually nothing else going on under the hood though. So, if you’re the sort of person who enjoys a bit more subtext or undertones with your comedy, you certainly won’t be getting that here.

That’s not to say the story at the core of this tale isn’t extremely engaging. DeYoung ties the comedic beats directly into the story, allowing them to naturally be derived from the plot as it progresses. It makes the laughs hit harder and the awkward bits cut a little bit deeper. It also makes the film just as a whole more compelling to watch, as opposed to one that tells an average story that has to pause itself for jokes to be interjected in. It also helps that things are elevated ever so slightly more so but a fantastic musical score courtesy of composer Keegan DeWitt (“Snack Shack,” “Heart Beats Loud”).

“Friendship” is an exceptionally absurd piece of comedic filmmaking. This is the sort of film destined to become a cult hit in the next few years, thanks to its two leads playing wonderfully off each other and its bizarre sense of world. It manages to tell a cathartic and engaging tale without losing the humor at any point, resulting in one of the oddest tales of male bonding this side of Adult Swim. 4/5

Thunderbolts* - Review: Misfits Assemble

 

We’re now witnessing the 36th film in the overall franchise that is the Marvel Cinematic Universe, and things are in a state. While still good, it’s been a far rockier road than what came before in the pre-“Endgame” era. From a series that once made almost billion dollar hits out of “Ant-Man” and the “Guardians of the Galaxy” to one that can barely make a “Captain America” film break even, it’s gonna take an interesting group to save the day. And while there have certainly been bright spots in the past few years, “Thunderbolts*” emerges as one of the brightest and most character driven adventures the MCU has ever had.

Things suck for Yelena Belova, played by Florence Pugh (“Midsommar,” “Little Women (2019)”). After the death of her sister Natasha Romanov aka Black Widow in the events of “Avengers: Endgame,” she’s taken to contract work for shady CIA director Valentina Allegra de Fontaine, played by Julia Louis-Dreyfus (“Seinfeld,” “Veep”). After her last mission goes haywire, she finds herself reluctantly teaming up with fellow disgraced antiheroes John Walker, played by Wyatt Russell (“Overlord,” “Monarch: Legacy of Monsters”), Ghost, played by Hannah John-Kamen (“Killjoys,” “Resident Evil: Welcome to Raccoon City”), Red Guardian, played by David Harbour (“Stranger Things,” “Violent Night”), and Bucky Barnes, played by Sebastian Stan (“The Apprentice,” “Pam & Tommy”), as well as the mysterious amnesiac Bob, played by Lewis Pullman (“Bad Times at the El Royale,” “Lessons in Chemistry"), to stop Valentia’s mysterious agenda and find self-fulfillment again.

This is director Jake Schreier’s (“Beef,” “Paper Towns”) biggest budget project thus far, but the scope of the tale doesn’t diminish his skill with character-driven stories in any way. Ironically, the bickering of the main troupe and their issues throughout have more in common with “Beef” than the previous MCU projects. Writers Eric Pearson (“Thor: Ragnarok,” “Black Widow”) and Joanna Calo (“The Bear,” “Hacks”) build each member of the bunch with a slow burn of character development that makes each one engaging to spend time with. It’s a feat to turn characters that have their roots in secondary roles to the stars of the show, and Pearson and Calo manage to pull it off. This also ties into the film’s emotional climax, which works wonders and manages to make this one of the more emotionally impactful tales in the recent MCU, and possibly ever. There are remarkably few fights here (though they certainly do exist) and it's refreshing to see a film like this go for a more emotional ending instead of trading fisticuffs.

Pugh absolutely steals the show, which shouldn’t be surprising given her extensive resume or her love of the character. She gives an incredibly physical performance that never undercuts the emotional journey she takes Yelena on. Russell and John-Kamen are also excellent, levelling their characters up from b-players to legitimate leading types in their own right, with Russell turning in a surprisingly effective emotional turn. Harbour continues to deliver more of the same lovable oafish charm he had in spades in “Black Widow” and Louis-Dreyfus is a fun villainous role that’s only slightly undercut given the easy associate with her classic leading role in “Veep.” The film’s biggest secret weapon though is Pullman. His work here is deeply emotionally effective and far deeper than one might expect. It’s a testament to the script and direction, but his ability to have this character balance between comic relief and deep emotional pathos, without either ever feeling forced or countering the other, is nothing short of impressive.

There’s a strong sense of practicality throughout the entire film, from the fight sequences to the strong cinematography from Andrew Droz Palermo (“A Ghost Story,” “The Green Knight”). There’s a muted look to the entire film that feels purposeful given the circumstances and the adventure these characters are sent on. Things get wonky towards the end, intentionally so, and the look of the film keeps it up the entire way. Even the action feels more physical. Not necessarily grounded, as there’s still plenty of superhero shenanigans going on, but a surprisingly large amount of the film zeroes in on hand-to-hand combat, with remarkably few fights compared to the grand superhero film landscape. The musical score from Son Lux (“Everything Everywhere All at Once”) is absolutely exceptional, putting a firm stamp on the genre, using the grand strings and bombastic nature of scores typical of the genre to sneak in something more complicated and inventive.

It’s hard to state that very specific special sauce that makes this film exceptionally without spoiling a large part of it but suffice it to say that “Thunderbolts*” has what most of these films have been missing for quite a while: heart. And it has it in spades. Outside of the recent “Black Panther” and “Guardians of the Galaxy” films, there’s been almost a reflex to push against any sort of inherent emotional vulnerability in the MCU. Schreier bucks that trend, and as a result creates something closer to those original films that started it all. Yes, there’s plenty of smashing, crashing, and big fights to entertain, but the genuine humanity and vulnerability at the core of this team keeps you invested the entire time. By the time things end, something special has happened: these anti-heroes didn’t go for the throat, they went for the heart.

“Thunderbolts*” is the absolute surprise of the year so far. What started as a ragtag group of b-tier leftover antagonists in a borderline “Suicide Squad” rip-off has somehow emerged as one of the most emotionally satisfying adventures the MCU has ever seen. By keeping things grounded in pseudo-reality, as well as pumping in plenty of excellent cinematography and music, Jason Schreier turns an already sharp script into an adventure that will surprise you with just how much you care about this team. Marvel has caught a new bolt of thunder in a bottle. 4.5/5

The Accountant 2 - Review: Revenge of the Nerd

 

Somewhere back in 2017, some person sitting in a plush office somewhere in Hollywood looked at the fact that the 2016 action thriller “The Accountant” made $150 million worldwide and said, “we need a sequel to that.” So now, fast forward almost a decade after the first film’s release and we have the creatively titled “The Accountant 2,” which retains the same director, same writer, and same cast.

The film follows Christian Wolff, played by Ben Affleck (“Good Will Hunting,” “Gone Girl”), an autistic accountant and money launderer who effectively “uncooks” the books for major criminal organizations and drug traffickers, occasionally sending tips and information to his connection at the Financial Crimes Enforcement Network, director Marybeth Medina, played by Cynthia Addai-Robinson (“The Lord of the Rings: The Rings of Power,” “Shooter”). After the death of the previous director while investigating a missing mother and son, Medina seeks out Wolff and his estranged contract killer brother Braxton, played by Jon Bernthal (“The Punisher,” “The Walking Dead”), to help find the mother and son.

Director Gavin O’Connor (“Miracle,” “Warrior”) and writer Bill Dubuque (“Ozark,” “The Judge”) absolutely do not reinvent the wheel here, with either their own franchise or this specific thriller genre fare. It sticks to the building blocks of everything you’d expect from the genre, only marginally breaking out of those elements due to Wolff’s network and autism. Affleck plays the character well, turning out a charming performance that works best when he’s opposite Bernthal at any point in the film. The pair have an almost “Odd Couple” kind of chemistry, and the numerous moments where they’re just existing and spending time as brothers are the best moments of the film by a wide margin. Addai-Robinson is also great when she’s opposite Affleck and Bernthal, working as the straight man to their more chaotic, borderline silly behavior. But when she’s separated from them, her character just becomes far more generic and uninteresting.

The same can also be said for the film’s action sequences. While the film is actually fairly action light, saving these moments for the third act and focusing far more on espionage for the rest of the film, they don’t have any sort of impact. They’re shot well enough, and they certainly have a good energy to them as we watch Wolff and Braxton fly off the handle. But they’re simply just the least interesting part of the entire film. Thankfully though, they do buck the trend of recent action films given that they’re actually shot during the day and are completely visible as a result. An out of left field highlight is the film’s musical score, composed by Bryce Dessner (“Sing Sing,” “We Live in Time”), which cuts through much of the film and stands out as a far more reserved piece than most other thriller films get, and it's refreshing as a result.

It feels weird to say but the best parts of this action-thriller-sequel are the parts that don’t focus on the action or the thrills. Watching Wolff’s pseudo-CSI hacking squad made up of autistic kids from his former orphanage break into databases while they banter with him is extremely charming, and the most memorable parts of the film are when it sheds any notion of being this kind of film. A sequence in a cowboy-themed bar in the middle of the film involving square dancing with Bernthal and Affleck is without a doubt the best part of the film, not only because it leans heavily into their brotherly banter, but also because it just simply commits to the film and its concept’s B-movie level charms.

“The Accountant 2” is certainly not a masterpiece, nor is it a secret gem of memorable genre filmmaking. Rather, it's the kind of odd sequel that’s better than its predecessor because it doesn’t seem to care about being the kind of film it is. Affleck and Bernthal carry the film together, and almost any aspect not focusing on action manages to be effortlessly charming and borderline silly. It’s definitely better than the first film, and while it’s hard to say whether or not the film wants you to be smiling and laughing at it or with it, you’ll be smiling nevertheless. 3.5/5

The Wedding Banquet (2025) - Review: Queerly Beloved, We Are Remade Here Today...

 

Even in the realm of indie films, remakes are becoming more and more common. But that doesn’t mean they have no reason to exist. Case in point, director/co-writer Andrew Ahn (“Driveways,” “Fire Island”) and co-writer James Schamus (“Eat Drink Man Woman,” “Crouching Tiger, Hidden Dragon”) have updated Schamus and Ang Lee’s original 90s indie romance for a more modern queer era. The result is a film that feels less like a remake and more like a film taking the bones of a previous work and crafting something of its own.

Angela Chen, played by Kelly Marie Tran (“Raya and the Last Dragon,” “Star Wars: The Last Jedi”), and her partner Lee, played by Lily Gladstone (“Killers of the Flower Moon,” “Under the Bridge”), share a house in Seattle with their two best friends and fellow couple Chris, played by Bowen Yang (“Fire Island,” “Wicked”), and Min, played by Han Gi-han (“Where Your Eyes Linger,” “Dare to Love Me”). After Min learns that his student visa is expiring and he must return to Korea to run his family’s company or risk being financially cut off, he devises a plan: a wedding between himself and Angela to both secure a green care for himself and trick his grandmother Ja Young, played by Youn Yuh-ung (“Minari,” “Pachinko”), in exchange for paying for in vitro fertilization for Lee to have a baby.

Ahn’s direction is one of the film’s biggest strengths, as his ability to simply allow his actors to slowly simmer and boil over is put to great use here. The same borderline catty behavior that worked to incite conflict in his previous work “Fire Island” works wonders here, as the main quartet seems to revel in simply being messy, complicated people. Gladstone is a particularly goofy highlight, showcasing her expected dramatic skills with flourishes of a yet unseen comedic ability. Tran is much the same, and she and Yang are an exceptionally fun and extremely messy pairing that lights up the screen at every turn. Meanwhile, Gi-han is the heart of the entire film, managing to pull off a remarkably effective dramatic turn even as he consistently turns out the silliest, and borderline childish, performance of the film. Yuh-ung is also a powerfully understated performer here, and the film lets her play outside of her expected role in ways not spoiled here.

Schamus and Ahn make the most of this remake material by expanding the previous film’s plot instead of simply rehashing it. By introducing a second couple into the fray, it expands the material to encompass and embrace more of its queer identity and therefore makes for a more interesting film as a result. By the time it's over, the titular wedding is hardly a real focus, and it's not hard to see this film existing with a different title as its own wholly original work. The film seems almost determined to present itself exactly like you’d expect from a rom com like this and then immediately turn itself into something completely different.

If there are any disappointments, it's that despite being shot by Ki Jin Kim (“Driveways,” “Holy Emy”), whom Ahn has worked with before, it's a fairly plain looking film. It never showcases the beauty of Seattle like “Fire Island” did for its central location, resulting in a film that, for as charming as its cast is, lacks a strong visual identity. What it doesn’t lack is a great musical score from composer Jay Wadley (“i’m thinking of ending things,” “Fire Island”) which, coupled with some fun needle drops, helps make up for the film’s plain visual stylings.

A remake of “The Wedding Banquet” might not seem necessary, especially given where this film divulges from the original, but Andrew Ahn and James Schamus take plenty of steps to separate this film from the original in ways that matter. It’s cast is excellent and endlessly charming, and the film takes pride in allowing each character to be complicated and messy. It results in a film that stretches a bit further outside the bounds of what a film like this would initially be expected to be, and its a charming tale as a result. 4/5

Sinners - Review: A Bloody, Musical, Spiritual, Horror Action Masterpiece

 

From humble indie beginnings way back in 2013, Ryan Coogler (“Black Panther,” “Creed”) has absolutely made a name for himself in the realm of modern filmmaking. From bringing the Rocky franchise back to glory to making global household names of T’Challa and Chadwick Boseman, he’s made quite the impact in just over a decade of filmmaking. Now his latest film, which reteams him with his longtime collaborator Michael B. Jordan (“Black Panther,” “Creed”), has him working within the horror genre, making a period piece, shooting it with IMAX film cameras, and writing his own original tale for the first time in his career. A tale of “Sinners.”

Set in Mississippi in the 1930s, the film follows the identical “Smokestack” twins Elijah “Smoke” Moore and Elias “Stack” Mo0ore, both played by Jordan, as they return to their hometown to open their own juke joint bar with the help of their musician cousin Sammie, played by Miles Caton in his film debut, Smoke’s estranged wife Annie, played by Wunmi Mosaku (“Lovecraft Country,” “His House”), piano player Delta Slim, played by Delory Lindo (“Malcom X,” “Da 5 Bloods”), singer Pearline, played by Jayme Lawson (“Till,” “How to Blow Up a Pipeline”), local general store owners Grace and Bo Chow, played by Li Jun Li (“Wu Assassins,” “Babylon”), and Yao (“The Last Bout,” “#LookAtMe”) respectively, Elijah and Elias’s surrogate sister Mary, played by Hailee Steinfeld (“Spider-Man: Into the Spider-Verse,” “True Grit (2010)”), and Cornbread, played by Omar Benson Miller (“Ballers,” “Rise of the Teenage Mutant Ninja Turtles”) as bodyguard. Soon after opening though, they find themselves targeted by Remmick, played by Jack O'Connell (“Skins,” “Godless”), a sinister figure seeking their community for his own twisted desires. 

Jordan leads an exceptional ensemble with a pair of fascinating layered and different performances. It’s incredible to watch him act against himself, not only for how naturally he comes across, but also for the nuances and differences he’s able to imbue in these characters. For how different they are, he makes sure to emphasize their similarities to help breathe life into them. Caton is the star of the show though. In his first film role, he’s proven himself to be just as strong of a performer as the legacy actors he shares space with here. Sammie’s tale is a heartbreaking one, and he imbues him with anger and joy, a musicality of his soul that makes him light the screen up with virtually everything he does. Each and every member of the film’s cast are exceptional, from the main roles down to those who only appear for a handful of scenes. It’s virtually impossible to make a clear distinction, as Coogler manages to give each person their little moment to shine, and shine they do. 

Jun Li, Steinfeld, and Mosaku each get fantastic moments that showcases the history of their town through their simple character interactions. Mosaku is a powerhouse of stern wisdom, and Jun Li is a lively force of charm and snark. Steinfeld feels like the character with the most unsaid about her, and she brings this to bear with a performance that feels exceptionally rich as a result. Most importantly, each of the women in “Sinners” feels particular fleshed out, regardless of their screentime, a welcome change from most other major studio blockbusters. Meanwhile, O’Connell is a fascinating and frighteningly vicious antagonist. His performance as Remmick is one that entrances as well as unnerves in virtually every interaction he has on screen. 

Arguably as much of a muse as Jordan is for Coogler, composer Ludwig Göransson (“Black Panther,” “Oppenheimer”), who’s worked on all of Coogler’s previous films, pulls out all the stops for arguably his most unique and phenomenal score yet. Music is one of this film’s central building blocks, and the score mixes perfectly with Coogler’s scenic work to build numerous moments to a surrealist crescendo. The editing by Michael P. Shawver (“Fruitvale Station,” “Black Panther”) is also particularly excellent, as numerous different characters and plot threads are woven together clearly, but with panache and tension throughout.

The work from cinematographer Autumn Durald Arkapaw (“The Last Showgirl,” “Black Panther: Wakanda Forever”) is nothing short of phenomenal. Numerous moments crackle and burn with her camerawork, and as the film’s tension builds, the film’s scope narrows from gorgeous wide-open vistas to claustrophobic interior shots. Her work here with Coogler is the sort of cinematography that manages to both excel in its visual beauty and also work on the film’s numerous different subtextual levels as well. It’s just a truly truly gorgeous looking film. 

Separate from its excellent pacing, visuals, and music, is the bones of this tale that Coogler has constructed so fantastically to craft a film that works as a cerebral, surrealist expressionistic piece without every sacrificing a moment of genuine fun and entertainment. It flies by and could easily be split down the middle into two equally compelling different films. Coogler not only combines the film’s genre elements with its dramatic ones, but embraces them, leaning hard into the deeper themes that make this a film that you can easily parse through for hours after watching it. Yet his skill at making films also means that even if you don’t wish to discuss it, you’ll still have an absolute blast from start to finish. Case in point, for those seeing it in IMAX, the format’s taller image means that the times when it is used are impactful as they juxtapose the rest of the film’s ultra-wide 2.76:1 aspect ratio. But he not only uses these moments for action, but to punctuate important moments within the film’s tale by slowly opening things up to its fullest view. It’s a perfect use of the highly entertaining nature of the format, while also using it for the film’s more subtextual elements. 

“Sinners” could easily be called Coogler’s best film (a non-definite statement purely due to his excellent previous works), and it shows him at his most muscular and confident. He flexes his technical and subtextual skills, and crafts a tale that allows drama and genre to exist hand in hand. With a cast that excels, including shockingly standout performances from Miles Caton and Michael B. Jordan, a musical score that is downright ethereal, and a handle on his own original material that would make other seasoned directors jealous, he’s delivered one of the best theatrical experiences in years and the first true must see movie of 2025. 5/5

Drop - Review: A Deadly Date Night Gone Digital

There’s something to be said for a reliable formula, and arguably no one in Hollywood knows that better than Blumhouse, the premiere makers of modern, reliable, low-budget horror fare. Over the past few years, one of their most reliable hitmakers has been Christopher Landon (“Happy Death Day,” “Freaky”), a director/writer who’s made a name more recently thanks to his campier, more comedic horror fare. Now, his latest film leans more into suspense and less into humor than any of his previous works, the simply titled “Drop.”

The film follows recently widowed single mother and therapist Violet Gates, played by Meghann Fahy (“The Bold Type,” “The White Lotus”), going on her first date since her husband’s death. After matching with Henry, played by Brandon Sklenar (“1923,” “It Ends with Us”), and leaving her sister Jen, played by Violett Beane (“Truth or Dare,” “Death and Other Details”), to watch her young son, Violet and Henry meet for a dinner date at an exclusive fancy restaurant. Shortly after arriving though, she begins receiving airdrops from an unknown party asking her to do certain things, including killing Henry, or else they will kill her sister and son.

For a fairly simple concept, Landon goes fully in on crafting the thrills in as creative a way as he can without completely reinventing the wheel. Numerous moments make excellent use of faux lighting and camera angles, purposefully playing with how things must look to Violet as opposed to being strictly “realistic.” One moment of her looking at her home security cameras has them appearing on different tiles on the wall behind her, and the film will occasionally dim or shut off the lights around her to isolate her. That, coupled with some fun Hitchockian dutch angles courtesy of cinematographer Marc Spicer (“Lights Out (2016),” “Fast & Furious 7”), makes for a presentation that's far better than the B-movie tale it's telling.

Which isn’t to say that said B-movie tale isn’t still entertaining. While a larger part of that comes from the presentation, the script from Jillian Jacobs (“Fantasy Island,” “Truth or Dare”) and Chris Roach (“Fantasy Island,” “Truth or Dare”) does its basic job in setting things up and getting you invested in the thrills Violet is subjected to. There’s just enough mystery and intrigue to keep things puttering along, and the central performances from Fahy and Sklenar both make for a compelling duo. The rest of the cast all fill their spots admirably, with none really amounting to anything more than pawns put in specific places for this kind of a “who-is-doing-it” whodunit.

At a brisk 95 minutes with credits, “Drop” doesn’t overstay its welcome. The performances from Fahy and Sklenar keep things brisk, and the pacing never drags. While things get a bit over-the-top in the last ten or so minutes, what’s here works on a very basic level. It’s the sort of movie that just feels like something that used to come out all the time back in the early 2000s. For anyone who’s seen the early 2000s Wes Craven film “Red Eye,” there are a few similarities here, in both construction and concept. That’s not a bad thing though, as plenty of horror or thriller films often overstay their welcome. Here, Landon gets you in and out in a timely and fun manner.

“Drop” is a perfect example of a film telling a B-movie tale with the flourishes of something next level. Its two leads are great, and the central idea provides enough twists and turns to keep things entertaining the whole way through. If there was a less skilled person in the director’s chair, it's not hard to imagine it being far more forgettable. With Landon, it’s a great little deadly date-movie treat. 3.5/5

A Minecraft Movie - Review: The Biggest Block-Buster of the Year

 

A lack of limitations can be the bastion of the most talented filmmakers and also an anchor that drags them down in a sea of endless opportunities. After all, we got an Academy Award winning billion-dollar film out of “Barbie.” So, it stands to reason that Any filmmaker would leap at the opportunity to make a movie with material as limitless as a game known for having zero limits. The other edge of that double edged sword is also likely the reason that development on a “Minecraft” movie started over a decade ago and passed through numerous writers, directors, and producers before arriving with Director Jared Hess (“Napoleon Dynamite,” “Nacho Libre”) and writers Allison Schroeder (“Hidden Figures,” “Christopher Robin”), Chris Bowman (“Middle School: The Worst Years of My Life,” “Masterminds”), Hubbel Palmer (“Middle School: The Worst Years of My Life,” “Masterminds”), Neil Widener, Gavin James, and Chris Galletta (“The Kings of Summer”). After years of waiting, we finally have “A Minecraft Movie.” 

The film follows a quartet of misfits; Garrett "The Garbage Man" Garrison, a washed-up former video game champion played by Jason Momoa (“Aquaman,” “Fast X”), Henry and Natalia, two siblings moving to a new town after the death of their mother, played by Sebastian Hansen and Emma Myers (“Wednesday (2022),” “A Good Girl’s Guide to Murder”) respectively, and Dawn, a real-estate agent/traveling zookeeper played by Danielle Brooks (“Orange is the New Black,” “Peacemaker”). After Henry discovers the Orb of Dominance, the four are teleported to the Overworld, a vast world made entirely of cubic landscapes and wildlife. The evil Malgosha, voiced by Rachel House (“Moana,” “Soul”), seeks the Orb of Dominance so she can rule the Overworld, and the group are helped by legendary crafter Steve, played by Jack Black (“School of Rock,” “Kung Fu Panda”), to return home and keep the orb from her. 

First and foremost, “A Minecraft Movie” is a class clown. This is a film that exists almost entirely to entertain and to make you laugh. If you’ve seen any of Hess’s previous films and their sense of humor just didn’t gel with you, “Minecraft” is no different. While things are paired down a bit, there’s still a good amount of tater tots, weird animals, loud screams, and random short songs. It can make for a charming experience as it all just washes over you, and certainly doesn’t feel like the hyper-processed, focus-tested-to-death blockbusters we can get out of big studios nowadays. This is a film that certainly has its own identity, for better or worse. 

Black and Momoa are the stars here and completely run away with Hess’s comedic sensibilities. Black is at his Jack-Black-iest, and cranks things up to eleven as the film progresses. Momoa likewise plays Garrett as an overgrown man-child and the two of them frequently feel like they’re simply there as vehicles for jokes. Hansen and Myers get the closest thing to an emotional arc that the film wants to build, and it's fine enough. Their sibling bond is typical family film fare, and they execute it well. Hansen actually impresses most from the entire cast, simply due to how new he is at leading this kind of a movie and fitting snuggly into the everyman (or everykid) role he’s presented with. Brooks, like Black and Momoa, is simply a vessel for jokes, but the film sidelines her and Myers for a significant chunk, further preventing them from leaving any kind of impression. House gives an inspired vocal performance as Malgosha, and the supporting voice/live action cast rounds consists of a lot of character actors who’re here for a few minutes of fun before disappearing. There’s barely any character development for anyone here, and while it can easily be argued that it’s completely unnecessary for a film like this, it does mean that none of the characters have any sort of staying power of memorability. You’re likely to remember plenty of the jokes and not the characters or circumstances that set them up. 

Despite plenty of criticisms of early trailers and promotional material, the film’s visuals and production design are exceptionally impressive. It pops with color and light, with the physical props and sets making an excellent impression. Apart from a handful of bad green screen moments, it's a visually sumptuous film, without breaking out of its blocky constraints. It’s the kind of film that feels like you can just reach out and touch it and surprisingly doesn’t find itself bogged down in an overuse of digital backgrounds and sets. It really is impressive how many of these locations were physically built and how excellent they look. Given how iconic the game’s music is, the score from Mark Mothersbaugh (“The LEGO Movie,” “The Rugrats Movie”) does a great job of blending the game’s themes with a grander, more “blockbuster” movie score. It certainly won’t replace the game’s music but it's a worthy interpretation, nevertheless. 

So, it's a big studio comedy with a weird sense of humor and a grand sense of visual panache. Where’s the rub? Well, it all comes back to the script and overall story from its six credited writers. In attempting to craft an original story to fit into the blocky constraints of the “Minecraft” world, they’ve instead crafted a tale that is anything but original. It’s a hodgepodge of everything from “Lord of the Rings” to “The LEGO Movie” to “The Super Mario Bros. Movie” to even “Napoleon Dynamite.” It’s the sort of film that celebrates creativity in its individual moments and overall message, but it’s constructed of the most conventional pieces and parts one could imagine. This then leads to the sense of humor being used as a crutch rather than as a supplement, which means that even those who are fans of Hess’s sense of wackiness and how much Black and Momoa are embracing the weird will just be numb by the end of things. If everything is weird and wacky, then eventually that becomes the norm, and nothing feels weird and wacky anymore. 

“A Minecraft Movie” is a class clown of a film from start to finish. The biggest caveat is that it starts as a class clown in middle school, and ends as a class clown in college, without anything ever changing. Black and Momoa lead a pretty game cast and it's certainly a gorgeous movie in its own way. This is the sort of film that is easily embraceable if you just hop on its wavelength and sense of humor and go along for the ride. But it's hard to imagine anyone not being exhausted by the time that ride ends, especially when the stuff that’s supposed to supplement it is so woefully underwhelming. 2.5/5