Check out the full spoiler free review at Sunshine State Cineplex.
https://sunshinestatecineplex.com/2023/03/13/sxsw-2023-john-wick-chapter-4-2023/
John Wick: Chapter 4 might be a little long, but when it is fun, there are few films that can compete with its magnetism. Reeves shows why he’s one of the best genre actors in the world and pours his heart and soul into a soft-spoken performance. Combined with Stahelski’s fight sequences, this is sure to become a highly rewatched, often quoted classic.

If it was created with a different set of sensibilities, Thelma could’ve easily been a cheap shot at seniors (and a forgettable experience). Imagine a sitcom-style movie with stale gags about how oldies can lose their marbles, their temper, or their bladder control. A film built around a character that’s there purely to be laughed at.
Instead, we’re laughing with Thelma Post, and at the assumptions and stereotypes about the elder community that she pierces, one by one, and undermines. It’s great writing, brought to life by an ace June Squibb, firing on all cylinders. Together, they create a poignant reminder that even at 93 – perhaps especially at 93 – you’ve earned the right to maintain your independence and dignity. And maybe set off an explosion or two.
Read our full Guide to THELMA at good.film: https://good.film/guide/thelma-makes-you-rethink-your-grandmas-use-by-date

Grandma "Thelma" (June Squibb) is rather cruelly fleeced by a man pretending that her beloved grandson "Daniel" (Fred Hechinger) has been in a car accident with a pregnant women. $10,000 lighter her family realise she's been scammed and she is having none of it. Recruiting her pal "Ben" (Richard Roundtree) - or, more accurately, car-napping his mobility scooter, she escapes from the protective custody of her family and sets off to find the culprit. Squibb and Roundtree are obviously having great fun here as the pair embark on an engaging series of geriatric adventures that illustrate, clearly, that though the body may be weak the spirit is very much alive and kicking - and you know you're in for a decent denouement with Malcolm McDowell in the starting line-up too. I thought Hechinger tried a bit too hard here, but there is still something enjoyable about his at times rather theatrical performance and his dynamic with the charming and formidably ingenious Squibb. Clark Gregg and Parker Posey make up the rest of the family and quite entertainingly shine a light on the problems of parents dealing with an elderly relative - about whom they do, genuinely, care, whilst also trying to live their own lives and keep an eye on a son who has, just to make matters slightly worse, recently split from the love of his life. It does have a bit of a wobble for ten minutes towards the end as it struggles a little to make a point about the stupidity of the bloody-minded but for the most part there's a good deal to giggle at as the pair go along. You probably won't recall this for long after you watch it, but it's a good laugh that just confirmed what I've thought for ages. Those buggies need a lane of their own!

According to playwright David Mamet, “Age and treachery will always beat youth and exuberance.” And, if 93-year-old Thelma Post (June Squibb) has anything to say about it in this fact-based action-comedy-drama, you can take that notion to the bank. In this story of a spry but sometimes-gullible widowed retiree living on her own, we watch – often in jaw-dropping awe – a feisty, independently minded senior determined to get her money back when she’s scammed out of her funds in a phone-based phishing scheme. Thelma says nothing about her plan to her family (Fred Hechinger, Parker Posey, Clark Gregg), who are already concerned about her ability to continue living on her own, and recruits the assistance of a wily old friend (Richard Roundtree) to join her in her quest to retrieve the stolen cash. The result is an uproarious farce featuring humor that’s clearly outlandish but never implausible or over the top. But there’s more to this offering than laughs – the sight of capable, underestimated elderly folks taking charge over their lives (and, in the case of this picture, even performing their own stunts!) is truly inspiring. This is backed by a potent, poignant (though never preachy) underlying look at what it’s like to grow old and the losses that come with it, a bittersweet meditation on the inevitable changes that come with age and how all too quickly they arrive, material that’s deftly and often philosophically interwoven with the comedy. Director Josh Margolin’s debut feature represents an impressive premiere for the writer-actor, featuring a superbly penned, well-balanced, evenly paced script relating the experiences of his own 103-year-old grandmother, who’s still alive and kicking and whose real-life home was used as one of the film’s principal movie sets. It’s also a triumph for 94-year-old Squibb in her career’s first-ever lead role, one worthy of Oscar contention that effectively depicts a wide-ranging talent that’s been bottled up for far too long. And the film is a fine showcase for Roundtree in his final feature film performance, one in which we see him in a different light from many of his previous roles and in which he’s perfectly matched with his cunning co-star. My only issue with the picture is with the portrayal of Thelma’s family, in which the development of its three principals never comes off quite right, seemingly reaching for something that doesn’t gel properly, an aspect of the narrative that clearly could have used some further refinement. Otherwise, though, “Thelma” (or “Thelmaf” as it was known in an alternate version of the title) is one of the funniest, best produced releases that I’ve seen in quite some time. So hop on your scooter and get your behind to see this one – or else.

Hunky "Jean" (Ryland Tews) has quite a successful little cider business until the pesky beavers manage to destabilise the whole enterprise leaving him homeless with nothing but the clothes he stands up in - and with an hard winter approaching. It's only now that he realises just how much the terrain favours the critters who must now become his prey if he's to survive and not starve to death. The rabbits are no slouches, the fish no fools and the beavers - well they are actually quite brutal as they fell just about every tree they can find to fuel a construction that makes the Aswan dam look like the work of an amateur. Luckily, there is a trader (Doug Mancheski) with a beautiful daughter (Olivia Graves) who will supply all sorts of useful things in return for pelts, so with the help of an expert trapper (Wes Tank) and his carefully drawn map of the lares and snares, off he sets on a series of frequently laugh-out-loud escapades that almost brings the best of Warner Bros. cartoon artistry to life. The comedy is quickly paced slapstick and you can usually see the punchlines from space, but it does work amidst this snowy wilderness where our hero must eat or be eaten. His gradually honed skills see him use a bit of science, grim determination and loads of blind luck to gradually increase his visits to the trader, become better equipped and more loved-up. The title gives us a clue as to what price the man has put on his daughter, and so that's soon the concluding task for "Jean" but them toothy-beasts ain't just going to surrender - especially when we do find out what is going on in their industrial-scale complex on the water. It's much too long, though, and at times it's a bit like a board game where we just go round and round (gathering points) rehashing the same old scenarios and jokes, and I felt the last twenty minutes did drag a little - but for the most part it's part Chaplin, part Harold Lloyd with bits of "Grizzly Adams" thrown in too. It's entertaining and who knew you could do so much with a beaver's innards...?

This is a fantastic "wait for it" film. Pleasantly surprised.

**By: Louisa Moore / www.ScreenZealots.com**
This film was screened at Fantastic Fest
I attend several major film festivals every year, and it’s always a pleasure to discover a gem that’s hiding somewhere in the cinematic void. Genre film fests are among the most interesting because they showcase independent horror, sci-fi, fantasy, and other avant-garde, eccentric, micro-budget works of art. That’s why director Mike Cheslik‘s “Hundreds of Beavers” was the perfect fit for Fantastic Fest. This black and white game of man vs. beaver is my favorite film that I saw at the festival this year, and it’s not even close.
In what I can only describe as a Looney Tunes cartoon meets Charlie Chaplin meets “Cannibal! The Musical,” this dialogue-free film tells the story of an often-drunk applejack salesman who wants to become the greatest fur trapper in North America. The only way he can reach his goal is to defeat hundreds of beavers in the snow-covered woods. It’s a simple plot, but the humor is on point and the situations our hero finds himself in are absolutely hilarious. Those with a penchant for slapstick will appreciate the whimsy that defines the entire film.
Although this is a silent film with no dialogue, it’s engrossing from the get-go. To make a project like this so interesting takes a different kind of skill from a filmmaking team, and Cheslik along with co-writer Ryland Brickson Cole Tews have an intuitive flair for the farcical and absurd. You’d think the one hour and forty eight minute run time would be excessive, but it doesn’t feel overly long at all. That’s just astounding and is a testament to how strong the storytelling is.
To reveal too many plot points would ruin the surprises because this is a film about discovery in the moment. Even the look of the beavers is hysterical, and when paired with goofy, exaggerated facial expressions and scenes that are reminiscent of Wile E. Coyote chasing the Roadrunner, it’s easy to become engrossed in the absurdity of it all. As the trapper begins to eliminate his furry foes one by one, crude animation registers the beaver kills. His traps become more inventive, clever, and outrageous as he embarks on his quest to annihilate a forest full of beavers.
The film ends with a spectacular sled and snowball chase finale that’s as exciting as it is ridiculous, and the humor drifts between dark and lighthearted with ease. “Hundreds of Beavers” is a true achievement in oddball independent filmmaking, and I am here for every last drop of it.

**Betrayal, Ballads, and Big Witch Energy: The Story of _Agatha All Along_**
When _Agatha All Along_ was announced as a spinoff to the acclaimed _WandaVision_, expectations soared. How could anything live up to the vibrant, genre-bending magic of its predecessor? The answer: by conjuring a show that embraces its own quirks, doubles down on emotional storytelling, and takes viewers on a spellbinding ride down the legendary Witches’ Road. Marvel Studios and creator Jac Schaeffer deliver a series that feels simultaneously intimate and expansive—a darkly whimsical tale with Kathryn Hahn’s devious charm at its center.
**Plot and Characters: A Coven of Misfits**
Picking up three years after _WandaVision_, the show begins with Agatha Harkness (Kathryn Hahn) still trapped in her Agnes persona, living a humdrum life as a Westview police detective. It’s a gritty setup with a supernatural twist, as a Jane Doe case and the arrival of Joe Locke’s mysterious Teen catalyze Agatha’s journey to reclaim her identity and power. Alongside her is an eclectic coven: Patti LuPone’s diviner Lilia Calderu, Sasheer Zamata’s potion-wielding Jennifer Kale, Ali Ahn’s haunted Alice Wu-Gulliver, and Aubrey Plaza’s enigmatic Rio Vidal (aka Lady Death). Each character brings a distinct energy, and their uneasy alliance is rife with tension and begrudging camaraderie.
Kathryn Hahn continues to dazzle as Agatha, infusing every line with delicious wit and layered vulnerability. Her scenes with Aubrey Plaza are a highlight, their simmering chemistry electric as they navigate a past steeped in betrayal. Plaza, playing the sardonic, chaotic Vidal, commands attention, especially when her true nature as Death is revealed in Episode 7. Joe Locke’s Teen provides a surprising emotional anchor, and his mysterious connection to Agatha hints at the deeper wounds she carries.
**Themes and Tone: A Witchy Adventure with Depth**
Jac Schaeffer’s magic lies in balancing spectacle with substance. While the Witches’ Road is a visually surreal marvel, complete with vivid colors and practical effects that evoke an ’80s horror vibe, the series shines brightest when exploring its themes. At its core, _Agatha All Along_ is a story of redemption, self-discovery, and power. It doesn’t shy away from the darker roots of witchcraft, confronting themes like misogyny and generational trauma while celebrating the strength of its female characters.
This tonal balance extends to the writing, which skillfully marries campy humor with poignant moments. Agatha’s transformation back to herself in Episode 1 is a standout—a noir detective peeling away layers of forced personas to reclaim her truth. The show also embraces episodic storytelling, with trials on the Witches’ Road that test the coven’s unity and personal resilience. From Alice’s haunting family curse to Jennifer’s struggle to reclaim her bound powers, each arc adds richness to the overarching journey.
**Standout Episodes: A Spellbinding Journey**
Among the nine episodes, several stand out as masterclasses in storytelling:
**Episode 1: “Seekest Thou the Road”** establishes Agatha’s fragmented identity with a detective noir twist, culminating in her cathartic reawakening.
**Episode 3: “Through Many Miles / Of Tricks and Trials”** takes the coven to the eerie Witches’ Road Mansion, blending psychological horror with a trial of poison and hallucinations.
**Episode 7: “Death’s Hand in Mine”** delivers a haunting blend of sacrifice and revelation as Lilia Calderu’s ultimate act of redemption unravels her fragmented life, while Rio’s shocking identity as Death shatters the coven’s fragile trust in a tarot-laden trial of fate and free will.
**Episode 9: “Maiden Mother Crone”** wraps up the Witches’ Road saga with an emotional finale that leaves Agatha poised for future adventures while resolving the coven’s trials in deeply satisfying ways.
**Visuals and Style: Practical Magic at Its Finest**
Visually, _Agatha All Along_ is a feast. Its practical effects—a conscious departure from CGI-heavy Marvel fare—lend the series a tactile, almost dreamlike quality. Every magical element, from the fog-draped Witches’ Road to the eerie glow of fireflies, was crafted with painstaking attention to detail. The commitment to practical effects extended to action sequences, such as Episode 7’s dramatic sword drop, where actual metal blades were dropped from the ceiling with precision mapping, adding an edge of realism and danger.
The Witches’ Road, in particular, stands out as a masterstroke of set design. Built twice to achieve the perfect scale, the final version is a rich tapestry of mud pits, mushrooms, and glowing flora—all filmed in-camera to enhance its tangible, studio-bound aesthetic. This hands-on approach immersed the actors in the environment, bringing authenticity to their performances and grounding the fantastical elements of the series in reality. The physical demands of navigating the road’s uneven terrain, paired with the magical atmosphere created by fog and glowing mushrooms, enhanced both the storytelling and the visual experience.
By embracing practical effects and studio-built sets, the series pays homage to the golden age of fantasy filmmaking while adding layers of depth to its narrative. This approach makes the Witches’ Road feel like a character in its own right—otherworldly, dangerous, and entirely unforgettable. Music plays a recurring role, too, with the _Ballad of the Witches’ Road_ threading through key moments, adding a haunting resonance.
**Final Thoughts: A Bewitching Success**
While it doesn’t quite match _WandaVision’s_ genre-defining brilliance, _Agatha All Along_ forges its own path, embracing its quirks and delivering an emotionally resonant, spellbinding tale. It’s a bold entry in the MCU’s television experiment, proving that magic doesn’t always have to be about explosions and world-ending stakes—sometimes, it’s in the characters, the journey, and the haunting echo of a song.
If this truly marks the end of Kathryn Hahn’s tenure as Agatha, it’s a fitting, triumphant conclusion. But if the final notes are any hint, there’s still room for more cackling chaos—and honestly? We wouldn’t have it any other way.

Director Jean-Stéphane Sauvaire thoroughly succeeds at creating a bleak atmosphere of despair in “Asphalt City,” a dark, challenging project that is going to be a tough watch for many viewers. Based on the 2008 novel “Black Flies” by Shannon Burke, the film delves into the gritty reality of New York City as seen and experienced through the eyes of paramedics navigating the chaos and violence that beats beneath the urban jungles of America.
The film tells the story of a young paramedic named Ollie Cross (Tye Sheridan) who, in preparation for medical school, is assigned to the night shift with seasoned partner Gene Rutkovsky (Sean Penn). Every 911 call reveals a city in crisis as the men put their lives in danger to help others, but the nightly horrors send Ollie down a nightmarish rabbit hole that takes a serious toll on his mental health.
The film offers a visceral and unflinching look at the harsh realities of emergency medicine, and the opening minutes plunge viewers into the heart of the action. Riding along in the ambulance with these men, Sauvaire creates a palpable and dramatic realism that sets the tone for the rest of the film. It’s not pleasant, but it’s undeniably gripping.
The themes at play are complex, especially the exploration of moral and ethical ambiguity that plagues the characters. The story takes a dark turn as it unfolds, giving an unflinching look at the psychological toll of witnessing trauma and death that’s all in an evening’s work for these men. Mental health breakdowns ensue, leading to a violent change in Ollie’s personality and a descent into darkness. Things get even worse when the men start to act on their belief that they’re saviors who are playing God on the streets of NYC.
A word of warning to the squeamish: the medical scenes offer a highly realistic and extremely gruesome portrayal of emergency medical procedures. They are vivid and grisly, and those who can’t handle blood and gore will have a hard time with this film. Medical enthusiasts, however, will appreciate the attention to detail and authenticity.
Despite boasting strong performances and a gripping narrative, “Asphalt City” fizzles with a corny ending that falls victim to clichéd dark drama tropes. I really loved the majority of the film, though, and it’s so bleak that I felt the need to wash off the layer of darkness and despair that I could feel clinging to me long after the credits rolled.
By: Louisa Moore / SCREEN ZEALOTS

INT. SEAN PENN AND THE MEDICAL MEN - DAY
Truly a 'Midnight Movie' yet, was in competition at Cannes 76! Have your expectation set now, the drunker you are the better this will be!
Can’t wait for the sequel: Fruit Flies
FADE OUT.

Sometimes the simplest yet most profound messages we can receive come from the unlikeliest of sources. So it is with the second animated feature from writer-director Gints Zilbalodis, a stunningly beautiful, inspiringly insightful odyssey about a band of animals seeking to find their way and survive in a new world. When a great flood essentially destroys the world of man, a wide-eyed black cat must figure out how to get by when this consuming deluge wipes out the existence he has known, armed with only his own wits and the cooperation of fellow animal kindreds, including a capybara, a meerkat, a secretary bird and a pack of dogs, most notably a yellow Labrador retriever. Together this band of different creatures navigates the waters of this new world in an abandoned sailboat, learning how to work together to support one another and to stay alive, surmounting an array of challenges along the way. In the process, they collectively learn valuable life lessons that we as humans can all stand to follow, especially when confronted with circumstances not unlike those that we all must contend with in a world on the edge, conditions to which most of us can probably relate these days. The answers that these creatures come up with are often patently obvious, but the film thoughtfully prompts us to ask ourselves that, if these simple solutions are so readily apparent, why aren’t we doing more ourselves to embrace them in addressing our own current challenges? That’s a very good question and one of the greatest strengths of this widely acclaimed release. This dialogue-free offering, whose only sounds come from the authentic utterances of its animal protagonists and its emotive background score, features exquisite animation in its depiction of a world in transition, one showing the remnants of what’s been left behind and the emergence of what’s coming into being. While the narrative takes a little time to initially find its footing and is occasionally episodic as it unfolds, the various incidents it portrays as the story plays out are instructive, touching, meaningful and spot on in conveying the picture’s myriad insights, crafted in a way that shows more than tells and successfully avoids the temptation to spoon-feed audiences. “Flow” may be animated, but it’s by no means a cartoon, an accomplishment to which more films in this genre should attempt to aspire. This Golden Globe Award winner and Oscar nominee for best animated feature is a true gem, one from which we could all stand to learn a lot – and, one would hope, before we’re faced with circumstances like these ourselves.

Yes, this film is largely a visual treat but what more do we get here? A fairy tale about different spices getting along – except for with fishes of course, who are merely colorful props who conveniently don't scream. But this fairy tale has little to do with reality, as seen in Europe during the last decade – even if its crude message probably is largely why this film has been received so positively.
Or maybe we are supposed to learn something about global warming? We know about that already but few change their lives much and this film won't change that.
So we are left with what is reminiscent of a PC game walkthrough video on Youtube. We can appreciate all the work that has gone into it but in the end it is a shallow experience.

FULL SPOILER-FREE REVIEW @ https://movieswetextedabout.com/flow-review-a-dialogue-free-tale-that-speaks-volumes/
"Flow is a celebration of resilience and collective spirit in times of adversity, as well as a potent reminder of the consequences of human actions on the environment.
With its immersive animation, emotional music, and unique narrative approach, Gints Zilbalodis invites viewers of all ages and backgrounds to reflect on the ability to adapt and unite - not just among species, but within society itself.
It's a testament to the profound, universal messages that can reside in the simplest of stories, inspiring empathy, respect, and awareness of the fragility and beauty of nature."
Rating: B+

After watching "Strange Darling," directed by J.T. Mollner, I found it to be a fascinating experience.
The film's use of non-linear chapter framing was intriguing and innovative, showcasing Mollner's talent for delivering the emotional depth of each scene. He adeptly balanced the timeline with the message each chapter conveyed. However, the plot lacked direction at times, diverging into unintended paths, which slightly hindered the overall narrative. Giovanni Ribisi's cinematography was nothing short of phenomenal, capturing each moment with precision and artistry. The lead actors, Willa Fitzgerald as "The Lady" and Kyle Gallner as "The Demon," delivered outstanding performances that truly brought their characters to life.
Despite some plot issues, "Strange Darling" stands out for its unique storytelling, stunning visuals, and compelling performances.

Visually, 'Strange Darling' is a treat.
It's an extremely stylish movie, the film features some excellent shots as well as great music. I'm not fully sold on the base story, I feel like if you stripped every other element back then you'd be left with a real mid plot. On the other hand, though, when all is said and done I think I did get a good amount of entertainment from it.
I don't believe it needed to be told in nonlinear order, you could've portrayed events more traditionally and I don't think it wouldn't changed much (if anything) in terms of the viewing experience. With that said, it is easy to keep up with the jumps and it doesn't hinder the flick whatsoever. So, I guess, if it works, why not?
The performances of Willa Fitzgerald and Kyle Gallner are excellent, to be fair. They both fit their respective roles and each play their part in keeping the movie marching along nicely. The support cast merit relative praise as well, notable to see Ed Begley Jr. and Steven Michael Quezada involved - a 'Better Call Saul' reunion, of sorts.
Quentin Tarantino ought to enjoy this, albeit for an overabundance of smoking rather than trotters.

A woman runs across a field, blood gushing from her ear. She's being chased by a man with an high powered rifle. Can she escape? Well across the next ninety minutes, and via six chapters and an epilogue, we are told the story of just how we got here. Except, the episodes are not shown to us in numerical order and this isn't the end. It's not really the beginning of the end, but maybe the end of the beginning? Willa Fitzgerald looks terrified, Kyle Gallner looks menacing - but as this cat and mouse game progresses our expectations of the narrative are well and truly challenged, and that proves especially perilous for just about everyone that either of these two characters meet as plenty of uses for handcuffs are demonstrated - none of which were probably as advertised on the box! It doesn't actually take you too long to figure out what is happening, especially as the opening slide reveals it's historical source and so does impact on the jeopardy a little. That said, though, there's a gently seedy eroticism running through this drama and there's also quite an entertaining chemistry between the two characters that, like quite a lot of this film, invites us to reconsider established sexual stereotyping. It's violent at times, bloody too - but in the vein of Hammer rather than Tarantino and it's tongue is in it's cheek for a fair chunk as it evolves. If you get a chance to see in the cinema, the give it a go - it almost certainly won't pan out as you'd expect. (All shot on 35mm, apparently, but I'm not too sure I noticed!)

Ending my day with one last movie, I stumbled upon a film titled "Strange Darling." A psychological thriller revolving around a mass serial killer, I had no prior knowledge of its storyline. Without watching a trailer or reading a description, I decided to dive right in.
As the movie unfolded, I found myself completely absorbed in its narrative. The plot kept me on my toes, constantly questioning the identity of the serial killer. Just when I thought I had it all figured out, I was either right on the money or completely off track. The film demanded my full attention to catch the subtle clues and details.
While I found "Strange Darling" to be a decent watch and appreciated it for what it was, I don't think I would revisit it. The movie delved into gruesome and heavily exploited sexual themes, making it unsuitable for younger audiences. However, I could see why critics and viewers were praising it - the film's psychological thrills and twisted tale of a serial killer kept me guessing until the very end. Though I initially guessed wrong, once the pieces fell into place, the entire story made perfect sense.

Never Let Go is a gripping survival thriller directed by Alexandre Aja that combines horror elements with intense family dynamics. My experience watching the film was both engaging and unsettling, as it effectively builds tension throughout.
The story revolves around a mother and her twin sons who must defend themselves against an unspeakable evil threatening their home. The atmosphere is haunting, with stunning visuals that enhance the sense of dread. Aja's direction creates an unnerving world that kept me on the edge of my seat.
While the performances are strong, particularly from the lead actress, I felt that the film struggled in its third act, where some of the tension dissipated and the plot became somewhat predictable. Despite this, the emotional core of the story highlighting the bond between mother and children resonated with me.
Overall, Never Let Go offers a compelling mix of horror and drama, making it a worthwhile watch for fans of the genre, even if it doesn't fully capitalize on its intriguing premise. It left me reflecting on the lengths one would go to protect their loved ones.
If you liked my experience, then check out the Latest Movie Reviews

Pretty interesting and unique horror movie which is rare nowadays. But ending is confusing and sadly we don't have clear answer from the creators to explain this movie.

There's something about Zachary Levi that I quite like. Like in "Shazam" (2019), he has a boyish charm to him that is engaging to watch. In this, admittedly the story is all pretty thin, but his characterisation has a friendliness to it that I found quite enjoyable. "Harold" is the human manifestation of a fellow who lives quite happily in the land of fiction, but who arrives in the real world to try and find his creator "the old man". Together with his more reluctant pal "Moose" (Lil Rel Howery) he starts approaching old gents in the park - and yes, well that just causes pain. Then he encounters the young "Mel" (Benjamin Bottani) and his mum "Terry" (Zooey Deschanel) after she hits him with her car. An overnight at their home sees the start of a rather daft bonding exercise that's completely devoid of jeopardy but thanks to the odd intervention from fantasy-obsessed librarian "Gary" (Jermaine Clement) and his straggling pal "Porcupine" (Tanya Reynolds) is quite fun. There's an innocence to the whole thing that is quite touchingly simple and honest. People with invisible friends - didn't we all? The animation is perfectly adequate and the purple crayon could teach a 3D printer a thing or two about creating an aeroplane or a car tyre. Sure, it's all forgettable fayre and I'm not too sure if it's in any way sophisticated enough for today's kids - but it's generally quite an entertaining vehicle for a star who looks every inch in his element. It's a summer movie that's as good as any of the more hyped animation's I've seen so far in 2024.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/the-underdoggs-review-dont-show-this-to-your-kids/
"The Underdoggs ultimately fails to justify a recommendation. It's just too many issues to overlook in an already quite generic, formulaic underdog story that never convinces the viewer of the protagonist's redemptive, altruistic behavior.
The chemistry between the kids is definitely fun and charming to witness, but the non-stop profanity, a crazy alcohol-stimulated sequence, and so many other terrible messages for young audiences make this movie one to avoid."
Rating: D

Hilary Swank turns in quite a strong performance here as Sharon Stevens. She's an hairdresser with a penchant for the bottle - and for denial - who just happens upon a rather sad newspaper article whilst buying her morning six-pack. The headline features the story of the young girl Michelle (Emily Mitchell) who has just lost her mother and whose father is having to come to terms with her own impending liver failure. After many years of medical treatment, the family are over $400,000 in debt and with the vultures closing in on them, she decides to raise some money to help them out. Father Ed (Alan Ritchson) is a proud man. Not stubborn, just determined that he will keep his family and his home together, so he slightly resents Sharon's self-appointment in his affairs. Luckily his mother (Nancy Travis) sees the sense in her activities and together they all work to raise the funds - and sort out the logistics - so they can secure a transplant for the youngster. Swank reminded me of Jane Fonda for much of this drama, and at times her characterisation of a woman with demons of her own is quite effectively annoying as she interferes at will. Ritchson also delivers potently and the young Mitchell evokes a combination of spiritedness and determination that provides this true story is quite a decent validation of just what can be achieved against formidable odds when driven by a can-do attitude, some human decency and an helicopter.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/ordinary-angels-review-an-optimistic-true-story/
"Ordinary Angels resonates as a powerful reminder of the human capacity for compassion and collective effort in the face of adversity. The sensitive screenplay by Kelly Fremon Craig and Meg Tilly, along with the stirring performances by Hilary Swank and Alan Ritchson, elevate this true story above the ordinary, offering an inspirational viewing experience that is both a celebration of the human spirit and a call to our inherent goodness.
Despite relying on genre conventions, it stands out for its authenticity and the hopeful message it conveys. It’s, without a doubt, a movie that not only warms the heart of everyone who sees it but also prompts reflection on the transformative impact of generosity, altruism, and mutual care in building a better world."
Rating: B

Whisky maybe, or even gin? Certainly nothing remotely exciting as we follow a group of girls who have arrived in the Caribbean for the wedding of "Lizzie" (Lauren Lyle). Her four closest friends have arrived, not without baggage of course, and on the day before they are due to get hitched, the five set off for a leisurely day on a island beach some miles away. What we know from the start that two of the women used to be a couple, but an heinous attack on the street appears to have put paid to that. The fairly obnoxious and foul-mouthed "Cam" (Nicole Rieko Smith), "Lizzie" and their other pal "Ruth" (Ellouise Shakespeare-Hart) decide that abandoning these two - "Meg" (Hiftu Quasem) and "Kayla" (Natalie Mitson) on the sand to "talk about things" might be good idea and from here on in I was very much on the side of whatever was in the water - so long as it was hungry. That's the crux of the problem with this - there's virtually no action at all; nothing to remotely scare or unnerve us, just five people about whom I really couldn't have cared less. The direction is chronically slow with loads of pictures of people (luckily dwindling) bobbing about on the water waiting for a rescue that can only come for us once it has come for them... I gather the human body contains a mere 5 litres of blood, well nobody bothered to tell Hayley Easton Street or writer Cat Clarke as that small fact is constantly overlooked! The editing tries a little harder to engender a feint sense of menace, but the acting and atrociously banal dialogue leaves this weak and uninteresting. This is definitely a candidate for worst cinema film of the year!

With the war now heading firmly in the favour of the allies, Italian soldiers are deserting in droves and one of them, Sicilian "Pietro" (Giuseppe De Domenico) arrives, wounded, in the eponymous Italian village where they know what he has done. Opinion is divided on what to do next, given many have lost their sons in the war or are still ignorant of their whereabouts, but he has the support of the influential schoolmaster "Graziadei" (Tommaso Ragno). It's his daughter "Lucia" (Martina Scrinzi) to whom he takes a bit of a shine, and she readily reciprocates. They marry and all seems rosy until the war actually ends and he has to return home to his mother. This is when the wheel rather comes off this idyllic scenario as his unanswered letters are eventually explained by answers that rock this tiny village and the whole "Graziadei" family. Though the thrust of the story is all rather predictable, the characterisations are poignant, powerful and are cleverly crafted to show us a family dynamic that is not only dealing with the end of the war, but with disease, tragedy, resentment and bitterness amongst eight children who are growing into people in their own right with differing aspirations for education, religion, family and future. Roberta Rovelli features a little less than I'd have liked as the mother of this diverse brood but her nuanced and considered effort as the potato-counting antitheses to her proud and traditionalist husband works well at providing a bedrock for the story. I also quite enjoyed the efforts of the younger children, too. Their curiosity and vibrancy offering us quite an apt tonic to counteract some of the more serious elements as the storyline touches upon issues of betrayal, shame and grief. It's gloriously photographed at altitude and the changing seasons reflect well the blossoming of a family that is certainly not the "Waltons". Don't expect it to hit the ground running, nor for there to be any definitive conclusion. This is us observing a year or so in the turbulent lives of a family, a village and a nation and if you just let it wash over you then it's surprisingly affecting.

Just as too many cooks can ruin the stew, too many story threads can ruin a movie, and that’s very much the case with writer-director Maura Delpero’s fourth feature film. This Golden Globe nominee for Best International Film follows the lives of a family in a village in the Italian Alps in 1944. The family patriarch and town schoolteacher, Cesare (Tommaso Regno), along with his wife and army of eight children shelter a pair of Italian army deserters, hiding them from Axis Forces in search of the runaways. While in seclusion, one of the soldiers, Pietro (Giuseppe Di Domenico), falls in love with Cesare’s eldest daughter, Lucia (Martina Scrinzi), eventually marrying her and fathering a child. However, when the war ends and Pietro travels to Sicily to visit his family, all hell breaks loose, revealing a deep dark secret and creating havoc for his pregnant wife and her family. Had the film stuck to this storyline, “Vermiglio” might have been an engaging watch. But that, unfortunately, is not the case. The picture incorporates an array of other plot lines, seriously diluting the narrative and making for a very unfocused, incoherent watch (particularly in the first hour). Most of these extraneous story arcs remain largely underdeveloped, and much of what could have been done with the principal narrative thrust remains largely unexplored. To make matters worse, the picture’s glacial pacing at the outset tries viewer patience to the point where checking one’s watch becomes a regular activity. Only when the script settles on its primary tangent does the film begin to become remotely watchable, but, by that point (nearly an hour in), it’s too late to salvage the viability of the production, especially since viewer interest in any of these characters has long since evaporated. It’s a shame that the filmmakers chose to employ this approach in telling this story, because, if it had been judiciously pared down to the basics that work best, this could have been a beautiful, compelling release. Instead, we’re left with a mishmash of ideas, themes and narrative elements that leaves audiences clamoring for an end that’s far too long in coming.

Stories that allegorically address themes related to self-esteem, social acceptance and prejudice undoubtedly merit our attention, provided that they execute their narratives in discernable, cogent, relatable ways. Unfortunately, though, that’s where writer-director Aaron Schimberg’s third feature drops the ball. The film follows the strange saga of Edward Lemuel (Sebastian Stan), an aspiring New York actor afflicted with a severe skin disfigurement that has left his face overcome with tumorous growths. However, when he learns of a radical new medical treatment that offers the hope of a cure, he jumps at the chance. And, before long, after a series of incidents that bring graphic new meaning to the term “skin peel,” he’s left with a normal (and quite handsome) appearance. But, now that he has this new look, is it what he really wants for himself? Can he adjust to it and what it affords? This change thus prompts him to ask himself these questions when he starts getting all of the things he had once supposedly longed for, such as a beautiful romantic interest, Ingrid (Renate Reinsve), and a lead role in an off-Broadway play. He can’t help but quietly wonder, “Am I suddenly being accepted because of my appearance or because of who I am as an individual?” What’s more, was the reaction that he previously received from others as bad as he thought it was, or was his perception clouded by his own distorted views of himself? That becomes especially true when he meets Oswald (Adam Pearson), a cheery, well-adjusted individual who leads a successful, fulfilling life despite being affected by the same health condition Edward once had. Conceptually speaking, these issues are universal themes that many of us might ask ourselves from time to time, all of which ultimately stem back to our view of whether we see the glass of life being half full or half empty. However, when examined through this prism, these ideas are unnecessarily muddled here by a clumsy script that can’t make up its mind what kind of movie it wants to be. Is it smart horror? A dark comedy? A psychological thriller? As it’s presented, the film is a jumbled combination of the foregoing punctuated by awkward and abrupt transitions, undercooked character development, and underwhelming explorations of its core notions. Indeed, rather than confidently tackling its primary intents head on, the picture spends much of its time dancing around them (and often tripping over its own feet in the process), particularly with the incorporation of odd, out-of-place plot elements that serve more to confuse the flow of the story than to clarify it. In many ways, the finished product becomes much like the quirky, bombastic works of filmmakers Charlie Kaufman, Ari Aster or Darren Aronofsky, one that leans more toward the needless excesses of “The Substance” (2024) than the graceful eloquence of “The Elephant Man” (1980). To its credit, “A Different Man” frequently comes across better than it probably should thanks to the solid performances of Pearson, Reinsve and Golden Globe Award winner Stan. But, given the film’s many other shortcomings, that’s hardly enough to save this production from itself.

_A Different Man_ delights with a delicious paradox: take a character who feels outcast because of his looks, and then – _voila_. Melt away his differences. _Would he suddenly fit in? Would his life instantly turn around? Or is “success” far more than skin deep?_
New York writer-director Aaron Schimberg wants us to ponder if Edward is better off than he was before. We're caught between wondering if he's a victim of society’s need for normalcy – or a victim of _his own_ victim complex.
With his third feature, Schimberg creates a tantalising fantasy with oodles to say about perception, identity and inner happiness. His dark comic story peers deep into how we deal with “otherness” in society – and how we often revert, in our private moments, to letting our exteriors define who we are inside.
The cherry on top? The scene when Edward’s tumours start loosening, and he literally begins peeling his face off in stringy strips. Whether real or imagined, it’s up there with cinema’s most memorably horrifying special FX.
Read our full review of _A Different Man_ at good.film: https://good.film/guide/a-different-man-literally-strips-away-how-we-look-at-disfigurement

"Edward" (Sebastian Stan) is a facially disfigured man, stuck in a rundown apartment, whose life isn't really going anywhere fast. Then he gets a new neighbour. "Ingrid" (Renato Reinsve) is a writer who befriends him and promises him a part in her play. Meantime, his doctors manage to get him on a radical course of treatment that gradually returns his face to a more normal visage. Returning to his flat, and with some fairly grotesque things emerging from his leaky ceiling, he realises that nobody recognises him anymore so he has to assume a different identity. That's when he discovers that "Ingrid" is, indeed, putting on a play - and that the old "Edward" is the title and the topic. He wants the part. It's his part. How to get it though without giving the game away? Add to his frustrations the arrival of "Oswald" (Adam Pearson) who is an ostensibly decent character but who also wants the role, and he has the aesthetics as opposed to the prosthetics. "Ingrid" has tough choices to make but where might this leave "Edward"? There's something quite circular about the way this story pans out. A sort of be careful what you wish for type scenario that gives and removes hope from "Edward" and almost creates a villain of the piece too! Is that merited or is that justified? The drama shines a light on the more shallow attitudes amidst society, on our intolerances and assumptions but it also swipes at the fickleness of friendships, fame and success - all rather engagingly delivered by both Stan and Pearson. It's the former man who positively exudes exasperation as the denouement (only vaguely) skirts the Chaplinesque. It's on that note that it's worth saying this is quite funny at times, too - the writing doesn't try to impose any morals on us, rather it presents us with some scenarios and lets us enjoy and evaluate as we go. It doesn't hang about, and right from the start we hit the ground running as the characters develop, the personalities emerge - for good or bad, and it's well worth a couple of hours in a cinema. I got more from it second time round as I was able to focus a little more on the nuance than the imagery.

Eva Green is in my estimation, a really decent actress, so why on earth is she in whatever this is supposed to be?
"Dirty Angels" is weighed down by a horribly hammy, pro US story, where allegedly kind old Uncle Sam (the other one who doesn't finance middle eastern extremists), takes on the mean old Middle Eastern terrorists, for the umpteenth time.
Its entirely predictable fare, with the misogynistic terrorists getting their butts handed to them by the virtuous, if unkempt, female hit squad.
Action is not well done, its clumsy and feels unbelievable. Characterisations are of the cardboard cut out variety, so no wins there either.
In summary, I managed about two thirds of this before walking away. Its just not good on any level, squandering some genuine acting talent. What a shame.