I don’t cover much television, but occasionally a must-see show comes down the pike that I can’t pass up. One of the latest is Prime Video’s upcoming “Fallout”, an eight episode series based on the extremely popular Fallout video game franchise from Bethesda Game Studios. Created by Jonathan Nolan and Lisa Joy (Nolan will also be directing several episodes), “Fallout” will premiere on Prime Video tomorrow, April 10th (a day earlier than its originally scheduled April 11th release).
For those unfamiliar, the Fallout series is set within a retrofuturistic wasteland. During the post-war 1950s, a nuclear war decimated our planet. Those who were able survived in massive bunkers across the United States known as vaults. The games follow dwellers around the country who leave their vaults for the first time only to encounter a dangerous, savage, and violent new world. The streaming series looks to follow the same formula as a young woman named Lucy (Ella Purnell) leaves her home in Vault 33 and ventures into the devastated and hostile remains of Los Angeles. Walton Goggins and Aaron Moten also star.
Prime Video’s promotion for the series has been off the charts. The trailers are filled to the brim with cool easter eggs and the production design seems plucked right of the games. They’ve also released a number of killer posters that feel right in tune with the franchise’s unique vibe. Check out the trailer and the posters below and tell me what you think. Are you excited for “Fallout”? Will you be checking it out? I know I will.
I for one have thoroughly enjoyed Legendary’s MonsterVerse movie franchise. “Godzilla x Kong: The New Empire” makes for the fifth film in the shared universe which dates all the way back to 2014 and Gareth Edwards’ terrific “Godzilla”. It’s considered the 38th film of the entire Godzilla franchise and the 13th King Kong feature. It sees the return of director Adam Wingard who helmed the previous installment, 2021’s “Godzilla vs. Kong”.
Initial reactions to this newest entry have been interesting. While early box office numbers have been impressive, the critics responses have been mixed. One reason is because some have unfortunately and unfairly pitted it against last year’s exceptional and more serious-minded “Godzilla: Minus One”. If anything the long-running Godzilla franchise has proven that you can do a lot of different things with the titular characters. Wingard understands that and sticks with his wild ‘Rock ‘Em Sock ‘Em Kaiju’ formula. I’m glad he did.
Image Courtesy of Legendary Pictures
After defeating Mechagodzilla in the last movie, Kong has descended back down to Hollow Earth – the vast world below our planet’s surface where he carries on his search for his ancestors. Meanwhile on the surface, Godzilla continues his fight against the Titans who frequently spring up and cause trouble. As the last film established, Godzilla and Kong don’t like each other. But as long as they stay out of each other’s territory there should be nothing to worry about…right?
Back at Monarch, the well-funded secret organization that specializes in the monitoring Titan activity, Dr. Ilene Andrews (Rebecca Hall) has been elevated to Head of Kong Research. She and her team keep an eye on Kong while others within the vast Monarch follow Godzilla around the globe trying to predict his next moves.
At home, Irene’s young adopted daughter Jia (Kaylee Hottle) remains the last surviving member of Skull Island’s Iwi tribe who has a special connection to Kong. She’s suddenly stricken with traumatic visions triggered by an unidentified signal emanating from Hollow Earth. Irene seeks the help of Titan enthusiast and podcaster Bernie Hayes (a returning Brian Tyree Henry) and Titan veterinarian Trapper (Dan Stevens) who accompany her to Hollow Earth where Kong has discovered an uncharted region full of secrets. Meanwhile the mysterious signal stirs up Godzilla who begins preparing for a potential new and terrifying threat.
Image Courtesy of Legendary Pictures
As you can probably guess, it’s all working toward a Titan-sized clash which Wingard and his digital effects team have a blast setting up and executing. The CGI-heavy visuals are pretty spectacular and often help to energize the movie. This proves to be important, especially as the heavy doses of mythology begin to wear a little thin. Admittedly, it’s impossible to deny the silliness of it all. At the same time, that very same silliness is a big part of what makes the movie fun. And Wingard’s snappy pacing makes sure you’re not dwelling on too much for too long.
Of course the bread and butter of “The New Empire” is the Titan throwdowns and we get some really good ones. Fans will relish the massive, destruction-driven battles, the film’s playful self-awareness, and the classic monster movie feel. Wingard and his trio of writers (Terry Rossio, Simon Barrett, and Jeremy Slater) make no bones about the movie they’re making. It’s pure popcorn entertainment and throwback escapism. If you didn’t like the previous MonsterVerse entry I’m not sure you’ll go for this one. Me? I’m already excited for the next installment. “Godzilla x Kong: The New Empire” is in theaters now.
Dev Patel jumps head-first into the action arena with “Monkey Man”, an intriguing revenge thriller that marks the 33-year-old actor’s directorial debut. The ambitious “Monkey Man” is a brutal and bloody amalgamation that attempts to pull equally from Hollywood and Indian action cinema. Patel’s management of both styles, in front of and behind the camera, is a big reason his hard-hitting first feature works when it does. That said, it’s not without its flaws.
In addition to directing and starring, Patel also conceived the story, co-wrote the screenplay, and co-produces alongside Jordan Peele. His film was nearly cancelled after numerous delays during the COVID-19 pandemic. But Patel pushed through and his finished film was acquired by Netflix. Soon after, Peele saw the movie and was impressed. He purchased it from Netflix and inked a distribution deal with Universal Pictures. And just like that Patel’s passion project had its path to the big screen.
Image Courtesy of Universal Pictures
Some have compared “Monkey Man” to the John Wick films and from the trailers it’s easy to see why. But with the utmost respect, this is no John Wick. And the comparisons don’t do Patel’s film any favors. First off, this is not the fast-flowing, action-fueled movie you might expect. The bulk of the action in concentrated into two expanded sequences – one in the first half, the other in the final act. That’s pretty much it. And while Patel pours himself into it physically, the sequences are lacking in several ways. More on that in a second.
Patel plays a somber young man with no name who’s tormented by his troubled past. We learn that as a child he witnessed the savage murder of his mother (Adithi Kalkunte) at the hands of a cold-hearted Chief of Police, Rana Singh (Sikandar Kher). Donning a blood-stained gorilla mask, the young man now works in an underground fight club where he gets beaten to a pulp for cash. But in the back of his mind all he can think of is paying back every crooked police officer, corrupt politician, and spiritual guru involved in his mother’s death.
The young man’s quest for revenge starts when he gets a job at a swanky night club/restaurant ran by Queenie Kapoor (Ashwini Kalsekar), a child trafficker and close associate of Rana Singh. He carefully crafts a plan and patiently waits to make his move. Unfortunately things don’t go as planned and he misses his chance to kill Rana. He manages to escape but is badly wounded and severely beaten. His near lifeless body is nursed back to health by a vaguely defined transgender religious sect who use a few chants, some drum beats, and a burlap sack full of rice to turn him into a one-man killing machine. Yep.
Of course the young man gives vengeance another whirl, this time leaving behind a much higher body count. Much like the earlier action sequence, the finish has its moments and Patel’s intensity and physicality carry the load. Yet even with some beautifully violent flashes of brilliance, the action as a whole feels surprisingly inert. That’s because Patel’s big stylish swings can sometimes get in the way. But by far the biggest problem with the action is Patel’s frustrating over-reliance on shaky-cam and quick-cuts. It mucks up the scenes and can be borderline disorienting.
Image Courtesy of Universal Pictures
Meanwhile through it all Patel attempts to weave in commentary on Indian politics and religion although without much context. And he makes several broad statements on power, class, and marginalization. But they too are more surface level than explored. It’s obvious what Patel is going for. But “Monkey Man” ends up stuck in a rather unsatisfying middle ground. The lack of depth in its setups and treatments weakens its messaging. At the same time, its attempts at messaging takes away from the action which could have driven the film if given more attention.
All of that said, Patel still accomplishes quite a bit. First, he remains a terrific actor and he gives yet another astonishing performance in a role unlike anything he’s done in the past. He also shows some keen senses and an unbridled ambition behind the camera. His decisions don’t always come together, but he clearly has a bright future as a director. As for “Monkey Man”, it’s an admirable yet perplexing first effort in desperate need of some fine-tuning. It’s a movie with flashes of genius but hampered by a few head scratching choices and some miscalculations that unfortunately hold it back. “Monkey Man” is in theaters now.
In 1974, Robert Clouse had just directed the highly revered Bruce Lee martial arts classic, “Enter the Dragon”. That film was an enormous box office success, earning a total of $400 million worldwide (which is over $2 BILLION today when adjusted for inflation). “Enter the Dragon” also starred a young Black martial artist named Jim Kelly. Clouse was so impressed with the charismatic Kelly that he cast him in his next movie, “Black Belt Jones”.
Checking off many blaxploitation boxes, “Black Belt Jones” offers up much of what you would expect from a wild genre mash-up of action, comedy, crime thriller, and of course kung-fu. It features much of what made blaxploitation films popular during their time. But it’s also hampered by their weaknesses which in this case are hard to look past despite the fun.
Kelly plays the titular Black Belt Jones, an expert martial artist thrust into a conflict between an old friend and the Mafia. Jones’ mentor, Wesley “Papa” Byrd (played by the great Scatman Crothers) runs Black Byrd Karate School. It’s located on a small patch of land in the middle of the city that the Mafia is desperate to get their hands on.
Image Courtesy of Warner Bros.
After local mob leader Don Steffano (Andre Philippe) gets wind that the city government is planning on building a huge civic center in the area, he begins gobbling up all the property in the neighborhood. He’s able to get everything but the karate school. So the Don sends a local drug dealer named Pinky (Malik Carter) to strong-arm Papa into selling his land. But when Pinky accidentally kills Papa, Black Belt Jones is forced to get involved.
Adding an extra wrinkle is Sydney Frazier (Gloria Hendry), Papa’s estranged daughter who comes into town determined to pay back those who killed her father. Hendry adds some spice to the story, portraying a young woman who is more than capable of taking care of herself. She and Kelly have some fun chemistry together. At least until Clouse overplays it by throwing together a hopelessly corny cat-and-mouse game on the beach. It’s meant to be romantic but instead is comically mawkish.
“Black Belt Jones” has some big laughs, often at unexpected moments. And while the screenplay doesn’t always help him, Jim Kelly is a fun and often charismatic lead. But the hokiness is hard to overlook, and even the most forgiving eye will have a hard time looking past the movie’s obvious limitations. Genre fans like myself will find something to enjoy. But there are plenty of better films for those wanting to dip their toes into the world of blaxploitation.
Evan Mitchell James was born on April 24, 1991 to Beth and Dennis James. It was a time of pure elation for the couple who had tried for years to have a child. After several heartbreaking miscarriages, Beth gave birth to Evan – a beautiful and joyous miracle that from every early indication was everything the Jameses were hoping for. All seemed well in Evan’s earliest years. But when he hit two-years-old Beth began worrying about her son’s development. By age three, Evan had been diagnosed with autism.
Beth, Evan, and their resilient mother-son relationship form the core of “You Have No Idea” – a new documentary that’s as much about information and awareness as it is a heartfelt personal story. Director Alexander Jeffery thoughtfully weaves all of those elements together in an evocative film that pulls at our heartstrings while enlightening us to a number of past and present-day truths.
Born in Canada, raised in El Dorado, Arkansas, and residing in Shreveport, Louisiana, filmmaker Alexander Jeffery’s empathy-rich and life-affirming project began as a video tribute to a loving and committed mother. Moved and inspired himself, Jeffery turned his tribute into a feature-length documentary that thoughtfully yet honestly tells the story of Evan James and his incredible support system anchored by his intensely devoted mother Beth.
Jefferey directed, produced, edited, and shot “You Have No Idea” which features a well-incorporated mix of interviews, live recordings, home movies, and family snapshots to tell Evan’s story. We learn that he was a sweet, pleasant, and happy baby. We hear how concerns surfaced during his toddler years when he wasn’t speaking or responding to the simplest commands. We see his enrollment into the public school system and the obstacles he had to navigate. Yet despite the many difficulties and challenges he faced, Evan remained big-hearted and fun-loving with some pointing out his “contagious energy”.
But the documentary is just as much (if not more) about Beth, a strong and determined mother driven by her unwavering love for her son. Beth’s story is an inspiration in itself, beginning with Evan’s autism diagnosis in the early 1990s. At that time autism wasn’t the topic of conversation that it would eventually become. Unlike today resources were scarce; there was no information at your fingertips. Doctors hadn’t grasped what they were dealing with meaning they didn’t know how to properly treat it.
So Beth took it upon herself to learn as much as she could in order to give her son his best life. Jeffery documents her exhaustive efforts which proved to be transformative, not just for Evan but for herself and many others who witnessed her works and the fruit they produced. This is perhaps best displayed in the incredible network of family members and close friends (affectionately known as Evan’s Village). Each take on essential roles in Evan’s life and in turn see their lives impacted as well.
Jeffery does a terrific job balancing Beth’s journey with its impact on Evan. By offering a more intimate examination he’s able to burrow behind common misconceptions, offering an unvarnished first-hand perspective. Whether its through emotional personal testimonies or his revealing yet unobtrusive camera, Jeffery offers his audience a clear-eyed look into Beth and Evan’s shared life – one marked by many uplifting highs but also some devastating lows.
On a side note, I’ve been married nearly 30 years to a wonderful woman who has devoted much of her life to Special Education. Understandably, she’s taken a special interest in Jeffery’s film. Yes, it tells an affecting true story and open eyes to the real-life family struggles that can be associated with raising a child on the autism spectrum. But in many ways it’s also a reassurance for those working in essential fields – teachers, therapists, and nurses (among others) who are having a tremendous impact in the lives of those with autism and their families. It’s yet another beautiful facet of this urgent and endearing documentary. “You Have No Idea” is now streaming on Prime Video.
“The Strangers: Chapter 1” is set to hit theaters May 17th and Lionsgate has began their promotion with a bang. Three new character posters were released today along with some cool and creepy security camera footage highlighting the film’s titular terrors. Directed by Renny Harlin, the film is the first installment in a new horror trilogy based on the 2008 home invasion chiller “The Strangers”. The original (written and directed by Bryan Bertino) was an effectively unsettling movie and if Harlin can tap into that same sense of horror he may deliver something special.
The film’s official synopsis: After their car breaks down in an eerie small town, a young couple (Madelaine Petsch and Froy Gutierrez) are forced to spend the night in a remote cabin. Panic ensues as they are terrorized by three masked strangers who strike with no mercy and seemingly no motive in THE STRANGERS ― CHAPTER 1, the chilling first entry of this upcoming horror feature film series.
Check out the three character posters and security footage below…
Keith & the Movies 