REVIEW: “Teenage Mutant Ninja Turtles: Mutant Mayhem” (2023)

The Teenage Mutant Ninja Turtles craze hit its stride after I had gotten older but I knew all about them. How could you not? They had their genesis in comic books but really launched with a popular animated series in the late 1980’s. For several years they had one of the hottest toy lines. They appeared in numerous video games. They even had a trilogy of feature films in the early 1990’s (and several reboots in the years that followed). The Turtles were a pretty big deal.

Like many, I felt the Turtles had had their day in the sun. Well, not so fast. Co-directors Jeff Rowe and Kyler Spears along with producer and co-writer Seth Rogen have revived the franchise on the big screen with their computer animated feature “Teenage Mutant Ninja Turtles: Mutant Mayhem”. It’s a modern(ish) spin on the classic Turtles although one that doesn’t really distinguish itself outside of its surface-level flourishes. Yet I’m betting there’s enough of that to satisfy the TMNT faithful, young and old.

“Mutant Mayhem” diverts from the original material in several areas and puts much of its emphasis on the teenage side of the titular ‘Heroes in a Half-Shell’. Most notable is the highly stylized, sketchbook inspired animation. It’s a bold choice that’s fresh and innovative but also inconsistent and uneven. The art ranges from cool and inventive to sometimes chintzy and gimmicky. It really stands out in the characters. Some are impressively designed. Others, not so much.

Image Courtesy of Paramount Pictures

The movie’s biggest issue is in the writing. Sure, there is some fun teen banter, a handful of amusing jokes, and a stray heartfelt moment or two. But the script really doesn’t give us much beyond that. Our four big-hearted pizza-loving Turtles are basically all the same character but with only the slightest distinctions between them. Then we’re given a rather predictable story that channels where it’s going early on. So that leaves us with pop-culture references aplenty, countless needle-drops, and a heaping helping of nostalgia to get by.

After being mutated by a mysterious green ooze 15 years earlier, turtle brothers Leonardo (Nicolas Cantu), Donatello (Micah Abbey), Rafael (Brady Noon), and Michelangelo (Shamon Brown Jr.) live deep in the New York City sewers with their protective father and sensei, a rat named Splinter (Jackie Chan). They sneak around the city undetected, gathering supplies and soaking in the popular culture than the humans enjoy. It creates a longing within them to be accepted by the humans. But Splinter is quick to warn them of the dangers that revealing themselves might bring.

Through a bit of rambunctious goofing around the Turtles meet and befriend April O’Neal (Ayo Edebiri), an aspiring journalist and an outcast at her high school. She agrees to help them with a plan to win the human’s acceptance. Together they will track down a local menace named Superfly (Ice Cube as a literal housefly mutated by the same green ooze). The Turtles will apprehend him and turn him over to the police. April will chronicle their feat and report it, leading the city to love and embrace them.

Image Courtesy of Paramount Pictures

Of course their plan goes sideways fast and the Turtles quickly find themselves not only battling Superfly and his army of mutants, but also the Techno Cosmic Research Institute and its shady (and woefully underdeveloped) executive Cynthia Utrom (voiced by Maya Rudolph). These conflicts lead to some pretty creative action scenes, highlighted by some eye-popping animation and some clever cinematic effects. Not all of the action works, but when it does it can be thrilling.

It’s not too difficult to figure out where things are heading. But there is fun to be had beyond the predictable plot. The voice cast is mostly excellent, especially Cantu, Abbey, Noon, and Brown Jr. as the Ninja Turtles. Ice Cube is handed some of the film’s more amusing lines and there’s just something inherently funny about him in such an absurd role. His Superfly isn’t a particularly memorable villain, but it’s fun listening to him nail some pretty great lines.

To its credit “Mutant Mayhem” does several things that set it apart from (and in many ways set it above) the past TMNT feature films (you could say that’s a low bar and you wouldn’t be wrong). But once you look past the highly original art style and handful of modern updates, there’s not much new about this latest iteration. That said, it’s solid enough for the Turtle faithful to enjoy and the pure nostalgia of it will probably go a long way with certain audiences.

VERDICT – 2.5 STARS

REVIEW: “Mean Girls” (2024)

The latest popular movie from the past to get a modern-day makeover is “Mean Girls”. The 2004 teen comedy was a big hit with audiences and critics, eventually spawning a made-for-television sequel and even a Broadway musical. Now co-directors Samantha Jayne and Arturo Perez Jr. have brought us a 2024 big screen update that’s based on the stage adaptation of the original 2004 hit movie. And all of it is based on Rosalind Wiseman’s 2002 book “Queen Bees and Wannabes”. Confusing?

“Mean Girls” 2024 sets out to mix its teen comedy roots with snazzy musical numbers but the results aren’t great. The screenplay by Tina Fey taps into a few things that long-time fans might appreciate. But overall it’s a wildly uneven film, hampered by flaccid attempts at humor and songs with no resonance whatsoever. Even worse are the characters – a woeful collection of shallow teens who leave you worried for the future of whatever world they live in.

Image Courtesy of Paramount Pictures

The film stars Angourie Rice, a good young actress who deserves better than what she gets here. She plays Cady Heron, a smart and formerly homeschooled teenager attending her first day at North Shore High School. The filmmakers go out of their way to make Cady as uncomfortable as possible, immediately overwhelming her through the cult-like stares from the students and the exaggerated cliques that no normal person would fit in with. But two best friends and (kinda) loners, Janis (Chloe Auliʻi Cravalho) and Damian (Jaquel Spivey) take Cady under their wings and show her the ropes.

But Cady’s high school experience takes a dramatic turn after she’s noticed by three rich, snooty, and ultra popular girls dubbed The Plastics. They’re led by the “Queen Bee” of the group and the school, Regina George (Reneé Rapp). Following her around like puppies is the idolizer Gretchen (Bebe Wood) and the ditzy Karen (Avantika). Cady’s “friendship” with Regina leads to a boost in her own popularity and status. But when Regina finds out Cady is crushing on her ex-boyfriend Aaron (Christopher Briney), things get a little nasty.

From there the bulk of the movie follows the friends-turned-enemies as they both dole out various forms of payback. And that’s really the movie in a nutshell. It seems to relish the meanness, to the point of nearly forgetting the more thoughtful themes that deal with bullying, peer pressure, etc. It’s only in the last ten minutes or so that we get an overtly tidy finish reminding everyone to be nice to each other. Hardly what you would call a convincing conviction.

Image Courtesy of Paramount Pictures

Jayne and Perez Jr. try and capture the spirit of “Mean Girls” but all they can manage is a grating, uninspired pastiche. The music numbers only complicate matters, ranging from mediocre to dreadful. Altogether the movie plays like a current-day ABC Afterschool Special, littered with groan-inducing TikTok reels and second-rate MTV music videos. There are some terrific voices (Rapp can flat-out belt). But the songs tend to be forgettable at best and annoyingly distracting at worst.

“Mean Girls” ends up being a toothless retread that feels custom-made for the January dumping ground. The teen comedy side of it offers little in terms of laughs and gives us nothing to chew on. And rather than energizing this unfortunate reincarnation, the consistently underwhelming song choices and musical numbers weigh the film down. Fey, Tim Meadows, Jon Hamm, and Ashley Park offer some star wattage in their utterly thankless roles. But they can’t save this mess of an adaptation that fumbles pretty much everything it’s trying to remake and recapture. “Mean Girls” is in theaters now.

VERDICT – 1.5 STARS

REVIEW: “Mayhem!” (2024)

It didn’t take long for the first ‘action movie of the year’ candidate to emerge. “Mayhem!” (and yes, the exclamation point is included) is a blistering action thriller fueled by ferocious fight choreography yet laced with an unexpected dose of heart. While its American title doesn’t do it any favors (it released as “Farang” elsewhere), director Xavier Gens delivers big where it counts, taking his time getting where he’s going and then rewarding our patience with an explosive payoff.

The movie’s centerpiece is its chiseled French-Algerian star, Nassim Lyes. The 35-year-old former MMA fighter and kickboxer comes packaged with a simmering intensity and remarkable physicality which is exactly what his character demands. The story around him seems to pull from a number of inspirations including Jacques Audiard’s “A Prophet”, 2011’s “The Raid”, and even a few dashes of “John Wick”. It may not match up with those heralded films, but it’s plenty strong enough to stand on its own.

Lyes plays Samir Darba, a quiet and solemn young man with a troubled background. We first meet him in a Paris prison where he has worked hard to straighten himself out while learning to resist his urge towards violence. Samir’s good behavior pays off and he is granted a day parole. He immediately looks to stabilize himself by finding a steady job to help him stay out of trouble. But it doesn’t take long before his past comes back to haunt him. An old contact jumps him as he’s on his way back to the penitentiary. Samir kills the thug in an act of self-defense. But knowing how it looks and fearing the consequences, he decides to flee France.

Image Courtesy of IFC Films

Five years later we see Samir working on a boat near Bang Chan in East Thailand. He has seemingly left his old life behind (yea right) and found happiness in the cozy little fishing village. He’s found a wife, Mia (Loryn Nounay) and together they have a young daughter Dara (Chananticha Tang-Kwa) and a baby on the way. To help pay the bills and save some money, Samir also works as a baggage handler and van driver for a luxury hotel. And he does some kickboxing on the side, occasionally throwing a fight for a greedy and crooked local promoter.

Samir and Mia have been eyeing some gorgeous oceanfront property with dreams of opening their own beachside restaurant. But just as they’re ready to purchase, they learn they’ve been outbid by a Frenchman named Narong (played by the great Olivier Gourmet). He turns out to be a powerful crime lord who offers Samir a proposal – successfully deliver a small amount of drugs and the property is theirs. Without telling Mia, Samir accepts the job, seeing it as the only way for him and his family to realize their dream.

Of course the drop goes terribly bad with Samir barely managing to escape. Knowing the consequences of failure, he rushes home to get his family to safety, but Narong’s goons arrive before they can leave. A savagely violent fight ensues that leaves the pregnant Mia stabbed to death, Dara kidnapped, and a severely wounded Samir left for dead. Samir survives after he is found by his trainer and father figure Hansa (the really good Vithaya Pansringarm) who nurses him back to health.

Image Courtesy of IFC Films

As you can probably guess, Samir doesn’t sit idly by. He sets out on a personal mission to save Dara and dole out punishment on those who killed his wife and unborn child. In some ways it plays like a conventional revenge story. But Samir does a good job selling us a tortured father who’s desperate to get back his young daughter. It adds an extra dramatic layer to the story and helps to earn our empathy for his plight.

But the movie’s meat and potatoes is the action. Gens keeps things surprisingly subdued for much of the way, content to feed us morsels and leaving us hungry for the main course. You could make a case that he waits a little too long, leaving us wondering when the movie is going to finally let Samir (and Lyes) off his chain. It finally does and it proves to be worth the wait. The fight scenes in the kinetic final act are intensely violent and downright brutal with blood-splattering and bones-cracking galore. Lyes is an absolute force while Gens, DP Gilles Porte, and editor Riwanon Le Beller skillfully frame and shoot the sequences with style and energy.

The final 20 minutes offer up a hard-hitting (literally and figuratively) punctuation mark to a story that has its slow patches but knows how to stick its landing. Gens does a good job unpacking his story while slipping in some not-so-subtle commentary on child abduction and sex trafficking. The film also looks great, shooting on a number of immersive locations. But everything comes back to the action which takes a while to kick into gear. But once it does, Gens puts the pedal down and (again) flexes his prowess as an action filmmaker.

VERDICT – 4 STARS

REVIEW: “Driving Madeleine” (2024)

Director Christian Carion’s delightful French drama “Driving Madeleine” first screened in 2022 at the Angoulême Francophone Film Festival and a few months later at the Toronto International Film Festival. But it is just now getting an official big screen release here in the States and you won’t have to wait long to see it. And trust me, it’s a movie you will want to make time for.

“Driving Madeleine” is a genuinely sweet and mature gem of a movie. Written by Carion and Cyril Gély, the story is heartwarming and a bonafide tearjerker. I realize that’s a description that can come with some pretty negative connotations. But don’t toss this movie aside. Carion has made a smart and thoughtful film that examines longing, regret, and the intrinsic value of human connection. It explores memories and the preciousness of a life while fully realizing the beauty and tragedy associated with both.

Image Courtesy of Cohen Media Group

Charles Hoffman (Dany Boon) is a down on his luck taxi driver in Paris. Soured and disillusioned, the 46-years-old Charles works twelve hours a day and six days a week to support his wife and daughter who he loves but rarely gets to spend time with. To make matters worse, he’s only one traffic violation away from losing his license which means losing his car which means losing his job.

Charles is dispatched to the other side of Paris for a fare. Once there he picks up 92-year-old Madeleine Keller (a sensational Line Renaud) who is in no hurry to get where she’s going. Her destination sends Charles back across the city but on the way Madeleine asks him to take a couple of detours to important places from her long an eventful life. It annoys him at first, but the more the chatty Madeleine shares the more Charles opens about his own life.

The film is peppered with flashbacks to Madeleine’s past where her younger self is played by a solemn and soulful Alice Isaaz. Through them we learn about the love of her life, an American soldier named Matt (Elie Kaempfen) who went back to the States after World War II. We see her son Mathieu (Hadriel Roure) who she had unexpectedly. We witness her marriage to her violently abusive husband Ray (Jérémie Laheurte) and the consequences that spun from it.

Image Courtesy of Cohen Media Group

There is much more to Madeleine’s story that I’ll leave for you to discover. It all gives shape to what has been a fascinating life. It also affects the troubled Charles, leading him to share snippets of his own life, from his financial woes to his deep sacrificial love for his wife Karine (Julie Delarme) and their daughter Betty (Léonie Carion). As their unorthodox bond slowly forms and grows, it’s pretty easy to get a sense where the story is going. But that does nothing to lessen our connection to the characters or ruin the emotional payoff.

Anchored by two fantastic performances and a sincere story with a warm human center, “Driving Madeleine” turns out to be a surprisingly subtle and (mostly) unsentimental pleasure. You could call it an irresistibly charming heart-warmer and you wouldn’t be wrong. But there’s a darker subtext found mostly in the flashbacks that aren’t afraid to expose and challenge. The film is beautifully shot and Francophiles will love the evocative Paris scenery. But it’s the two central characters and their journey over the course of one day that’ll leave the biggest impression. “Driving Madeleine” opens January 12th in select theaters.

VERDICT – 4 STARS

The 2024 El Dorado Film Festival Announces This Year’s Film Lineup

The 2024 El Dorado Film Festival makes its highly anticipated return from hiatus next month, opening Thursday, February 8th and going through Sunday the 11th. The event will be held at the South Arkansas Arts Center (110 East 5th St. in El Dorado, Arkansas). Tickets are available to be purchased now at the Arts Center box office and online.

Established in 2014, the EDFF offers a curated selection of independent cinema, narrative and documentary features as well as short films from around the world. The festival recently announced this year’s exciting slate of regional, national, and international feature length and short films.

Read the official press release below…

EL DORADO, Jan. 9, 2023 — The El Dorado Film Festival (EDFF) has announced its 2024 line-up for this year’s event taking place on Feb. 8-11, 2024, at the South Arkansas Arts Center (SAAC), located at 110 East 5th St. in El Dorado, Arkansas. This year’s festival includes films starring Jon Heder (Napoleon Dynamite), Billy Zane (Titanic) and Anthony Rapp (RENT). Tickets are on sale now and can be purchased online or at the SAAC box office.

The El Dorado Film Festival has spawned so many great conversations, collaborations and relationships in previous iterations,” said Executive Director Alexander Jeffery. “We are thrilled to bring this event back to South Arkansas after a three-year hiatus. What’s wonderful about these films is they are all created by truly independent filmmakers who had to get incredibly creative to get their work made and seen. No big studios, no big theatrical releases, you as the audience get to discover these gems and help the filmmakers spread the word about their achievement.

The 2024 El Dorado Film Festival line-up includes:

(Tapawingo)

The Special Presentation Feature Film, Tapawingo, directed by Dylan K Narang, starring Jon Heder (Napoleon Dynamite), Billy Zane (Titanic), and Gina Gershon (Brooklyn Nine-Nine). The film is the story of an oddball who becomes the bodyguard for a misfit teenager and finds himself in the crosshairs of the town’s family of bullies.

(Shudderbugs)

The Arkansas Premiere of Shudderbugs, directed by Johanna Putnam. In the film, a woman unravels in the wake of her mother’s mysterious death, following her suspicions to dangerous ends. Shudderbugs has been widely recognized across the film festival circuit with over 16 awards and nominations. 

(Scrap)

Feature Film Scrap, directed by Vivian Kerr. EDFF originally screened the short film of Scrap in 2019 and now Kerr is back with the feature film. Directed by Kerr, Scrap stars Anthony Rapp from the Broadway sensation RENT. 

EDFF is also connecting with filmmakers south of the state line with a block of seven films from the Louisiana Film Prize Founders Circle. These films are: “The Candy Lady” (winner), “The Capitalist,” “Clownfish” (directed by Smackover native Clayton Henderson), “Caught on Tape” (co-directed by Alexander Jeffery), “Dead Flesh,” “Off-Sides” and “Pink Suit, Black Suit.”

Tamra Corley Davis, chair of the film committee, believes a cross-borders partnership is a fantastic way to grow the film industry regionally.

Beyond being excited to be a part of bringing back the EDFF, I am proud that we are able to partner with the Louisiana Film Prize to bring some of the 2023 award winning Prize films,” she said. “Over the years I have realized the film community is really small like a family. And no doubt over the weekend in February at the EDFF, new friendships will be made and collaborations formed that you will see for years to come at future festivals like ours and the Prize.

The Arkansas made or connected films include:

  • “Criterion” by Jeremy Enis
  • “Pretty Canoe” by Nicholas Holland
  • “The Book Club” by Jonnie Brannon
  • “Banana Triangle Six” by Marc E Crandall
  • “Mama Love” by Mary McDade
  • “Arkansas Maternal Health” by Ringo Jones
  • “How Do I Tell You This” by Lara Hill
  • “The Hill We Climb” by Raeden Greer
  • New West by Jordan Mears

EDFF also features national and international films such as: “Break,” “Wheel,” “Beer Club,” “Smoke,” “Credit,” “They Grow Up So Fast,” “Purgy’s,” “Music for a While,” “Florence in Customer Care,” “Outpost,” “The Last Thing Lost,” “The Bathtub” (Spain) and “Chairs”  (United Kingdom).

First Glance: “Mothers’ Instinct”

French director Benoît Delhomme (“At Eternity’s Gate”, “The Theory of Everything”) is joined by two Academy Award winning actresses in his remake of Olivier Masset-Depasse’s 2018 psychological thriller “Mothers’ Instinct”. The film stars Jessica Chastain and Anne Hathaway, a duo who immediately makes this a must-watch movie. The film’s newly released first trailer only confirms it.

The story is an adaptation of Barbara Abel’s 2012 novel “Derrière la haine”. In it Chastain and Hathaway play two 1960s housewives, mothers, neighbors, and close friends. The relationship begins to crumble following an unspeakable tragedy. Jealousy, suspicions, perhaps even something more sinister – it’s all teased in the impressively well done trailer. I can’t wait to see how this story uncoils and both Chastain and Hathaway look to be perfectly cast.

“Mothers’ Instinct” has been picked up by NEON and is coming soon. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.