Cohen Media Group has announced the home video release of renowned filmmaker François Ozon’s affecting adult drama “Everything Went Fine”. Based on a memoir by the late Emmanuèle Bernheim that chronicled her own experience with her father’s death, the film tells a richly human story while taking on some heavy subject matter with warmth and sensitivity. It’s driven by a brilliant lead performance from Sophie Marceau – one of the year’s best. Read my full review of the film HERE.
The Blu-ray and DVD editions of “Everything Went Fine” are NOW AVAILABLE. See below for a full synopsis of this must-own feature film.
OFFICIAL SYNOPSIS:
Year: 2023
Rating: NR
Runtime: 112 minutes
Language: French with English subtitles
Directed and Written By François Ozon Starring: Sophie Marceau, André Dussollier, Géraldine Pailhas, Charlotte Rampling, Éric Caravaca Produced by: Éric et Nicolas Altmayer Cinematographer: Hichame Alaouie Set Design: Emmanuelle Duplay Edited By Laure Gardette
From François Ozon (“8 Women”, “Swimming Pool”) comes a powerful family drama in which a daughter is forced to reconcile with her father and their shared past after he contacts her with a devastating final wish. When André (André Dussollier) suffers a debilitating stroke and calls on his daughter Emmanuèle (Sophie Marceau) to help him die with dignity, she finds herself faced with a painful decision.
Based on Emmanuèle Bernheim’s memoir and an Official Selection of the Cannes Film Festival, Everything Went Fine’s matter-of-factness elicits moments of humor that renders an otherwise weighty topic accessible. Steering clear of the moral arguments such issues often raise, the film instead focuses on the reckoning Emmanuéle has with her stubborn and unrelenting father and how to help him, with Ozon tackling a difficult subject with exceptional intelligence and sensitivity. Featuring stunning central performances by Marceau and Dussollier as well as a scene-stealing cameo by Charlotte Rampling as André’s ex-wife.
I’m always excited when a new Paul Schrader movie comes our way. Interestingly the acclaimed and often outspoken director, screenwriter, and former movie critic has seen his cinematic voice evolve in recent years. Traces of the same thematic DNA in his work on films like “Taxi Driver” and “American Gigolo” can still be seen in his movies today. He’s still exploring many of the same interests that have fascinated him throughout his near 50-year career.
But movies like 2017’s “First Reformed” and 2021’s “The Card Counter” have revealed a more thoughtful and introspective approach. Both are methodical and precise in execution and focus. Both film’s are steeped in melancholy and revolve around tortured men in their own fiercely private states of crisis. Both feature stories that uncoil under Schrader’s patient and restrained watch.
His latest film, “Master Gardener” slides right in with “First Reformed” and “The Card Counter” to form a thematically connected trilogy of patiently searing character studies. Joel Edgerton operates on a similar bandwidth as Schrader’s other stars, Ethan Hawke and Oscar Isaac. They all play men navigating their own existential minefields. They all are burdened by their own remorse, repression, and self-abnegation. The ever sturdy Edgerton gives an intensely cryptic performance that proves to be a terrific fit for Schrader’s style and interests.
Image Courtesy of Magnolia Pictures
Much like the previous two films in this unofficial trilogy, “Master Gardener” is simmering with subtext about past sins, present day reckoning, and an uncertain future. Interestingly, this is the least cynical of the three movies although Schrader doesn’t shy away from holding a magnifying glass to and giving a sharp-edged critique of a number of relevant topics of our day. Still, there are shimmers of optimism and hopefulness – not many but more than you would expect from a movie with so many similarities to “First Reformed” and “The Card Counter”.
Edgerton plays Narvel Roth who (as the title intimates) is a master gardener. He’s low-key and taciturn yet he’s fastidiously dedicated to his craft and a veritable encyclopedia when it comes to horticultural facts and history. He oversees Gracewood Gardens, an estate of “curated botany” that’s owned by the wealthy and peremptory Norma Haverhill (Sigourney Weaver). Narvel lives in a small but quaint cottage on the property where he spends his spare time filling pages of his journal with observations about gardening that mask deeper self-reflections.
Narvel and Norma have an interesting relationship. We learn that Norma took on Narvel despite his dark and troubling past which (in typical Schrader fashion) doesn’t come fully into focus until later in the movie. The gardens have been in Norma’s family for decades and she entrusts him with their care. And over time they have developed a mutual respect. He’s very honest and upfront with her and she seems to take his words to heart. But there’s no question that she clearly calls the shots and ultimately expects her wishes to be fulfilled.
One afternoon Norma tells Narvel about her grand-niece, Maya (Quintessa Swindell) who recently lost her mother. Soon after Maya dropped out of school and got in with a bad crowd. Norma describes her as being of “mixed blood”, her use of words and tone giving away her poorly veiled disapproval. Maya is coming to Gracewood and Norma wants Narvel to take her troubled grand-niece on as an apprentice, teaching her the ins and outs of gardening.
Image Courtesy of Magnolia Pictures
Much of the movie follows their relationship which evolves from teacher and pupil to father figure and daughter figure to potentially something more. Both are kindred spirits with pasts they are trying to overcome. And as you can probably guess, those pasts inevitably seep through the story. As they do Schrader plays around with our expectations, avoiding the more obvious path and taking things in some unpredictable directions. A part of me still questions where their relationship ends up, yet I found every facet of it compelling.
I do love Edgerton’s performance as it offers a beguiling portrayal of a solitary man seeking atonement. Whether it’s the current day scenes or the brief yet unsettling flashbacks, Edgerton captures our attention and keeps it clutched as the layers of his character are slowly peeled back.
But perhaps most interesting is the question of how certain viewers will respond to Narvel. In a day when social media too often decides both judgement and forgiveness, I can see some people recoiling to such a degree that they’re unable to accept where the character goes (vague, I know). I think that’s a struggle Schrader wants people to have. And as with the other two films in this loosely bound trilogy, he’s all about getting his audience to wrestle with uncomfortable themes.
“Fast X”, the 10th entry in the high-octane and gleefully over-the-top Fast & Furious franchise, opened to a rock-solid $319 million opening weekend. The Universal Pictures powerhouse knocked “Guardians of the Galaxy Vol. 3” out of the top spot thanks to its fiercely loyal following and a vigorous promotional campaign. It marks the second largest opening weekend globally of 2023 only behind the still-going “The Super Mario Bros. Movie”.
Directed by Louis Leterrier and featuring a massive cast of well-known names, “Fast X” didn’t exactly break records on the domestic front. It earned a decent $67.5 million in the United States which puts it seventh among the franchise’s opening weekend numbers. But it exploded globally with $251 million, making it the third best worldwide opening for a Fast & Furious movie and the top opening of 2023 so far.
The franchise’s global appeal makes sense as the movies feature a diverse cast and extends to locations all around the world. “Fast X” is set up to be the first of three movies that will bring the lucrative series to its action-packed finish. You can bet Universal will be watching its numbers closely.
Among the holdovers “Guardians 3” fell just 47% to bring in another $32.8 million. That brings its three-week total to $659 million worldwide – impressive, but a ways from matching its two predecessors. In its seventh week “The Super Mario Bros. Movie” still proves to have legs, crossing $1.248 billion and now sitting as the third biggest animated feature of all-time. “Book Club: The Next Chapter” fell off pretty dramatically in its second week and now sits at $13.1 million while “Evil Dead Rise” pushes its five-week total to $140 million globally.
Warner Bros. Home Entertainment has announced the upcoming home video release of “Creed III”. This brand-new combo pack features the film in crisp 4K with HDR and includes both a Blu-ray and digital copy. “Creed III” is the third chapter in the Rocky spin-off story of Adonis Creed who’s memorably played by a returning Michael B. Jordan. The film also marks Jordan’s directorial debut. In addition it features a powerful supporting performance from Jonathan Majors. You can read my full review of the film HERE.
This new 4K Ultra HD + Blu-ray + Digital edition of “Creed III” is light on bonus content, but the visual and sound quality is superb. It hits shelves on May 23rd, 2023. See below for a full synopsis and breakdown of the bonus features.
OFFICIAL SYNOPSIS:
Year: 2023
Rating: PG-13
Runtime: 116 Minutes
Directed by: Michael B. Jordan
Screenplay by: Keenan Coogler & Zach Baylin
Story by: Ryan Coogler and Keenan Coogler & Zach Baylin
Produced by: Irwin Winkler, p.g.a., Charles Winkler, William Chartoff, David Winkler, Ryan Coogler, p.g.a., Michael B. Jordan, p.g.a., Elizabeth Raposo, p.g.a., Jonathan Glickman, Sylvester Stallone
Executive Producers: Sev Ohanian, Zinzi Coogler, Nicolas Stern, Adam Rosenberg
After dominating the boxing world, Adonis Creed (Michael B. Jordan) has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian – a fighter who has nothing to lose.
“Creed III” stars Michael B. Jordan (“Just Mercy”, “Black Panther”), Tessa Thompson (“Thor: Love and Thunder”, TV’s “Westworld”), Jonathan Majors (“Ant-Man and the Wasp: Quantumania”, “Devotion”), Wood Harris (TV’s “Winning Time”), Mila Davis-Kent, Florian Munteanu, and Phylicia Rashad.
“Creed III” is the third installment in the successful franchise and recently set a franchise record and scored the biggest domestic box office opening for a sports film in history.
BONUS FEATURES:
Creed III4K UHD and Blu-ray combo packs contains the following special features:
Michael B. Jordan: In the Ring/Behind the Camera – featurette
There’s No Enemy Like the Past: Donnie and Dame – featurette
Ron Shelton’s 1992 basketball comedy “White Men Can’t Jump” lived and breathed off of the electric personalities and hilarious chemistry between its two leads, Woody Harrelson and Wesley Snipes. When hearing a remake was on the way I immediately wondered if there was any way it could recapture that kind of energy? In a word, no. And in many ways not even close. In fact, it’s accurate to say this “update” barely resembles its inspiration.
This bland and frankly needless remake comes from director Charles Kidd II aka Calmatic. In it Sinqua Walls plays Kamal Allen a former high school basketball phenom who was projected as a “can’t miss” player. He was heavily recruited by colleges and NBA teams alike. But an arrest for assault during his senior year tarnished his reputation and scared away every interested party. So now he’s stuck in a minimum wage job driving a deliver truck, barely scraping by and trying to support his wife Imani (Teyana Taylor) and their young son. He can still hoop, but he’s given up on ever playing professional basketball.
Jeremy (played by rapper Jack Harlow in his acting debut) once had a promising basketball future of his own and was a standout player at Gonzaga University. But two blown ACLs sidetracked his dreams. So now he’s selling cheap bottled health drinks and hustling streetball games for cash. He desperately wants to play basketball again and he has the wild idea that “regenerative medicine” is his ticket to the NBA G League. But his girlfriend Tatiana (Laura Harrier) wants him to focus more on their future together.
The two former ballers cross paths at a neighborhood gym where Jeremy promptly hustles Kamal out of $300. It understandably leaves a sour taste in Kamal’s mouth. But with both of them in desperate need of money, they end up teaming together to play in a two-on-two streetball tournament with a massive payout going to the winners. First, they’ll have to hustle a few neighborhood games to pay for their entry fee. Second, they’ll have to do it without killing each other. That proves to be a tough ask.
From the very start, the story just doesn’t have the energy or the spirit of the 1992 original. And at times it doesn’t even seem try. The script occasionally attempts (but falls terribly short) at recreating the playful banter, the culturally tinged back-and-forths, and the hilarious insults that Snipes and Harrelson fired off so naturally. A lot of it has to do with the lukewarm chemistry between Walls and Harlow. Individually their performances are fine, but neither have the charisma of a Snipes or a Harrelson. And together there simply isn’t much of a spark between them.
To compensate, the movie ventures off into some more dramatic directions, none of which work particularly well. Co-writers Kenya Barris and Doug Hall attempt to cook up some interest in Kamal and Jeremy’s home life. But these side dishes consist of little more than Imani and Tatiana understandably losing patience with their bone-headed beaus.
We find some hope in these family scenes in the form of the late Lance Reddick who plays Kamal’s father, Benji Allen. At first he comes across as an overbearing LaVar Ball type. But over time we get a sense that there’s actually more to his character. Unfortunately we’re left to wonder because Reddick doesn’t get much screen time and the father-son relationship is left painfully underserved.
So we’re left with everything else, nothing of which will stick with you past the closing credits. The humdrum humor certainly won’t as it rarely registers. And there’s definitely not enough personality or charm to leave any kind of mark. Even the basketball scenes fall flat. And I’m still trying to figure out why they even bothered calling it “White Men Can’t Jump” considering how little it has in common with the considerably better original. Maybe the idea looked better on paper. Maybe it’s a cash grab. Either way, it doesn’t make for a good movie. “White Men Can’t Jump” is now streaming on Hulu.
While none of us can make sense of their hilariously arbitrary titles (“Fast Five”, “Fast & Furious 6”, “Furious 7”, “The Fate of the Furious”, “F9”, etc.), one thing is for sure – the Fast and Furious movies have fully embraced what has made the franchise such a hit. Since taking a dramatic turn in 2011 with its fifth installment, the series has grown into one of the most expense and most profitable popcorn franchises in big screen history.
The latest chapter is “Fast X” and it’s being advertised as the first film in a possible trilogy that will bring the adrenaline-fueled saga to an end (it even sports the tagline “the end of the road begins“). Vin Diesel returns as the series centerpiece Dominic Toretto. Pretty much everyone else is back as well for this $340 million last ride.
“Fast X” doesn’t do anything to break the mold. So if you like the previous movies this one will deliver the same over-the-top, fuel-injected action spectacle you’ll be looking for. The reverse is also true. If you didn’t care for the other films in the franchise there’s nothing new in “Fast X” that will suddenly win you over. Well maybe Jason Momoa who plays the story’s giddily diabolical antagonist. He’s a blast and goes for broke in delivering a villain like none other we’ve seen in the franchise.
Image Courtesy of Universal Pictures
“F9” was a little wobbly with several nagging issues keeping it from living up to expectations. Still it had the crazy set pieces and most (not all) of the characters we have grown to love. As you might guess, “Fast X” amps up nearly everything. It’s not as distractingly absurd as “F9”, but it still features the franchise’s signature reality-defying action and it miraculously finds time to give everyone some meaningful moments. It’s pure fan food, made from start to finish with fans in mind.
One thing is for sure, “Fast X” is far from a standalone movie. In fact you’re guaranteed to have more questions after the movie than you did at the start of it. Director Louis Leterrier, working from a screenplay by Dan Mazeau and Justin Lin, puts a lot of things in motion and their cliffhanger ending leaves several loose story threads dangling. But that’s okay for a tale of the size and scope.
Diesel gives one of his better performances of the series, portraying Dom as both tough-as-nails yet vulnerable. He loves his wife Letty (Michelle Rodriguez) and his young son Brian (Leo Abelo Perry) more than anything else and he has worked so hard to keep them and his extended family safe. But the constant worry is clearly taking an emotional toll on him.
But once again the past comes back to haunt Dom. This time its in the form of the flamboyant and maniacal Dante Reyes (a hysterical and unnerving Momoa). He’s the son of Hernan Reyes (Joaquim de Almeida), a violent drug kingpin who was killed during 2011’s “Fast Five”. Dante is intent on paying back the man he holds responsible for killing his father and stealing their family fortune – Dominic Toretto. And what better way than by taking away what’s dearest to Dom – his family.
Of course in the Fast & Furious movies family isn’t just blood kin. It also includes loyal friends like Roman (Tyrese Gibson), Tej (Chris “Ludacris” Bridges), Han (Sung Kang), and Ramsey (Nathalie Emmanuel). Dom’s sister, Mia (Jordana Brewster) and his little brother, Jakob (John Cena) also find themselves in the mix. That’s a lot of people to protect and the sadistic Dante knows it. So he hatches a meticulously crafted plan aimed at separating Dom’s loved ones and luring them all across the globe. Not even Dom can be five places at once. So the danger ratchets up and the personal stakes get higher and higher.
Image Courtesy of Universal Pictures
As the story takes shape Leterrier ushers us around the globe, making stops in London, Los Angeles, Rio de Janeiro, Portugal, and Antarctica among others. At each stop we meet old friends like Deckard Shaw (Jason Statham) and some old enemies like Cipher (Charlize Theron). And there are plenty of new faces as well played by the likes of Brie Larson, Daniela Melchior, and Alan Ritchson. Yes, it’s a massive cast.
By the end it feels like this final story is only getting started. We’re left shocked by certain outcomes, wondering about certain fates, and curious for what lies ahead. And what can I say – I enjoyed the ride. Even more, Diesel and company did their job of leaving me genuinely looking forward to the next film. As with all the FF movies you have to endure a rather large amount of silliness, and buying into some of the plot machinations can be a challenge. Those are baked-in issues that have been around for years.
But the franchise freed itself from the restraints of reality a long time ago. “Fast X” is openly self-aware yet it has an undeniably big heart. And Momoa brings a blithely psychotic energy that you can’t turn away from. It’s hard to get a good read on the film since so much is left for later. But the movie sets the table well, all while delivering just the kind of big budget popcorn entertainment it advertises. In the end, it’s hard to knock it too much for being exactly what its fans want it to be. “Fast X” is now showing exclusively in theaters.
Keith & the Movies 