Netflix has dropped a new full trailer for the third installment in Rian Johnson’s wildly popular Knives Out franchise. “Wake Up Dead Man” is his latest whodunnit mystery and a standalone sequel to 2022’s “Glass Onion”. As before, Johnson brings back Daniel Craig who reprises his role as super sleuth Benoit Blanc. And like before, Johnson brings together another sparkling ensemble that includes Josh Brolin, Josh O’Connor, Glenn Close, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, Jeffrey Wright, Thomas Haden Church, and more.
This time around, private investigator Benoit Blanc takes a case centered around the murder of Monsignor Jefferson Wicks, a charismatic priest played by Brolin. As with any good whodunnit, Johnson then introduces to the wide number of possible suspects, many who are members of the victim’s very wealthy congregation. The first trailer looks like exactly what fans of the previous two films are looking for. And Johnson has shown the ability to keep his audience thoroughly involved till the very end.
“Wake Up Dead Man: A Knives Out Mystery” releases in select theaters on November 26th and on Netflix December 12th. Check out the new trailer below and let me know if you’ll be seeing it or taking a pass.
“The Running Man” is the second big screen adaptation of Stephen King’s 1982 novel of the same name. As many know, the first was Arnold Schwarzenegger’s 1987 action thriller which was set in the far distant future of 2017. This latest spin on King’s dystopian science-fiction comes from Edgar Wright, although fans of his might have a tough time finding his fingerprints. That’s not to say they aren’t there. But this feels much more like a studio product than a filmmaker’s unique vision.
The biggest strength of “The Running Man” is easy to spot. It’s found in its star, Glen Powell. The sudden everywhere-man oozes charisma and throws in splashes of maniacal charm that make the film easy to watch. He’s also an actor who fully commits to his movies which makes everything better, from the emotional family moments to the wild and crazy action set pieces. Yet while Powell puts in the work, he can’t make up for the frustrating script which oscillates from entertaining to kinda boring.
Pulling more from King’s novel than Arnie’s movie, “The Running Man” 2025 sees Wright leaning heavier into the dystopian setting, stuffing his story with as many sociopolitical issues as he can. The healthcare system, class division, wealth gaps, corporate corruption, labor unions, media misinformation, television violence, authoritarian control, government propaganda, and more. It’s a lot to cover and most of it has to settle for lip service rather than any worthwhile consideration.
Image Courtesy of Paramount Pictures
Powell plays Ben Richards, a loving but frustrated husband and father. He was recently fired from his job at a steel mill for upsetting his crooked employers by exposing a life-threatening yet costly work hazard. At home, his 2-year-old daughter has been sick with the flu leading Ben’s wife Sheila (Jayme Lawson) to work double shifts and two jobs in hopes of affording medicine. It’s a brutal situation which throws gas on the already burning fury inside of Ben who just wants to take care of his precious family.
Desperate for money, Ben travels to the upper-class district to try out for one of several reality game shows ran by a corporate media organization called The Network. He’s offered a spot on their most popular and most dangerous show, “The Running Man”. It’s a violent and deadly event where contestants known as “runners” are released into the city. They try and stay alive for thirty days as crowd-pleasing “Hunters” track them down to kill in front of a television audience. Any runner who can survive the thirty days will win a billion “new dollars”. Of course, no one has ever won.
To add incentive, runners can earn bonus “new dollars” by killing Hunters. But adding to the peril, citizens sighting the runners can earn cash prizes for reporting their whereabouts. So Ben and two throwaway runners are released into the city, wrapping up what is a really solid setup to the story. The early scenes are aided by several entertaining side characters. More specifically, Josh Brolin’s amusingly shady Dan Killian, the show’s creator and producer, and Colman Domingo as the show’s flamboyant host.
Image Courtesy of Paramount Pictures
From there “The Running Man” falls into a pretty simple formula as Ben is ushered from one action set piece to another. At each stop he’s aided by some sympathetic soul who helps pave the way for him to become a reluctant revolutionary who will take the fight to the oppressive system. Unfortunately his unexpected allies add more to the sociopolitical landscape than to progressing the story in a meaningful way.
Among Ben’s newfound allies is Bradley Throckmorton (Daniel Ezra), an underground influencer who secretly posts videos exposing the truth of “The Running Man”. Ben also encounters Elton Parrakis (Michael Cera), a quirky guerrilla activist who is secretly building his own solo revolution against The Network. Then there is Amelia (Emilia Jones), a 37-year-old realtor who essentially comes out of nowhere. None are especially important story pieces outside of reciting anti-establishment monologues and adding a little humor.
Wright drags things out a little too long before finally wrapping it up with a cobbled together ending that doesn’t quite deliver the payoff it needs. It’s unfortunate because the action scenes are a lot of fun and Powell brings more than enough to the table to be entertaining. But “The Running Man” gets stuck in between being thematically overstuffed and playfully action-packed, while lacking that extra pizzazz we’ve come to expect from Edgar Wright films.
It’s nice to see actor James Badge Dale back on screen. After getting his start in 1990’s “Lord of the Flies, Dale would go on to work with Martin Scorsese in “The Departed”, play a key part in Steve McQueen’s “Shame”, star alongside Brad Pitt in “World War Z”, and lead Michael Bay’s Benghazi retelling “13 Hours”. He has always shown a wealth of talent, mostly in supporting roles. But then five or so years ago, he seemed to vanish.
Dale returned earlier this month with a sinister supporting role in the terrific “Violent Ends”. Now he gets an even meatier lead part in his latest film, “King Ivory”, a drug war crime thriller written and directed by John Swab. While Dale gets top billing, the movie relies on a larger ensemble to cover its rather bloated plot. And it’s those plot issues, along with some creative choices and a handful of spotty supporting performances, that hold the movie back.
“King Ivory” follows as many as five different storylines while introducing a host of different characters along the way. Of course the various paths eventually intersect to some degree or another and not always in the most worthwhile way. It ends up being a lot for Swab to manage. Hardened cops clash with violent cartel members over drug smuggling and human trafficking. Indigenous mobsters use Irish gangsters to keep the cartels in check. Fentanyl addicts ensure the money keeps flowing in. There’s a lot going on in Swab’s dark and violent world.
Image Courtesy of Saban Films
The majority of the movie is set in Swab’s hometown of Tulsa, Oklahoma. Dale plays Layne West, a police officer leading the local Special Investigations Division. The SID is a tectical unit who specializes in narcotics, gang violence, and organized crime. Layne and his team have their hands full due to the inflow of fentanyl into the city. It has led to an overwhelming rash of overdoses, addictions, and (of course) crime.
Meanwhile around Sinaloa, Mexico, a drug runner and human trafficker named Ramón Garza (Michael Mando) dangles the American Dream like a carrot in front of desperate locals. Those who pay his steep price will get smuggled across the border into the United States. Among his latest cargo is a bright teen named Lago (David Barcena). But during their journey, a terrible mishap leads to the deaths of 43 migrants with only Lago surviving. Ramón takes the boy to Tulsa and soon has him making deliveries to neighborhood addicts.
Elsewhere we learn that there’s a drug war in Tulsa with the biggest player being the Indian Brotherhood. It’s ruthless boss, Holt Lightfeather (the late Graham Greene) runs the operation from inside the Oklahoma State Penitentiary where he’s serving a life sentence. He recruits George “Smiley” Greene (Ben Foster), a freshly released sociopathic killer to help wrangle in the cartels. Smiley carries out his orders with the help of his quietly terrifying mother Ginger (Melissa Leo) and his Irish ruffian uncle Mickey (Ritchie Coster).
Image Courtesy of Saban Films
And if that wasn’t enough story, we also get another thread involving Layne’s obstinate son Jack (Jasper Jones) who gets introduced to fentanyl by his junkie girlfriend Colby (Kaylee Curry). These should be the most sobering and eye-opening parts of the movie. But the kids and their relationships are fairly shallow and underdeveloped. And unfortunately their scenes are plagued by shaky acting which can be hard to look past. Thankfully their storyline does get better as it progresses.
Technically, “King Ivory” is a mixed bag. In an effort to add grit and intensity, Swab too often relies on aggressive closeups and unsteady handheld cameras. So much so that by the second half I was noticing every single use. On the flipside, the action-driven police raids are electric with DP Will Stone putting us in tight quarters with the officers as they clear out drug dens in the city. There is a real ‘you are there’ quality to these sequences.
Swab’s own personal experiences add even more to the film’s authenticity. He offers us a gloss-free look at the underside of Tulsa. Even more, Swab puts a ton of effort into presenting the uncompromising truth about our country’s current fentanyl epidemic. He tells a bleak, no-nonsense story that sometimes slouches towards cliché. But it remains serious-minded, and Swab’s willingness to mine from what he knows has a powerful impact that can be felt despite the movie’s shortcomings.
One of my favorite directors honors one of my favorite cinematic movements in “Nouvelle Vague”, Richard Linklater’s stunningly realized ode to the French New Wave. This time capsule masterpiece is not only a lesson in movie history. It’s also a celebration of the creative independence forged by the brilliant filmmakers at the heart of the movement – filmmakers who would reshape cinema from France to Hollywood.
The French New Wave holds a special place in my heart. Years ago, it ignited the cinephile within me by opening my eyes to international filmmaking. I had seen foreign language films and was even a big fan of some. But it was my dive into the Nouvelle Vague era that opened my eyes to the styles and influences that paved the way for so many movies and moviemakers who would follow. Even more, I adored the bold experimental style and the iconoclastic verve that were staples of the movement.
To no surprise, Linklater shows he has a firm grasp on what made the French New Wave special with “Nouvelle Vague”. Not only does he tell a story rooted in the movement, but he shoots his film like it’s a New Wave work. He uses the same black-and-white photography with a 1:37 aspect ratio. He uses similar editing tricks such as the hallmark jump cuts. He captures the spirit of spontaneity that was ever-present in the filmmaking of the era. And he sticks almost exclusively with the French language – a huge plus.
Image Courtesy of Netflix
As for its story, “Nouvelle Vague” follows the filming of one of the Wave’s signature films, “Breathless” from one of its signature directors, Jean-Luc Godard (played with such comfortable ease by Guillaume Marbeck). Linklater begins in 1958 at the Paris premiere of “La Passé du Diable”. There Godard playfully critiques the current state of cinema with his friends and fellow cinephiles François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), and Suzanne Schiffman (Jodie Ruth-Forest).
Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.
Godard seeks out actor Jean-Paul Belmondo (Aubry Dullin) who ignores the misgivings of his agent and agrees to star in the film. But his most audacious catch is American starlet Jean Seberg (a delightful Zoey Deutch) who is persuaded to co-star despite her own reservations. With his two stars in place, Godard zips through pre-production and begins shooting his film, shattering conventions and making up his own rules along the way, much to the chagrin of his bewildered and often frustrated cast and crew.
Image Courtesy of Netflix
Linklater spends a big chunk of his movie chronicling the twenty-day shoot of “Breathless”, honoring the headstrong director and his guerilla filmmaking along the way. We get to see the creative chaos at the heart of Godard’s process which was maddening to his producer and often perplexing to those working on set. His script was “fluid” and he often cobbled together scenes on the fly. Some days they would shoot scenes that came to Godard the night before. Other days were spent hanging out in café as Godard played pinball awaiting inspiration.
The lack of structure gets especially frustrating for Jean who nearly quits on several occasions. But like everyone else working on the film, Godard wins her over with his breezy demeanor and revolutionary spirit. Those same characteristics are found throughout Linklater’s film. There’s an inherent playfulness in his approach and an easygoing tenor that hearkens back to some of his best hangout movies. Yet there’s also a clear reverence, not just for the New Wave era, but for the filmmaking process itself.
“Nouvelle Vague” is unquestionably a movie made by a cinephile for cinephiles. It’s hard to guess the response of someone not familiar with the French New Wave movement. But there’s plenty here for anyone who generally loves film history and the creative process. Linklater keeps things light and flowing while still capturing the essence of the New Wave’s style and purpose. Marbeck’s uncanny likeness to Godard, Deutch’s effervescent charm, the stunning VFX shots that help recreate late 1950s Paris – it all contributes to this evocative love letter to cinema.
A24 has released a new trailer for “Marty Supreme”, the new sports(ish) comedy-drama that’s generating a lot of awards season buzz for its star, Timothée Chalamet. The film is directed by Josh Safdie who works from a script he co-wrote with Ronald Bronstein. Their story is loosely based on the life of American table tennis star Marty Reisman. Joining Chalamet is a fantastic supporting cast that included Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Fran Drescher, Abel Ferrara, Penn Jillette, and Sandra Bernhard. A24’s latest trailer gives us a broader look into what could be a surprise end of the year hit.
Set in the 1950s, Chalamet plays Marty Mauser, a young and wildly ambitious New Yorker who dreams of becoming a champion ping pong player. No one believes in him or his pursuit which only inspires him to prove everyone wrong. He starts small, hustling in bars on the Lower East Side. But while his obsession with being great catapults him to the top, it also leaves a trail of casualties which contributes to the film’s deeper drama. The movie has looked better with each new reveal, and this latest trailer is the best yet.
“Marty Supreme” releases in theaters on Christmas Day. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Warner Bros. Discovery Home Entertainment is bringing “One Flew Over the Cuckoo’s Nest” to 4K Ultra HD Blu-ray for the very first time. Directed by Miloš Forman, the comedy-drama is considered by many to be one of greatest movies ever made. It’s also one of only three films to win all five major Oscars at the 48th Academy Awards. An all-star ensemble remains one of the biggest reasons this fascinating 1975 classic has stood the test of time.
This 4K Ultra HD Blu-ray edition of “One Flew Over the Cuckoo’s Nest” includes a digital copy and will be available to purchase on November 11th. See below for a full synopsis of the film as well as a list of special features.
About the Film:
Year: 1975
Runtime: 133 Minutes
Director: Miloš Forman
Screenwriters: Lawrence Hauben, Bo Goldman
Cast: Jack Nicholson, Louise Fletcher, William Redfield, Christopher Lloyd, Will Sampson, Brad Dourif, Sydney Lassick, Danny DeVito, Dean Brooks, Michael Berryman, William Duell, Vincent Schiavelli, Scatman Crothers, Peter Brocco, Alonzo Brown, Phil Roth, Nathan George
Rating: R for violence and language
A feisty misfit sent to a mental hospital inspires his fellow patients to assert themselves, much to the chagrin of the strong-willed head nurse, who turns out to be more dangerous than any of the inmates. Based on the novel by Ken Kesey and the play by Dale Wasserman.
Special Features:
“One Flew Over the Cuckoo’s Nest”Digital release and 4K Ultra HD Blu-ray Disc contains the following new and previously released special features:
Conversations on Cuckoo: Group Therapy (NEW)
Producer Michael Douglas leads a star-studded conversation with Danny DeVito, Christopher Lloyd and Brad Dourif on the unorthodox casting process that launched the careers of the famous ensemble fifty years ago.
Conversations on Cuckoo: Moviemaking Memories(NEW)
Memories of working with Jack Nicholson and director Miloš Forman and filming the Academy Award-winning film are shared by Producer Michael Douglas and cast members Danny DeVito, Christopher Lloyd, and Brad Dourif.
Completely Cuckoo
A fascinating behind-the-scenes look at the making of “One Flew Over the Cuckoo’s Nest”, tracing the path from Ken Kesey’s 1962 novel to the 1963 Broadway play starring Kirk Douglas to the 1975 film that would sweep that year’s Academy Awards.
Keith & the Movies 