REVIEW: “Song Sung Blue” (2025)

December 8, 2025 by Keith Garlington

I remember the first time I heard the catchy hook of a Neil Diamond song. It was through the 8-track tape player in my parents’s 1974 Chevrolet Malibu Classic. I was just a kid, but even I was drawn to Diamond’s distinctive baritone. While Craig Brewer’s new film “Song Sung Blue” isn’t specifically about Neil Diamond, his music and its impact can be felt from the opening frames to the closing credits.

With a title taken from Diamond’s #1 pop hit from 1972, “Song Sung Blue” is based on the Greg Kohs documentary of the same name. It tells the true story of Mike and Claire Sardina, a singing duo who performed under the names Lightning & Thunder. They called their act a “Neil Diamond Experience”. And while Mike had the look and the voice, Lightning & Thunder didn’t set out to imitate Neil Diamond. Instead, they celebrated his songs by bringing their own unique energy and emotion to their performances.

Mike (played with effervescent charm by Hugh Jackman) is a recovering alcoholic who we first meet as he’s celebrating twenty years of sobriety with his fellow AA members. Mike was a tunnel rat in Vietnam, and after returning to the States he started drinking to battle the trauma that followed him home. But he got help and found refuge in entertaining. He began singing at birthday parties, restaurants, and county fairs. And it was at a fair in Milwaukee where he met Claire Stingl (an awards-worthy Kate Hudson).

Claire is a single mother raising two kids, her angsty teen daughter Rachel (Ella Anderson) and her spirited younger son Dayna (Hudson Hensley). She’s a part-time hairdresser who also sings Patsy Cline tributes on the side. And that’s what initially draws Mike. The two immediately hit it off romantically and creatively, and the movie gives equal time to both. Brewer pays just as much attention to Mike and Kate as he does to Lightning & Thunder. It turns out to be a great balance of humanity and showmanship.

The movie’s first half focuses on Mike and Claire bringing together their two families while sorting out what would become their Neil Diamond act. As the two fall in love and eventually marry, Dayna latches onto Mike while Rachel finds an unexpected friend and Mike’s daughter, Angelina (King Princess). At the same time, Lightning & Thunder starts to take form. The couple get their band together, and with the help of Mike’s dentist / manager Dr. Watson (Fisher Stevens) and wannabe booker Tom D’Amato (Jim Belushi), they begin performing at small venues across Milwaukee.

But in the film’s second half, Brewer takes a sharp turn after tragedy strikes. The tone gets darker and the story is more serious after a freak accident leaves Claire indefinitely sidelined, leading to bouts with severe depression. Mike tries to keep their act going while she recovers, performing three nights a week at a local Thai restaurant while hiding his own health issues. But without Claire by his side, entertaining no longer has its allure. And keeping his family together quickly takes precedent over chasing the dream they were so close to catching.

For those like me who are unfamiliar with this remarkable true story, the sudden shift hits like a ton of bricks. Brewer keeps things anchored and doesn’t take any emotional shortcuts. Jackman is perfectly cast, effortlessly gushing charm and creative energy while turning it down when the movie needs him to. Equally great (if not better) is Hudson who is thoroughly convincing whether she’s glowing on stage or retreating into Claire’s despondency.

As for the music, Brewer hits us with one soaring song after another, all delivered through impassioned, full-bodied performances from Jackman and Hudson. Of course we get Neil Diamond’s eternal “Sweet Caroline”, along with other sing-along hits like “Cracklin’ Rose” and “Forever in Blue Jeans”. And there’s the energizing “Brother Love’s Traveling Salvation Show”. But Brewer also highlights the diversity of Diamond’s catalogue by including such tunes as “Play Me”, “Soolaimon”, and “Holly Holy”.

“Song Sung Blue” tells a stranger-than-fiction true story that’s sure to resonate with audiences of all kinds. Craig Brewer has crafted a rousing crowd-pleaser built on the timeless music of Neil Diamond and the spectacular chemistry between Hugh Jackman and Kate Hudson. Together they’ve made a film about the indomitable human spirit, expressed not only in making music, but through love, faithfulness, and resilience in the face of adversity. You’ll leave with your heart full and a song on your lips.

VERDICT – 4 STARS

New Character Posters for “Anaconda”

December 5, 2025 by Keith Garlington

Now here’s a remake none of us saw coming. Actually, calling the upcoming “Anaconda” movie a remake is a big stretch. It’s more of a meta-reboot that follows a group of amateur filmmakers and their attempt at remaking the 1997 film “Anaconda”. This action-comedy from director Tom Gormican is a spoof that doesn’t look to be taking itself seriously at all. And from what I’ve seen, that looks to be the right approach.

With the film only a few weeks away, Columbia Pictures has released several new character posters featuring stars Paul Rudd, Jack Black, Thandiwe Newton, and more. You can check them out below.

“Anaconda” releases exclusively in theaters on December 25th.

REVIEW: “Wicked: For Good” (2025)

December 5, 2025 by Keith Garlington

With “Wicked: For Good”, the deconstruction of L. Frank Baum’s classic 1900 children’s novel (“The Wonderful Wizard of Oz”) and its 1939 film adaptation mercifully comes to an end. Beginning with 2024’s smash-hit “Wicked”, this big-budgeted two-parter from director Jon M. Chu is based on Stephen Schwartz’s 2003 stage musical, which itself was loosely based on Gregory Maguire’s 1995 novel. The first film had its moments before falling off in the second half. “Wicked: For Good” never gets on its feet, becoming a grueling test of your patience and endurance.

“Wicked: For Good” has a plethora of problems that become more pronounced over the course of its endless 137 minutes. In their defense, screenwriters Winnie Holzman and Dana Fox had a lot to wrangle together. But their bloated story crumbles under the weight of the source material’s revisionism and reverence for the beloved 1939 film. Chu tries to make something of it, but what he delivers lacks the humor and charm of its predecessor. Even worse, there is no cohesive vision, either narratively or visually.

Following the events of the first movie, the emerald-skinned Elphaba (Cynthia Erivo) retreats into hiding while the formerly plucky but now drably inert Glinda (Ariana Grande) obliviously does the bidding of the tyrannical Wizard (Jeff Goldblum) and his ambitious ally, Madame Morrible (a terribly miscast Michelle Yeoh). But Elphaba’s goal of exposing the Wizard brings her and Glinda back together, although in ways neither were anticipating.

**Image Courtesy of Universal Pictures**

In the world of “Wicked”, Oz is a land oppressed by the blandest authoritarian regime. Far removed from the benevolent leader in the original story, this Oz is ran by a weakly defined dictator with a special knack for animal cruelty. As for the citizens, they’re mostly gullible cattle who eat up every bit of propaganda they’re fed. It makes for an Oz that’s more draconian than fantastical. Even the iconic Yellow Brick Road is portrayed as the product of destroyed ecosystems and forced animal labor.

These changes all work to portray Elphaba as a product of the system, which eventually leads her to become the Wicked Witch of the West. The film is relentless in stressing her victimhood in order to make her a sympathetic crusader against the Wizard’s tyranny. But it becomes such a driving focus that Chu forgets more essential things such as coherent storytelling and necessary character development.

As for Grande, her character takes a big hit in the second film. It’s hard to know how the movie wants us to feel about Glinda. She spends much of the film turning a blind eye to the nefarious deeds happening around her. And she gets off with no real sense of reckoning with her own complicity. So we’re left with two conclusions – she’s either dumb as a post or she’s lacks moral courage. Either way, Grande is left to do what she can with an underserved character. And this naturally affects her scenes with Erivo, leaving both actresses struggling to reignite their chemistry from part one.

Even worse is the shortchanging of certain side characters. Take Fiyero (Jonathan Bailey), the captain of the Wizard’s guard and the half-baked love interest of both Glinda and Elphaba. And Nessarose (Marissa Bode), Elphaba’s half-sister who now governs Munchkinland. Both are meant to play significant roles in Elphaba’s story yet huge chunks of their own stories are missing. Both are trapped within horrible storylines, but it’s Bailey who’s dealt the worst hand, including a hysterically bad love scene that plays like a cheap music video.

And if all of that wasn’t enough, there is the shoehorning of Dorothy Gale into the story. This is where the retconning and honoring collide the most. Without question, there’s the tug of nostalgia with the glimpses we get of Dorothy, despite her face always being obscured. But her presence muddies the already mangled script. And it gets even worse with the absurdly contrived and shockingly shallow attempts at origin stories for the Tin Man, Scarecrow, and the Cowardly Lion.

Hampered by one aggravating problem after another, “Wicked: For Good” is a scattershot sequel that never gets on track. Its story erratically bounces all over the place while throwing in bizarre twists with practically no build-up. And nothing in this world feels fleshed out, especially the characters, whose actions often feel arbitrary rather than purposeful. The clumsiness leads to convolution, making it a difficult movie to sit through.

There are some occasionally attractive compositions where the emerald greens collide with the pastel pinks. But the funky cinematography too often makes the ‘Wonderful World of Oz’ look surprisingly fake. And I haven’t even mentioned the music, mainly because there’s not a memorable song in the entire film. So Erivo and Grande are left showing their spectacular range with songs that leave no lasting impression whatsoever. Thats emblematic of “Wicked: For Good” as a whole. It’s a dull and forgettable experience that’s much more messy than magical.

VERDICT – 1.5 STARS

REVIEW: “Is This Thing On?” (2025)

December 4, 2025 by Keith Garlington

Actor Bradley Cooper continues to make a name for himself behind the camera with his latest film, “Is This Thing On?”. As a director, this is Cooper’s third feature following his 2018 box office hit “A Star is Born” and his 2023 Leonard Bernstein biography “Maestro”. Much like his previous two efforts, the intensely hands-on Cooper once again shows his love for character-centric, emotionally resonant stories rooted in human experience. And similar to his earlier films, his latest reveals someone born to be a filmmaker who’s still looking for his first truly great movie.

“Is This Thing On?” is a form-fitting entry into director Bradley Cooper’s small but compelling oeuvre. It explores another complex relationship; it features another struggling protagonist; and it once again uses artistic expression as a key element in the main character’s journey. Cooper himself took the lead in his first two films. This time it’s Will Arnett, and he delivers the best performance of his multifaceted career.

**Image Courtesy of Searchlight Pictures**

The story begins with Alex Novak (Arnett) and his wife Tess (Laura Dern) agreeing to separate after many years of marriage. The split is amicable, but neither seems confident of what to do next, especially regarding their two young sons. They keep the news a secret for as long as possible, even hiding it from their eccentric best friends, the acerbic Christine (Andra Day) and her obnoxious husband Balls (Cooper). But eventually they’re forced to open up to their friends and family.

As the former couple attempt to navigate this awkward and confusing new phase, Alex is left lost and rudderless. He does his best co-parenting while trying to maintain some semblance of a friendship with Tess. But while alone, Alex struggles to find his identity. That is until he stumbles into a New York City comedy club during open-mic night. There he blithely takes the stage and to his surprise, he immediately wins over the crowd.

Alex begins frequenting the club, taking the microphone whenever he gets a chance. He discovers that he’s not only good at being funny, but performing stand-up offers him a cathartic release. It also becomes a way of processing everything he’s going through. Over time he begins connecting with other comics and finding a place within their tight, intimate community. Meanwhile Tess gets back into coaching volleyball – a passion of hers since her playing days.

Cooper’s willingness to spend time on Alex and Tess’s individual journeys has a significant impact on their story. As the two find happiness away from each other, they begin recalling the happiness they once shared. We see glimmers of it in their interactions, enough to make us wonder if they still have a shot together. But Cooper avoids the easy path, routinely reminding us of the anxiety and uncertainty often found in struggling relationships.

Ciarán Hinds and Christine Ebersole get some good moments as Alex’s loving yet opinionated parents. And there are several small supporting performances that energize Alex’s comedy group. But Arnett and Dern drive the movie, each bringing their own personality and sensibility to their characters. It’s an especially strong turn from Arnett who deftly juggles well-calibrated humor with emotional vulnerability. It’s a tricky role, but one he handles with awards-worthy know-how.

“Is This Thing On?” has occasional slow patches and a handful of second-half exchanges that seem yanked out of the blue. There’s also a certain odd cameo that is a little too distracting in the moment. But Bradley Cooper overcomes those gripes by giving us characters who earn our investment. He makes us care about them and their bittersweet journey in a way that keeps us involved till the end. And Cooper does it all while reinforcing himself as a filmmaker of such depth and passion that his movies demand our attention.

VERDICT – 3.5 STARS

REVIEW: “Savage Hunt” (2025)

December 3, 2025 by Keith Garlington

Dutch action filmmaker Roel Reiné directs, composes, and shoots the new survival thriller “Savage Hunt”. The film falls into the ‘Man versus Beast‘ category, centering itself around the bloody rampage of a giant bear in a sleepy Montana community. It’s a fairly straightforward genre movie that attempts to add several human layers to its story. But staying involved becomes difficult due to the film’s clear budget constraints and a paper-thin script that glosses over everything that could have made the story more interesting.

Screenwriters Chad Law and Christopher Jolley begin their story with two eco-activists making their way through the wilderness after scoping out a newly cleared construction site sitting in the middle of the pristine forest. The site belongs to a multinational conglomerate with plans of building a massive resort and spa. But as the activists are planning their sabotage, they are attacked and torn to shreds by a ravenous grizzly bear.

After discovering one of the victims and recognizing a bear attack, Sheriff Riggins (Colin Mace) and a local park ranger Kate Deeks (Fotina Papatheodorou) order the site to be shut down until they can hunt down the grizzly. Initially the site manager, Jace (Anthony Barclay) isn’t happy with their order. But he’s a bit preoccupied with the arrival of his wife Lacey (Noush Skaugen) and their daughter Alex (Priya Blackburn).

In the film’s most underdeveloped side stories, we learn Jace and Lacey are separated and she has brought divorce papers to be signed. There’s also some kind of disconnect between Jace and Alex which never fully forms into something relatable. In fact nothing about their family drama feels authentic. It’s not helped by the cold and stiff performances. But it’s mostly the script which only glazes over the themes it introduces rather than give them meaningful attention.

To add even more drama, more attacks lead Kate to seek help from Joe Regan (James Oliver Wheatley), a tormented local hunter and former ranger who she shares a traumatic history with Kate. After declining due to vague reasons that eventually gets explained (sorta), Joe reluctantly agrees and sets out to track the bear. Of course he ultimately comes face-to-face with the beast. But in the process, Joe is forced to reckon with his own haunting ghosts from the past.

Again, none of the human drama has much of an impact. And it’s hard to root for anyone when they’re constantly making bone-headed decisions, such as always finding ways to put themselves in the most dangerous positions. But at least we have the human vs. bear action, right? Well, not exactly. Much of the movie consists of people slow-walking through the scenic forest and what looks like stock footage of a bear running around in the wild. The lone exception is one weird scene of the bear randomly running down the Main Street of a small town.

Of course we’re treated to several bear kills which unfortunately range from serviceable to awkwardly bad. And other issues spring up along the way such as the shaky editing and the abrupt ending that seems strange for a movie already struggling to fill its 85 minutes. And it doesn’t help that “Savage Hunt” takes itself so seriously. It’s a mostly dour and joyless endeavor that would have been much better off embracing its absurdity. Instead we end up with a glacially paced, frustratingly hollow, and ultimately forgettable snooze.

VERDICT – 1.5 STARS

REVIEW: “Eternity” (2025)

December 2, 2025 by Keith Garlington

With his ambitious new film “Eternity”, director David Freyne combines classic screwball comedy with an old-fashioned romance, seasoning it all with a dash of wacky fantasy. He tells a story (co-written by Freyne and Pat Cunnane) that’s so strange on paper it never should work on-screen. Yet the surprisingly sincere and impressively imaginative “Eternity” is considerably more entertaining than you would ever expect it to be.

“Eternity” begins with an elderly husband and wife on their way to a family gender reveal gathering. As they drive, the crusty Larry (Barry Primus) and the needling Joan (Betty Buckley) have all the qualities of a couple who has been married for 65 years. Larry is a bit of a curmudgeon but a very caring one. Meanwhile the opinionated Joan has been diagnosed with terminal cancer – heartbreaking news which they’ve yet to reveal to the kids and grandkids.

But their life together screeches to a halt when Larry chokes to death while at the party. In a snap, he suddenly awakes on a train, now as a much younger get version of himself (played by Miles Teller). When the train stops, Larry and a mass of other people are ushered into a waiting area called “the junction”. There he is instructed to wait for his Afterlife Coordinator. After a lengthy wait he’s finally greeted by his personal AO, Anna (Oscar winner Da’Vine Joy Randolph).

Anna immediately begins explaining things to the understandably confused Larry (and us). We learn Larry is in something resembling Limbo. It’s a depot of sorts where the recently deceased are given seven days to choose their eternal destination out of the many themed eternities offered. There’s an eternity for every taste imaginable – Beach World, Vampire World, Library World, Catholic World, Smoker’s World, Men Free World, and even a world dedicated to Paris in the 1960s. Once a person enters their chosen world they must stay their for eternity. Any attempt at escaping will see them cast into an ominous space called The Void.

As for his younger appearance, Larry is told that after death people revert to the form of their happiest self in life. That’s why days later he is stunned to see a younger Joan (now played by Elizabeth Olsen) fresh off the train and just as confused as Larry was. But their sweet reunion is interrupted by the dashing Luke (Callum Turner), Joan’s first husband and the love of her life before he was killed in the Korean War. Luke reveals he has waited 67 years for Joan to arrive, biding his time as a bartender in the junction.

So Joan is left with an impossible choice. Does she spend eternity with the man she had already built a life with or with the man who died before she was able to? That dilemma forms the crux of “Eternity”. For the most part Freyne keeps things sweet and endearing while also including some nice splashes of humor, mostly during his film’s first half. Yet there is an running undercurrent of heartache that grounds the many emotions surrounding this classic love triangle. And it doesn’t hurt to have such a capable trio as Olsen, Teller, and Turner anchoring things.

When it comes to world-building, “Eternity” plucks ideas from agnosticism, universalism, and Christian eschatology to create an equally interesting and imaginative fantasy setting. As for the story, you’ll find it easy to spot the cracks if you give it too much thought. But if you let the movie operate on its own terms, you’ll have a hard time denying its beguiling charm, admirable sincerity, well-struck comic beats, and welcomed originality. What can I say, I certainly found myself under its spell.