REVIEW: “The Conjuring: Last Rites” (2025)

September 6, 2025 by Keith Garlington

With 2013’s “The Conjuring”, director James Wan kicked off what would unexpectedly become one of my personal favorite horror film franchises. While the spin-off films have been somewhat hit-or-miss, the three proper Conjuring films have succeeded in creating an authentically creepy world built around two compelling and surprisingly endearing lead characters, both wonderfully played by Vera Farmiga and Patrick Wilson.

Based on the case files of real-life paranormal investigators and demonologists Ed and Lorraine Warren, the Conjuring films tell of their efforts to help tormented families from supernatural forces of evil. That brings us to “Last Rites”, the fourth installment that has been advertised as “the case that ended it all”, It certainly feels like a conclusion and if so, the series ends with yet another solid entry.

Following a prologue highlighting the birth and childhood of their daughter Judy, “Last Rites” settles in 1986 as Ed and Lorraine (Wilson and Farmiga) have stopped taking cases, in large part due to his worsening heart condition. Instead, they spend their spare time giving lectures to small groups on college campuses. At home, a grown-up Judy (Mia Tomlinson) struggles with similar premonitions as her mother. On a lighter note, she’s head-over-heels for her boyfriend Tony (Ben Hardy) who is secretly preparing to propose to her.

Meanwhile in the industrial suburb of West Pittston, Pennsylvania, the Smurl family have found themselves the target of something sinister and supernatural. Husband and wife Jack and Janet Smurl (Elliot Cowan and Rebecca Calder) live in a bustling two-story townhouse with their four daughters and Jack’s parents. The strange occurrences begin after one of the daughters is gifted an antique mirror for her confirmation. But the encounters quickly and violently intensify, leaving the terrified family desperate for help.

Of course the Warrens eventually get involved but not without hesitation. I won’t spoil what leads to their involvement, but director Michael Chaves, working with the screenwriting trio of Ian Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, is patient in building up the Warrens’ story, right up to where it intersects with the Smurls. Interestingly, that patience has always been strength of the Conjuring movies. It’s the willingness to spend time on the characters and their relationships. It’s a trait that can make the films feel like slow burns. But I’ve always found it impactful, and it’s no different here.

As it has since the very beginning, it all revolves around Ed and Lorraine. Over the years, watching Patrick Wilson and Vera Farmiga flesh out these two fabulous characters has created an emotional attachment for the audience that makes their journey together the real centerpiece of the series. Their loving and devoted union has always played a crucial part in these stories and it’s no difference in “Last Rites”. And it’s Wilson and Farmiga’s remarkable chemistry that makes this central relationship resonate so strongly.

But of course this is a horror movie, and as with its predecessors, “Last Rites” sticks to its almost old-fashioned approach to scaring its audience. It’s at times simple and almost always effective. Chaves keeps jump scares at a minimum, instead relying on deliberate camera movements, clever lighting, and eerie sound design. While there are some genuinely squirm-inducing uses of blood, the movie’s chills are found most in the moody atmosphere and supernatural tension-building.

It must be said that not everything in the story comes together as it should, specifically in the final 30 minutes or so. That’s where the details of the hauntings are mostly explained, but not all of them get the on-screen attention they need. Aside from that, “Last Rites” delivers a fitting and immensely satisfying conclusion (if indeed this is the conclusion) to a series of movies that have managed to stand out within the crowded horror genre. “The Conjuring: Last Rites” is in theaters now.

VERDICT – 4 STARS

REVIEW: “The Threesome” (2025)

September 5, 2025 by Keith Garlington

With the obviousness of its provocative title, “The Threesome” sets out to grab as much early attention as it can get. Once you get beyond that, you have a movie hampered by dueling ambitions. On the one hand it wants to be a millennial romcom. On the other hand it wants to be a mindful and mature relationship drama. Unfortunately it never fully works as either. And things get even shakier as the two ambitions try to coexist.

Connor (Jonah Hauer-King) is head-over-heels for Olivia (Zoey Deutch). The two once had a fling but broke it off and became friends. He’s still crazy about her and wants to give it another shot. She’s not interested, or so she pretends. While at the bar where Olivia works, Connor strikes up a conversation with a young woman named Jenny (Ruby Cruz). His intent is to make Olivia jealous, but the three end up hitting it off.

After spending some time dancing at a nearby club, all three end up at Connor’s place where things quickly heat up. The trio get closer and from there…well, look no further than the movie’s title. All of this happens in the first 15 minutes or so. The rest of the movie deals with the aftermath and the complications that mount at almost absurd rate. And it all begins with the revelation that both Olivia and Jenny are pregnant.

The story is a rollercoaster of consequences brought on by a near endless parade of bad choices. But that’s not quite the way the movie sees it. Instead, director Chad Hartigan and screenwriter Ethan Ogilby tell their story from an aggressively ‘modern’ perspective. They view nearly everything including dating, relationships, sex, even religion through the same social lens. In fact, it’s so beholden to its point-of-view that it may only appeal to those who hold the same worldview while pushing away those who don’t.

That may not seem like the most fair-minded critique, but in this case it does impact the storytelling. For example, throughout the story the consequences are almost exclusively emotional. That’s not to say there aren’t emotional consequences. But the movie barely looks beyond feelings. And those feelings are often undermined by the tonal hopscotch as the story bounces back-and-forth between comedy and drama.

And then you have the characters. The performances are solid with Deutch impressively balancing the best. Meanwhile Cruz is an absolute revelation. But the characters often live oblivious to reality, making statements like “I thought you were on the pill?” or “But you wore a condom!”. Meanwhile supporting characters manage a few laughs but are mostly cut from the standard romcom cloth. Take Kevin (Josh Segarra), Olivia’s meat-headed side-dish and Greg (Jaboukie Young-White), the conventional gay best friend functioning as comic relief.

“The Threesome” takes several swings at humor while at the same time attempting to be realistic and grounded. It’s a juggling act the movie never quite masters. There’s certainly potential in the story and its unorthodox ‘love’ triangle. But it’s too difficult to get onboard when the story stretches believability to such a degree. And it’s even harder to take seriously when the movie tries to say something weighty. Ultimately, there are just too many frustrations to get past.

VERDICT – 2 STARS

REVIEW: “The Cut” (2025)

September 4, 2025 by Keith Garlington

With his new film “The Cut”, director Sean Ellis takes what could have been yet another prototypical boxing movie and turns it into a searing psychological drama. To be sure, this is no underdog story about a determined boxer returning to his former glory by winning the big fight in the end. Instead, Ellis is more interested in the underbelly of the boxing world and the disturbing lengths some go to get their shot in the ring.

While Ellis’ (mostly) crisp direction does wonders with screenwriter Justin Bull’s story, it’s Orlando Bloom’s intensely transformative lead turn that makes the movie hum. Actors undergoing dramatic physical changes for a unique role is nothing new. But Bloom’s performance goes beyond his mere appearance. He pours himself into depicting not only the physical, but the psychological torment his character endures. It’s some of the best work of his career.

On another wavelength but equally terrific is Caitríona Balfe, playing in her first big screen role since being criminally snubbed for “Belfast”. In many ways her character serves as the film’s conscience, and Balfe channels it through an emotionally textured performance that’s full of grit, compassion, and conflict. Then there is the always compelling John Turturro, delivering one of the year’s vilest villains. The trio take us on a merciless journey to some unexpected depths.

Bloom’s character goes unnamed and is referred to as “the Boxer”. He had a good professional career before a crushing loss drove him to retire. But that was 10 years ago. Now he runs a gym in Ireland with his long-time trainer and girlfriend Caitlin (Balfe). Neither fully reached their vastly different yet equally passionate individual boxing dreams. But together they’ve found their happy niche. At least so Caitlin believes.

Things take their first turn after the boxer is approached by a rather ruthless promoter named Donny (Gary Beadle). He has a high profile championship title fight set up in Las Vegas. But his challenger died after a celebrity match/publicity stunt with a popular YouTuber. Donny needs a replacement fast so he reaches out to the boxer who accepts despite no longer being a competitive fighter. The boxer’s one condition – Caitlin comes along as his trainer. She agrees against her better judgement.

All of that is setup for the story’s darker turn. The boxer and Caitlin are flown out to Vegas where he is told he has to lose 26 pounds in six days in order to make the official super welterweight weigh-in. It will require a grueling weight loss regimen. But when he fails to see the results he needs, Donny brings in Boz (Turturro), a cold and pitiless trainer who only cares about his reputation and the money he makes

The conflicts grow intense between Caitlin and Boz, with one looking after the man she loves and the other only seeing a piece of meat that will make him money. Soon the boxer is caught between Caitlin’s heartfelt support and Boz’s ruthless exploitation. But an even nastier conflict boils within the boxer himself, whose self-destructive obsession not only threatens his relationships with those he loves, but puts him on the brink of physical and emotional collapse.

Again, don’t go into “The Cut” anticipating that big celebratory moment of triumph where the winner is hoisted up in the center of the ring as the crowd roars and the music swells. Ellis avoids all of that, keeping his focus firmly on his characters and their interpersonal journeys. Not everything gels as intended. There are some well-meaning flashbacks that never quite click and dark visual touches in the final act that don’t have the desired impact. But the film’s gripping intensity and vicious psychological edge combined with its fierce pitting of humanity vs. inhumanity makes this dark and harrowing character study/cautionary tale stick with you.

VERDICT – 3.5 STARS

REVIEW: “The Map That Leads to You” (2025)

September 3, 2025 by Keith Garlington

Directed by Lasse Hallström and streaming exclusively on Prime Video, “The Map That Leads to You” is a globetrotting young adult romantic drama based on J.P. Monninger’s 2017 novel of the same name. The film is a starring vehicle for Madelyn Cline, a 27-year-old actress with genuine talent but who is still looking for the right movie to showcase it. Unfortunately this isn’t quite it, although it’s certainly not because of her performance.

Cline plays Heather, a young woman from Texas enjoying the final days of a European vacation with her two best friends, Connie (Sofia Wylie) and Amy (Madison Thompson). While on an overnight train trip to Barcelona, Heather meets Jack (KJ Apa), a free-spirited New Zealander who is off on his own adventure. His great grandfather was a soldier during World War II who kept a journal chronicling his time stationed in Europe. To honor him Jack is traveling from place to place, visiting the sites his great grandfather wrote about.

**Image Courtesy of Amazon MGM Studios**

The two don’t immediately hit it off. But after Jack follows the three girls to a Barcelona night club he and Heather start to connect. After bouncing around to a few more locations, Heather ends up leaving her friends and joining Jack on his pilgrimage. In true movie romance fashion, sparks begin to fly and the two end up falling in love. But equally true to formula, their relationship hits a snag which threatens to bring their fairytale romance to a heartbreaking end.

I won’t give away the ending, but no one will be surprised at where the story goes. And unfortunately, the journey there doesn’t really amount to much. There is some decent chemistry between friends and lovers, and the picturesque scenery is pretty to look at. And there is the movie’s lightly treated theme of finding your true self through the prisms of old memories and new relationships. But finding that core meaning is a lot harder than it should be.

The film’s performances are solid throughout, especially from Cline who squeezes everything she can from a fairly derivative character on paper. She’s especially good with Apa, clicking well with his understated charm. Cline also has great chummy rapport with Wylie and Thompson. Sadly Heather’s two friends are mostly superfluous except as plot pieces. They are mostly there to say things the story needs to be said and to listen when the story needs Heather to say something.

The final act throws in one of those annoying yet chronic movie conflicts that could be solved with just a little communication. It sets up the story’s predictable finish that leaves an unfortunate Nicholas Sparks aftertaste. But to Hallström’s credit, he doesn’t go full schmaltz, and he leaves a little bit to our imaginations. That, along with Cline’s confident and capable performance, helps to make “The Map That Leads to You” easy to watch and digest. Streaming now on Prime Video.

VERDICT – 2 STARS

REVIEW: “The Thursday Murder Club” (2025)

September 1, 2025 by Keith Garlington

Television producer and presenter Richard Osman struck gold as a novelist with his 2020 best seller, “The Thursday Murder Club”. Not only was the book greeted with strong reviews, The Guardian called it “the fastest selling adult crime debut since records began“. His light yet intelligent work of crime fiction spawned three sequels that were released over the following three years. Now fans eagerly await the fifth installment that is due out later this month.

As we wait, director Chris Columbus and Netflix have delivered a feature film adaptation of “The Thursday Murder Club” and it is nothing short of a delight. It’s an adaptation full of spirit and with a level of charm that makes it irresistible. It also features a crackling cast that includes Pierce Brosnan, Helen Mirren, Ben Kingsley, and Celia Imrie – all so wonderfully in tune with the material and each other. And while it hardly reinvents the murder mystery wheel, nearly everything from its characters to its setting to its all-around vibe clicks cozily into place.

Built within a beautiful old abbey and its surrounded property, Cooper’s Chase is a luxurious retirement village for elderly folks with good pensions. Among the residence are three good friends who make up the Thursday Murder Club. They are a retired international spy, Elizabeth (Mirren), a retired high-profile trade unionist, Ron (Brosnan), and a retired psychiatrist, Ibrahim (Kingsley). Together the group of murder mystery enthusiasts pick out a current police cold case and attempt to solve it.

Their current case involves the murder of a young woman. Needing some medical expertise for their ‘investigation’, the group recruits a new resident, a retired nurse named Joyce (Imrie). But before they can dig into their case, they’re sidetracked by the news that a ruthless and corrupt land owner, Ian Ventham (David Tennant) wants to shut down Cooper’s Chase and turn it into a luxury resort. The co-owner and operator, Tony (Geoff Bell) vows to fight for their home. But when he turns up dead, the club realize they have a more pressing murder case on their hands.

While the super sleuthing is a lot of fun, it’s what happens around it that gives the movie some weight. The four club members each have their own family side stories which the film cleverly uses to speak about aging. When not combing over evidence, Elizebeth is taking care of her beloved husband Stephen (Jonathan Pryce) who’s struggling with dementia. Ron is so enamored with his celebrity son Jason’s (Tom Ellis) fame that he can’t see the young man’s struggles. Joyce and her daughter Joanna (Ingrid Oliver) haven’t communicated well since the death of her husband. Meanwhile Ibrahim keeps quiet about his family past until just the right moment.

Other supporting players give good performances to help round out the story. Naomi Ackie is a fine addition playing Donna, a frustrated constable who has grown tired of making coffee and handing out parking tickets. Daniel Mays is a lot of fun playing the lead detective investigating Tony’s murder. And even Richard E. Grant shows up in a small but chilling role as a major crime kingpin who may or may not have connections to the murder.

Among the many reasons for the film’s success are screenwriters Katy Bland and Suzanne Heathcote. While their script happily embraces a number of stock whodunnit tropes, they avoid the commonly overused elderly archetypes, even poking fun at them on occasions. Their treatment of Elizabeth, Ron, Ibrahim, and Joyce is a breath of fresh air. These aren’t overly sweet grannies or amusingly grumpy grandpas. Bland and Heathcote imbue their characters with grit, personality, intellect, and emotional sincerity. The veteran actors take it from there, wonderfully breathing life into this endearing foursome.

Perhaps its story is a bit overstuffed. Maybe the ending is too tidy and the final moments a tad too saccharine. Yet “The Thursday Murder Club” never pretends to be something it’s not. Despite the presence of murder, the film is self-aware enough not to take things too seriously. Its tone is breezy and easygoing with no shortage of good-natured humor. But what sets it apart is its treatment of its leads. They’re presented as real people with real personalities. And they’re vibrantly portrayed by a top-notch ensemble who drive this smart and satisfying crowdpleaser. “The Thursday Murder Club” is streaming now on Netflix.

VERDICT – 4 STARS

REVIEW: “The Toxic Avenger” (2025)

August 27, 2025 by Keith Garlington

The history of “The Toxic Avenger” is nearly as wild as anything its creators have put on screen. Lloyd Kaufman’s 1984 film was a bonkers superhero, black comedy, and splatter film mashup that gained a boisterous cult following through its VHS and Betamax releases. It eventually paved the way for three feature-length sequels, an animated spin-off series, and a video game based on the spin-off series.

Now here we are in 2025 with a remake that has its own wild history. There were talks of a family-friendly reboot as far back is 2010 but it fell through. Six years later, another reboot was discussed with Guillermo del Toro attached. In 2018, Legendary Pictures won the rights to the remake, and a year later Macon Blair had been hired to write and direct. The finished film hit a few festivals in 2023 but struggled to secure a distributor due to its over-the-top gore. No one would touch it until Cineverse stepped in earlier this year.

Now “The Toxic Avenger” is back and with a fresh coat of 2025 paint. Blair’s script has a little bit of everything. It starts as an underdog story, evolves into a vigilante story, and ends as something similar to a superhero story. But possibly more than anything, “The Toxic Avenger” is a pitch-black comedy. The laughs come in rapid succession and often from the most unexpected places. And then there’s the gore, thrown liberally at the screen through an array of digital and practical wizardry.

Peter Dinklage stars as Winston Gooze, a widowed single parent doing his best to raise his stepson Wade (Jacob Tremblay). Life has dealt Winston a tough hand, and it only gets worse after he’s diagnosed with a terminal brain disease and given one year to live. Winston learns of an insanely expensive potential cure. But he’s devastated to learn that it’s not covered by the insurance plan he has with his employer, BTH, who has loyally worked for as a janitor.

BTH is ran by an its pampered and corrupt CEO, Robert Garbinger (played by a wacky Kevin Bacon who eats up every wacky scene he’s in). The company creates and distributes proprietary bio-boosters. But it’s also a criminal polluter, dumping cancer-causing chemicals and toxic waste into a river that runs by the small town of St. Roma’s Village. As a result, a determined whistleblower named J.J. Doherty (Taylour Paige) is ready to go public with damning evidence exposing BTH’s complicity.

After the company refuses to help him, a frustrated, hurt, and desperate Winston breaks into the BTH factory to steal enough money to pay for his treatment. But he’s caught by Garbinger’s goons who shoot him in the head and dump his lifeless body in a tank full of toxic sludge. Unexpectedly, the chemicals bring Winston back to life yet leaves him horribly disfigured and deformed. Even more, the mutated Winston emerges with superhuman strength and healing factor which he uses to become the working-class, mop-wielding avenger his city needs.

Dinklage brings energy and heart to the ill-fated Winston, both before and after his grotesque transformation (Luisa Guerreiro handles the body suit performance with Dinklage provides the voice-over). Meanwhile he’s surrounded by a supporting cast who are all-in with what the movie is going for. In addition to the hilariously gonzo Bacon and Paige as the movie’s straight woman, we also get Elijah Wood channeling Danny DeVito’s Penguin, Jonny Coyne playing a perpetually angry mob boss, and Julia Davis as Garbinger’s ditzy wife.

“The Toxic Avenger” is a zany yet self-aware reimagining that pretty much accomplishes everything it sets out to do. In fact, you could tag it as pure shock schlock and the filmmakers wouldn’t be a bit offended. It’s extremely gory to the point of delighting some and turning off others. It’s also absurdly silly which could lead to the very same reactions. I get that it may be excessive to the point of being exhausting. But it’s hard to not be entertained by this raucous mix of shock value and humor. “The Toxic Avenger” releases in theaters Friday, August 29th.