Could the Marvel Cinematic Universe be getting back on track? I don’t want to get my hopes up, especially after the steady flow of sub-par movies and streaming shows. But “The Fantastic Four: First Steps” has the potential to be something we haven’t seen from Marvel Studios in a while – a really good MCU superhero production. The film’s earlier released teaser left me more curious than excited. Well now we have the first full trailer, and despite some lingering concerns, “First Steps” looks like it could be the movie many of us have been waiting for.
In the film, Marvel’s first family live in a 1960s-inspired retro-futuristic New York city located on a parallel Earth. Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach) are beloved by the people of their planet. But their role as Earth’s defenders is challenged with the appearance of a world-consuming being known as Galactus. The slick style of the world is an immediate draw and seeing all four team members in action is exciting. On the flipside we get our first look at Julia Garner’s Silver Surfer and it leaves a lot to be desired. That aside, the new trailer is a blast and here’s hoping the movie is too.
“The Fantastic Four: First Steps” soars into theaters July 25th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Benedict Cumberbatch and Olivia Colman star in the upcoming black comedy “The Roses” from director Jay Roach. Perhaps known best for the “Austin Powers” movies and “Meet the Parents”, “The Roses” is Roach’s first feature film since 2019’s “Bombshell”. It’s said to be a reimagining of the 1989 film “The War of the Roses” which was an adaptation of Warren Adler’s 1981 novel of the same name. Yesterday Searchlight Pictures dropped the first trailer and this could be a lot of fun.
Theo (Benedict Cumberbatch) and Ivy (Olivia Colman) appear to be the perfect couple. Both have successful careers (he’s an architect, she’s a chef) and wonderful children. But it’s all a facade. Their marriage is actually a toxic tinderbox that eventually explodes for all to witness. Andy Samberg, Kate McKinnon, and Allison Janney also star. The script is from Tony McNamara who surprised with “Cruella” and frustrated with “Poor Things”. But this material is pretty ripe with potential and who can turn down an on-screen Cumberbatch/Colman union?
“The Roses” comes to theaters August 29th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
It has been nearly six years since a new Star Wars movie has been released on the big screen. During its absence, the Galaxy Far, Far Away has made a temporary shift to streaming television – a move that has resulted in several highs and a few unfortunate lows. Arguably its biggest misfire was last year’s “The Acolyte”, a mess of a series surrounded by outside noise but with significant flaws that stood out despite the ongoing drama.
For reasons that are completely unfair, following right behind “The Acolyte” was an unenviable spot for any new series. Such was the scenario for “Skeleton Crew”, a new Star Wars installment from the creative minds of Jon Watts and Christopher Ford. Sadly it seems “Skeleton Crew” felt the effects of its streaming predecessor, falling below the viewership numbers of every previous Star Wars series. That’s unfortunate because there’s a lot to like about this charming and spirited adventure.
“Skeleton Crew” is every bit a coming-of-age tale that takes its inspiration from such classic kid-driven 80s movies as “The Goonies”, “E.T.”, and “Explorers”. It’s also very much a Star Wars adventure, albeit one that is very comfortable existing as a self-contained story. That’s not to say there aren’t things introduced that will explored in future Star Wars projects. “Skeleton Crew” features many things familiar to franchise fans and it expands established lore in some interesting ways. But it can also stand on its own with no trouble whatsoever.
Set roughly five years after the fall of the Galactic Empire, “Skeleton Crew” shares a point on the Star Wars timeline with other streaming series, most notably “The Mandalorian”. The story begins on the intentionally hidden planet of At Attin. Considered to be a myth by most in the galaxy, At Attin is shrouded by a huge gaseous cloud that gives it the appearance of a toxic and uninhabitable world.
But underneath is a peaceful and domesticated society with all the markings of a highly developed utopia. Its people live in comfortable, well-manicured subdivisions. The adults all contribute to something they call “The Great Work” while their children attend school until graduation after which they join their parents in their planetary duties. In reality, the people of At Attin have lived under a technocracy for generations. They are essentially a brain-washed workforce who believe their perceived safety and security is worth being cut off from the galaxy.
But it’s all disrupted by four curious kids, Wim (Ravi Cabot-Conyers), Fern (Ryan Kiera Armstrong), KB (Kyriana Kratter), and Neel (Robert Timothy Smith). They discover a buried hatch which Wim is convinced leads to a Jedi temple like the ones in his storybooks. But after opening the hatch the foursome quickly learn they’re in an old starship. And after some very kid-like antics, they accidentally trigger the auto-launch which rips the ship from the ground, sends it soaring through the defensive orbit, and racing through hyperspace.
From there the show turns into the kids trying to find their way back home. In the process, Watts and Ford whisks them (and us) away to under-explored reaches of the vast Star Wars galaxy. And in vintage Star Wars fashion, we’re introduced to a number of characters, none more compelling than a mysterious force-sensitive pirate named Jod Na Nawood (Jude Law). He takes the kids under his wing, agreeing to help them get home. But does his real interest lie in helping the kids or in discovering the secrets of At Attin?
The eight episodes are helmed by an interesting collection of directors. The strongest installments come from Star Wars regular Bryce Dallas Howard and Watts. The weakest come from the Oscar-winning duo the Daniels and also Watts. Filling out the group is David Lowery, Lee Isaac Chung, and Jake Schreier. Even with the slow-moving setup of the opener and a lone filler episode later on, the series builds a strong story arc and surrounds it with some solid worldbuilding.
Even better is the evolution of the characters. The four kids fit into some pretty familiar archetypes. There’s the starry-eyed dreamer, the assertive tough-talker, the all-business tech guru, and the timid but loyal best fried. But the performances are delightful and each character is a very different person by the story’s end. It also helps to have Jude Law – a stabilizing anchor who immediately feels right at home in the Galaxy Far, Far Away. “Skeleton Crew” is now streaming on Disney+.
Who said all action stars have to have the brawn of Dwayne Johnson, the intimidating snarl of Liam Neeson, or the bone-cracking agility of Jason Statham? Case in point – Rami Malek in his new film “The Amateur”. He plays an unassuming but extremely intelligent CIA cryptographer who sets out to avenge his wife after she is killed in a London terrorist attack.
In truth, “The Amatuer” isn’t a full-blown action movie. Based on author Robert Littell’s 1981 novel of the same name, this adaptation from director James Hawes has more in common with an espionage thriller. Malek plays Charlie Heller, a brainiac for the CIA who works on encryption and analysis. He’s a quiet homebody who stays consumed with his work which leads him to turn down an offer from his wife Sarah (Rachel Brosnahan) to accompany her on a business trip to London.
Image Courtesy of 20th Century Studios
But Charlie’s life is shattered when he is informed by CIA Deputy Director Frank Moore (Holt McCallany) that Sarah has been killed during a terrorist attack at her London hotel. The higher-ups assure Charlie that they’re on top of it. But after days of being put off and left in the dark, Charlie decides to take matters into his own hands. He looks to his own “particular set of skills” to track down and pay back the people who took his wife’s life.
But Charlie uncovers incriminating evidence against Director Moore that puts him in the crosshairs of his powerful bosses. So as he travels the globe to find his wife’s killers, he also has to dodge CIA operatives sent by the very agency he works for. They include Robert “Hendo” Henderson (Laurence Fishburne), Charlie’s alleged mentor turned assassin. Filling out the movie’s terrific cast is Caitríona Balfe, Jon Bernthal, Michael Stuhlbarg, Julianne Nicholson, and Adrian Martinez.
Image Courtesy of 20th Century Studios
“The Amatuer” gets off to a strong start and does a good job setting the table for a compelling espionage thriller. The first half nicely opens up Charlie, defining his strengths and weaknesses, both of which will come into play throughout the movie. But the second half gets bogged down in its efforts to get from one point to the next. And while Malek’s performance remains steady, he gets caught in the slow-turning gears of the plot. The character development mostly stalls as the story ushers him from country to country.
That said, “The Amateur” is both competently and confidently made. The locations (namely London, Marseille, and Istanbul) are well shot and well incorporated into the story. Malek is a good choice for such a unique protagonist and the handful of action sequences fit well with the character he’s playing. But it’s not without its flaws. A tighter second half and more Jon Bernthal would have done wonders for this entertaining but drawn-out feature.
“Drop” is the latest from writer-director Christopher Landon, the filmmaker who helmed both “Happy Death Day” movies. He also penned the “Paranormal Activity” series and the slasher comedy “Heart Eyes” from earlier this year. His latest serving is a much different dish. “Drop” is an old-school Hitchcockian thriller that is firmly planted in our modern era of social media, memes, iPhones, and AirDrops.
Written by the duo of Jillian Jacobs and Chris Roach, “Drop” begins by introducing us to a widowed single mother named Violet Gates (Meghann Fahy). Since the traumatic death of her husband, Violet has poured all of herself into helping survivors of abuse and most importantly taking care of her young son Toby (Jacob Robinson).
Image Courtesy of Universal Pictures
At the urging of her supportive younger sister Jen (Violett Beane), Violet reluctantly agrees to go on a date with a hunky photographer named Henry Campbell (Brandon Sklenar). The two have never met in person but connected three months earlier on a dating app. They finally agree to meet up at the Palate, a swanky restaurant on the 38th floor of a downtown skyrise. The evening starts nicely as the two navigate their mutual nervous attraction. But it changes after Violet starts receiving a flood of anonymous messages on her phone.
The messages start as obnoxious pranks but quickly turn more sinister. They’re sent to her through Digidrop (the movies version of Apple’s AirDrop) which means the sender has to be somewhere within the restaurant. Henry tries to help Violet figure out who’s doing it but to no avail. Then she receives the most terrifying message at all – she’s ordered to kill her date.
Violet immediately refuses. But when the mysterious antagonist shares an image of a masked henchman inside her house, she’s caught between two horrific outcomes – agree and murder an innocent man who seems to genuinely care for her or disagree and risk the lives of her son and sister. From there “Drop” blends mystery will thrills as Violet tries to figure out the identity of her terrorizer while doing everything she can to outsmart him or her.
Image Courtesy of Universal Pictures
There’s a really throwback quality to “Drop” that comes through in its straightforward entertainment value as well as its silliness. Not everything holds up to scrutiny, especially the holes in the plot’s logic and some slight pacing issues. But Landon leaves us with little down-time to overthink things. And he knows what he has in Fahy and Sklenar whose commitment and chemistry helps to elevate the sometimes shaky material.
“Drop” is an efficient and fun date-night thriller that doesn’t ask or expect too much from its audience. It’s pure, straight-shooting entertainment and I can’t help but appreciate it for knowing exactly what it is. Landon does a good job keeping everything on track while Fahy and Sklenar keep us involved enough to actually care about their characters. The movie may not have the staying power to stick with you long after the credits, but you’ll have enough fun watching it to make it well worth the price of a ticket.
For decades war movies have come in all shapes and sizes. But only a handful of modern war movies have hit as hard as “Warfare” from Iraq War veteran Ray Mendoza. A former U.S. Navy SEAL, Mendoza writes and directs alongside Alex Garland (“Ex Machina”, “Civil War”) to deliver a raw and no frills feature based on his own personal memories. The results are harrowing, sobering, and eye-opening. And it makes for one of the most gripping experiences of the year.
Already heralded for its stunning realism, “Warfare” thrusts us into the grip of combat where bravery and brotherhood are the only means of survival. Before filming began, the cast underwent an intensive three week bootcamp that included weapons training, communications etiquette, and tactical maneuvers. It pays off in some really big ways, adding a striking layer of authenticity that help Mendoza and Garland immerse us deeper into the true-to-life world they’re recreating.
Image Courtesy of A24
The story of “Warfare” is as straightforward as its title. There are no sweeping character arcs, no dense plot, no artificial drama. Set in 2006 during the Iraq War, the movie follows Navy SEAL team Alpha One also known as the Bushmasters. The team are ordered to take up a sniper position on the top floor of a home they commandeer in Ramadi. From there they are to monitor a market place just down the street that’s believed to be a gathering place for insurgents.
One the many effective elements in “Warfare” is in how it presents the moment by moment realities these soldiers face. We’re immediately shown that not every second of a mission is guns blazing. In fact, Mendoza and Garland use their early scenes to emphasize the lull of surveillance and intelligence gathering. Yet they ramp up the tension with subtle references to the danger these young men are in. And when a hand grenade is tossed into their building, the intensity quickly goes from a simmer to a boil.
Things only ratchet up from there as “Warfare” grounds us in the efforts of the platoon to evacuate amid a hail of small arms fire from the converging insurgents. With unflinching effort, Mendoza and Garland put us side by side with the soldiers, making us feel the ferocity of combat without sacrificing verisimilitude for sensationalism. They avoid the usual war movie tropes – no chest-pounding bravado, no “tell my wife I love her” moments, no big inspirational speeches. Every heart-stopping second feels rooted in reality.
Capturing the real-time events is aided by the film’s impressively stacked cast that includes Will Poulter, D’Pharaoh Woon-A-Tai, Joseph Quinn, Charles Melton, Cosmo Jarvis, Michael Gandolfini, and Kit Connor among others. Each young actor clearly understands their assignment and fully commits to bringing their real-life characters to the screen as authentically as possible. They really shine in the second half as the mission falls apart and the “war is hell” adage takes full form.
Image Courtesy of A24
Equally impressive and just as vital is the technical craft, from the stunning cinematography to the concussive sound design. Both contribute to the overall visceral reaction the movie evokes, at times hitting like a sensory assault but in the most fitting way. Take the scene where an IED is suddenly detonated. The sound of the blast rattled my theater and the disorientation of the aftereffects underscores the chaos. Both leave such an impact.
Those who tend to view war movies through the prism of politics may be discouraged to find that “Warfare” isn’t interested in sermonizing or editorialization. That’s not to say there isn’t plenty that we can conclude from the moral murkiness that unfolds onscreen. But the movie’s focus remains on the men in uniform, and for 93 minutes we follow them through the trenches of warfare where we’re inspired by acts of heroism yet grieved at the human cost. It’s the latter that makes “Warfare” such a gut punch.
Keith & the Movies 