Ryan Coogler reteams with Michael B. Jordan in “Sinners”, a period horror film set in the 1930s Jim Crow-era South. Jordan gets double duty playing twin brothers who attempt to leave their troubled lives behind by returning to their small hometown. But instead of a warm welcome, they’re faced with a brutal supernatural evil that has them fighting for their lives. The trailers for “Sinners” have done a great job setting the table. Now Warner Bros. has released a killer new poster for a movie that looks to be a blood-soaked and action-packed good time.
DIRECTOR – Ryan Coogler
WRITER – Ryan Coogler
STARRING – Michael B. Jordan, Hailee Steinfeld, Jack O’Connell, Miles Caton, Delroy Lindo, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Li Jun Li, Lola Kirke, Yao, Peter Dreimanis
RELEASE – April 18, 2025
Check out the new poster below and let me know what you think.
I’ve long been fascinated with the history of the Mafia in the United States. Over the years I’ve read countless works of nonfiction and biographies. And I’ve soaked up numerous documentaries covering the Mafia’s violent rise and inglorious fall, both of which left an indelible mark on 20th century America. Of course by extension that makes me a sucker for Hollywood’s storied gangland treatments – “The Godfather”, “Once Upon a Time in America”, “The Departed”, “The Irishman”, just to name a few.
The latest mob movie to join the ranks is “The Alto Knights”, a gangland drama that certainly comes with impressive credentials. It is Oscar-winning director Barry Levinson’s first big screen feature since his 2015 clunker “Rock the Kasbah”. It’s penned by 92-year-old Nicholas Pileggi whose screenwriting credits also include “Goodfellas” and “Casino”. And it stars Robert De Niro, an Academy Award winner himself who’s no stranger to gangster fare.
To be truthful, “The Alto Knights” doesn’t belong in the same company with the superior mob movies mentioned above. That’s because of some nagging shortcomings that hold it back (more on those in a moment). But the film hones in on a fascinating relationship set during an equally fascinating time in the history of the American Mafia. Pileggi’s script shows he has done his homework, and Levinson makes it a point to ensure the film stick close to the facts.
Image Courtesy of Warner Bros.
“The Alto Knights” tells the true story of childhood friends turned mobsters Frank Costello and Vito Genovese (each played by De Niro). Both grew up together on the New York City streets and both rose in the mob ranks under boss Charles “Lucky” Luciano. While they would often work together, Costello and Genovese had dramatically different tactics when it came to mob business. Costello preferred power through influence, often controlling politicians, judges, cops, and city officials. Genovese was more prone to use violence and even murder as a means to an end.
But tensions would form and fester between the two powerful men. Some came from Vito’s involvement in the bustling drug trade which was drawing unnecessary heat from the feds. But most was due to Vito’s desire to become the “boss of all bosses“. The ambitious Vito had long felt he deserved the top seat, but he had one significant obstacle – Frank Costello. After Vito was forced to flee the country to avoid a murder charge, an imprisoned Luciano named Costello acting boss. When Vito returned he begin plotting to gain the title from his old friend.
The movie opens with De Niro’s Frank Costello walking into his apartment building. As he waits for the elevator, a gunman, Vincent Gigante (Cosmo Jarvis) shoots him in the head by orders of Vito Genovese (also De Niro). Miraculously the murder attempt only amounted to a flesh wound, but it convinced Frank to relinquish his power. Yet the ever paranoid and growingly volatile Vito doesn’t buy it and isn’t sold on Frank’s sudden urge to retire.
Image Courtesy of Warner Bros.
From there Levinson takes us back in time to show key moments that led these one-time friends to become high-ranking rivals. He eventually works his way back to the murder attempt and then shifts to the events that follow. Along the way the film highlights the power, the politics, the insecurities, and the inevitable violence that is inherent to the true account. It’s all helped along with solid supporting work that includes Debra Messing as Frank’s wife Bobbie, Kathrine Narducci as Vito’s wife Anne, and Michael Rispoli as Albert Anastasia, the notorious mob enforcer with close ties to Frank.
While the story itself is quite interesting, the storytelling device Levinson uses is wobbly as best. For some reason the story is told through what resembles a video diary shared by an older Frank. Sometimes it’s Frank narrating while sitting in a dark room watching old slides. Other times he’s breaking the fourth wall while sitting outside in some park or garden. There’s no real rhythm or cohesion to any of it, making it more distracting than clever.
“The Alto Knights” recycles a few things from other mob movies and can almost be too straightforward and workmanlike in how it relays parts of its story. But it remains compelling throughout, especially for those familiar with the history and its key players. De Niro’s double duty turns out to be more than a gimmick as he breathes life and personality into these two complex figures. Overall, Levinson and Pileggi add another worthwhile entry into the mobster movie catalog.
From director David Yarovesky and producer Sam Raimi comes “Locked”, a tightly wound high-concept action thriller that brings together the hardworking Bill Skarsgård and the effortlessly great Anthony Hopkins. “Locked” is an English-language remake of Mariano Cohn’s 2019 Argentinian film “4×4”. It was filmed and is set in Vancouver, Canada which adds a vivid urbanized texture while playing a big part in the storytelling.
Skarsgård plays Eddie Barrish, a down on his luck petty thief whose bad choices put him in a perilous predicament. Eddie is broke, unable to muster the $475 needed to get his beat-up van out of the garage. So he resorts to snatching wallets, buying scratch-offs, and breaking into cars. To make matters worse, he’s in hot water with his ex-wife for routinely standing up his young daughter, Sarah (Ashley Cartwright).
Image Courtesy of The Avenue
While cutting through a near vacant backstreet parking lot, Eddie notices a fancy black SUV appropriately branded “Dolus”. He checks the door and finds it unlocked. Jumping in unnoticed, he immediately begins rummaging for anything to sell but finds nothing. When he tries to get out, he discovers the doors are locked. He attempts kicking out the glass but to no avail. He learns all cell signal is blocked and its soundproof so he can’t scream for help. After several more vain attempts at escaping, Eddie realizes he’s trapped.
As Eddie panics over his sudden predicament, the vehicle’s phone rings. On the other end is an elderly man who introduces himself as William (Hopkins). The two engage in a hostile back-and-forth in which William exercises his dominance. He watches his trapped prey through six embedded cameras, shocking Eddie with the electrified interior whenever he gets out of line. William even resorts to torturing Eddie with heat, cold, and (in a darkly comical turn) blaring polka music.
Image Courtesy of The Avenue
Why is William doing this? Well it’s best you find out on your own. But it’s all a sick game built upon his sociopathic sense of justice. As William and Eddie continue their tête-à-têtes, we learn more about each of them – their pasts, their circumstances, and in some instances their motivations. A few arguments feel a bit fabricated, such as one conversation that quickly evolves into on-the-nose political commentary. But most build towards the film’s harrowing final act which is set in motion once the the sleek high-tech SUV hits the streets.
While there’s no denying the ultimate absurdity of the premise, “Locked” rides along on the firm commitment of Skarsgård and Hopkins. The duo does everything they can to keep the story driving forward even as the movie struggles to fill its lean 95 minutes. And while its midsection lulls bog things down a bit, there’s just enough meat on the bones of this gritty genre two-hander to hold your interest. “Locked” hits theaters March 21st.
Science fiction and horror collide in the nightmarish new feature “Ash” from DJ, record producer, and filmmaker Flying Lotus. With its audacious visuals and masterfully managed tone, “Ash” sucks you into its forbidding far-away world, embracing several familiar conceits along the way while adding its own gnarly twists to them. The results may not redefine the sci-fi horror genre. But does every movie need to?
“Ash” takes a fairly conventional science fiction story and tells it through its own wickedly artful lens. It’s a movie that takes on numerous forms and blends elements from several horror sub-genres. It’s a deep-space chiller with a dark psychological edge. But there are also bites of survival horror all through it. At times it resembles a grisly midnight crowdpleaser yet it’s almost experimental in some of its techniques. What’s impresses most is how it all gels together – a testament to Flying Lotus’ keen vision and tight control.
Image Courtesy of Shudder
Its backstory is pretty generic – Earth has become nearly uninhabitable resulting in crews being sent into space to find a planet capable of sustaining human life. While I admit to being a sucker for that tried-and-true setup, screenwriter Jonni Remmler doesn’t spend too much time on why the crew is there. Instead he goes straight to the present, submersing us into his protagonist’s terrifying scenario as both she and we try to piece together the mystery as it unfolds.
Originally set to star Tessa Thompson, the lead role eventually went to Eiza González who gives what deserves to be heralded as a breakout performance. Her physical and emotional commitment is essential to the film’s effect. González is superb playing Riya Ortiz, an astronaut who wakes up battered and bloodied in a space station on a distant planet designated KOI-442.
After she gathers herself, Riya discovers the station has been ravaged and her four fellow crew members killed in expressly gruesome fashion. Even worse, Riya has no idea who she is, where she’s from, or what happened. As she investigates the heavily damaged facility and examines the mangled bodies of her crew mates, Rya is shaken by the sudden appearance of a man named Brion (Aaron Paul) who claims to be responding to an SOS call sent from the station to the orbital he mans off planet.
Brion’s presence feeds into the greater mystery of what happened on planet KOI-442 (which the crew has nicknamed “Ash”). Flying Lotus drip-feeds us information, partially through Riya’s discoveries, but mostly via jolts of violent flashbacks. In them we see the fates of Adhi (Iko Uwais), Kevin (Beulah Koale), Catherine (Kate Elliott), and Shawn Davis (Flying Lotus) in gory detail. But as Riya’s memory returns, the flashbacks extend and offer more clarity.
Image Courtesy of Shudder
While “Ash” may be light on plot, it’s enriched by savvy storytelling and world-building. Beginning in its earliest moments, the movie is all about creating and sustaining its dread-drenched atmosphere. It’s accomplished through some inspired craftsmanship that utilizes the impact of both sight and sound. DP Richard Bluck uses a range of shots from stunning widescreen to harrowing first-person perspectives. Add in the creepy interiors shaded in red and indigo and some killer gore effects that aren’t for the squeamish. And it’s all accompanied by the film’s menacing electronic score composed by Flying Lotus himself.
Those desperate for something groundbreaking that significantly moves the needle in the space-horror genre may leave “Ash” disappointed. But those who enjoy immersive experiences from visionary cinematic craftsmen will have a blast. Those with an affection for tense and moody sci-fi chillers will get all they want. And those who appreciate eye-opening performances will love what Eiza González brings to her role. “Ash” opens in theaters Friday, March 21st.
Celine Song gave us one of the best directorial debuts in recent history with 2023’s “Past Lives”, an aching drama that earned Academy Award nominations for Best Picture and Best Original Screenplay. As a result, many of us have been anxiously anticipating what she was going to do next. Now we get a taste following the release of the first trailer for “Materialists”, a romantic drama with three pretty big names leading the way.
Dakota Johnson, Pedro Pascal, and Chris Evans star in a film that looks as if it’s leaning into a more traditional romantic story. Johnson plays Lucy, a successful matchmaker who suddenly finds herself torn between two men, a dashing millionaire named Randy (Pascal) and a re-emerging old friend named John (Evans) who she has a lot of history with. Again, the story doesn’t sound like anything new. But Song has such a compelling cinematic voice and I’m excited to see what she has to say. Meanwhile Johnson and Pascal are intriguing pieces. Evans – we’ll see.
“Materialists” opens in theaters June 13th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Denis Villeneuve has done the impossible by adapting Frank Herbert’s seminal science-fiction novel series “Dune” for the big screen. Of course he’s not the first to attempt it. But Villeneuve’s two films have fully captured Herbert’s epic vision which has long been declared “unfilmable”. Villeneuve makes some meaningful alterations. But he never loses sight of what Herbert intended and what Dune fans love about the universe.
The success of Villeneuve’s films has also opened the doors for further explorations of Herbert’s vast Dune mythology. And that leads to “Dune: Prophecy”, a big-budget HBO series streaming exclusively on MAX. “Prophecy” is a six-episode prequel that focuses on the origins of the Bene Gesserit Sisterhood – a matriarchal sect who hold great power and influence in the universe. Outwardly they individually pose as Truthsayers for each of the major Houses. Secretly they’ve developed a breeding program to manipulate royal bloodlines to their own advantage.
Image Courtesy of HBO
But as its title teases, “Dune: Prophecy” has some interesting connections to the Villeneuve films. I won’t spoil them all here, and to be honest showrunner Alison Schapker wisely doesn’t show all of her cards in this first season. Let’s just say much of the second Dune movie revolves around a specific prophecy devised and planted by the Bene Gesserit on the spice-rich planet of Arrakis. Is Schapker setting up the Missionaria Protectiva’s work on Arrakis which inadvertently gave rise to Paul Atreides as the Kwisatz Haderach?
Taking place 10,148 years before the birth of Paul Atreides, “Prophecy” shows us the fledgling Bene Gesserit through the story of two sisters, Valya (Emily Watson) and Tula (Olivia Williams) Harkonnen. The story follows their troubled childhood, their introductions to the sisterhood, and ascent to Reverend Mothers. Though slow out of the gate, lovers of Dune lore will find a lot to soak up especially in the later episodes when things get clearer and connections to the films begin to develop.
Another key part of the series involves House Corrino and its leader, Javicco (played by Mark Strong). He is the sitting Padishah Emperor of the Known Universe who finds himself managing the fragile peace between the Houses. That peace is put in jeopardy with the arrival of the mysterious Desmond Hart (Travis Fimmel), a soldier believed to have died with the rest of his regiment following a surprise attack on Arrakis. As Desmond methodically wins Javicco’s trust, more is revealed about his dark past and self-serving motives which eventually intersects with the Sisters.
Image Courtesy of HBO
This only scratches the surface of “Dune: Prophecy” and its story which opens far more doors than it closes. But this is television, and with a second season already in the works, we have a lot of Dune to look forward to on big and small screens. Hopefully a second season will offer even more connections to the Villeneuve films while taking the time dig into more unexplored corners of Herbert’s vast world. Schapker and company shrewdly set the table for that.
“Dune: Prophecy” most certainly isn’t the best entry point for newcomers. The series almost demands at least some working knowledge of the Dune universe, particularly as seen through the lens of the Villeneuve films. The series clearly has “Game of Thrones” aspirations which in some ways hamper the early episodes. But it helps in other key ways, namely in its similar grand ambition that shines through in the storytelling, the terrific production design, and costumes. Add in an incredible ensemble and the meatiness of the source material and you have a prequel series that kicks off something that could be truly epic.
Keith & the Movies 