It’s hard to believe another year has come and gone. I just wanted to take a moment out of the hustle and bustle of Christmas Day to wish all of you a very Merry Christmas. Thanks for all of the visits to this site, the time you’ve put into reading my reviews and/or features, and the great comments and conversations we have had. You all are a big part of what makes this film critic gig so much fun.
I hope each of you have a wonderful and blessed Christmas. Enjoy your time with family and friends and here’s wishing you all the very best in the upcoming year.
There has been a lot of buzz, both good and bad, about James Gunn’s ascension to the head of DC Studios. Without question Gunn has his fans and they aren’t afraid to share their support. But there just as many who are skeptical and for good reason. I remain a huge fan of the Zack Snyder cinematic universe that existed prior to the studio tearing it apart. And I’ve been lukewarm on Gunn’s superhero projects which often follow the same blueprint. But I’m very open to seeing his vision for DC starting with “Superman”.
The first teaser trailer for Gunn’s “Superman” has dropped and it gives us a first glance at the film that will kick off his DC universe. The trailer doesn’t reveal much but it allows us to see David Corenswet in action as both Superman and Clark Kent. We see Rachel Brosnahan as the new Lois Lane. We see Nicholas Hoult as the universe’s Lex Luthor. We even see a caped Krypto which brought an ear-to-ear smile to my face.
But the trailer is littered with other heroes and villains which speaks to one of my biggest concerns – is Gunn cramming too much into his first film. We’ll see. And while the trailer offers a number of captivating images, I still don’t have a good feel of the movie or of Gunn’s vision for the character. Will he capture the essence of Superman? Can he make Superman resonate with a new audience? Can he win over those who preferred a “Man of Steel” sequel? Who knows. But I’ll be there on opening day to see.
“Superman” flies into theaters on July 11, 2025. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Steven Soderbergh has quite a first quarter lining up in 2025. He already has a creepy psychological (or is it supernatural) thriller releasing in late January called “Presence”. Yesterday Focus Features dropped the first trailer for “Black Bag”, a star-studded spy thriller directed by Soderbergh and starring the magnetic duo of Cate Blanchett and Michael Fassbender. This first glance looks to be a hearty feast for fans of the genre and those who love its two stars.
Presented as a more serious “Mr. and Mrs. Smith” or “True Lies”, Soderbergh’s “Black Bag” follows esteemed intelligence agents George Woodhouse (Fassbender) and his loving wife Kathryn (Blanchett). When suspicions arise that Kathryn is a double-agent, George is put on the case to find out the truth. He ends up caught between his loyalties to his wife and to his country. The trailer looks fantastic and Soderbergh certainly knows how to ratchet up tension.
“Black Bag” releases exclusively in theaters on March 14th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.
Searchlight Pictures has released five terrific character posters for their upcoming Bob Dylan biopic, “A Complete Unknown”. The film is based on Elijah Wald’s 2015 book “Dylan Goes Electric” and is directed by James Mangold. It sees Timothée Chalamet playing the iconic American singer-songwriter in what is a brilliant snippet from Dylan’s early musical journey. “A Complete Unknown” also stars Edward Norton as Pete Seeger, Monica Barbaro as Joan Baez, Elle Fanning as a version of Suze Rotolo, and a scene-stealing Boyd Holbrook as Johnny Cash.
My full review of “A Complete Unknown” will be available in the next few days. Until then, check out these stylish character posters courtesy of Searchlight Pictures.
Warner Bros. Discovery Home Entertainment is bringing the much anticipated and unexpectedly divisive “Joker: Folie À Deux” to home video. This is the beguiling sequel to the 2019 box office smash hit and Academy Award winning “Joker” from writer/director/producer Todd Phillips. It sees Joaquin Phoenix reprising his Oscar-winning dual role of Arthur Fleck aka Joker. New to the cast is superstar Lady Gaga, Brendan Gleeson, and Catherine Keener. Read my full spoiler-free review of the film [HERE].
This 4K Ultra HD edition of “Joker: Folie À Deux” includes a digital copy and will be available to purchase on December 17th. See below for a full synopsis and release info including a list of special features.
About the Film:
Year: 2024
Runtime: 138 Minutes
Directors: Todd Phillips
Screenwriters: Scott Silver & Todd Phillips
Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Harry Lawtey, Leigh Gill, Ken Leung, Jacob Lofland, Bill Smitrovich, and Sharon Washington
Rating: R
“Joker: Folie À Deux” finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that’s always been inside him.
From acclaimed writer/director/producer Todd Phillips comes “Joker: Folie À Deux“, the much-anticipated follow-up to 2019’s Academy Award-winning “Joker”, which earned more than $1 billion at the global box office. The new film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga (“A Star Is Born”).
Working with Phillips behind the camera are his team from Joker, including Oscar-nominated director of photography Lawrence Sher, production designer Mark Friedberg, Oscar-nominated editor Jeff Groth, and composer Hildur Guđnadóttir, who won the Oscar for her work on the first film. New to the team is Oscar-nominated costume designer Arianne Phillips (“Once Upon a Time in… Hollywood”, “Don’t Worry Darling”).
Special Features:
Digital Ownership, 4K UHD and Blu-ray contain the following special features:
While the movie industry continues to struggle in several areas, we live in a time when emerging talent is having big impacts on modern cinema. Among the most exciting names is John David Washington, a young star following in the acting footsteps of his famous father, Denzel Washington. The younger Washington has put together a small but eclectic filmography, having already worked with such directors as Spike Lee, Christopher Nolan, and David O. Russell.
But it’s Washington’s latest film that may best display his immense talent. “The Piano Lesson” is a key play in the late, great August Wilson’s The Pittsburgh Cycle – a series of ten plays, each set in the Steel City during different decades. Wilson’s aim was to offer a different way of looking at the Black experience in the 20th century. Adapting his work is nothing new for the Washington family.
Interestingly, Denzel Washington won a Tony Award for his Broadway performance in “Fences”, the third play in Wilson’s Pittsburgh series. Denzel later made a critically acclaimed film adaptation of “Fences” which earned four Academy Award nominations. Now his family’s connection with Wilson’s work continues with “The Piano Lesson”, a film featuring one of the best acting ensembles of 2024 and one of the most impressive directorial debuts of the year from Malcolm Washington, Denzel’s youngest son and John David’s brother.
Image Courtesy of Netflix
As with other August Wilson adaptations such as “Fences” and “Ma Rainey’s Black Bottom”, the story’s stage roots are impossible to miss. But Malcolm Washington (who also co-wrote the script alongside Virgil Williams) has a cinematic eye that transcends any perceived limitations. And he understands that “The Piano Lesson” is a character-rich, performance-driven drama. He allows his cast all the space they need to fully realize their meaty roles.
The vast majority of the film is set in 1936 Pittsburgh in the aftermath of the Great Depression. After a brief yet brilliantly visualized prologue with lingering implications, the movie introduces us to Boy Willie (John David Washington) and his good friend Lymon (Ray Fisher) as they arrive in Pittsburgh with a truck full of watermelons. The pair have driven all the way from Mississippi to sell the melons, but Boy Willie has a lot more on his mind.
While in the city Boy Willie pays a visit to his sister Berniece (Danielle Deadwyler) who lives with their Uncle Doaker Charles (Samuel L. Jackson) who has a house in Pittsburgh’s Hill District. Through a series conversations we learn about the family’s complex history and the relationships that have survived over time. We also learn more about Boy Willie’s deeper motivations which involve and old family piano he wants to sell.
Image Courtesy of Netflix
The problem is Boy Willie needs Berniece’s approval to do so and she’s not willing to part with it. He explains that he wants to take the proceeds and buy a patch of land down South that once belonged to their enslaved family’s owner. She’s determined to keep the family heirloom as it remains a symbol of their ancestors’ legacy. Both represent unique perspectives on accepting the past and moving on from it. And those perspectives fully form as the siblings repeatedly butt heads.
The performances are spellbinding throughout. Each cast member taps into a palpable pain which some of their characters bury deeper than others. They also keep the story grounded with moments of humor and tenderness. John David Washington leaks charisma from every pore and Samuel L. Jackson is effortlessly captivating. Meanwhile Danielle Deadwyler (who was frustratingly robbed of an Oscar nomination for 2022’s “Till”) is nothing short of heart-rending. Ray Fisher, Michael Potts, and Corey Hawkins also shine in meaningful supporting roles.
While “The Piano Lesson” is very much an authentic lived-in domestic drama, there is a tinge of the supernatural that may catch some viewers by surprise. But it’s key to Wilson’s vision and represents years of family trauma that inevitably reaches its boiling point. It all culminates in a heartfelt finish to this intelligent and assured stage-to-screen production that heralds Malcolm Washington as a filmmaker to be reckoned with.
Keith & the Movies