Danial Day-Lewis makes his triumphal return to acting after an eight year retirement in “Anemone”, delivering what should be one of the most talked about performances of the year. It’s yet another richly complex character for Day-Lewis to dissect and explore, and he does so with the kind of intensity and precision that has marked the three-time Oscar winner’s career.

This isn’t just a case of Day-Lewis simply returning to a craft he loves. “Anemone” is a true passion project which he co-wrote with his son, Ronan Day-Lewis. Also, the younger Day-Lewis directs his father in what is the 27-year-old’s feature film debut. Their intimate connection beyond the camera finds its way onto the screen, adding a compelling perspective on fathers and sons and the ties that bind them.

“Anemone” is a dark family drama with a piercing psychological edge that delves into some heavy and uncomfortable subject matter including childhood trauma, PTSD, strained family bonds, isolation, and self-condemnation versus self-forgiveness. It’s a visually captivating film where the camera is as essential as the pen when it comes to storytelling. Narratively it’s a methodical slow-burn, patiently and quite brilliantly unwinding its characters and the conflicts that have defined them.

The elder Day-Lewis plays Ray Stoker, a damaged soul who has condemned himself to a life of isolation for reasons that painfully become clear as the story unfolds. Ray lives in a secluded one-room stone cabin, deep in the forest on a tiny patch of land that’s unreachable by vehicle. Ronan Day-Lewis and his DP, Ben Fordesman use the haunting beauty of nature to set the tone and to ground us in the setting. The churning clouds in the overcast skies. The thick forest canopy swaying in the heavy winds. The steady patter of rain on Ray’s tin roof. It’s a stunning bit of visual table-setting.

One afternoon Ray’s self-imposed disconnection from society is interrupted by an unannounced visit from his brother, Jem (Sean Bean). The tension between the two is obvious from first glance and the root of it is patiently revealed over the course of Jem’s stay. We watch as the two brothers spend the next few days together, revisiting ghosts of their pasts, picking at scabs from old wounds, and slowly piecing together their family history, ultimately arriving at the real reason for Jem’s visit.

The differences between Ray and Jem are striking, yet the bond of brotherhood is still real and present. We learn that they’re both men of violence, with pasts that have shaped who they have become. The key difference is one was able to find a measure of peace through faith while the other has built a wall around himself and his demons. Shades of bitterness, resentment, and contempt boil to the surface during their time together. But we also see moments of authentic connection.

Their time together is broken up with swings back to civilization where Jem’s wife Nessa (Samantha Morton) is having a hard time with her son Brian (Samuel Bottomley). He has found himself in trouble after nearly beating someone to death during military training. He’s been sent home where he struggles to understand his actions while Nessa worries that he’s following in some troubling footsteps. The connections between these scenes and Jem’s visit to Ray are better left unspoiled, but they add significant layers to the story that pay off in a powerful way.

The film’s script is an impressive display of audacity, peculiarity, and incisiveness. It tells a mostly contained and character-centric story with an equal reliance on dialogue, performance, and visual language. While the dialogue is rich and Day-Lewis delivers some mesmerizing monologues, the moments of silence are just as captivating, especially between the brothers who sometimes seem as if they’re communicating telepathically.

As for the performances, Daniel Day-Lewis once again disappears within another enigmatic and complicated character. He burrows deep into Ray’s psychology, relaying his inner turmoil with a simmering rage and even slivers of sharp-edged humor that cut right to the bone. Yet Day-Lewis never loses sight of Ray’s humanity. Bean makes for a brilliant foil. He’s quiet but possesses a strong presence while remaining sharply focused and ever observant. He’s a crucial part of the film and a fixture in its very best scenes.

“Anemone” won’t be for everyone. Its dark themes and brooding tone can be a challenge. And it isn’t a movie driven by spoon-fed, by the book plotting. Its storytelling bucks nearly every convention, shrewdly oscillating between expressionistic and raw gritty realism. Yet it’s a movie bursting with artistic vision from a daring first-time director and anchored by a sublime return performance from a generation’s best actor. When you consider it altogether, “Anemone” is one of the year’s best films.

VERDICT – 4.5 STARS

It has been over two years since writer-director Tony Tost’s “Americana” had its world premiere at the 2023 South By Southwest film festival. Now this rural genre smorgasbord is finally set for its official release on August 15th. But before it does, “Americana” recently kicked off Filmland 2025, an Arkansas based celebration of cinema presented by the Jeff Nichols led Arkansas Cinema Society.

“Americana” is a movie that can’t be summarized by a single label. Tost throws a little bit of everything at the screen. His film could rightly be called many things including a crime thriller, a heist comedy, a Western deconstruction, a stylish neo-noir, a trashy (although relatively tame) exploitation flick, and more. It unquestionably borrows (perhaps too heavily) from its obvious inspirations, most notably Quentin Tarantino and the Coen brothers. Yet it’s a surprisingly assured first feature from a filmmaker drawing from several of his own life experiences.

Set along the border of South Dakota and Wyoming but mostly shot in New Mexico, “Americana” leans into its unique setting both visually and narratively. The sparse, sunbaked territory adds a certain character that richly benefits the story. As for that story, it’s a non-linear yarn that Tost unfolds through a series of chapters. It features a wide array of colorful characters who function like puzzle pieces, each connecting together in unexpected ways.

Much of the story revolves around an ancient ghost shirt traced to the indigenous Lakota people. The movie begins with it in the possession of a wealthy collector played briefly but comically by Toby Huss. With a worth of around half a million dollars, the ghost shirt attracts the attention of a lot of people. Among them is a sleazy antiquities dealer named Roy Lee Dean (Simon Rex). Dean hires a local thug, Dillon MacIntosh (Eric Dane) to steal the shirt. But once Dillon discovers its worth, he considers selling it himself.

Elsewhere, Sydney Sweeney plays Penny Jo Poplin, bashful waitress with strawberry blonde hair, a noticeable stammer, and big dreams of moving to Nashville and becoming a country music singer. Paul Walter Hauser plays Lefty Ledbetter, a lonely lovelorn cowboy who frequents her diner. Over time the two development a amusingly sweet relationship. And after Penny Jo overhears Roy Lee making the deal with Dillon, they decide that getting the shirt first could be the answer to their dreams.

And elsewhere (again), a battered single mother named Mandy (played by pop star Halsey) flees an abusive relationship with Dillon, seeing the shirt as her ticket to a better life. In the process, she leaves behind her stubborn 11-year-old son Cal (Gavin Maddox Bergman) who is obsessed with Native American culture (the television version), so much so that he believes himself to be the reincarnation of Sitting Bull. Young Cal eventually crosses paths with Ghost Eye (Zahn McClarnon), the leader of an area Native American resistance group who soon find themselves hot on the shirt’s trail.

As you can tell, “Americana” has numerous parts moving in the same general direction. Yet to Tost’s credit, he maintains mostly unpredictable character arcs. Despite how familiar the movie sometimes feels, the characters take enough surprising turns to keep us guessing. As for the offbeat cast, Sweeney and Hauser are highlights with each giving solid low-key performances in a movie that cranks so much up to 10. Halsey also shines despite having the hardest to read character in the movie.

As Tost maneuvers his way towards the story’s inevitably violent finish, he lightly explores several themes. The most glaring features yet another patriarchy takedown that gets more obvious with every white male Tost kills off. But frankly no one should watch “Americana” in search of some deep sociopolitical insight. It’s best viewed as a routinely funny, fittingly violent, and stylishly made caper that’s cinematically seasoned with 70s, 80s, and even a touch of early 90s flavor. It’s a well-acted romp and an accomplished first feature from a filmmaker to keep your eye on.

VERDICT – 3.5 STARS

The first season of “Andor” caught many people by surprise. While it was very much a Star Wars installment, creator Tony Gilroy’s interests lied beyond lightsaber duels and spaceship battles. His vision was intensely character-driven, focusing on the human element at the center of the Empire’s tightening grip on the galaxy and the fledgling rebellion’s rise against their authoritarian oppressors. The results were pretty great.

Season Two featured a much different (and notably better) release schedule than its predecessor. The show’s twelve episodes take place over the course of four years. Each week a block of three episodes were dropped. The show would jump ahead one year from week to week, leaving us with four blocks set over four years and leading directly into the 2016 Gareth Edwards feature film “Rogue One”. While I loved the three episodes per week cadence, the show’s attempt at covering four years left some significant gaps. More about them later.

Season One featured a single line of dialogue that really speaks to the heart of the series – “Oppression breeds rebellion.” Season Two attempts to explore that idea through the inner workings of the established Empire and the struggles of a young Rebellion. While it is named “Andor”, the series follows a number of characters who are cogs in a rapidly changing galaxy. Some are Imperial loyalists, some are rebels in the making, some are politicians, some are militant insurgents. The breadth of characters allow the show to explore a wide range of perspectives.

As for the storytelling, “Andor: Season Two” takes its time kicking into gear with the majority of its first six episodes dedicated mostly to table-setting. Without question there is some good character building as Gilroy and company reacquaint us with old players and introduce us to several new ones. Many (if not most) are spies, conspirators, or simply living double lives of some kind. And the majority are given plenty of screentime to develop.

Diego Luna reprises his role as the show’s namesake, Cassian Andor, a thief turned rebel who discovers his destiny over the course of the series. Following the tragic events of the first season, Cassian is still (sometimes reluctantly) carrying out missions for Luthen Rael (Stellan Skarsgård). When he’s not secretly igniting fires in the name of the nascent rebellion, Luthen poses as a high-end antiquities dealer on Coruscant. But as we see over the course of the season, Cassian’s relationship with Luthen is complicated at best.

Luthen remains one of the show’s most fascinating characters. He’s very much a behind the scenes power-player who is pulling the strings from the shadows. His actions and decisions sometimes color him cold and callous. And his tight control of information often puts him at odds with those he relies on. But it’s all out of necessity. He knows the stakes and is focused on the endgame. He also understands the hard choices and their consequences. He has sacrificed everything and is resigned to his fate as he knows it.

Luthen is one of many interesting characters who grow or evolve throughout the second season. Bix (Adria Arjona) takes an emotionally wrenching journey, haunted by trauma yet determined to find her place in the galaxy. We see a new phase in the relationship between Dedra Meero (Denise Gough) and Syril Karn (Kyle Soller). She is still an ambitious member of the Imperial Security Bureau and he is still a naively willing pawn in desperate need for acknowledgment. They make for a bizarre and darkly funny couple whose lives take a dramatic turn.

Of course among the show’s biggest players is Mon Mothma, played again by the wonderful Genevieve O’Reilly. Every facet of Mon’s life changes in season two, both at home and in the senate, as she moves from secretly funding the underground to leading the rebellion. O’Reilly gets lost in some of the earlier episodes as Gilroy and company slowly move all of their pieces into position. But she is a captivating force in the second half, giving one of the show’s several Emmy-worthy performances.

So many other superb faces fill out the incredible cast. Benjamin Bratt (filling in for Jimmy Smits) as Bail Organa; Ben Mendelsohn reprising his role as Orson Krennic; Forest Whitaker back as insurgent leader (and personal favorite) Saw Gerrera; Anton Lesser as ISB Commander Partagaz; the great Kathryn Hunter as Syril’s mother Eedy; Elizabeth Dulau as Luthen’s capable assistant Kleya; and so many others. It is a truly tremendous ensemble.

The first block of three episodes are a little erratic and struggle to find cohesion or momentum. And they’re hampered by the only case of on-the-nose writing in the entire season (specifically in episode one). The second block slowly begins pulling together the wandering storylines while giving us a strong sense that the show is building up to something big. And that ‘something big’ comes in the form of the Ghorman Massacre.

The third block is dedicated to the Ghorman Massacre and its massive fallout. It features some of the finest television in the Star Wars franchise and beyond, offering exhilarating yet horrifying storytelling through a brilliant mix of visuals, writing, and performance. The seed for the massacre was planted as early as episode one with the Empire’s interest in Ghorman centering around a precious rare mineral near the planet’s core. It’s needed for the secret construction of the Death Star, but mining the mineral would make the planet unstable and uninhabitable.

So the Empire ruthlessly goad the Ghorman people into rebelling, portraying them as unruly insurgents in an effort to justify their gouge-mining of the planet for resources. Ironically Luthen also wants rebellion on Ghorman but for a much different reason. He wants the Empire to overstep which will expose their oppression, causing them to lose support as other planets rise up against them. The brutal massacre that follows reverberates across the galaxy and changes the lives of nearly every character involved.

The final block brings most things to a fitting conclusion as it attempts to tie up loose ends and put things in place for “Rogue One”. With so many characters and story threads it’s inevitable that some are shortchanged. But Tony Gilroy has made it clear he’s not concerned with connecting every dot. This proves to be a strength of the show but also its one big weakness. It certainly affords Gilroy a certain creative freedom. But some characters and arcs needed more than a small spot in a final montage.

Regardless, the second season of “Andor” is an exceptional Star Wars entry that will be talked about for years to come. The thrilling spycraft, the array of compelling characters, the sublime worldbuilding – it all fuels this rousing accomplishment. As with the first season, it sometimes lacks the ‘feel’ of Star Wars which may appeal to the lukewarm casuals while being an adjustment for die-hard fans. And it takes its time out of the gate, slowly laying the groundwork for what’s to come. But (again) as with the first season, the payoff is well worth the wait. It not only brings together all the early table-setting, but it adds even more weight to “Rogue One” which you’ll immediately want to revisit once the “Andor” credits roll.

VERDICT – 4.5 STARS

Ben Affleck surprised many with his under the radar yet thoroughly entertaining 2016 action thriller “The Accountant”. He played the character of Christian Wolff, an autistic accountant who works the books and covers the tracks for some of the most dangerous criminals in the world. The movie did pretty well at the box office but never had much lasting buzz. Maybe that’s why it was a surprise to hear that a sequel was in the works.

“The Accountant 2” sees Affleck reteaming with director Gavin O’Connor and screenwriter Bill Dubuque to make a sequel that taps into much of what made the first film surprisingly compelling. At the same time they noticeably go in some new directions, mixing buddy comedy elements into a darker story about kidnapping and human trafficking. The tonal gymnastics don’t always work, leading to the movie’s overall uneven feel. At the same time, the humor adds to the fun and helps “The Accountant 2” to stand out from its predecessor.

After Director Raymond King ( a briefly returning J.K. Simmons) is killed by unknown assassins, Treasury Agent Marybeth Medina (Cynthia Addai-Robinson) follows King’s dying wishes and contacts Christian Wolff to help solve the murder. In the process, the two uncover a web of violence and crime that involves a missing family, a rogue assassin (Daniella Pineda), human traffickers, and drug cartels. In over his head, Christian calls on his estranged brother Braxton (Jon Bernthal) for help.

Here’s the thing, Christian and Braxton haven’t seen each other in eight years. So convincing his brother to help requires a little personal effort which is not among Christian’s strengths. And considering Braxton is a contract killer, once he does inevitably agree to help, his aggressive methods immediately clash with Marybeth’s.

From there the movie travels in two different directions. One involves the two brothers mending their relationship through frequent banter, a good ol’ honky-tonk bar fight, and killing a bunch of really bad people. The other involves uncoiling the mystery with Christian using his particular set of skills and his secret team young savants to expose King’s killers and finish the work his late friend had set out to do.

The most noticeable change in “The Accountant 2” is Bernthal’s expanded role. He gets a lot more to do and does a good job developing his character beyond his tough rugged exterior. He and Affleck have a strong onscreen rapport both dramatically and comedically. And that camaraderie kicks into another gear during the film’s bullet-riddled finale. Together they bring an energy that may not always gel with the rest of the movie, but that manages to entertain on its own.

“The Accountant 2” deserves credit for doing more than just copying its predecessor. O’Connor and Dubuque put in the work to expand their characters and grow their relationships. At the same time not all of the swings connect as solidly as intended. At times the humor can be jarring and even out of tune, making the main story take a backseat. But there’s still plenty to enjoy in “The Accountant 2” – the second installment in an unlikely franchise that isn’t afraid to tinker with its own formula.

VERDICT – 3 STARS

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.

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.

“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.

VERDICT – 3 STARS

Jason Statham is an actor who knows where he shines. He’s a deceptively good actor with a surprising knack for comedy. But his bread and butter is the action genre. Statham has made a name for himself playing tough and gritty characters with his patented intensity and bone-cracking physicality. He certainly brings all of those qualities to his latest feature, “A Working Man”.

This is the latest movie from director David Ayer who’s working from a script he co-wrote with Sylvester Stallone. Their story is based on a 2014 novel by Chuck Dixon entitled “Levon’s Trade. While I can’t speak for the book, there’s nothing especially original about the film’s script, And despite a few sparks, Ayer’s has a tough time maintaining a steady energy. That leaves us relying on Statham whose sturdy charisma holds everything together.

This time around Statham plays Levon Cade, an ex-Royal Marines commando who has put his old life behind him. He now works as a construction manager for a family-owned Chicago-based development business. His employers, Joe (Michael Peña) and Carla (Noemi Gonzalez) Garcia have taken Levon in like family and he has developed a tight relationship with them, especially their spunky 19-year-old daughter, Jenny (Arianna Rivas).

But as always happens in movies like this, Levon is forced back into his old life after Jenny is kidnapped while out on the town with some friends. He makes a pledge to Joe and Carla that he’ll bring their daughter back and then he ‘goes to work’. Human traffickers, drug dealers, corrupt cops, the Russian mafia – they all find their way into the story, clogging things up rather than adding narrative layers as intended.

In several ways “A Working Man” hearkens back to the old-school 1980’s action flicks so many of us grew up on. Statham has always fit into that mold while still possessing his own special brand of action. The 57-year-old gets to show it off throughout the film but not as much as you might expect. That’s because the script packs so much else and has a hard time servicing it all. The slew of villains crammed into it is one thing. But it’s also underdeveloped in other areas including the domestic drama with Levon’s young daughter and his untreated PTSD.

Still Statham ensures “A Working Man” remains watchable throughout. The action we get (though questionably edited at times) is satisfying and Statham gets several good non-action scenes, some of the best being with David Harbour playing Levon’s old military pal. But in the end, the filmmakers pour a lot into what is a pretty thin premise. And despite its bloated middle section which tries to add weight, the overall story is still predictable or formulaic to a fault. “A Working Man” is in theaters now.

VERDICT – 2.5 STARS