Galaxy-hopping starships, giant mechs, a rouge artificial intelligence, and J.Lo. Most of those things go together pretty well. But the one ingredient you might not have expected is ‘Jenny From the Block” herself, Jennifer Lopez. She stars in “Atlas”, Netflix’s new science fiction action thriller from director Brad Peyton that is positioned as one of the platform’s big summer blockbuster offerings. Sporting a budget of $100 million, the streaming leader is putting a lot into the movie. And for the most part their investment pays off.

Peyton, along with co-writers Leo Sardarian and Aron Eli Coleite, pull inspiration from a several pop culture corners including James Cameron’s “Aliens”, the Tom Hanks classic “Cast Away”, and the video game series “Titanfall”. Clearly a ton of effort is put into realizing the richly diverse futuristic setting. There’s impressive creativity in the cityscapes, technology, and weaponry, much of it presented through some pretty spectacular digital artistry. The visual effects really shine once the mech suits come into play and the action kicks into gear.

While Lopez has never ventured into the world of sci-fi (unless you count 2000’s “The Cell”), she’s no stranger to action films. With “Atlas” she gets to flex her muscles in both. And she has a really good supporting cast around her that includes Sterling K. Brown, Mark Strong, and Simu Liu. The story itself doesn’t break new ground, but it has a sturdy enough framework to make “Atlas” a fun and diverting popcorn movie, especially for lovers of genre and fans of J-Lo.

Lopez plays Agent Atlas Shepherd, a cynical and antisocial data analyst and counter terrorist specialist who has spent years of her life hunting a rogue artificial intelligence named Harlan (Simi Liu). Despite being created to advance humanity, Harlan is now intent on destroying it. He’s tried once resulting in the deaths of three million people. He was ultimately thwarted and fled the planet. That was 28 years ago.

After capturing an AI terrorist loyal to Harlen (Abraham Popoola), Atlas is brought in to question him. The information she gathers helps trace him to planet GR-39 of the Andromeda Galaxy where he is gearing up for another attack. General Jake Boothe (Strong), a friend and supporter of Atlas, reluctantly agrees to let her join the mission to take down Harlan. She’s put under the command of Colonel Elias Banks (Sterling K. Brown), a noble but overconfident leader of an elite squad of Rangers who pilot heavily-armed AI-assisted mechs.

As their starship enters the atmosphere of GR-39 they’re hit with a barrage of rockets from the planet below. With the ship critically damaged and on the verge of being destroyed, Elias seals Atlas inside of a mech and jettisons her into the clouds. As she is plummeting towards the surface, Peyton surrounds her with a jaw-dropping dogfighting sequence that sees the Rangers in mechs battling it out in the air against Harlen’s forces. The scene is a little cartoonish but exhilarating nonetheless.

The majority of the story follows Atlas after she reaches the surface – alone, stranded, and trying to navigate an unknown and hospitable planet that’s swarming with Harlen’s soldiers. To survive she’ll need the help of her mech’s AI program named Smith (voiced by Gregory James Cohan). But that will require her to overcome her intense distrust of artificial intelligence. Easier said than done.

Again, the story isn’t anything all that fresh or innovative. Several ideas and themes from the sci-fi side of the story have been done elsewhere in a variety of different ways. Yet the pieces, especially when joined with the wild visuals, still coalesce into something entertaining. It’s the personal stuff that doesn’t really work. The film tries to infuse a deeper and more emotional layer to Atlas through a thin backstory that explains her cynicism towards AI. Themes of haunting guilt and personal regret are touched on. Unfortunately they feel tacked on rather than essential to the storytelling.

While the well-meaning personal stakes may not land as planned, Lopez pours herself into her performance, earning our empathy while impressing us with her intense physicality. Liu makes for a formidable although fairly conventional villain while Strong and Brown (sadly) aren’t given much to do. So that leaves Lopez and the VFX team to carry the load which they manage to do with surprising proficiency. In the end, “Atlas” doesn’t challenge or provoke, but it does entertain. There’s some good action, cool world design, and even some wry wit to keep things light. So know what you’re in for. It might help you enjoy what you get. “Atlas” is now streaming on Netflix.

VERDICT – 3 STARS

Genres collide in “Abigail”, the insanely bloody and equally bonkers new film from co-directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”, “Scream VI”). The duo’s latest effort mixes action, survival, vampire horror, and black comedy into one grisly B-movie cocktail that should have been a lot better than it actually is. What we end up with is an unfortunate misfire built on the misguided notion that if you throw enough blood and f-bombs at your audience they won’t notice the flaws.

The movie’s biggest draw may be its fun and all-in cast. Melissa Barrera, Dan Stevens, Kathryn Newton, Kevin Durand, and even the great Giancarlo Esposito all have parts in its killer ensemble. But the cast member many people will be talking about is 14-year-old Alisha Weir. She plays the film’s titular character and let’s just say her performance has some bite to it. But a good cast can only do so much especially when they’re frequently left to get by on nothing but their own charm and charisma.

In this case the chief culprit is the script. Written by Stephen Shields and Guy Busick, the premise is simple enough and perfect for lots of fun genre indulgences. They have all sorts of cool inspiration they’re pulling from. And (again) there’s that cast who all seem fully committed to whatever they’re asked to do. When all considered, this should have been a sure-thing. But the paper-thin characters and the shallow dialogue starts to wear on you. Unfortunately for us the film doesn’t veer from its formula. So we’re left with more arguing, more f-bombs, and less brain cells.

“Abigail” opens by introducing us to a group of kidnappers, each with broadly defined specialties and even broader personalities. They’re complete strangers to each other but handpicked by their employer. There’s the hard-nosed leader Frank (Stevens), the medic Joey (Barrera), the dense but lovable muscle Peter (Durand), the ditzy young hacker Sammy ( Newton), the zoned-out getaway driver Dean (the late Angus Cloud), and Rickles (William Catlett), the team sniper because what team doesn’t need a sniper?

Their job is to kidnap a young girl named Abigail (Weir) as she returns home from ballet practice. They pull it off with remarkable precision and then drive the girl out to an abandoned mansion in the middle of nowhere where their handler named Lambert (Esposito) is waiting. When they arrive Lambert informs them that they are to stay at the mansion and watch Abigail for 24 hours while he retrieves the hefty ransom from her wealthy yet mysterious father. After he returns they’ll all get paid and can go their separate ways.

As the six settle in for the next several hours the movie tries to open up their characters through some back-and-forths that don’t really add much depth at all. They mostly argue and insult each other which makes them more insufferable than interesting. There are a couple of exceptions. Newton is by far the most entertaining, possessing an infectiously wacky energy that I kinda loved. Durand has some really funny lines but the writers overplay the ‘dumb’ card. And Catlett is the least offensive only because his character is the most thinly-sketched of them all.

And that leads to the film’s big reveal (it’s early on and in all the advertising so not really a spoiler). Abigail isn’t the sweet innocent little girl fearing for her life. She’s actually….a vampire and her six kidnappers are what’s on the menu. It’s a crazy turn of events that gives a little more context to the film’s hilarious tagline “Children can be such monsters”.

From there “Abigail” follows the six as they try to survive while sealed inside a sprawling mansion with a literal bloodthirsty vampire. Again, it’s a premise that should be a slam-dunk. But the movie uses all of its tricks early. And then rather than try some new ones it just uses the old ones over and over again. The humor dries up pretty quick and there’s not a scare to be found anywhere. And the one swing at an emotional payoff doesn’t land and isn’t earned at all.

I don’t want to sound like there’s nothing to like about “Abigail”. Again, the cast is a fun one with Newton being the brightest light. The oceans of blood can be quite fun early on. And there are a smattering a genuinely funny lines (Abigail uttering “I like to play with my food” remains my favorite). But in this case the good can’t outweigh the bad and my brain had already checked out before the seemingly never-ending final battle arrived. “Abigail” is in theaters now.

VERDICT – 2 STARS

The latest film in Nicolas Cage’s vast and rapidly growing filmography is “Arcadian”, an action horror movie from director Ben Brewer. Cage undoubtedly remains one of the most versatile actors working today and here he gets to play a devoted father trying his best to keep his teenage sons alive in a perilous post-apocalyptic world. It’s a good role for Cage, and his more subdued performance serves as a good reminder of the great range he still possesses.

Screenwriter Michael Nilon melds coming-of-age drama elements with end-of-the-world terror to tell a heartfelt family story that is just as much a good old-fashioned creature feature. What sets this film apart from so many others is that these ravenous nocturnal monsters are uniquely terrifying, from their bizarre otherworldly design to the creepily clever way Brewer uses them. And then there’s the family dynamic and the compelling places Nilon takes it.

The story is set within a vaguely defined but terribly dangerous dystopia. Not much is revealed about the world other than there was an environmental disaster that contaminated the air and water resulting in the collapse of society. Paul (Cage) has taken his two teen sons, Joseph (Jaeden Martell) and Thomas (Maxwell Jenkins), and made a home in a remote farmhouse. During the day they scavenge for supplies in the lawless remains of a nearby city. At night they board up all the windows and reinforce the doors. Because that’s when the vicious feral creatures come out and roam.

The first half of the film sees Paul as the anchor. Cage shows seasoned restraint in portraying a man doing his best to be a loving father while teaching his sons how to survive. But about midway through the movie shifts its focus towards the two brothers. They couldn’t be more different. Joseph is quiet and reserved yet bookish and a thinker. Thomas is more athletic and outgoing but headstrong to the point of being irresponsible and careless. Joseph studies and tinkers, trying to find ways to enhance their survival. Thomas slips off to a neighbor’s farm to flirt with their daughter Charlotte (Sadie Soverall), barely making it back home before dark.

One evening, Thomas’ carelessness sets in motion a chain of events that forever change this family’s lives. It’s something that highlights the brothers’ differences while also revealing their need for one another. And yes, it does involve the creatures who have a prominent role in the film’s gonzo final act. This is where Brewer really gets to have fun with his nightmarish creations. He cooks up some good tension and a real sense of peril. He also does well creating atmosphere that ranges from uneasy to downright suffocating.

With “Arcadian”, Brewer (smartly) doesn’t try to reinvent the wheel. He embraces several genres while instinctively adding his own creative strokes to each one. He also makes time for quieter moments which allow Nilon’s human component to take form. This proves to be a key ingredient, as it often does with the better movies of this kind.

While watching “Arcadian” the shadow of “A Quiet Place” is pretty hard to miss. But this isn’t some stock quality clone. The film has enough of its own style and flavor to stand out. I do wish we were give more about the world and the gnarly creatures that threaten it. And some of the early character choices don’t make a lot of sense. But Brewer keeps us locked in and on the edges of our seats throughout. Overall “Arcadian” is a genre lover’s delight that never loses sight of the humanity at its core. “Arcadian” is in theaters now.

VERDICT – 3.5 STARS

Not to be confused with David Michôd’s gritty Australian crime thriller with almost the same name, “The Animal Kingdom” from director Thomas Cailley couldn’t be more different. Part fantasy and part coming-of-age drama, Cailley’s movie (which he co-wrote with Pauline Munier) is filled with big ideas and even better intentions. But as it progresses those ideas grow more and more familiar. And those good intentions alone have a difficult time holding our interest.

“The Animal Kingdom” drops us into a world where a wave of unexplained mutations are causing humans to gradually transform into animals. Birds, wolves, bears, octopuses, chameleons, you name it. The movie never attempts to explain the origin of the mutations or why certain people become certain animals. In a sense it’s disappointing as it feels like a missed opportunity to take the story in some fascinating directions. But it quickly becomes evident that Cailley is much more interested in the human element which makes his focus on his characters understandable.

Romain Duris plays Francois, a husband and father who has a lot on his plate. His wife Lana is in a facility undergoing treatment for her own animal mutation. Her doctors have no idea how to treat her and want to move her south to a new treatment center. Francois agrees – a decision that adds stress to his relationship with his teenage son Emile (Paul Kircher). Francois rents out a small house near Lana’s new location and gets a job as a cook while Emile enrolls in an area high school.

While transporting Lana, the bus carrying her and other mutants crashes during a storm leading them to escape into the nearby forest. Local authorities, including a sympathetic and compassionate officer named Julia (Adèle Exarchopoulos), begin searching for the patients but are ordered to stand down as the military takes over. Unhappy with the results, Francois and a reluctant Emile begin searching the forests despite them being ruled off limits by the police.

As Emile tries to please and support his heartbroken father, he also tries to fit in at his new school. He takes a special liking to a classmate named Nina (Billie Blain) and the two begin to grow close. Emile’s attempt to balance these two sides of his life play a big part in the story. And both become significantly more difficult after he himself begins showing signs of a mutation. He tries to hide the signs at first, knowing the consequences he’ll face in the mostly intolerant society.

From that synopsis you get a taste of the social commentary Cailley is interested in. To his credit he’s not overbearing with it. But he’s not particularly subtle either. In fact, sometimes his messaging is so pointed that it can be hard to buy into certain scenes. But much more than that, the film’s biggest issue is with its pacing. There are several slow patches where the story doesn’t seem to go anywhere. It meanders to the point that you really feel the film’s 130-minute length.

“The Animal Kingdom” isn’t without its strengths. The performances are mostly strong led by Duris who never seems to deliver a bad performance. Here he often puts the film on his back and carries it. We also get some impressive makeup and digital effects, seen mainly in the mutations and in Emile’s gradual transformation. But the movie does start to drag and it could have benefited from having around 20 minutes shaved off. That’s what ultimately drags the film down and keeps it from really resonating the way it intends. “The Animal Kingdom” opens in select theaters and on VOD Friday, March 15th.

VERDICT – 2.5 STARS

If you’re like me, I’m guessing the pairing of Peter Dinklage and Shirley MacLaine probably wasn’t a big screen duo you were expecting to see in 2024. Yet the two come together in “American Dreamer”, the first feature film from director Paul Dektor. Premiering all the way back in 2022 at the Tribeca Film Festival, this well acted and subtly funny black comedy is finally getting its proper release courtesy of Vertical.

“American Dreamer” is based on a segment from Chicago Public Media’s weekly hour-long radio program, “This American Life”. Written for the screen by Theodore Melfi, this adaptation is ever so loosely based on a true story, told through a medley of characters who are brought to life by an interesting and well-tuned cast. But while the script is a big reason the movie and most of its characters work, it’s also a key reason why the movie stumbles in a few fairly noticeable places.

A well-cast Dinklage plays Phil Loder, a frustrated cultural economics professor at Brockton University. It’s easy to understand Phil’s discouragement. He’s underpaid and underappreciated by his colleagues. And his personal life isn’t much better. He’s twice divorced from the same woman who ended up taking every dime he had.

All Phil wants to do is write his novel and fulfill his dream of owning his own home. But not just any home. He’s obsessed with multi-million dollar luxury estates. So much so that he frequently attends high-end open houses held by his smarmy real estate agent friend Dell (Matt Dillon). Despite making under $50k a year, Phil refuses to lower his goals to something more realistic. In his mind there has to be a way to realize his dream.

And that’s when Phil stumbles upon a classified ad that could change his life. A lonely and ailing widow named Astrid Finnelli (MacLaine) is seeking to sell her sprawling lakeside mansion. Childless and near death, Astrid sets the price of her mansion and property at $5 million “as is” or $240,000 if the buyer agrees to live there with her until her death. At the time of her death, the home will then be deeded to the tenant. Thinking there’s no way the elderly Astrid will live long, Phil liquidates his entire 401K and sells everything he owns to muster up the $240,000.

We immediately see hints that the deal might be too good to be true starting with the rundown living quarters where Phil is assigned for his stay. It’s adjacent to the immaculate main house but a far cry from the luxury accommodations he was expecting. Things get even more suspicious with the arrival of the all-business Maggie (Kim Quinn) who from every indication appears to be Astrid’s daughter. Before long the scenario Phil imagined begins to crumble under the weight of reality.

Dektor knows what he has in Dinklage who proves to be a great match for the material. The actor’s signature somber eyes and dry wit fits well with a character identified equally by melancholy and humor. MacLaine doesn’t get a lot to do but she’s terrific whenever she’s on screen. Dillon is properly slimy and we even get the great Danny Glover playing a seasoned (and quite funny) private investigator.

On the negative side, the film’s occasional swings at slapstick don’t always land and often feel out of place with the rest of the movie. Even worse is the handling of the female characters. Outside of MacLaine’s Astrid, the women don’t fare very well. Some of their actions make no sense and come without any reasonable motivation whatsoever. Both are story issues that are hard to overlook (especially the latter). They don’t fully undermine the strong performances from Dinklage and MacLaine. But they do reveal some bad calculations that the movie can’t quite shake. “American Dreamer” releases March 8th in theaters and on VOD.

VERDICT – 2.5 STARS

It may be tempting to instantly dismiss “A Chance Encounter” as another warm and fuzzy romance, especially after the meet-cute between the film’s two protagonists, elegantly framed by the scenery of the gorgeous Italian countryside. While there is undoubtedly a tender component to its story, writer-director Alexander Jeffery steers clear of the overly sweet and syrupy. His interests lie elsewhere, namely in his two wandering artists and their struggle to find the courage to believe in themselves.

Hal Flynn (Paul Petersen) is a talented writer who owns a print shop with his brother in Iowa. He’s an aspiring poet but his lack of confidence in his own abilities leads him to keep his work to himself. After being left a sizable sum of money by his late mother, Hal decides to travel to Sicily in hopes of finding inspiration and to help cope with his loss.

In the cozy tourist town of Taormina, Hal has the titular ‘chance encounter’. He meets a fellow American named Josie Day (played by singer Andrea von Kampen in her acting debut). Josie is a famous-ish folk singer from Minnesota who’s having a hard time putting together songs for her sophomore album. So she strolls through town with her Martin acoustic guitar, singing and playing whatever comes to mind.

I won’t spoil the details of their meeting but there is clearly some chemistry between them. The two meet up several times over the next few days, just walking and talking (think Richard Linklater but with lighter and less existential musings). As they do, Jeffery treats us to a buffet of captivating locations including historical landmarks, quaint parts of town, and stunning vistas that highlight Italy’s beauty.

The more time Hal and Josie spend together the more they begin opening up to each other and us. We learn they both have secrets that they’re not quite ready to share and insecurities that are weighing them down like an anchor. Yet they find solace in each other’s company. Things really accelerate after Josie invites Hal to come stay with her in her lavish villa. Nothing romantic she insists. “A writer’s retreat.”

Of course we can tell they’re avoiding the obvious. Jeffrey (who co-wrote the script with Peterson) lures us into wondering if the same lack of confidence that keeps them from pursuing their art will also keep them from admitting their feelings for one another. To his credit he avoids the temptation to go the conventional route. And there’s something refreshing about a relationship that remains mostly platonic, which allows the characters to grow naturally rather than by some by-the-book genre blueprint.

The story gets needlessly complicated by the introduction of another American tourist whose sole purpose seems to be a hurdle. There are also times where the lack of acting experience from the two leads is pretty evident. But there’s so much to like in this sincere and engaging indie drama. Von Kampen’s soulful original music, the choice to shoot on location, the willingness to explore a relationship beyond what we have come to expect from these films – just some of the strengths that make this such a treat to watch.

VERDICT – 3.5 STARS