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

I’ve had an interesting relationship with James Cameron’s “Avatar”. Without question the 2009 science-fiction epic was a landmark box office achievement. It took theaters by storm, earning its first billion dollars in only 19 days on its way to becoming the highest grossing movie of all time. “Avatar” shattered numerous records, many of which it still holds today. It was a global phenomenon, accompanied by a vast marketing campaign, several companion books, and even its own Disney World attractions.

As for the movie itself, there’s no denying it was cutting edge moviemaking. Cameron made the most of his massive budget in creating one of the most visually breathtaking worlds ever put on screen. But it was the story that I had trouble getting past. I ended up having three main complaints – the copy-and-paste plot, the heavy-handed messaging, the over-the-top characterizations. They drew too much attention away from the extraordinary technical wonder that was “Avatar”.

Over the years and several watches later I’ve softened up on my criticisms of “Avatar”. The most recent call to reevaluation came after seeing the long-awaited 2022 sequel “Avatar: The Way of Water”. It’s a terrific follow-up that (for me at least) shined a new light on the first film. I’ve actually rewatched “Avatar” three times since “The Way of Water” released and have seen my perspective and opinion evolve. Yes, I still think it borrows liberally from other films (“Dances With Wolves” always comes to mind). It’s still a bit clumsy in its messaging. And there are absolutely some exaggerated characterizations.

But after a lengthy reconsideration, I’ve come to some unexpected conclusions. For starters, I think using “copy-and-paste” to describe Cameron’s story is reductive and frankly unfair. He’s clearly pulling inspiration from a number of places. The idea of a foreign invaders persecuting an indigenous people is nothing new. In this case it’s humanity who have depleted Earth’s natural resources. Now they’ve arrived on Pandora to mine a valuable mineral to send back home. The operation is ran by the Resources Development Administration (RDA), an oppressive corporation who force their will on the Na’vi, the blue-skinned humanoid inhabitants of Pandora who live in harmony with nature.

Again, the general outline for the story is familiar, but there’s so much originality in Cameron’s vision, from the world he imagines to the Na’vi culture he creates. Both are key in taking a well-used framework and shaping it into something that pulsates with new creative life. You can’t help but be enamored with Pandora and it’s variety of wildlife, fascinating array of flora, towering waterfalls, and floating mountains. It’s not only an incredible work of imagination, but also visualization. There’s never a moment where Cameron and his VFX wizards aren’t giving us something to take in that’s both stunning and transporting.

As for the messaging, it’s still pretty on-the-nose with Cameron spelling out his numerous stances with varying degrees of effectiveness. His views on the environment, big corporations, and even the military are most impactful when he allows the natural flow of the story to do the talking for him. But there are still lines of dialogue so awkwardly blunt that you can’t help but roll your eyes and laugh. Interestingly, they’re not as noticeable to me as in earlier viewing. But they’re still there.

And then there are the characterizations. In my earliest viewings, Stephen Lang’s Colonel Miles Quaritch, the RDA’s head of security, was the epitome of a ridiculously over-the-top character. He’s a military meathead made even more absurd by Lang’s exaggerated performance. Yet over time I’ve warmed up to the character and the performance. Yes he’s silly to the point of caricature. But Lang has a blast as the chief antagonist and delivers some really good laughs. I can’t say the same for Giovanni Ribisi’s Parker Selfridge, the corporate head of the RDA mining operation. He too is cartoonishly over-the-top, but without a hint of humanity or humor. He’s impossible to take seriously.

Still Cameron gives us a number of great characters including the film’s lead. Sam Worthington plays Corporal Jake Sully, a former Marine and a paraplegic sent to Pandora to take part in the Avatar program. It’s where scientists genetically match a human operator to a Na’vi body. Whether as his human self or in motion-capture, Worthington is terrific in conveying Jake’s frustrations, conflict, and courage. Matching him scene for scene is Zoe Saldaña as Neytiri, the daughter of a local Na’vi clan leader. In many ways she’s the film’s heart and soul.

In addition to building an imaginative world and compelling mythology, Cameron packs a surprising amount of emotion into his story. And of course there is the inevitable final showdown – an edge-of-your-seat thrilling and visually stunning spectacle built around some well developed stakes. Yes, it still has some nagging issues. But over the years I’ve found them to be less pronounced and far less distracting. And even with them, “Avatar” remains a transporting experience – an entertaining blend of old-fashioned adventure and technological wonder.

VERDICT – 4 STARS

In the mood for some goofy and altogether mindless fun? Let me tell you about “Argylle”, the new action spy comedy from director Matthew Vaughn. Full disclosure: I’ve been pretty lukewarm when it comes to Vaughn’s past work. That said, there has always been a certain flair to his filmmaking that I appreciate (he was in line to direct “Man of Steel 2” which sadly never came about).

His latest film takes that signature flair and mixes it with a silliness, self-awareness, and genre tropes galore. And that’s not necessarily a bad thing. Mainly because “Argylle” makes no mistake about what kind of movie it wants to be. It’s unmistakably ludicrous from the get-go which is really the only way a movie like this could ever work. Vaughn and screenwriter Jason Fuchs embrace their gonzo premise, adding an equally all-in cast of big names to bring it all together.

Armed with a $200 million budget, “Argylle” sets itself up as the first film in a trilogy, complete with a surprise ending and even a mid-credits scene. It begins by introducing us to spy novelist Elly Conway (Bryce Dallas Howard) who is trying to put the finishing touches on the fifth book in her popular Argylle series. In need of help with her ending, the introverted Elly loads up her cat Alfie and hops a train for her parents house after her mother (Catherine O’Hara) agrees to help her write the final chapter.

That kickstarts one side of the “Argylle” story. The other side takes part in Elly’s imagination and features the characters she has created for her book series. As Elly types away Vaughn transports us to the fictional world inside her head where super spy Aubrey Argylle (Henry Cavill) and field agents Wyatt (John Cena) and Keira (Ariana DeBose) attempt to stop a voluptuous terrorist known as LaGrange (Dua Lipa). These scenes are intentionally over-the-top and hilariously follow the spy movie formula to the action-packed letter.

Back in the real world, Elly is approached on the train by an animated fellow named Aiden Wilde (Sam Rockwell). He claims that a nefarious spy organization known as the Division are targeting her for the most unexpected reason and he’s there to save her. After beating down a parade of assassins, Aiden grabs Elly and Alfie and makes an improbable escape.

Once to safety, Aiden informs Elly that her novels have intersected with reality. It turns out that her stories have supposedly paralleled with real events in the actual spy world. He tells her about the existence of a flash drive containing detailed files that could expose the Division and bring them to their knees. The head of the Division, Director Ritter (Bryan Cranston) believes that Elly knows the location of the drive and is about to reveal it in upcoming book. So while Ritter wants to neutralize her, Aiden wants to save her in hopes of finding the drive and bringing down the Division.

Before we know it Elly’s two worlds begin to blur as she’s thrust into a life of espionage, globetrotting, and double agents. We’re hit with big reveals and bigger twists by the dozen, and they come from all possible directions. Sometimes they’re genuinely surprising and other times they’re utterly preposterous. But that’s exactly what Vaughn and company are going for and the movie is better for it. In fact, any time I began to worry that things were getting too serious, something absolutely bonkers would happen to put me at ease.

This is summed up best in the film’s action-fueled finish which I won’t dare spoil. But let’s just say it’s one of the most gleefully outrageous things you’ll see on a screen this year. If I were guessing, I’d say for some people the ending will perfectly encapsulate why they dislike this movie. But for others (myself happily included), the final 15 minutes or so is a fittingly nutty culmination of everything the movie has been working towards.

“Argylle” sees Matthew Vaughn having a blast with the campy spy movie formula, taking its many tropes and stretching them to absurd limits. It results in something proudly ridiculous and consistently entertaining. The script is a little messy in spots and making sense out of some of its twists is nearly impossible. It’s also hampered by an unnecessarily long running time. But the steady humor and the big stylish action land well. And what a treat seeing Bryce Dallas Howard getting such a fun and meaty lead role. Pair her with the effortlessly charming Sam Rockwell and you have a duo I’ll follow on any mission. “Argylle” opens today in theaters.

VERDICT – 3.5 STARS

Director Gonzalo López-Gallego is perhaps best known for 2011’s “Apollo 18”, a creepy found-footage sci-fi horror film that never got the respect it deserved. After a few direct-to-video feature films and some work on television, López-Gallego returns with “American Star”, a captivating thriller led by its equally captivating star, Ian McShane.

Set in the Canary Islands, “American Star” tells the tried-and-true story of a hitman on what might be that one final assignment. But rather than going the more conventional action-packed route, López-Gallego and screenwriter Nacho Faerna give us something existential and melancholic. They give us a slow-burning character study that’s far more interested in exploring humanity than generating genre thrills.

What better actor to lead a movie like this than Ian McShane. The 81-year-old Englishman, more recently of John Wick fame, oozes sophistication and charm like few others. Here he plays Wilson, a contract killer who seems worn down by the life he has chosen. He’s quiet and somewhat cryptic; easygoing yet clearly burdened with emotion. McShane conveys it all through a brilliantly tempered performance that allows us to glean as much through sheer observation than anything we hear or are told.

We first meet Wilson as he arrives on the island of Fuerteventura. After renting a car, he drives out to a posh ultra-modern residence in the middle of nowhere only to discover his target isn’t home. So Wilson drives out to the coast and checks into a beachside hotel, intent on waiting for his target to return so he can carry out his job. But over the next couple of days he finds himself drawn to the cozy island and its community which prompts him to contemplate the life he has lived.

There are several things that spur Wilson’s self-reflection. Among them is his reoccurring encounters with a young woman named Gloria (Nora Arnezeder). She’s a bit of a free spirit who immediately takes a liking to him. There’s also a young boy named Max (Oscar Coleman) who’s staying in the same hotel. He’s vacationing with his parents and forms a sweet bond with Wilson. Then there’s his feelings of kinship to an old shipwreck on the other side of the island – a massive vessel called the American Star that has been grounded since the early 1990s.

But no matter how much he entertains these tastes of inner peace, Wilson is frequently reminded of who he is and what he’s there to do. His employer sends a younger fellow hitman named Ryan (Adam Nagaitis) to the island. The two colleagues know each other well and even share dinner. But the more Wilson keeps running into Ryan the more suspicious of his presence he becomes.

López-Gallego’s patience is one of the film’s greatest assets. His deliberate pacing allows the story to develop and unfold organically. And he wisely leans into McShane’s scene-carrying charisma and the gorgeous cinematography of José David Montero who artfully captures the many facets of the alluring island, often using his images to convey something much deeper than just pretty scenery.

I can almost sense specific criticisms “American Star” will face. Some may feel it meanders while others may say nothing happens. There may even be some who are hungry for more action. I get those critiques to a degree. But (respectfully) they almost seem rooted in a misunderstanding of what this film is going for. “American Star” is far less interested in intricate plotting or genre expectations. It’s a pensive yet slightly opaque character study that delves into the complexity of life via one man’s soulful reckoning. He just happens to be a hitman with a job to do. “American Star” releases January 26th in select theaters and on VOD.

VERDICT – 4 STARS