Sydney Sweeney and Glen Powell make an attractive pair for sure. But that’s not enough to save the lackluster “Anyone But You”, a sparkless romantic comedy that checks off plenty of boxes while trying to get by on mere looks alone. Director Will Gluck offers up yet another spin on Shakespeare’s “Much Ado About Nothing”. But aside from a few glimmers of promise, this by-the-numbers rom-com never gets off the ground.

“Anyone But You” has one of those annoying stories where the driving conflict could easily be avoided or solved with one simple and obvious conversation. But that conversation doesn’t come until the very end which is a contrivance the flimsy script (penned by Gluck and Ilana Wolpert) desperately needs to keep going. And even then, it hits you with nothing that you won’t see coming from a mile away.

Bea (Sweeney) and Ben (Powell) meet in a coffee shop and proverbial sparks fly. They end up going back to his place where they spend all night talking before falling asleep in each other’s arms. Bea wakes up first and quickly slips out, terrified of the strong feelings she suddenly has for Ben. Heartbroken because she left without saying a word, Ben feels that he’s been duped, leading him to trash Bea to his best friend Pete (GaTa). But what he doesn’t notice is that Bea has returned to share how she feels and overhears Ben. She again slips away unnoticed. But as fate would have it, the two meet again six months later, both bitter and angry at the other but for much different reasons.

In a stroke of convenience, it turns out Bea’s sister (Hadley Robinson) is engaged to Ben’s friend (Alexandra Shipp). They’re set to be married in Sydney, Australia so everyone flies down under where they’ll spend the next few days at a luxurious oceanside estate. Bea and Ben’s growing animosity begins to threaten the wedding. That is until the two form a pact. In another convenient turn, both of their exes arrive for the wedding. So Bea and Ben agree to pretend they’re together in hopes of solving their problems with their former flames. Of course hijinks ensue.

The bulk of the film’s 100 minutes has us following this uninteresting group of rich and privileged people as they navigate their rich and privileged problems within their very rich and privileged world. There are moments of charm and there are times when we get flickers of romantic tension between Sweeney and Powell. But two good-looking people doesn’t automatically equal chemistry.

Powell is up for the task, but too often he’s handed dialogue that no amount of good acting could sell. It’s a little more complicated for Sweeney. Her room-temperature performance more closely resembles flat line-reading than anything from the heart. It isn’t until late into the movie that we actually see something from her that feels like real emotion. The mixed bag of supporting work doesn’t help. Some are able to overcome the material, but none can make their characters the slightest bit compelling.

And if the corny dialogue, bland characters, and predictable story weren’t enough, the vain attempts at humor only makes things worse. This is especially true with the physical comedy, most of which is embarrassingly bad for everyone involved. So many of the other gags land with a thud as well. It’s all so painfully unfunny that the movie is never able to recover once it does try to be more serious. It leaves us with an uninspired mess of a movie lacking even a trace of heart, humor, or humanity to cling to. “Anyone But You” is in theaters now.

VERDICT – 1.5 STARS

For some of us there’s a pinch of sadness baked into the new Aquaman movie. This marks the final film in what was once called the DC Extended Universe. The DCEU started incredibly strong and offered moviegoers with a healthy alternative to the lighter Marvel formula. Sadly, some poor studio decisions combined with dismissive reactions from many cut from the MCU cloth led to the superhero universe’s demise before it ever had the chance to fulfill its original vision.

James Gunn has been hired to reboot the DC Universe but who knows how that’s going to turn out. As it is, “Aquaman and the Lost Kingdom” clears the way for Gunn. In terms of expectations, this is a movie that felt doomed from the start as critical pitchforks were already sharpened and torches pre-lit. That’s a shame because “Aquaman 2” is a hoot – a proudly wacky and over the top romp full of wild world-building and cool action. Color me surprised.

James Wan returns to direct following the massive box office success (over $1.1 billion) of the 2018 first film. And of course Jason Momoa reprises his role as the rambunctious and reluctant King of Atlantis, Arthur Curry. As the movie begins, Arthur has married Mera (Amber Heard) and the two have a healthy baby boy, Arthur Jr. All is well in the world, right?

Well, of course not. First off, being King of Atlantis has proven to be a lot harder and more demanding than Arthur expected. In addition to his underwater peacekeeping and diplomatic duties, there’s also political turmoil between him and the Atlantean council of bureaucrats. He believes it’s past time they reveal themselves and form an alliance with the surface dwellers. The cynical council is determined to keep their existence a secret.

But a bigger and far more deadlier challenge arises with the return of David Kane (Yahya Abdul-Mateen II), a ruthless high-seas mercenary whose burning drive to avenge his father’s death has pushed him over the edge. David has recruited Dr. Stephen Shin (Randall Park), a marine biologist obsessed with proving the existence of Atlantis. Together they search for Atlantean artifacts which David needs to repair and upgrade his Black Manta armor before he can take on Aquaman.

While searching in the Arctic David discovers the mysterious Black Trident, a weapon of immense power that connects its wielder with its creator, Kordax (Pilou Asbæk), the ruler of the lost Atlantean kingdom of Necrus. Kordax pledges to provide David with the means to defeat Aquaman in exchange for freeing him from his icy prison. David and Arthur inevitably clash, fighting to a draw. Realizing David is more powerful than when they first met (see the first film), Arthur seeks help from the last person he wants to ask, his imprisoned half-brother Orm (Patrick Wilson).

As the movie progresses we see Wan dabbling in numerous genres, nodding to several of his inspirations, and just doing his own wild and crazy thing. It’s a bit like what you’d get if you rolled together a buddy comedy, a creature feature, and sci-fi fantasy. Certain moments will have you thinking it’s underwater Star Wars while later scenes give off distinct Lord of the Rings vibes. And then there’s Wan’s own inventive world-building. From deep-sea cities, to a mutated volcanic island, to a decayed kingdom buried under ice, Wan and his digital effects team have a field day creating fantastical places and populating them with a gonzo variety of life. Bouncing from one visually stunning location to the next turns out to be an absolute blast.

Wan’s vision for “Aquaman 2” is often awe-inspiring, sometimes thrilling, routinely funny, and consistently entertaining. The great comic chemistry between Momoa and Wilson provides some big laughs. Temuera Morrison’s return as Arthur’s father brings some heart. The film’s self-awareness adds to the fun, providing us with such patent silliness as loyal octopus sidekicks and Dolph Lundgren riding a seahorse. It’s such a bonkers mix and I get that mileage may vary depending on your tastes. But Wan has mostly delivered beyond what I expected. And even with some noticeable flaws, “Aquaman 2” is a satisfying swan song for the late and sometimes great DCEU.

VERDICT – 3.5 STARS

Justine Triet’s scintillating French feature “Anatomy of a Fall” was the big winner at this year’s Cannes Film Festival, taking home the coveted Palm d’Or along with the praise of most critics. Picked up by NEON for distribution, the film is on its way to a wider audience who will get to experience what is one of the most riveting courtroom dramas of recent years.

But narrowing Triet’s film down to the courtroom would be a gross disservice. There’s so much more packed into this lengthy but compelling feature. It’s also a well-crafted crime mystery. It’s an insightful analysis of a broken marriage. And it takes a look at a touching yet complex mother-son relationship. There is a lot to unpack along the way. And there’s enough ambiguity throughout to have you second guessing much of what you see. But that’s a testament to Triet’s craftiness and a big part of what makes the film work.

In what is one of the year’s best performances, Sandra Hüller plays Sandra Voyter, a translator living with her novelist husband Samuel (Samuel Theis) and their 11-year-old visually impaired son Daniel (Milo Machado-Graner). The family lives in a cozy mountain chalet at the base of the French Alps. This gorgeous scenic setting will soon become the site of tragic accident, the scene of a crime, or perhaps something else entirely. Trier and production designer Emmanuelle Duplay get us well acquainted with the location – a place under great scrutiny for the first half of the film.

One sunny day Daniel takes his guide dog out for a walk. Upon arriving back home he discovers his father laying in the snow, dead from an apparent fall from the house’s third-floor attic window. Sandra rushes outside after hearing her son’s cries and soon the police are on the scene to begin their investigation. A deep head wound immediately raises suspicions and Sandra finds herself as the chief suspect. Before long she’s officially indicted.

Sandra seeks the help of a savvy lawyer friend named Vincent (Swann Arlaud) who takes her case and begins building her defense. Sandra is adamant that her husband fell. “Yea but nobody’s going to believe that”, Vincent bluntly professes. “I don’t believe that.” The inconclusive autopsy results don’t help. From there new details arise and new evidence comes to light. Fresh revelations prompt an array of new questions about the family and their relationships.

Of the film’s many strengths, perhaps tops on the list is Triet’s extraordinary screenplay. It’s highlighted by her handling of characters, by the depth of her story, and by some of the most engrossing dialogue you’ll come across this year. This comes out most in the courtroom scenes where old baggage is spilled out and shallowly buried secrets are unearthed. Together with Hüller’s superbly calibrated performance, Triet shows small cracks in Sandra’s veneer as her entire life is laid bare by the prosecution. But she holds it together, leaving us with even more uncertainty.

“Anatomy of a Fall” can be a bit cold at times yet it’s not without an emotional current. And while it will never lose your attention, it probably didn’t need to be two-and-a-half hours long. But those are minor beefs especially when considering what Triet has achieved. She has put together a smart and sophisticated story, brought to life through her precise and confident direction. It’s pretty easy to see why it has received so much praise from Cannes and beyond.

VERDICT – 4 STARS

The great Jeffrey Wright remains one of the sturdiest and most reliable actors working today. Whether it’s a big budget superhero movie or a quirky Wes Anderson comedy, as cliche as it is to say, he tends to make every movie he’s in better. His latest, “American Fiction” is a testament to that truth. Based on author Percival Everett’s 2001 novel “Erasure”, the film hands Wright some tricky material that not just anyone could handle.

Written and directed by Cord Jefferson (making his feature film debut), “American Fiction” was presented as a straight satire in most of the marketing. It’s actually something quite different. The movie certainly has its funny moments, and the wacky premise from the advertising is still there. But “American Fiction” is much more of a family drama. These two sides of the story work together well enough for a while. But over time they begin to pull apart and feel more separated. By the third act it’s almost as if we’re watching two different films. Thankfully the one constant is Wright who is the glue that holds it all together.

Wright plays Thelonious “Monk” Ellison, a brilliant college professor and talented novelist who is going through a rough patch. He’s been asked to take a leave of absence from the university after a family complained about his….frankness. And as for his writing, he can’t get a publisher to pick up his new book, a modern-day retelling of Aeschylus’ “The Persians” (I wonder why). But what sours him most is how society has corralled Black voices into one small narrowly-defined box.

Monk heads from California to Boston to reconnect with his family who he’s barely spoken to since his father died years earlier. He begins with his sister Lisa (Tracee Ellis Ross) who was left to take care of their ailing mother (Leslie Uggams) on her own. The siblings have a feckless and unreliable brother, Cliff (Sterling K. Brown). But he’s much more interested in sewing his wild oats than chipping in to help with his mom. So we have a strained family dynamic. But interestingly there’s more to these characters beyond our first impressions, and Jefferson pours a lot of time into defining them.

Meanwhile back on the more satirical side of the story, Monk grows more angry with each new rejection he gets from publishers. His agent, Arthur (John Ortiz) tells him books like his are a hard sell in the current climate. He tells him that publishers are after more “Black” books. Something like the current bestseller “We’s Lives in Da Ghetto”, a novel by the “groundbreaking” Black author Sintara Golden (a fabulous Issa Rae).

Annoyed, Monk facetiously writes his “Black” novel, mockingly embracing every cultural stereotype and societal depiction. He titles it “My Pafology” and uses the pseudonym Stagg R. Leigh to heighten the absurdity. Monk gives it to Arthur demanding that he send it out to publishers. He does so as a prickly joke, but he’s floored after his book is quickly picked up. It becomes a huge hit much to Monk’s chagrin. Soon he’s being asked for interviews, to do promotional tours, and there’s even talks of a movie adaption (Adam Brody is hilarious playing a Tarantino wannabe director).

While all of this is going on, Monk’s life back home seems as if it’s happening in another universe. He hits it off with a neighbor named Coraline (Erika Alexander). Meanwhile his mother is diagnosed with Alzheimer’s leaving the family with some difficult decisions to make. And that just scratches the surface of the story’s domestic angle. Again, Jefferson puts a lot of time into building these relationships. It’s what he seems most interested in. And so much so that the craziness of the comedy side rarely seeps into the family drama.

As a result of juggling what feels like two different movies in one, “American Fiction” ends up longer than it needs to be. Despite being thoughtful and compelling for most of its running time, the family stuff leans a little too melodramatic near the end. At the same time, the satirical stuff wraps up on a clever yet slightly unsatisfying note.

All of that aside, both the drama and comedy have good things to say about racial politics and more specifically Black representation. The song choices and Laura Karpman’s jazzy score are pitch-perfect (I was hooked the moment “Without You” by Ace Spectrum starts playing over the opening credits). There are several other good ingredients scattered throughout (Myra Lucretia Taylor as the Ellison family’s housekeeper is pure gold). And of course there’s Wright. It’s so good to see him get this kind of meaty, well-conceived lead role. Hopefully Hollywood takes notice.

VERDICT – 3.5 STARS

As a long-time fan of Bruce Willis, it grew tough watching his movies go from box office gold to straight to video garb. But when news came out of his declining health (he’s since been diagnosed with frontotemporal dementia), it became clear why he had moved away from big studio productions and to smaller and easier roles. As a result of his condition, last year Willis’ family announced his retirement from acting. Suddenly movies didn’t seem all that important.

Since 2019 he has appeared in 26 straight direct-to-video movies, many of which used him heavy in their promotions. Interestingly, he only had small supporting roles in most of them. The same is true with “Assassin”, a sci-fi thriller from first-time director Jesse Atlas that turns out to be the final film appearance of Willis’ impressive 43-year career.

Unfortunately “Assassin” is yet another VOD dud but it certainly can’t all be put on Willis. There are several significantly bigger problems that end up dragging the movie down. Based on the short film “Let Them Die Like Lovers”, the movie has a premise that is ripe with potential. But it doesn’t have the budget or (more importantly) the creative know-how to pull it off. And it definitely doesn’t do enough for us to look past the uninspired performances, cringy dialogue, and painfully dull action.

The story (written for the screen by Atlas and Aaron Wolfe) follows Alexa (Nomzamo Mbatha) who is shocked when her husband and fellow U.S. Army soldier Sebastian (Mustafa Shakir) comes back from his tour in a coma. Desperate to learn more about what happened to him, Alexa begins digging and discovers that Sebastian was actually on a super-secret mission working for a man named Valmora (Willis).

Valmora and his associates Olivia (Fernanda Andrade) and Marko (Barry Jay Minoff) makeup a poorly defined black ops team who possess a technology that enables them to digitally map an agent’s consciousness into another person’s body. They can then use that body to carry out all kinds of missions, most notably assassinations. How it all works is anyone’s guess. The movie certainly doesn’t seem to care. All they need to pull it off is a bathtub, a laptop, and something that looks like an old car part (that’s what the movie tries to pass off as state-of-the-art tech).

When Alexa finds Valmora he informs her that a dangerous fixer and smuggler named Adrian (Dominic Purcell) has stolen a tiny piece of their tech that must be recovered if Sebastian is to ever wake up from his coma (don’t ask). So Valmora recruits Alexa to take over the the minds of strangers and assassinate those close to Adrain leaving him vulnerable. Then she can take him out and steal back the tech that can bring back Sebastian.

As you might expect they hit a few snags that by design usually adds tension to a story. That’s not the case here mainly because the movie shows no sense of urgency. There’s no energy or excitement. It toys with thought-provoking ideas and poses some meaty questions especially when digging into the moral queasiness of entering and controlling another’s body. “We kill the bad guys. Someone else takes the fall.” That line alone should provoke some compelling considerations. Unfortunately “Assassin” doesn’t do anything with the boxes it opens up.

And that speaks to the movie’s biggest problem. Yes, “Assassin” is plagued with bad performances throughout and the action never (and I do mean never) gets to room temperature. But it’s the script that turns out to be the biggest liability. The wafer-thin characters fumble through equally shallow (and sometimes astonishingly lame) dialogue. There’s no worthwhile hero or villain. And the story has so many holes it quickly devolves into something impossible to latch onto.

It’s truly heartbreaking to see Willis’ career end on such a sour note. But that doesn’t take away from the years of great characters, great energy, and great personality he has given us. From “Moonlighting” to “Die Hard” to “Pulp Fiction” to “The Sixth Sense” to “Moonrise Kingdom”. What a terrific filmography. And because of that, we will always be grateful. “Assassin” is streaming on Hulu”.

VERDICT – 1.5 STARS

It seems unnecessary, but for some reason I begin every Wes Anderson movie review with a PSA. That’s because after eleven feature films to his credit, one thing is for sure – Anderson has a profoundly unique style all his own. It’s unmistakably his and he has stuck with that style throughout his career. It’s equally evident that his same strikingly unique style isn’t for everyone. And if you’ve seen any of Wes Anderson’s movies you should have a good idea of what to expect whenever a new one comes around.

The newest comes in the form of “Asteroid City”, another star-studded comedy full of Anderson faithfuls and a few new names hopping into the filmmaker’s sphere for the first time. Old reliables like Jason Schwartzman, Tilda Swinton, Adrien Brody, Edward Norton, and Willem Dafoe (among others) pop up throughout his latest yarn. And then newcomers like Tom Hanks, Scarlett Johansson, Margot Robbie, Maya Hawke, and Steve Carell take swings at Anderson’s specific brand of humor. It’s a robust cast who really help bring this wacky world and even wackier story to life.

Throughout his career Anderson has used quirk like a French impressionist used oil paints. In “Asteroid City” it colors nearly every inch of his cinematic canvas. If you’ve watched any of the trailers it’s obviously seen in the film’s peculiar yet eye-popping visual style. But true to Anderson’s other work, it’s also seen in the gaggle of eccentric (and routinely funny) characters. And of course there’s the story itself which has quirk sewn into its very fabric.

In “Asteroid City” we’re treated to a light and playful yet warmhearted and philosophical Wes Anderson. He bounces back-and-forth between two connected stories, each brimming with scenes that are unapologetically silly but often laced with a surprising amount of heartbreak.

This is also one of Anderson’s most visually arresting films, with his deliberately crafted artificiality and meticulous attention to detail resulting in one coffee-table art book-quality shot after another. It’s a stunning movie to simply look at and absorb. And just as much humor is conveyed through the compositions and framing as through anything in Anderson’s script.

The movie opens up like a 1950s television special – one with an unnamed host played by a fantastic Bryan Cranston. The show chronicles the creation, development, and premiere performance of Asteroid City, a stage production from acclaimed playwright Conrad Earp (Norton). Anderson shoots these scenes in crisp black-and-white and the boxy Academy ratio which is in sharp contrast to the bright dreamlike glow of the reenactment scenes. More on them in a second.

Earp connects with a stage actor named Jones Hall (Schwartzman) who serves as inspiration for his play’s lead character, Augie Steenbeck. Earp reaches out to an teacher at a local acting school named Saltzburg Keitel (Dafoe) to help finish his script and recruit a reliable cast. Then there is the play’s director, Schubert Green (a scene-stealing Brody). He’s a bit of a slime, strangely likable yet oblivious to his own womanizing.

Then the you have the reenactment of the play itself with its vivid sun-baked colors and shot in gorgeous widescreen. In these scenes we’re transported to Asteroid City, a small desert town with a population of 87 people and one curious roadrunner. The ‘pay attention or you’ll miss it” community is built next to a crater created by a meteorite years earlier. Asteroid City is set to host their annual Junior Stargazer convention hosted by General Grif Gibson (Jeffrey Wright) and astronomer Dr. Hickenlooper (Swinton). That’s where a select group of young students will share their space-inspired inventions for a chance to win a $5,000 fellowship award.

War photographer and recently widowed Augie (Schwartzman again) arrives at Asteroid City early with his son Woodrow (Jake Ryan) and three younger daughters. After his car breaks down Augie calls his father-in-law Stanley (Hanks) to drive out and help with the girls. In the meantime, disenchanted television actress Midge Campbell (Johansson) arrives with her daughter Dinah (Grace Edwards) as does a busload of elementary school children and their teacher June (Hawke) and a group of singing cowboys led by their lead singer Montana (Rupert Friend). Meanwhile they’re all being secretly monitored by a team of hysterically not-so-covert government agents.

The two-sided story mostly comes together as Anderson’s inherently goofy dialogue and equally goofy characters combine to deliver one smile-inducing comic bit after another. Most of Anderson’s choices gel much better this time around than in his last film, 2021’s “The French Dispatch” although a few feel arbitrary and out-of-the-blue (such as one seemingly pointless flash of nudity that serves no other purpose than cementing an R rating).

While Anderson’s unique style and perspective takes center stage, his carefully chosen and top-to-bottom great ensemble are essential. With a couple of exceptions most have small roles and intermittently pop up at different times throughout the film. It’s such a good recipe and everyone operates on the same wacky wavelength. They’re key in making “Asteroid City” a truly delightful entry into the Anderson oeuvre. Not quite in the upper echelon, but pretty much exactly what this Wes Anderson fan was hoping for. “Asteroid City” is in theaters now.

VERDICT – 4 STARS