Nothing about the trailer for “Barbarian” indicated anything unique or fresh. In fact, in many ways the trailer felt incredibly generic, milking countless horror movie tropes that have been used ad nauseam throughout the genre’s history. Yet I’m tempted to call the trailer genius, not because of what’s in it but because of what’s left out. To its credit, “Barbarian” can’t really be labeled as generic thanks to its handful of unexpected twists and gonzo turns. And its straightforward commentary shows it has things on its mind.

But simply jolting the audience with a crazy turn or two doesn’t make for a good horror movie. And simply having themes in your film isn’t the same as doing something meaningful with them. And that leads to what makes “Barbarian” an unfortunate disappointment. There’s no shortage of good ideas in the movie we’re given, yet the payoffs range from underwhelming to preposterous. Then there’s the film’s social messaging, much of which focuses on bad men and their various shades of misogyny. Yet despite some compelling early exchanges, the movie is content with a surface-level treatment of its themes and squanders some real potential.

Yet even if the twists led to great payoffs and the film’s themes were explored deeply and with savvy, “Barbarian” would still be a tough sell. That’s because the sheer stupidity of the characters and their actions plague the entire movie. And no amount of effort put into suspending disbelief could help me to look past the steady stream of dumb character decisions. It’s so obvious that you’d almost swear “Barbarian” was a parody. But it’s not, and as things get sillier, it gets harder to find anything resembling a fright aside from the occasional lazy jump scare. There’s a ludicrous gross-out moment and a couple of scenes of cheap B-movie gore. But nothing I would categorize as scary.

“Barbarian” is the feature film debut for writer-director Zach Cregger. What he gives us is essentially a three-act movie that connects three very different people from three very different places to one very specific house with some pretty twisted secrets. It’s an audacious story structure that begins on a dark and rainy night in a dilapidated Detroit neighborhood. Tess (Georgina Campbell), who’s in town for a job interview, pulls up to the Airbnb she has booked for the evening. But to her surprise she finds the house is occupied by a man named Keith (Bill Skarsgård) who rented the place himself from another online agency.

Keith is a little awkward but seems nice enough, even inviting Tess to come in out of the rain. After neither can reach their booking agencies, Keith asks Tess if she would like to stay the night and sort out their mess in the morning. He offers her the bedroom while he takes the couch. After very little hesitation, she agrees.

By this point, our protagonist’s ‘horrible decision’ count is already at about 5. And again, that would be okay if this were a spoof (something like the Geico commercial where kids running from a maniacal killer hide in a shed full of chainsaws rather than get in the running car). But it’s not. Tess is an otherwise intelligent and capable young woman which Campbell’s performance conveys far more effectively than the writing. But the dumb choices really start to rack up once Tess ventures into the house’s basement, discovers a secret door, and can’t resist the urge to explore what’s behind it.

I won’t say much more because (supposedly) the film works best if you go in blind. But Justin Long shows up in a borderline cartoonish second act that sees the movie suddenly reaching for laughs despite introducing some rather serious subject matter. I’m still not sure if Long‘s character is meant to be taken seriously or if he’s just an obnoxious stooge. Either way, he provides us with more stupid character decisions which eventually lead to a film’s final act. It’s here that “Barbarian” gets points for going bonkers, yet it’s ending is undone by a really dumb final ten minutes that features even more dimwitted character choices and a laughable final scene that had several people at my screening snickering.

Cregger does some really good things when it comes to atmosphere, especially in the film’s first act. The movie is also helped by a strong performance from Campbell who works hard to give Tess credibility even as the script is constantly undermining her. Then there’s the story structure which is notably unconventional but hardly revolutionary. By the midway point of the second act you have a good idea what it’s going for. And then you have its themes which many other movies are also exploring. Here they’re simply present rather than tackled.

“Barbarian” has a good premise and a willingness to go off the rails. But it’s hampered by its vacuous characters and the movie’s unfortunate reliance on their routinely dopey decisions. Some may be able to overlook it. After all, horror movies are notorious for characters making dumb choices. But here it’s one after another. At times you can almost sense Cregger’s awareness, yet he double-downs on it. And for a movie sporting such big ideas, it’s a shame to see it lean so heavy on the conventional. “Barbarian” is now showing in theaters.

VERDICT – 2 STARS

Written and directed by Ben Parker, “Burial” teased a lot of things that instantly tickled my fancy. It’s set during World War II, it’s built around a wild premise, and it’s distributed by IFC Midnight which is known for its focus on genre entertainment. I enjoyed the bits we got from the trailer, and I loved going into it with no idea of what to expect. So in all of those regards, Parker had me like a fish on a hook.

“Burial” turns out to be a crafty wartime thriller that rides its crazy idea all the way through. But that doesn’t mean it’s one-note. There’s a swirl of good ideas that keep the film’s seemingly simple story engaging. And there are several juicy themes that may not have the convincing modern-day connection Parker shoots for, but they’re still potent nonetheless. And while things do get somewhat convoluted, there’s still plenty to chew on and enjoy.

The main story is bookended by an encounter set in 1991 London. An elderly woman (Harriet Walter) has her evening interrupted by an intruder who slips into her home. After a well-timed jolt from her taser, she easily subdues the young thug. With the intruder in chains, the two begin a rather cryptic conversation. It turns out he’s not there to rob the place, and she’s not some helpless old maid. Who is she? To explain, Parker transports us back to 1945.

In the waning days of World War II, a small unit of Russian solider are tasked with transporting some special cargo from Berlin to Moscow. Transport by plane is no longer an option, so the group will have to drive their load to a train station in Poland, drawing as little attention as possible. Among the group is intelligence officer Brana Vasilyeva (Charlotte Vega), one of only three soldiers who knows the contents of the six-foot(ish) box they are transporting. Brana is tough and unyielding, but she needs to be. Especially among her all-male team members who routinely dismiss her and her authority.

Oh, and what are the contents of the crate they are carrying? Why none other than the remains of the Führer himself, Adolph Hitler who cowardly took his own life rather than face the punishment due.

While driving down a dirt road surrounded by a dense Polish forest, the team is attacked by werewolves. No not the snarling man-beasts who can only be killed by cutting off their heads or by a silver bullet. No, these are Nazi Werwolves – remnants of Hitler’s commandos who operated behind enemy lines as the Allies advanced through Germany. Here they’re led by an unhinged Hitler loyalist (Kristjan Üksküla) who has his own devious plans for the Führer’s corpse.

As the story moves forward with its alternative spin on history, it sets itself up for a big finish despite its small scale. We’re treated to some gorgeous location shots along the way, especially early on. And Parker’s camera is a big reason the violent final act works. And the committed performances, especially from Vega and Barry Ward, help sell the urgency and intensity.

There is a point in the middle that brings the film down a notch. During this relatively short stretch the story stalls a tad and the tepid action scenes emphasize the budget constraints. Also, I usually don’t get too caught up in this, but having the characters speak English stood out to me for reasons I can’t quite pinpoint. I wasn’t a deal-breaker by any means, but noticeable and a little distracting nonetheless.

“Burial” does a lot of things right, from its captivating setup to its blood-splattered payoff. The setting itself, soaked in the after-effects of Hitler’s reign, gives Parker room to look at different aspects of the war in a number of interesting ways. And at a swift 94 minutes, the movie doesn’t stretch itself out too long or too far. Even with its limitations, “Burial” has a lot to offer regardless of what kind of movie you’re looking for. It can’t fully overcome its issues, but it’s not overcome by them either. “Burial” opens in select theaters and on VOD tomorrow (September 2nd).

VERDICT – 3 STARS

I don’t know if there has ever been a more fittingly named duo than Beavis and Butt-Head. For fans of their eight-season show that ran through the mid-90s, their names bring immediate images of two oblivious, insanely moronic, nacho-loving, “scoring”-obsessed teen slackers from Highland, Texas who were the personification of rank stupidity at its funniest. They released their own feature film in 1996, and believe it or not they’re back with a sequel some 26 years later.

“Beavis and Butthead Do the Universe” (streaming exclusively on Paramount+) sees creator Mike Judge return to the characters he made infamous. Judge co-writes and voices the doltish duo in yet another absurd adventure that’ll have you shaking your head and laughing aplenty. Going in I had two questions: 1) How on earth could Judge and his co-writer Lee Morton make these two VERY 90’s characters fit in a modern-day story? 2) Would they still have the same unabashed politically incorrect humor that made them the beloved imbeciles they became?

As it turns out yes, Judge and company do have a story idea to bring Beavis and Butthead to the modern-day. It’s utterly ridiculous, but that’s to be expected. And yes, “Beavis and Butthead Do the Universe” has the exact same mind-meltingly stupid sense of humor that is sure to thrill fans while leaving some newcomers in a state of utter bewilderment. I mean, it’s the kind of movie that’s so boldly honest about it’s stupidity that it advertises itself as “the dumbest science fiction movie ever made”.

The story goes something like this. In 1998, Beavis and Butthead inadvertently burn down (literally) the Highland High School Science Fair. They’re arrested and appear before a judge known as the toughest in the state when it comes to sentencing. But instead of sending them to jail, the judge (inspired by an episode of “Touched By An Angel”) sends our two “at-risk youths” to eight weeks of NASA space camp. What could go wrong?

As it turns out, everything! Beavis and Butthead arrive at Johnson Space Center (I shouldn’t need to tell you joke there) and for all the wrong reasons become enamored with a space station docking simulator. They impress astronaut Serena Ryan (Andrea Savage) who invites the boys to join NASA’s space mission to study a black hole. They accept after misinterpreting Serena’s invitation as an offer to “score”. Of course things go awry and the pair find themselves sucked into the time-jumping black hole that drops them into the ocean near Galveston, Texas in the year 2022.

In our time, Serena is the state’s governor, and after seeing her re-election billboard the boys set out to “complete their mission”. From there its Beavis and Butthead clashing with modern society in a steady number of comical encounters, some of them laugh-out-loud hilarious while others not as much. The funniest comes when they crash a college gender studies class and are informed of their white privilege by the professor (voiced by a pitch-perfect Tig Notaro). Adding to the silliness, the dimwitted Feds set out to apprehend Beavis and Butthead after misconstruing their time-jump as the arrival of two potentially dangerous aliens.

It all comes together in a ludicrous but admittedly funny stew. The decision by Judge and co-directors John Rice and Albert Calleros to stick with the classic formula was most definitely the right one. And the culture clash element allows for some hilarious moments. On the negative side, fans might be disappointed by the absence of the show’s wonderful blend of side characters (I was). And just like the MTV television show in the 90s, this movie won’t be for everyone. A little of Beavis and Butthead can go a long way. But to the filmmaker’s credit, they deliver exactly what they promised. Decide for yourself whether that’s a good thing or bad. “Beavis and Butthead Do the Universe” is streaming exclusively on Paramount+.

VERDICT – 3.5 STARS

It’s been quite the busy year for Idris Elba. Back in April he voiced a key character in “Sonic the Hedgehog 2”. He co-stars in George Miller’s fever-dream fantasy “Three Thousand Years of Longing” which is set to open next week. And later this year he has “Luther” coming out, a feature film continuation of his popular BBC television series.

And then there’s “Beast”, a survival thriller with plenty of B-movie flavor that sees Elba protecting his two daughters from a ferocious man-eating lion. In many ways it’s a throwback to the many man-versus-beast movies that would pop up on the shelves of my favorite video rental store back in 1980s. But our fascination with these types of movies existed well before that. And while maybe not as prevalent today (with the exception of the endless parade of shark movies), this ‘genre’ has never really gone away. Birds, piranha, alligators, wolves, a Kodiak bear, a wild boar, a rabid St. Bernard, even snakes on a plane – mankind has often found itself at odds (often by their own doing) with our planet’s wildlife.

“Beast” sees Elba teaming with Icelandic director Baltasar Kormákur. They’re working from a screenplay by Ryan Engle which is based on a story by Jaime Primak Sullivan. Speaking of the story, it’s light in terms of depth and pretty basic when it comes to plot development. But that’s okay for a movie as straightforward as “Beast”. All it needs to do is set the stage, give us characters we care about, and then keep us firmly planted on the edges of our seats. Kormákur hits every one of those marks.

“Beast” is a feral, rip-roaring nail-biter (bad puns absolutely intended) that’s all about giving its audience a taut, immersive experience. There is a touching family dynamic that’s built upon themes of loss, resentment, guilt, and reconciliation. But let’s be honest, most people who go see “Beast” are there to watch Idris Elba go one-on-one with a rabid CGI lion.

Elba plays recently widowed Dr. Nate Samuels who’s taking his two daughters, Mere (Iyana Halley) and Norah (Leah Sava Jeffries), on a trip to South Africa to the place where he and their late mom first met. This is an important trip for this struggling family who are not only burdened by grief but also old wounds from their family’s past (which are brought to light within the first act). The three are well written and they possess a good family chemistry, dysfunction and all. Their relationships feel organic in large part thanks to the performances. The sturdy and reliable Elba is as good as always, but so are the two young actresses, Halley and Jeffries.

When they arrive they’re met by Martin (Sharlto Copley), a close family friend who works at a wildlife reserve protecting animals from poachers. After settling in and getting some rest, Martin takes Nate and the two girls on a safari to the far ends of the reserve. But when they stop to visit a local village they make a grisly discovery. Everyone is dead – savagely ripped to shreds by what looks like a lion attack. Realizing how out of the ordinary it is for a lion to attack in such a way and fearing the predator is nearby, Martin gets Nate and the girls back to their truck. But they don’t get far before running headfirst into the bloodthirsty man-eater.

And that pretty much sets up the tension for the entire film. Marooned, with no communication, and with an angry lion on the prowl, Nate must protect his girls and find a way to get them to safety. Along the way there are some unexpected encounters highlighted by several vicious and gnarly attack scenes. And as usual for movies like this, the characters give us a few of those head-scratching moments that have you internally yelling “Close the door!” or “Don’t go out there!”.

Narratively, there is an effort by the story to give purpose to the lion’s attacks which makes it more than just ‘a killer lion killing people’ tale. Visually, the movie looks pretty great, from arid sun-parched surroundings to the digitally animated cats. Kormákur and Oscar-winning DP Philippe Rousselot shoot the film with a visceral style that features numerous long takes and tight tracking shots. It gives certain scenes bite (sorry, I couldn’t resist) and adds to the suspense.

Clocking in at a lean 90 minutes, “Beast” doesn’t outstay its welcome, wrapping up pretty predictably but in a satisfying way. Overall, it’s a movie with a simple premise that’s executed very well technically and narratively. Just know what you’re going in for and don’t expect a ton more than that. Kormákur certainly understands what kind of movie he’s making, And he delivers just the kind of fun B-movie entertainment I was hoping for. “Beast” opens today in theaters.

VERDICT – 4 STARS

How’s that for an attention-getting title? “Baby Assassins” sounds wacky, and to be honest it kinda is. But it’s the seeded eccentricities that makes this gleefully violent and proudly silly Japanese action-comedy click. Much like its title, the very premise of the film borders on absurdity. But this is a very self-aware movie and there’s never a sense it’s taking itself too seriously. In fact, there’s a lightheartedness ingrained both in the story and the storytelling that would normally clash with a tale about two deadly contract killers.

But hats off to writer and director Yugo Sakamoto who makes this teen Odd Couple genre mashup far more entertaining than it might sound. There are several pieces that factor into the film’s success: the two fabulous lead performances and their perky chemistry, the wily script, the genuinely funny laughs, and the bursts of exciting (and sometimes brutal) action. It all gels in this breezy off-beat jaunt that plays much differently than the bulk of hitman/assassin movies we get these days.

Chisato (Akari Takaishi) and Mahiro (Saori Izawa) are high-schoolers who are all prepped to graduate. They’re also employed and they happen to be really good at their “main job”. As the title gives away, the two are highly trained assassins who work for a tightly managed secret outfit ran by a mystery man named Mr. Tasaka. As part of company policy, once out of school the two are required to move in together and get part-time jobs. It’s all to provide cover for their true vocation.

And this is where the humor really kicks in. Neither Chisato or Mahiro are good at keeping jobs, and much of the fun is watching them try and fail miserably to fit into the everyday work force. It’s not for lack of effort. They are just awkwardly out of their element and easily frustrated. It leads to several fun scenes featuring botched interviews, some rather violent daydreaming on the job, and some amusing clashes with bosses.

Then there is their relationship. Your enjoyment of “Baby Assassins” may hinge on how much you like hanging out with the two lead characters considering their quirky friendship is the centerpiece of the film. A few hiccups aside, when it comes to killing, Chisato and Mahiro work together like a (fairly) well-oiled machine. But when it comes to personality, they couldn’t be more different. Chisato is the jaunty gregarious type who loves talking almost as much as her machine gun. Mahiro is detached and socially awkward; a soft-spoken sociopath who would rather mutter to herself that speak to anyone else. Polar opposites but a sparkling pair in large part thanks to the effortlessly organic chemistry between Takaishi and Izawa.

And of course there’s the action which isn’t as plentiful as you might think, but it comes in furious (and exhilarating) bursts. They’re wonderfully arranged by veteran fight choreographer Kensuke Sonomura and culminate in a rousing climax after the girls get sideways with a Yakuza boss (Yasukaze Motomiya) and his two psychotic kids (Akitani Mone and Satoshi Uekiya). While both leads are incredibly proficient in the action scenes, it’s Izawa whose stuntwoman background comes out in a jaw-dropping and brilliantly shot one-on-one fight sequence near the end.

So as you can tell, “Baby Assassins” has plenty of pieces that could easily be at odds with each other. But Sakamoto’s savvy direction and whip-smart script pulls everything together in a way that obliterated my expectations. While it may be a bit rough around the edges and its budget restraints occasionally show, the movie is still bursting with personality and energy. Those who are more action-minded may be taken back by the playful tone and casual pacing. But fear not, the final 15 minutes doles out just the kind of satisfying action-fueled payoff we’ve been anticipating.

VERDICT – 4 STARS

I’m not sure if I’ve ever rooted for a killer more than I did in the new slasher black comedy “Bodies Bodies Bodies”. And I’ve seen all of the “Friday the 13th” movies – a franchise notorious for the generic throwaway fodder it called characters. Here it’s simply a case of being stuck for 95 minutes with really dumb people who aren’t just forgettable, they’re insufferable. I guess you could say they at least provoked a reaction. I just doubt openly wishing for their demise was the reaction the filmmakers were looking for.

But it should be said that “Bodies Bodies Bodies” is very much a satire which becomes more and more obvious as the movie progresses. It’s satirical crosshairs are firmly set on Gen Z, specifically the young, privileged, and hyper-sensitive upper-class. So in truth, with perhaps one lone exception, these characters aren’t meant to be liked. But we should be able to tolerate them which I found to be harder and harder as the story went on.

In “Bodies Bodies Bodies”, director Halina Reijn and screenwriter Sarah DeLappe have a lot of things going on. And as often happens in a movie this busy, some things work much better than others. Though it takes time to find its footing, the black comedy element works the best. You have to navigate some early unfunny patches (such as Pete Davidson aggressively doing Pete Davidson). But the satirical jabs land well, poking fun at Gen Z and all of their popular labels and phraseology. And with the exception of one second-half scene which is admittedly amusing but way overdone, the satire is very organic to the story.

On the negative side, the horror/slasher angle isn’t nearly as effective. The movie borrows numerous genre tropes but doesn’t really put its own spin on any of them. There’s the getaway to a remote location (usually a cabin in the woods, here a mansion). We get a group of coked-up obnoxious young people who make great chum for whoever’s doing the killing. Of course there’s the proverbial storm that knocks out the power. And wouldn’t you know it, there’s no phone service. Unfortunately, none of those things add an ounce of terror to what’s essentially a fright-free story. The only hint of suspense is in the whodunnit element, but it’s mostly out of curiosity rather than any palpable tension.

The story is fairly basic. The first five minutes are spent trying hard to convince us that the otherwise chemistry-less Sophie (Amandla Stenberg) and Bee (Maria Bakalova) are a young couple. The pair are the last to arrive for a “hurricane party” at a big country mansion. The estate belongs to the parents of David (Davidson) who is Sophie’s best friend (another not-so-convincing match). David is there with his actress girlfriend Emma (Chase Sui Wonders). Also among the partygoers is a podcaster named Alice (Rachel Sennott) and her considerably older beau Greg (Lee Pace), and the temperamental Jordan (Myha’la Herrold).

As Sophie and and Bee arrive it’s clear there’s a little tension between friends. We learn Sophie is fresh out of rehab and her substance abuse took a toll on her relationships with the others. Bee is a shy and reserved working-class girl from Eastern Europe who is in the States to attend college. The party guests aren’t particularly thrilled with Bee being there and they aren’t too good at hiding it.

The party kicks off, lots of booze is downed, lots of cocaine is snorted, yadda yadda yadda. Later the wasted seven decide to play a game called Bodies Bodies Bodies. Basically everyone draws a piece of paper and whoever draws the one marked with an ‘X’ is the killer. They then turn out all the lights and the killer must “kill” one of the other players while keeping his or her identity concealed. The “dead” player must lay still until found by the other players. After that, the survivors have to figure out who is the killer between them.

It sounds like a fun game, but not among this lot who are soon arguing and at each others throat. But when one of them ends up with their throat slashed, the fun and games end and the story takes a darker and bloodier turn. What follows is more yelling, more accusations, and of course more bodies. We get several plot contrivances, some ridiculous character choices, and more reasons not to root for any of these people.

But again, the movie is saved once the satire kicks in. There are some genuinely funny bits that got big laughs from the theater audience I was with. And it helps that lines are so cleverly incorporated and earnestly delivered. The movie also sticks its landing, delivering a hilarious and fitting conclusion. It doesn’t erase all of the blemishes that came before it. But it makes them a little easier to digest. “Bodies Bodies Bodies” is now playing in theaters.

VERDICT – 2.5 STARS