In several ways, the first hour of “Bone Lake” plays like one of those steamy thrillers that frequented late-night cable television in the late 80s and early 90s. It works hard to be seductive, even veering towards trashy on occasions. And it attempts to give its story a sharp psychological edge. But neither the pseudo-eroticism or the overly familiar mind games can make this genre flick crackle the way it clearly wants and desperately needs to.

Directed by Mercedes Bryce Morgan, “Bone Lake” seems to have a clear vision of what it wants to be yet it never fully commits to it. Though never boring, much of it feels like reheated material from other features. It isn’t until the last fifteen minutes that the movie lets its proverbial hair down. Its big crazy finish wraps things up with a devilishly gory payoff that really doesn’t make much sense but is a lot of fun nonetheless.

Diego (Marco Pigossi) and Sage (Maddie Hasson) are a seemingly happy couple who book a weekend getaway at a lavish lakeside estate. A nervous but excited Diego plans on asking Sage to marry him. But Sage clearly has some buried reservations about their relationship which comes more into play as the story moves forward. But things really get complicated with the sudden and unexpected arrival of a second couple.

Diego and Sage are surprised by the arrival of Will (Alex Roe) and Cin (Andra Nechita). “It’s short for Cinnamon,” she’s quick to clarify. The latter couple reveal they too have booked the place for the weekend which leads to a table-setting conundrum. With both couples unable to reach the property owner and with the nearest hotel some 50-plus miles away, they make the ill-fated decision to share the place for the night. Bad idea.

From there it doesn’t take long for one of the movie’s more noticeable flaws to surface. “Bone Lake” makes the mistake of tipping its hand too early and openly. Simply put, Will and Cin are too transparent from the start. In no time they are openly flirting, planting lies, and manipulating Diego and Sage in ways that can be frustrating to watch. It’s one of those cases where most of the issues could easily be solved with the slightest bit of communication. Unfortunately…

Diego and Sage only make their situation worse through their maddening choices which move the plot to where it needs to go but leaves them looking like buffoons in the process. Such as Sage taking off and driving into town with the flirty Will while Diego stays behind in the house with the seductive Cin. What could possible go wrong? And when our protagonists finally have the conversations they should have had much earlier, it’s too late (of course).

Again, the movie does finish with an entertaining blood-drenched final 20 minutes that almost makes it worth the journey to get to it. But outside of that, “Bone Lake” tells an familiar story patched together with ideas from more recent films like “Barbarian” to earlier movies like Michael Haneke’s “Funny Games”. The performances are serviceable and the gore is a blast (minus a pointlessly graphic opening sequence). But the film never goes as bonkers as it needs to, leaving us with little more than a tame and trite time-passer. “Bone Lake” opens in theaters October 3rd.

VERDICT – 2.5 STARS

Given the current cynical and hyper-polarized state of our society, a movie like “A Big Bold Beautiful Journey” runs the risk of facing two vastly different reactions. It could end up being too earnest and sentimental for the more calloused hearts. But it could also be just the kind of warm and touching movie some people are yearning for during this strangely turbulent moment in time. I tend to fall in with the latter group. If only the movie delivered on its potential.

“A Big Bold Beautiful Journey” is the third film from video essayist turned filmmaker Kogonada. His previous two indie features, “Columbus” (2017) and “After Yang” (2021), both left long-lasting impressions on me while vividly defining Kogonada’s keen visual craftsmanship and distinct approach to storytelling. His latest veers slightly more mainstream while maintaining a semblance of the quiet patient rhythm and introspective gaze from his earlier works.

The problem is Kogonada’s virtuosity can’t fully make up for the film’s biggest issue – the script. Rather than directing his own material as he did with “Columbus” and “After Yang”, this time Kogonada works from a screenplay written by Seth Reiss. To be fair, the script has its strengths. There are several pure moments of heart and humanity. And the characters are given more than enough space to develop. Even more, its themes of memory and reflection are the very ideas that Kogonada has shown to be interested in.

But “A Big Bold Beautiful Journey” can’t quite live up to its enticing title, mostly because its script is littered with shortcuts and slow patches. There are several times where the story jumps from one point to the next, skipping information and details it doesn’t seem interested in sharing. Even more, there are other instances where any momentum grinds to a halt. It can be maddeningly lethargic as it sluggishly navigates a tale with surprisingly little substance.

The movie certainly has the star power in Colin Farrell and Margot Robbie. But they’re somewhat of a mismatched pair, struggling to develop the kind of chemistry a story like this desperately needs but doesn’t provide. Farrell plays David, a lonely New Yorker on his way to a friend’s wedding. He stops at the generically named The Car Rental Agency where he’s greeted by two oddball attendants (Kevin Kline and Phoebe Waller-Bridge). They give him the keys to a 1994 Saturn, complete with a very unique GPS.

At the wedding David has an abrupt meet-cute with fellow lost soul, Sarah (Margot Robbie). She’s a straightforward free-spirit who does some playful flirting with him before going her own way. Later, as David is leaving, his now seemingly sentient GPS guides him to a Burger King where he unexpectedly bumps into Sarah. This kicks off an unexpected road trip of self-reflection as David and Sarah follow the GPS to a series of doors standing in remote locations, each transporting them to specific moments from their individual pasts.

Though their lives have followed dramatically different paths, David and Sarah possess a similar sense of emptiness. Learning who they are by revisiting their pasts is the story’s most interesting thread. Some doorway adventures work better than others by giving us some crisp insight into who these characters are. Others are either drawn out for too long or play out exactly how you would expect them to. But what slows things down the most are the conversations in between them. Farrell and Robbie do their very best to make the dialogue meaningful. But for every good exchange there are two that go nowhere.

As for the more obvious question of who or what brought David and Sarah together and who or what is guiding their journey? Well, who knows? Is it fate, destiny, or something else supernatural? We’re never told or shown. The film shows no real interest in explaining in detail or even lightly ruminating. Perhaps in a better movie it wouldn’t matter. But with “A Big Bold Beautiful Journey”, I found myself searching for something to grab my imagination. Kogonada’s striking visuals could only do it for so long. And my affection for Farrell and Robbie just left me wishing they had been given better material to work with.

VERDICT – 2 STARS

Tim (Matthias Schweighöfer) is a video game designer; his wife Olivia (Ruby O. Fee) is an architect. The relatively young couple have made good memories together. But their relationship hasn’t been the same since losing their child in a heart-shattering miscarriage. Since then, a grieving Tim has lost himself in his new game, prompting Olivia to propose a getaway to Paris for a much needed reset. But Tim resists, telling her he can’t leave work.

The next morning Olivia wakes Tim with news that she’s leaving him. As she attempts to walk out she makes an alarming discovery. She opens the door to find it walled in by a mysterious black brick-like material. They check the windows and even drill through the walls only to learn their apartment is completely encased in the impenetrable and indestructible matter. That’s the setup for “Brick”, a new German thriller from director Philip Koch.

In many ways the movie stands out for its simplicity, but it’s not without something to say. “Brick” uses its high-concept premise to explore themes of isolation, survival, misinformation, and grief. Many of these themes play out in Tim and Olivia’s relationship which is helped by the solid performances from real-life couple Schweighöfer and Fee.

But the others take form with the introduction of other characters. With no cell phone signal, no wi-fi, and no water, a desperate Tim and Olivia discover that they can break through walls to other apartments. First they make contact with their next door neighbors, the whacked-out Marvin (Frederick Lau) and his more composed girlfriend Ana (Salber Lee Williams). Later they encounter the elderly Oswalt (Axel Werner) and his plucky granddaughter Lea (Sira-Anna Faal). Finally there’s the mysterious Russian named Yuri (Murathan Muslu), a cryptic former cop with some wild ideas about what’s happening.

Each new character comes with their own strength and weakness. Some are considerably more impactful than others and certain fates are pretty easy to predict. The inevitable interpersonal conflicts manage to muster up some drama but nothing we haven’t seen before. Outside of Tim and Olivia, the characters simply aren’t given enough depth to stand out. And despite the good performances, they too often feel like plot devices rather than meaningful additions.

But Koch deserves credit for constantly keeping us guessing. He introduces a plethora of possibilities, each with the potential to explain what is going on. Are they unwilling players in some kind of twisted Squid Game? Is the wall somehow connected to the strange explosion one day earlier? Is it meant to protect them from a cataclysmic disaster? Is it alien in origin? Clues are dropped throughout and finally bring everything into focus. And while it’s not the most mind-blowing payoff, it satisfies enough to make the journey worth taking. “Brick” is now streaming on Netflix.

VERDICT – 3 STARS

Now here’s a movie with a lot to live up to. “Ballerina” (marketed with the tag “From the World of John Wick”) is a spin-off to one of the most heralded action movie franchises in recent years. That makes for some big shoes to fill. But to director Len Wiseman’s credit, he doesn’t necessarily try to fill them. He and screenwriter Shay Hatten (who helped pen “John Wick: Chapter 3” and “Chapter 4”) put their attention on a new character, and star Ana de Armas does the rest.

Without question Wiseman leans into the visual, visceral, and violent world of John Wick. Even the near mythical ‘Baba Yaga’ himself (Keanu Reeves) makes an appearance. Yet while the film is in harmony with the franchise’s established sense of style, unique world-building, and ferocious fight choreography, “Ballerina” is more than some cheap knockoff. And much like its revenge-fueled protagonist, the movie has enough of its own flavor to stand out within this well-defined world.

De Armas plays Eve Macarro, a lethal assassin set on a path for vengeance. As a child she witnessed her father’s murder at the hands of a mysterious sect. As a result, Eve was taken to the Director (Anjelica Huston), a crime boss and head of the New York branch of the Ruska Roma. The Director raised Eve and over the years taught her how to channel her pain. Eve would eventually be trained as one of the Director’s ‘ballerinas’ who in reality are highly skilled assassins.

While fulfilling a contract, a memory is triggered after Eve encounters a group of killers bearing the same mark as the men who murdered her father. She approaches the Director for information and is sternly ordered to let it go. But Eve is determined and follows a body-littered trail that eventually leads to a mysterious off-the-grid leader known as the Chancellor (Gabriel Byrne). But their world is one of rules. And by breaking them Eve ends up as the hunter and the hunted.

Several new names enter the world including Norman Reedus as an assassin on the run and Byrne who makes for a worthy villain. But none are better than Ana de Armas who holds her own as an action star and John Wick protagonist. Then there are the welcomed familiar faces such as Ian McShane’s Winston, the enigmatic and charming owner of the New York Continental Hotel, Charon (the late Lance Reddick), the Continental’s concierge and a loyal friend to Winston, and of course John Wick himself.

If you’re a fan of the John Wick movies you’ll be thrilled to know “Ballerina” fully embraces the franchise’s rich mythology. We get it all including the dynamic locations, the underworld codes, and the array of colorful characters. And of course you have the kinetic, pulse-pounding action sequences which have become a staple of the franchise. We see de Armas firing bullets, throwing axes, swinging ice skates, spraying fire – essentially using whatever she can grab as a weapon.

Filled with killer characters, callbacks and carnage, “Ballerina” earns its spot amid the ever-growing John Wick canon. And all while highlighting the budding star power of a terrific Ana de Armas. She brings a fitting yet fresh energy to the franchise, committing herself completely and giving us a character who we hope to see again. And I can’t think of a better compliment to give the movie than this – I want more Eve Macarro. “Ballerina” is in theaters now.

VERDICT – 4 STARS

Garrett Hedlund gets a meaty character to unpack in “Barron’s Cove”, a gritty and grounded crime thriller from writer-director Evan Ari Kelman. The 40-year-old Hedlund has proven to be a captivating actor when given the right material and he certainly gets it here. Kelman’s script may stretch itself a little too far, but it builds good drama and its characters are well developed and fit nicely within their complicated world, none more than Hedlund’s.

The story is set in the small Massachusetts town of Monroe City. Hedlund plays Caleb Faulkner, an enforcer for a construction supply company owned by his uncle, Benji (Stephen Lang). Caleb’s job is to ensure contractors buy exclusively from his uncle, and he does so by any means necessary. It’s not work Caleb enjoys. But he owes Benji for taking him in, and the money he makes helps support his ex-wife Jackie (Brittany Snow) and their young son Barron (Dante Hale).

Caleb’s life comes crumbling down after Barron is tragically killed during a horrific incident on a train track. The details surrounding the boy’s shocking death are hazy. All the police tell Caleb is that Barron was out on the tracks with two other boys, one of them being Ethan Chambers (Christian Convery), the bratty and seemingly deranged son of a crooked candidate for state senate, Lyle Chambers (Hamish Linklater).

Overcome with the guilt of not being there for Barron, a frustrated Caleb desperately tries to get answers. But with each dead-end he turns a little more volatile. Caleb is eventually pushed to the brink after Barron’s death is unexpectedly ruled a suicide. With no real explanation (and nothing left to lose), Caleb goes on a self-destructive quest for the truth. And that quest starts with Ethan Chambers.

I won’t give away where the story goes, but it takes some unexpectedly dark turns. Throughout it Kelman does a good job exploring small town corruption, with dirty cops and dirtier politicians playing key roles in how things play out. Interestingly, nothing is as cut and dry as it first seems. Kelman throws us several curveballs, especially in the second half. And while the back end isn’t as tightly wound as the first half, it keeps us engaged and guessing.

“Barron’s Cove” is a rural crime thriller in every sense. Yet underneath its rugged exterior is a surprisingly thoughtful examination of revenge versus forgiveness. It mostly comes through Hedlund who shrewdly channels his character’s torment and pain. The script leaves much of Caleb’s struggle on the surface, but Hedlund finds ways to take us deeper. It’s a rich and textured performance that fuels many of the film’s strengths and elevates the movie beyond its few weaknesses. “Barron’s Cove” opens June 6th in theaters and on VOD.

VERDICT – 3.5 STARS

Two Steven Soderbergh movies on the big screen in less than two months – we cinema lovers are eating good. And while it’s true that I didn’t fully go for his January release, “Presence”, Soderbergh always has something compelling to offer. And when he hits his mark the results can be pretty magical. Such is the case with “Black Bag”, a tight and taut spy thriller that has the flavor of an old school genre film yet a freshness all its own.

“Black Bag” could sell itself on its two brilliant leads alone – Cate Blanchett and Michael Fassbender. Both are supremely talented and endlessly versatile while oozing charisma out of every pore. But then you add in Soderbergh whose signature style and precision energizes every facet of the storytelling, from his deft handling of the narrative to his striking visual approach. It all clicks into place with “Black Bag”.

Written for the screen by David Koepp, “Black Bag” follows Kathryn St. Jean (Blanchett) and George Woodhouse (Fassbender), a happily married and deeply devoted couple who both happen to be high-level intelligence agents. Soderbergh wastes no time getting the story underway, sucking us in with a killer opening tracking shot of George entering a night club to meet with a contact. We learn there is a traitor in their agency and George is given a list of five potential suspects, one of which is Kathryn.

From there the movie follows George’s investigation of the five suspects with most of his attention aimed at Kathryn, especially as clues implicating her begin to mount. As the mystery unfolds, two key questions emerge. Is Kathryn guilty of treason and where do George’s loyalties ultimately lie – to his marriage or to his country? Soderbergh and Koepp have us studying the screen, hanging on every word and measuring every reaction in hopes of finding answers.

One of the biggest treats in “Black Bag” is its heavy reliance on character over action. And it all starts with George and Kathryn. He is intensely focused, detail obsessed, and has a very specific disdain for lying. She is disarmingly suave, both captivating and beguiling, and impossible to read, even for an agent as seasoned as her husband. To no surprise Fassbender and Blanchett have an electric chemistry and Soderbergh smartly utilizes it to the nth degree.

The four other suspects within the agency all get their due as well. They’re introduced to us during a superbly executed dinner party scene at George and Kathryn’s home. James Stokes (Regé-Jean Page), Zoe Vaughan (Naomie Harris), Clarissa Dubose (Marisa Abela), and Freddie Smalls (Tom Burke) all think they have been invited over for a casual get-together. Instead they’re unknowingly a part of George’s investigation which turns the evening into something completely unexpected.

From there, all of the characters impact the story in interesting ways. Koepp’s sizzling dialogue and Soderbergh’s crisp pacing keep things gripping for the duration of the film’s compact 94 minutes. And while once again serving as his own cinematographer, Soderbergh surrounds this tightly plotted thriller with the kind of visual craftsmanship that has become a hallmark of his movies. Toss in the delectable Fassbender and Blanchett, and you have one of the best films of this young movie year.

VERDICT – 4.5 STARS