With “Delia’s Gone”, writer-director Robert Budreau combines crime thriller elements with a compelling character study to form a story that works as both a murder mystery and a pointed small town introspection. But it’s the man at the center, Louis, who makes it all work, and it’s through his eyes that we’re able to see and understand the small but progressively ugly world he’s forced to navigate. And it’s through him that the themes of loss, injustice, and resilience boil to surface.

Over the years filmmakers haven’t shied away from portraying autism in their movies. But while these films have been sensitive and respectful in their depictions, they often make a similar mistake. They hone in on the external traits rather than the intense internal struggles that mark their day-to-day lives.

“Delia’s Gone” doesn’t fully avoid those trappings. In fact much of star Stephan James’ lead performance relies on those very external tics and verbal barriers. But Budreau’s script builds a story around Louis that gives us a sense of the chaos brewing in his mind as he tries to process his circumstances and curb his growing anxiety. It’s far from comprehensive and there are a few times where we lose that internal connection with Louis. But Budreau is both thoughtful and sincere in his treatment, and James (so good in “If Beale Street Could Talk”) keeps his performance grounded and true.

Set in small-town Ohio, Louis (a gentle soul with ASD) lives with his troubled sister Delia (Genelle Williams). The two are close, but Delia’s struggles with addiction is taking a toll on her. One evening she surprises Louis with news that she has decided to leave town. Upset and against his better judgement, Louis gets into Delia’s booze cabinet. “It makes me mean,” he says of alcohol early on – a line of dialogue we’re clearly meant to catalog in our minds.

Louis wakes up the next morning and finds blood on his hands and the living room ransacked. He goes to check on Delia only to find her dead on the kitchen floor. Within minutes the town’s sheriff Fran (Oscar-winner Marisa Tomei) and her deputy, Bo (Paul Walter Hauser) arrive and take Louis into custody. With little investigation and even less defense, Louis is convicted and sentenced to five years in prison for involuntary manslaughter.

The story then jumps ahead seven years with Louis having served his sentence and now living in a special care facility. He’s surprised by a visit from Stacker Cole (Travis Fimmel), a man from his hometown. Stacker is a man burdened by guilt and looking for some degree of absolution. He tells Louis he has information about the night Delia died. But before he can share it, Louis gets aggressively upset and Stacker is asked to leave. Shortly after, Louis leaves the facility and sets off for his hometown, determined to find answers about his sister’s death.

From there Budreau ramps up the mystery side of his story as Louis follows crumbs of information that lead him to other players intent on hiding the truth. Fran re-enters the picture, now as a state police detective, as does Bo who replaced her as sheriff. Everyone we meet in the second half seems to know more than they’re willing to share, and while we begin to get an idea of where the story is heading, Budreau is able to keep things under wraps until the finale. And while the reveal may not have the jolt it could have, what transpires packs a pretty good punch.

With Budreau’s deliberate pacing and strong character focus along with terrific performances throughout (especially from James and Fimmel), “Delia’s Gone” turns out to be a well-conceived and dramatically rich drama. And while I couldn’t always make sense of certain characters, they feel very much rooted in this world. And we do too, which is yet another reason the movie works so well. “Delia’s Gone” is out now in theaters. “Delia’s Gone” is out now in theaters.

VERDICT – 3.5 STARS

What if I told you there was a movie that featured rapper Snoop Dogg as a mini-gun toting cowboy vampire hunter? You’d probably shake your head and call me nuts. And I can’t say I would blame you. Even typing the words seemed utterly ridiculous. Yet the visual image you probably have, as crazy as it undoubtedly is, fits so perfectly into “Day Shift”, a proudly wacky and impressively stylistic action comedy from Netflix.

“Day Shift” is the directorial debut for J.J. Hardy who’s best known for his stunt work in the “Fast and Furious” and “John Wick” franchises. He definitely brings that skill set into his direction which is highlighted by several wild and wickedly choreographed action sequences. Add in its gleefully goofy sense of humor, and you have a surprisingly fun and entertaining cocktail that Netflix felt good enough about to get behind.

The film stars Jamie Foxx who plays Bud Jablonski, a hard-working San Fernando Valley pool cleaner. But in the opening scene we learn that cleaning rich people’s pools isn’t Bud’s real occupation. It’s actually a cover for his true line of work – vampire hunting. It seems Los Angeles has quite the vampire problem and that means money for Bud. He hunts down and kills vamps, collecting their fangs and selling them to an underground pawn store owner named Troy (Peter Stormare). It’s not big bucks but it helps pay the bills.

His family life is a little more complicated. Bud is a loving father to his 10-year-old daughter, Paige (Zion Broadnax). But he hasn’t been the most dependable which is why his ex-wife, Jocelyn (Meagan Good) is considering selling their house and moving in with her mother in Florida. Bud begs Jocelyn not to take Paige away and convinces her to give him five days to get $10,000, the cost of Paige’s braces and school tuition.

Here’s Bud’s problem – Troy isn’t paying what he once did for vampire fangs. The only way he can get the cash he needs is by selling them to the Union – a global underground network of vampire hunters. Unfortunately things have soured between him and the Union’s LA branch and he’s had his membership revoked. No membership, no sale. So he seeks the help of his old friend and beloved Union stalwart, Big John Elliott (Snoop Dog).

Now let me stop and say the absurdity of Snoop Dogg’s introduction is the moment I felt in-tune with the movie’s humor. As Bud waits outside the Union’s headquarters (secretly posing as an old dry cleaners), an extended cab 4×4 pickup rolls up. Out of it steps Big John, ‘cool man’ music playing and the camera scanning him in deliberate slo-mo. Of course what we see is Snoop Dogg, decked out in a denim shirt, rawhide vest, cowboy hat, boots, and a belt buckle as big as Texas. It’s a truly funny sight.

With Big John‘s help, Bud is able to persuade the ill-tempered Union boss Seeger (Eric Lange in a hilariously dreadful wig) to reinstate him and put him back in the field. But Seeger is looking for a reason to give Bud the boot. So he assigns him a partner, Seth (Dave Franco) a nerdy and anxious Union accountant with no field experience whatsoever. Seth’s job is simple – tag along and secretly log all of Bud’s code violations. That’ll give Seeger the ammo he needs to send him packing.

The film’s antagonist is Audrey (Karla Souza), an area realtor with an affection for bright stylish pants suits. What people don’t know is that she’s a vampire with some pretty sinister plans for the Valley. More personally, she has a particularly nasty vendetta against Bud which sets up most of the second half conflict. It all culminates in a decent ending, but one that isn’t quite as satisfying as the journey to it.

Still, along the way “Day Shift” has some nice surprises. There are several gloriously over-the-top set pieces that will be catnip for action fans. And the movie’s brazen self-awareness allows it to have a lot of fun often at its own expense. Not all the humor lands, but there are plenty of funny moments. And there are a number of goofy twists to the traditional vampire movie lore that opens the door to all sorts of silliness (vampire sun screen, anyone?). All of those things make it easier to overlook the final act faults and keep things light and frothy, which is all you want from a movie like this. “Day Shift” premieres today (August 12th) on Netflix

VERDICT – 3.5 STARS

The new animated superhero comedy “DC League of Super-Pets” has a lot of star power in its voice cast. But I wasn’t drawn to it by the two leads, Dwayne Johnson and Kevin Hart. Instead, it was the thought of John Krasinski as Superman and Keanu Reeves as Batman that had me giggling all the way to the theater.

Ok, so that may be exaggerating a bit. It wasn’t just Krasinski and Reeves. I’m actually a proud DC fan so that alone offered some allure. And I do like several other names in the cast including Diego Luna, Daveed Diggs, Keith David, Alfred Molina, and Lena Headey, But while I do sometimes get a kick out of Dwayne “The Rock” Johnson, a little of Kevin Hart’s brand of comedy goes a long way with me. And the tendency of modern-day, big studio animation to follow the same general formula always leaves me a little hesitant.

But I decided to give “DC League of Super-Pets” a try, and I ended up leaving the theater straddling the fence just as much as I was going in. This is the definition of an ok movie – one with as many ups as downs and strengths as weaknesses. It’s the kind of film that will probably have enough to please kids and tried-and-true animated fans. But for anyone looking for something outside the box, “Super-Pets” doesn’t have much fresh to offer.

Following a delightful opening that does a little rewriting of Superman’s origin, the story settles down in Metropolis where the Man of Steel/Clark Kent’s faithful pet and best friend Krypto (Johnson) has grown jealous of his owner’s growing relationship with ace Daily Planet reporter Lois Lane (Olivia Wilde). Believing his canine buddy could use a friend, Clark visits an animal shelter. Among the rescue pets inside is an outspoken boxer named Ace (Hart), an insecure potbellied pig PB (Vanessa Bayer), an antsy squirrel Chip (Luna), a nearsighted turtle Merton (Natasha Lyonne), and a hairless guinea pig Lulu (Kate McKinnon).

But before Clark can pick out a new companion for the clingy Krypto, he spots his nemesis Lex Luthor (Marc Maron) pulling a meteorite full of orange kryptonite from the sky. Supposedly, rather than draining powers from heroes, orange kryptonite imbues its wielder with super-human abilities. Superman and Krypto set off to stop Luthor, but in the ensuing fight Lulu (Lex’s former lab rat and pupil) manages to secure a shard from the orange kryptonite granting her superpowers which she uses to capture Superman and the rest of the Justice League. What she doesn’t notice is that the shard also grants the other animals in the shelter with new powers.

A helpless Krypto, zapped of his abilities after being slipped some green kryptonite by Lulu, seeks the help of the newly empowered rescue pets to save Supes, the misanthropic Batman (Reeves), Wonder Woman (Jameela Jamil), The Flash (John Early), Cyborg (Diggs), and Green Lantern Jessica Cruz (Dascha Polanco). Meanwhile, the megalomaniacal Lulu puts together a super-powered guinea pig army (What’s the deal? This is second straight animated movie I’ve watched featuring a guinea pig army) leading to the inevitable big final-act showdown.

While “Super-Pets” has its moments, it’s ultimately little more than another Johnson/Hart vehicle. The movie leans too heavily on the duo’s well-worn schtick often at the expense of their characters. I get they’re big names and having them on the poster draws a lot of eyes. But this is a case where more seasoned voice actors with lower profiles would have helped. This is most glaring with Johnson. Too often when watching Krypto all I could sense was the Rock voicing a pup. It’s hard to shake.

Then there is the story itself. Directed and co-written by Jared Stern, “Super-Pets” has its sweet touches such as PB the pig’s Justice League fangirling or the flashback to Ace’s sad puppyhood. There are also some genuinely funny bits like Krypto’s conversations with a hologram of his late father, Dog-El (Keith David) and anytime Batman is on the screen. How is this the first time Keanu Reeves has voiced the Caped Crusader? Not only is Bats the film’s best written character, he’s also the best voiced. Sadly, he’s barely in the movie.

But not everything with the story works. Take its near mechanical structure which hops from point to point, hitting its predestined marks and painting characters in broad strokes rather than giving them any meaningful depth. Some of the jokes land, especially those poking fun at the traditional superhero formula. Others feel lazy, like the occasionally potty-mouthed Merton having to be bleeped-out for no other reason than the writers think its funny. And the humor really dries up during a rather tedious middle stretch where it becomes evident that there isn’t much underneath the film’s clever conceit.

While “Super-Pets” often feels like an attempt to cash in on the superhero craze, it still touches on some worthy themes such as friendship, teamwork, and finding one’s self-confidence. And while the hyper-smoothed textureless animation is hardly wow-worthy, the film still manages to pull you into its world. If only there was more to it for us to take in. Oh, and more of Keanu Reeves’ Batman. “DC League of Super-Pets” is now playing in theaters.

VERDICT – 2.5 STARS

DC Films and the superhero movies they make may lack the overall fanfare of the Marvel Cinematic Universe, but I love how they give filmmakers with unique voices the creative freedom to fully realize their visions. Whether it’s Patty Jenkins with “Wonder Woman”, Todd Phillips with “Joker”, James Gunn with “The Suicide Squad”, and even “Zack Snyder’s Justice League” (although that one took a little doing). And just this year we’ve been treated to “The Batman” from Matt Reeves, an amazing film that certainly fits in the category of original works.

Marvel Studios has tried to do it themselves by handing key movies to individualistic directors. But the MCU’s head-honcho Kevin Feige holds a lot of influence, and Marvel’s model keeps every film beholden to some pretty strict guidelines. And in the few instances where directors have tried to balance originality with formula the results were pretty shaky. That is until the 28th film of the Marvel Cinematic Universe came along.

“Doctor Strange in the Multiverse of Madness” has (by far) been the most compelling of all the messy ‘Phase Four’ productions. A big reason is quite simple – director Sam Raimi. I’ve been an unapologetic Sam Raimi fan starting with his 1981 horror classic “The Evil Dead”. His affection for horror has stuck with him, but he’s no stranger to superhero movies. He was the man behind the Tobey Mcguire Spider-Man trilogy during the 2000s (“Spider-Man 2” is still one of the best superhero movies to this day).

Now Raimi and his indelibly distinct style enters the MCU and the big question for me was simple – how much space would Feige and company give Raimi to make the movie he truly wanted to make? While there are a few moments that feel like studio demands, as a whole this is very much a Sam Raimi movie. And while 2016’s “Doctor Strange” was a very compact and fairly by-the-book origin story, its sequel couldn’t be more different.

Now I don’t wanna mislead anybody, this is still a Marvel movie as well. But Raimi brings a fresh jolt of energy that gives the MCU a kick it desperately needs. Yes it’s a little messy. Yes it doesn’t all come together as seamlessly as intended. But it’s that Raimi led chaos and risk-taking that makes the movie pop. Ultimately (and thankfully) “Multiverse of Madness” doesn’t feel like any other MCU movie to date. And that’s one reason I loved it.

Parsing through all of the story threads and multiverse hopping would be too much for a simple review. Just know you’ll need to pay attention because the movie has numerous moving parts. And while Raimi and screenwriter Michael Waldron bounce us around from point and point and place to place, they do so with a remarkable amount of control. When thinking back, I can remember several times when this thing could have flown off the rails. But Raimi manages to connect most of the dots and holds the story together which turns out to be an impressive feat unto itself.

“Multiverse of Madness” may be a chore for the MCU uninitiated. That’s because it leans pretty heavy on past Marvel material, specifically the Disney+ limited series “WandaVision” and last year’s blockbuster “Spider-Man: No Way Home”. If you remember, in “Spidey”, a temporarily inept Dr. Stephen Strange (Benedict Cumberbatch) botched a spell that essentially splits open the Multiverse, opening our universe up to the infinite others in existence. Now he fully comes face-to-face with the consequences.

Meanwhile, Wanda Maximoff (Elizabeth Olsen) has been consumed by her sorrow and gone into hiding following the events of “WandaVision”. She’s found by Strange who seeks her help after he rescues a young girl named America Chavez (Xochitl Gomez) from an octopus demon (yep, you read that right). We learn America has the ability to open doorways to other dimensions in the Multiverse – a power the demons want to harness for themselves. The problem is she can’t control her powers which is how she ended up in their world.

But Strange is shocked to learn that Wanda has been using a book of black magic known as the Darkhold and has fully embraced her Scarlet Witch alter-ego. She wants America’s dimension-bopping power for herself in order to travel to another universe and reunite with the children she willed into existence during “WandaVision”. Olsen steals the show as the emotionally damaged Wanda whose story is arguably the saddest in the MCU. Here her actions become undeniably sinister, yet they’re rooted in genuine humanity which makes her story all the more tragic.

Soon Strange is zipping across the Multiverse in an effort to keep America out of Wanda’s grasp. Along the way he encounters variants of himself, meets a few old faces, and is introduced to some new ones. I won’t spoil who all pops up, but several appearances earned pretty hearty applauses from the crowd I was a part of.

One of the biggest treats is how we finally get to see Wanda utilize her full power. There was a thrilling glimpse of it in “Avengers: Endgame” and “WandaVision” dabbled in it a bit. But here the character is let loose. Olsen embodies every ounce of Wanda, from her sheer look to her emotional complexities. Cumberbatch has made Doctor Strange his own and he’s much more in tune with the character here than in last year’s Spider-Man movie. Gomez doesn’t fare as well. Her performance is fine, but America feels more like a plot device. She’s there to give Wanda someone to pursue and Strange someone to protect. And of course she’s there to set up her upcoming Disney+ series.

My love for this movie ultimately comes back to Raimi who hits the ground running and never slows down. While it’s certainly a little messy in spots, “Multiverse of Madness” is such a welcomed departure from the canned formulaic feel of most of the ‘Phase Four’ MCU movies. This thing is absolutely and unapologetically bonkers and Raimi’s fingerprints are all over it. It has its challenges. I can’t imagine it resonating with those who haven’t soaked up previous MCU content, and it might be a jolt for those hooked on the normal Marvel Studios routine. But for me, the MCU needed a kick in the pants, and Sam Raimi was happy to gave it one.

VERDICT – 4.5 STARS

At first look you would expect a movie like “Deep Water” to be getting a lot more attention. After all, it’s led by A-lister Ben Affleck and rising star Ana de Armas. It’s an erotic psychological thriller directed by Adrian Lyne, the guy behind 1987’s not-so-great but wildly popular “Fatal Atrraction” and it’s shoddy (but profitable) siblings, 1993’s “Indecent Proposal” and 2002’s “Indecent Proposal”. Surprisingly, this is Lyne’s first film in twenty years.

Originally set for release in November 2020 by 20th Century Studios, the film was hit with several delays during the pandemic before being pulled from Disney’s theatrical release schedule. With little in terms of promotion, the movie debuts this weekend as a Hulu streaming exclusive . After seeing it, you can kinda get why it has been shuffled around so much. At the same time there are some interesting (and admittedly unexpected) strokes that grab your attention.

Vic and Melinda Van Allen (Affleck and de Armas) are an unhappily married couple who have lost whatever spark originally brought them together. Vic made a fortune designing a computer chip for military drones. Now retired, he spends his time riding his mountain bike and raising snails down in the garage (yep….snails). Melinda loves drinking and gratuitously ‘flirting’ at parties with a number of male ‘friends’, often right in front her husband. Vic is rightfully incensed, but he’s no angel. To him Melinda is a possession, and his anger isn’t flowing from a broken heart.

Despite having lots of money, a big social circle, and a lovely young daughter Trixie (Grace Jenkins), Vic and Melinda’s marriage seems doomed from the first moment we first lay eyes on them. It only sours from there. And it’s more than just sleeping in separate rooms or volleying insults at each other. Their relationship is toxic. Vic’s best friends (Lil Rel Howery and Dash Mihok) know that Melinda’s into more that just innocent frolicking, but Vic brushes off their warnings. And as things slowly fester, the couple’s depraved mind-games soon turn deadly.

Based on Patricia Highsmith’s best-selling novel, “Deep Water” (written for the screen by Zach Helm and Sam Levinson) puts us in the company of two truly awful people and leaves us there to observe as their relationship goes south. Truthfully, the movie is more trashy than erotic and more psychopathic than psychological. At times it seems to be perfectly content with being just that. Other times you get the sense that Lyne might be after something else.

Perhaps what’s most surprising is how straightforward the story turns out to be. I was expecting a movie plump with twists, turns and surprises, but there really aren’t many. Melinda is the biggest enigma and reading her is next to impossible. Is she licentious or psychotic? Some of both? The film doesn’t offer much clarity although it leaves you with a vague sense of who she may be. To be honest, the camera often seems more interested in her looks than the script. More emphasis is put into admiring de Armas’ beauty than really giving Melinda some much needed depth.

Affleck gets a little more to work with as the film is focused on and mostly seen from Vic’s perspective. Affleck is both cryptic and thoroughly convincing. And he and de Armas have a striking chemistry (an actual off-screen romance developed during the shooting but has sense ended). Tracy Letts isn’t so lucky. He plays the couple’s friend (I think) Don, who doesn’t trust Vic from the start. He’s a woefully underwritten character with actions and motivations that make no sense whatsoever. He’s even more of a head-scratcher in the bonkers final act where things really get ridiculous.

After reading all that, “Deep Water” probably sounds like a mess, and it kinda is. There is an alluring quality to its trashy story, and I loved the unexpected bites of pitch black humor which caught me off guard every time. But its lack of compelling twists (or really any twists whatsoever) zaps the movie of some needed energy. And while the wonky final 15 minutes tries to compensate, it ends on a head-scratching note – one that doesn’t do the already shaky movie any favors. “Deep Water” premieres this Friday (March 18th) on Hulu.

VERDICT – 2.5 STARS

Naomi Watts plays a traumatized mother caught in a hopeless situation in “The Desperate Hour”, an appropriately titled new thriller from director Phillip Noyce. Written by Christopher Sparling, the story takes a well-intentioned look at an extremely sensitive subject but ends up undermining itself with some painfully bad second-half choices.

“The Desperate Hour” is very much a tale of two very different halves. The first half is absolutely terrific, offering a riveting setup and leaning on Watts’ incredible talent to pull us in and connect us emotionally. I was completely absorbed and invested. But then the second half comes along and takes an ill-advised turn. You can see it happening, and I found myself saying out loud “Please, don’t go there!” But it does go there, all for the sake of the genre expectations, and both the movie and the subject matter suffer as a result.

Watts does practically all of the heavy lifting, and for much of the movie she’s the only person we actually see. She plays Amy Carr, a widowed mother of two still working through her grief. It has been one year since her husband Peter was killed in a car accident. Feeling especially down, Amy takes a personal day off from work. She gets her young daughter Emily (Sierra Maltby) on the bus, but her troubled teenage son Noah (Colton Gobbo) won’t get out of bed. Amy hasn’t been able to connect with her son since his father died. Discouraged, she leaves Noah in bed and goes out for a jog.

Other than the final ten minutes, the rest of the movie is spent alone with Amy and her iPhone. She jogs for what seems like ten miles deep into the beautiful forest outside of town. For a while there’s no solitude as she gets calls from her mom, her job, her best friend, etc. She puts her phone on Do Not Disturb for some needed quiet time, but just as she’s alone with her thoughts an alert comes across her screen. There is an active shooter situation at the school and the entire town is on lockdown.

Deep in the forest and with no vehicle, Amy frantically makes calls to anyone she can for help. A 911 dispatcher, an autobody repairman, her daughter’s elementary teacher, and a co-worker are among the many voices she connects with over the phone. But she can’t find a ride, she begins losing her GPS signal, Noah won’t answer her calls, and the cops aren’t sharing any information. It all works as a truly emotional and nerve-shredding setup.

But then the movie takes an ill-advised turn which leads to a series of bad creative choices that squash much of what the film had accomplished early on. Amy becomes a super-sleuth and the sheer number of conveniences needed to make the final act happen stretches the bounds of believability. But the biggest misstep is in how it uses the delicate subject of a school shooting as a plot device. I won’t spoil how, and to be fair that isn’t the movie’s intent. But by the end that’s exactly how it feels.

“The Desperate Hour” is one of the more frustrating movies I’ve seen over the last few years. For a while I was so intensely invested in the story and Watts’ performance really grabbed me. But then, as if falling in line with some kind of genre playbook, Sparling’s script veers off into some yucky territory. And the decision to explore grief through the tragedy of others doesn’t land well at all. Especially a tragedy that’s so real and devastating as a school shooting. Again, it should be said that Noyce and Sparling are going for something much different. But that doesn’t change how the movie ultimately feels. “The Desperate Hour” is out now in select theaters and on VOD.

VERDICT – 2.5 STARS