The immensely talented Samara Weaving plays a highly skilled underworld driver trying to turn her life around in the wildly uneven “Eenie Meanie”, a Hulu exclusive and the first feature from writer-director Shawn Simmons. “Eenie Meanie” aims to be the kind of gritty pulp that Quentin Tarantino fans might happily embrace. Sadly, neither its style or its story comes close to the films or filmmakers that inspired it.

“Eenie Meanie” often feels at war with itself. There are flashes of originality that occasionally make its way to the surface. But even at 94 minutes, the cliché riddled story quickly sputters while the uninteresting (and often annoying) characters give us no one to latch onto. Making things worse, the film’s tonal confusion gets more noticeable the further we go, as the far-fetched silliness attempts to segue into something that could have been emotionally impactful if not for everything that came before it.

Weaving plays Edie Meaney who was given her titular nickname by a low-level crime boss named Nico (Andy Garcia). We learn Nico shamelessly used Edie on jobs dating back to when she was 15-years-old. He took an almost fatherly liking to her, going as far as doing something unheard of in gangland – giving her a ticket out. As a result, Edie is doing everything she can to go clean including working a legitimate job to help pay her way through college.

But things change in a snap with the introduction of her impulsive and perpetual loser ex-boyfriend John (Karl Glusman). He’s the kind of guy who is always screwing up and needing other people to bail him out. He’s also the type of character who is insufferable to watch on screen. It’s certainly not the fault of Glusman who does exactly what the script asks. But a little of John goes a long way, and unfortunately he’s gets plenty of screen time.

John’s latest debacle comes after he kidnaps a valuable casino card counter named Leo (Randall Park) who is working for Nico. John lures in an unaware Edie to help him get away from Nico’s goons, but when Leo is killed during the escape, Edie finds herself pulled into John’s latest mess. She insists they go to Nico and explain what happened. While her former boss is willing to let her go, the only way he will let John live is if the two of them carry out a heist. $3 million in winnings from a high-end poker tournament to be precise. Of course Edie is guilted into agreeing.

From there the story only gets more predictable. But that’s hardly its biggest problem. The issues mostly come from the scattershot story. The opening 30 minutes are hardest to bear as it mostly consists of obnoxious people screaming profanities at each other. There’s also this strange plot thread where Edie finds out she’s pregnant. It’s a detail which should have carried a lot more weight than it ever does. There’s also a wedged-in backstory meant to earn our sympathy but that is terribly underdeveloped. And through it all, several wasted side characters pop in but have little effect.

Weaving is the film’s big saving grace. While she sometimes seems a bit bored with what she’s given, she does bring some much-needed life, and later on heart, to a movie that has a hard time sustaining either. But its all so messily thrown together and it never coalesces into much of anything. It tries hard in the final act. But the result is an unearned finish that even Weaving can’t make us fully buy into. “Eenie Meanie” is now streaming exclusively on Hulu.

VERDICT – 2 STARS

Ron Howard’s “Eden” isn’t a movie I’ll soon forget. Ambitious and audacious, this thorny survival thriller is considerably different than anything Howard has done before. “Eden” comes on the heels of the filmmaker’s brilliant 2022 gem “Thirteen Lives”. And while this is a much different movie, “Eden” sees Howard once again exploring a side of human nature through the inspiration of true events. In this case – it’s a much uglier side.

“Eden” is inspired by an astonishing true story that’s told through a star-studded cast, each of whom bring precisely what their uniquely positioned characters need. Howard is joined by screenwriter Noah Pink to deliver a bluntly presented critique of humanity’s dark side. It’s a deceptively smart analysis wrapped in a slow-simmering drama that can be unsettling, amusing, brutal, and even campy. Yet it works and gets its point across surprisingly well.

In 1929, as the world lies in chaos in the wake of World War I, Dr. Friedrich Ritter (Jude Law) and his partner, Dora Staunch (Vanessa Kirby) flee Germany to an uninhabited island in the Galapagos called Floreana. There the two battle harsh conditions and rugged terrain to create their own isolated utopia built upon Ritter’s radical and evolving philosophies. As the two relish their seclusion, Ritter works on his manifesto which he believes will help save humanity from itself. His only connection to civilization is a series of letters he sends through passing trade vessels.

Little does Ritter know, his letters stir up much interest back in Germany. Among those captivated by his writings is Heinz Wittmer (Daniel Bruehl), a former soldier broken from his time in the war. Heinz makes the decision to leave Germany with his noticeably younger wife, Margret (Sydney Sweeney) and their son Harry (Jonathan Tittel) and venture to Floreana. But the Wittmer family’s unannounced arrival annoys Ritter and Dora who don’t appreciate having their solitude interrupted.

But the Wittmer’s are nothing compared to the island’s next visitor – Baroness Eloise Wehrborn de Wagner-Bosquet (a gloriously campy Ana de Armas). She arrives with her two subservient boy-toys, Robert (Toby Wallace) and Rudy (Felix Kammerer), with a cockamamie plan to build an exclusive island resort for millionaires. But first she needs investors, and what better way to woo them than by showing them the island first-hand.

It doesn’t take long for tensions to arise between the three parties. The baroness is a hedonistic whirlwind of privilege and self-absorption. Meanwhile the Wittmers are trying to make themselves a home although some once dormant family conflict makes it difficult. As for Ritter and Dora, they find their philosophies challenged by the invaders and it threatens to drive a wedge between them.

Howard and Pink take their time unwrapping their characters and establishing the conflicts between them. The buildup demands patience and it makes for good drama. But lying at the story’s core is an shrewd examination the ugliness of humanity. Jealousy, deception, and betrayal inevitably breeds animosity and violence. Before long we find ourselves observing a series of nasty psychological chess matches where everyone’s true self come to light.

Again, in numerous ways “Eden” is unlike anything Ron Howard has previously directed. Said to be “Inspired by the accounts of those who survived“, Howard takes us on a twisted journey that is both devilishly intriguing and strikingly audacious. And that journey is fueled by a terrific cast whose commitment can be seen every step of the way. It may be a challenge for some, especially with its deliberate pacing and unflinching final act. But both are vital ingredients that ultimately help give “Eden” its kick. “Eden” hits theaters August 22.

VERDICT – 4 STARS

You can be certain that some will go into “The Electric State” with their knives already sharpened. Afterall, it’s a $320 million streaming blockbuster from Netflix which makes it an easy target. But this latest small screen creation (that would look amazing on the big screen) is nowhere near the trainwreck it has been tagged as. But it also doesn’t live up to its status as one of the most expensive movies ever made.

With “The Electric State”, the directing duo of Anthony and Joe Russo continue to find their post-Marvel footing, reteaming with frequent collaborators, screenwriters Christopher Markus and Stephen McFeely. This time they’re adapting Simon Stålenhag’s dystopian sci-fi graphic novel of the same name after acquiring the rights back in 2017. They’ve brought this massive undertaking together with a hefty backing from Netflix who apparently handed the brothers a blank check.

From the very start you’ll notice “The Electric State” sports a star-studded ensemble providing both live-action performances and voicework. The featured talent includes Millie Bobby Brown, Chris Pratt, Ke Huy Quan, Stanley Tucci, Giancarlo Espositio, Woody Harrelson, Anthony Mackie, Colman Domingo, Jenny Slate, Brian Cox, Alan Tudyk, Woody Norman, and Jason Alexander among others. Just listing the names gives you a good sense of where a lot of the money went.

As for its storytelling, “The Electric State” struggles to find its own voice. So much of its story follows a familiar and well-traveled trajectory. We feel three steps ahead of it the entire way. There’s also no nuance in the handling of its themes. They’re mostly plastered on the surface rather than thoughtfully explored through the characters and their journeys. So that leaves the movie leaning heavily on its star power and impressive visuals.

Its 90’s set story takes place in the aftermath of a war between humans and robots. We learn humans had made robots the backbone of the world’s workforce, shaping them to do whatever labor mankind desired. Eventually the robots, led by the noble Mr. Peanut (voiced by Harrelson), began pushing for freedom and equality. But a paranoid humanity resisted which led to a global war.

After much fighting, the humans finally gained the upper-hand with the invention of the neurocaster by a wealthy CEO, Ethan Skate (Tucci). While the technology empowered mankind to win the war, Slate turned it into a virtual reality network that connected the entire world. Soon humans became obsessed with neurocasters, losing themselves in the VR worlds it created. Meanwhile robots have been banished, either disassembled or sent off to the reservation styled Exclusion Zone.

It’s within this world that we meet Michelle (Brown), a ward of the state ever since she lost her parents and was separated from her brilliant but anxious kid brother, Christopher (Woody Norman). Late one evening Michelle is shocked when a small robot in the form of Christopher’s favorite cartoon character, Kid Cosmo (voiced by Alan Tudyk) sneaks into her room. Within the robot is a part of her brother’s consciousness (at least I think) who tells Michelle he desperately needs her help.

So Michelle sets out for the west coast to find, rescue, and reunite with her brother, guided by an illegal robot who draws all kinds of unwanted attention. But she finds help in an unexpected place – a smuggler named Keats (Chris Pratt in a hideously bad mop) and his robot sidekick, Herman (voiced by Anthony Mackie). They agree to escort Michelle and her Cosmo-bot across the war-torn wasteland of the Midwest towards Seattle. But of course there are plenty of dangers along the way from rogue robots to Ethan Skate, the nefarious CEO who we quickly learn is the movie’s big baddie.

To its credit, “The Electric State” looks amazing thanks in large part to cinematography Stephen F. Windon and the VFX team led by supervisor Matthew Butler. There is an incredible amount of detail put into the world from the retrofuturistic cities to the rust and grime of old battlefields. There are also tons of cool and amusing robot designs. Similarly, the action scenes are well choreographed and shot, incorporating both style and humor into the sequences.

If only the story had more weight. If only it made us feel something for the characters. If only it made the stakes seem as high as we’re told they are. If only its themes of tech dependency, family, and human connection were more seriously treated. Instead we’re left with stunning visuals, a slew of needle drops, and a great cast (some of whom are woefully underused). That was enough to hold my attention and keep me mildly entertained. But it also left me frustrated. The Russos have created a fascinating world that feels like it’s still waiting to be discovered. And no matter how hard I tried, I never felt a connection to it.

VERDICT – 2.5 STARS

With a blaring title like “Everyone is Going to Die” you may think you know what you’re in for. But to writer-director Craig Tuohy’s credit, his feature film debut has more on its mind than you might expect. But having big ideas means little if you’re not able to execute them. And unfortunately some of the film’s bigger issues lie with the execution.

The trailer presents the film as a sinister mix of “The Strangers” and Michael Haneke’s “Funny Games”. But it doesn’t have the terror of “The Strangers” or the disturbing edge of “Funny Games”. Instead “Everyone is Going to Die” is a home invasion thriller that’s so intensely invested in being a patriarchal critique that it forgets such things as building suspense, story coherence, and sticking its ending.

But Tuohy does impress in some areas including making the most of an obviously small budget. And you can see the framework of a potentially terrifying and thematically provocative movie. But not all of its narrative pieces fit together and there are a few too many details missing from the story. And once the film’s intent becomes obvious, it clumsily tries to make its point through head-scratching sequences that amount to little more than shock value.

The film opens with a wealthy land developer, Daniel (Brad Moore) cleaning up his remote ultramodern home after a hedonistic night of partying with his latest girlfriend, Lydia (Tamsin Dean). From the outset it’s clear that Daniel is a slug and the movie goes all-in defining him as such. So much so that later attempts at revealing the depths of depravity lose their punch. He’s a self-centered jerk, a crooked businessman, and a rotten father. But nothing trumps the damage he has done to the women in his life.

Daniel finishes cleaning up just in time for the arrival of his troubled 16-year-old daughter Imogen (Gledisa Arthur) who has reluctantly agreed to spend the weekend with her father to celebrate her birthday. Daniel attempts to reconnect with Imogen but it’s obvious he has no clue what she likes or dislikes. He’s even more oblivious to the deeper emotional issues she’s struggling with.

Their not-so-enjoyable father-daughter reunion is suddenly interrupted when their home is invaded by two women sporting hideous masks and a shotgun. The women, listed as Comedy (Jaime Winstone) and Tragedy (Chiara D’Anna), take Daniel and Imogen hostage but aren’t immediately upfront with their reasons. At first it comes across as a straight robbery. But it’s quickly made evident that the women have serious man issues, and specifically with Daniel.

The entire movie plays out inside the house which (as in so many other current movies in the horror and thriller genre) is yet another posh estate sitting in the middle of nowhere, conveniently away from any neighbors or law enforcement. It features the two mysterious women humiliating the aggressively vile Daniel in front his daughter by exposing his many vices. But not all of their tactics make sense. And the movie’s opinion of them is cloudy at best, with the script constantly undercutting any feelings we’re supposed to have for them.

One area where the movie excels is in the performances. Moore is too restricted by his character to offer much for us to latch onto. But Arthur, Winstone, and D’Anna each offer compelling takes on the women they play. But even they have a tough time adding substance to this barely 80-minute story. Again, its problems all come down to the diluted script which wants to say something profound but that has a really hard time saying it. Releases in select theaters and on VOD February 21st.

VERDICT – 2 STARS

Jacques Audiard’s “Emilia Pérez” is one of the most confounding movies of 2024. Positioned by some as a strong awards contender, this contradictory and clumsy musical crime “comedy” manages to be as bewildering as it is audacious. Very few of Audiard’s big swings connect at all, and his attempts at finding a human heartbeat often come across as soapy and artificial. And that only scratches the surface of the movie’s panoply of head-scratching issues.

“Emilia Pérez” is a film that attempts to do a number of things but doesn’t do any of them particularly well. It’s a musical with no sense of rhythm; a thriller that lacks suspense; a comedy without a sense of humor; and a melodrama with no emotional spark. The performances are solid, especially from Zoe Saldaña who has always deserved more attention than she receives. But finding reasons to care about these characters shouldn’t be as hard as it is.

Saldaña plays Rita Mora Castro, an overworked and underappreciated Mexico City lawyer who receives a mysterious call from a potential client wanting to meet her. Now everything about the meeting should have set off alarms – late at night, down a side road near a newsstand. But Rita goes and is promptly hooded and thrown into a van. She’s driven out to the middle of nowhere and sat down across the table from a notorious cartel leader named Juan “Manitas” Del Monte (Karla Sofía Gascón).

Their meeting doesn’t go where Rita or the audience would expect. Manitas is looking to have a secret sex change procedure and wants to hire Rita to covertly oversee the planning. Seizing the offer to become insanely rich, Rita accepts her task of finding a willing doctor abroad, helping Manitas stage a believable death, and relocating Manitas’ wife Jessi (Selena Gomez) and their two children to Switzerland. Soon Manitas is at a Tel Aviv clinic ran by Dr. Wasserman (Mark Ivanir).

Four years pass and Rita is enjoying a comfortable life in London. But her life changes again after she has a surprise encounter with Emilia Pérez, formerly Manitas. Emilia is desperate for a family reunion and once again hires Rita to make it happen. Rita is tasked with bringing Jessi and the kids back to Mexico City. Once there, they will live with Emilia who will be posing as Manitas’ distant cousin. It doesn’t take a Rhodes Scholar to figure out that Emilia’s ruse can only last so long. And where it ends up going only deflates the movie more.

After reading everything up to this point you may have forgotten that “Emilia Pérez” is indeed a musical. No worries, you’ll probably forget after seeing it as well. That’s because none of the songs will stick in your memory aside from the more absurd ones. Even worse, the songs feel forced or tacked on rather than a meaningful part of the film’s identity. And while they are strangely (yet mercifully) brisk, enduring them can be chore.

As “Emilia Pérez” played out, I kept asking myself a number of questions. What’s the overall point of it all? What am I to make of its murky messaging? How am I supposed to feel about these characters, especially Emilia? And is that the best ending Audiard could come up with? Ultimately I came to the conclusion that I didn’t really care. And that’s my biggest problem with “Emilia Pérez”. Despite its admirable ambition and a terrific Zoe Saldaña performance, the film left me in a state of indifference. And that’s the last place you want to be with a movie like this.

VERDICT – 2 STARS