The insanely versatile and always authentic Dale Dickey is an actress who can express more in one stare than many can with heavy direction and pages of dialogue. She has always been a captivating screen presence, often playing gritty and menacing characters while at other times conveying an unvarnished Southern charm. Her performances are often subtle yet they’re almost always memorable.

Dickey gets a terrific lead role in “The G”, a gripping crime thriller from Canadian writer-director Karl R. Hearne. The film premiered two years ago at the Tallinn Black Nights Film Festival and since then has been making its rounds across the globe. Now it’s getting a wide distribution courtesy of Dark Sky Films, hopefully followed by the kind of audience the movie deserves.

Dickey plays Ann Hunter, a leathery and tough-minded 72-year-old who spends too much of her day smoking cigarettes and swigging vodka. She has no family outside of her ailing husband Chip (Greg Ellwand) and his granddaughter from his first marriage, Emma (Romane Denis). Emma admires Ann and the two have gotten close. But Ann has a dark past that she has kept hidden from Emma. And she’s forced back into that past after a vile chain of events threatens those closest to her.

Everything turns when a group of men arrive at their home with a court order to move Ann and Chip to a care facility. The court puts them under the care of a man named Rivera (Bruce Ramsay). As their legal guardian, Rivera immediately gets control of their assets. It goes something like this – the “guardians” target isolated elderly people who they believe may have money. They then get diagnoses from corrupt doctors who say the patients are incapable of caring for themselves. It then goes before the courts where judges give the “guardians” control.

But Ann is no normal target and she’s certainly not the helpless old woman they assume she is. Rivera and his cronies find it out once Emma is put in danger while trying to help her grandparents. The gritty Ann turns grittier and Dickey captures it with striking authenticity. Her quiet stoicism turns menacing as she slowly peels back some of her character’s layers. But the best quality of her performance is in how Dickey is able to have us rooting for Ann and fearing her at the same time.

While it may sound as if “The G” turns into a prototypical violent payback thriller, the film actually has much more going on than that. Hearse takes his time developing his story. Much more of a slow-burn than an edge-of-your-seat nailbiter, the story earns our investment and rewards our patience. It does so on the back of the fearless and formidable Dale Dickey, who remains an actress deserving of more recognition than she gets. “The G” releases June 27th in theaters and on VOD.

VERDICT – 4 STARS

It may not be the most audacious of titles, but in the case of “Gunslingers” the shoe fits. Brian Skiba directs, writes, produces, and edits this fairly action-packed Western that’s built upon the kind of premise you might see in a Corbucci or Leone feature. There is no shortage of Old West blood and carnage, and it features arguably the wackiest Nicholas Cage performance to date.

When read together, those sound like ingredients for a winning recipe. Unfortunately “Gunslingers” never quite reaches the heights of its genre potential. Nagging issues repeatedly drag the movie down, often just as it’s winning us over. Among those issues are a handful of shaky performances often for underdeveloped characters. But more frustrating, almost nothing about the movie feels the slightest bit authentic – not the characters, the relationships, or even the one-horse town where most of the story takes place.

Opening in 1903, Stephen Dorff plays Thomas Keller, a New York hoodlum who is forced to flee the city after killing a crooked and powerful mogul named Jess Rockefeller. During the fracas, his brother Robert (Jeremy Kent Jackson) is also killed – or so Thomas thinks. From there we jump ahead four years with Thomas in Kentucky laying low and dodging the occasional bounty hunters who are all out to collect the massive blunter put on his head by the Rockefellers.

After one particularly violent encounter leaves his horse dead, Thomas makes his way to the tiny town of Redemption, a community of outcasts and lawbreakers who have found absolution under the guidance of their leader, Jericho (Costas Mandylor). Thomas believes he has found a new home and is baptized into the ranks of the townsfolk. But his peace is short-lived following the arrival of a woman named Valerie (Heather Graham) and her young daughter Gracie (Ava Monroe Tadross).

We learn Valerie has a connection to Thomas – a connection that becomes a lot clearer when his brother Robert shows up along with a 100-man posse. It turns out Robert (obviously) survived and cut a deal with the Rockefellers to bring Thomas back. And while he’s there, he might as well grab the bounties on the other citizens of Redemption. It all eventually leads to a showdown, with the townsfolk holed up in the saloon and Robert and his men surrounding them.

While there are plenty of bloody shootouts, much of the film focuses on Thomas fitting in with the people of Redemption. There’s Jericho’s daughter, Bella (Scarlet Rose Stallone), the enigmatic Lin (Tzi Ma), the hunky Levi (Cooper Barnes), and so on. But to no surprise the most notable is Nicholas Cage’s Ben, the Bible-reading town photographer who refuses to even touch a gun. It’s such a weird performance with Cage bopping around with a crazed sway, funky glasses, and a wheezy voice. His acting straddles the line between sly dark comedy and just plain bad.

Sadly the movie’s treatment of the characters never gets beyond skin-deep. Few if any of the locals feel at home in Redemption, and the town lacks a lived-in feel. It makes buying into the drama more difficult than it should be. The action spices things up a bit with Skiba showing his affection for the genre. Meanwhile Dorff and Graham do what they can with the material. But “Gunslingers” relies too much on tired Western tropes and not enough on good old-fashioned character work and world-building.

VERDICT – 2 STARS

Miles Teller and Anya Taylor-Joy play elite snipers assigned to a mysterious mission by their respective countries in the upcoming film “The Gorge”. Director Scott Derrickson (“Doctor Strange”, “The Black Phone”) teams with screenwriter Zach Dean in an Apple TV+ exclusive that melds together science-fiction, action, and horror to deliver a film with no shortage of surprises.

One of the biggest strengths of “The Gorge” lies in the fact that we never know where it’s going. There are several instances where we may think we do, but Derrickson and Dean routinely switch gears and take the story in new directions. And while they borrow from an assortment of genres, they mix it all up in ways that help “The Gorge” feel fresh and exciting.

Teller plays Levi, a former Marine sniper who four years earlier was diagnosed with PTSD and deemed unfit for service. Rather than fight it, a frustrated Levi retired and went to work as a military contractor. One evening Levi receives a message summoning him to Camp Pendleton where he meets with the high-ranking Bartholomew (Sigourney Weaver). She needs someone skilled, dependable, with no family attachments for a top-secret solo mission. Seeing it as a way of proving himself, Levi agrees.

The military flies Levi to an undisclosed location in an undisclosed part of the world. His job is nearly as cryptic. He is to spend the next year manning a self-sufficient observation tower perched cliffside next to a giant gorge. He is to be a high-tech maintenance man – keeping the sensors, minigun emplacements, and “cloakers” up and running. He will have radio checks every 30 days, but otherwise there is to be no communication with the outside world. And just as important, contact with a similar tower sitting far away on the other side of the gorge is prohibited. After one year, his replacement will come and Levi can go home.

Upon arriving, Levi is greeted by J.D. (Sope Dirisu), the soldier he’s replacing, who gives him a tour of the tower. It stands high in the air, overlooking the massive gorge which is covered with a dense layer of fog that keeps anyone from seeing what lies below. J.D. then briefs Levi on details left out by the military. Namely that the allied governments have been secretly manning the tower since World War II. And that Levi’s job isn’t to keep people from entering the gorge. It’s to stop what’s in the gorge from coming out.

Meanwhile Drasa (Taylor-Joy), a Lithuanian sniper working for the Russian government, is the new replacement in the East Tower on the other side of the gorge. Levi takes notice but sticks by his ‘no contact’ order… at least for while. After a month of being alone with their thoughts, the two begin communicating with signs and high-powered binoculars. Suddenly an unexpected relationship takes form.

But then there’s the gorge and the secrets it holds. It’s crucial that you go into the film knowing as little as possible. So I’ll just say that the movie’s second half takes several unexpected turns – some are action-packed while others veer ever so slightly into horror. The world-building also shifts with Derrickson, Dean, DP Dan Laustsen, and the talented visual effects team building something strikingly original, wildly creative, and utterly harrowing. Again, I know that’s vague, but it should be.

As for Teller and Taylor-Joy, they know their assignments and have a lot of fun fulfilling them. Admittedly their dialogue can be a little hokey in spots. And their budding relationship is a bit rushed, leading to an abrupt character transformation in Levi that could have used more time. Still they’re both nice fits for their characters which shows most once the action ramps up and Derrickson lets his creative vision run wild. “The Gorge” premieres February 14th on Apple TV+.

VERDICT – 4 STARS

Craig T. Nelson gets a meaty big screen role in “Green and Gold”, an inspirational drama from director Anders Lindwall. Inspired by true events, the film takes an honest and heartfelt look at the plight of family farms in America. It’s told through the story of one Wisconsin family who find themselves on the verge of not only losing everything they’ve worked for, but also losing something central to their very identity.

Though not overtly religious, “Green and Gold” thoughtfully melds together faith, football and farming into a textured and grounded drama that’s firmly rooted in rural life. Nelson plays a grizzled farmer named Buck. Full of grit and pride, Buck inherited his sprawling Wisconsin farmland from his late father. And about the only thing he loves as much as his farm are the Green Bay Packers. Case in point – he even named his cattle after the players from their 1967 championship team

With his beloved wife Margaret (Annabel Armour) and their hardworking granddaughter Jenny (Madison Lawlor), Buck sticks to the old ways of farming which means respecting the land, the animals, and the way of life. But in the changing world, the old ways have led to some substantial debt along with the threat of foreclosure from a local banker named Jerry (Tim Frank).

After some unfriendly jostling, Jerry makes Buck an outrageous deal. If the Packers win the Super Bowl he’ll give Buck an interest-free year to catch up on his payments. If they lose, Buck either pays in full or signs everything over to the bank. At first Buck declines. “We aren’t betting people”, he tells Jenny. But later, as desperation sets in, he takes the wager and puts his farm in the hands of fate.

That’s one part of the story. Another focuses on Jenny, a young woman who was raised on the farm but has dreams of getting away. She knows farming and does everything from work the fields to tend the livestock. But she’s also a talented singer-songwriter who often slips off to Milwaukee to play her music at area bars. When a hunky up and coming singer (Brandon Sklenar) offers her a chance to record her music, she’s faced with a difficult yet potentially life-changing decision.

As the drama plays out at the farm, the Packers overcome a rough start and begin winning, eventually squeezing into the playoffs for the first time in years. I won’t say how everything plays out, but it doesn’t quite follow the formula you might expect. That’s because “Green and Gold” is more interested in the humanity at the core of its story. The script does occasionally veer into the melodramatic and certain side characters desperately need more depth. But it never loses its grip on the human element.

“Green and Gold” captures the heart of its moving true account through assured direction, richly authentic performances, and a terrific sense of place. It can be tender, inspiring, heartbreaking, and even dark on occasions. We’re even blessed with the always wonderful M. Emmet Walsh in his last movie role. It all makes for a welcomed January release that has the chance to surprise a lot of people. “Green and Gold” opens in theaters on January 31st.

VERDICT – 3.5 ATARS

It has been a lengthy journey (24 years to be exact), but Ridley Scott has finally delivered “Gladiator II”, the long-rumored sequel to his 2000 Oscar-winning epic “Gladiator”. I’m a massive fan of the Russell Crowe led original and wasn’t convinced we needed a sequel to such a brilliant all-timer. But Scott has been working on a second film since 2001, parsing through ideas, shaping and reshaping scripts, and getting the right people onboard.

That brings us to “Gladiator II”, Ridley Scott’s return to the Roman Empire although without the rugged star-power of Russell Crowe. But stepping into his sandals is rising star Paul Mescal who pours every ounce of himself into the role of Lucius Verus. Fans of the first film might recognize that name as he was the young grandson of Emperor Marcus Aurelius (originally played by Spencer Treat Clark). Lucius’ story is the centerpiece of this spectacular sequel that delivers everything you want from a big budget blockbuster.

This time around the screenplay is handled by David Scarpa who just recently worked with Scott on “Napoleon”. Scarpa dusts off several story threads from the 2000 film and reuses them with mostly new characters. But this isn’t some lazy rehash of its predecessor. Scott and Scarpa add several new threads of their own, often braiding them with the old to make something fresh. It results in a film that proudly honors the original while creating an identity very much its own.

“Gladiator II” opens with one of the most exhilarating battle sequences Ridley Scott has ever put to screen. In 200 A.D., under the leadership of General Marcus Acacius (Pedro Pascal), the Roman army invades Numidia, the last free city in Africa Nova. Helping defend the city is Lucius who has been living under the alias Hanno. During the brutal and bloody battle, Lucius’ wife Arishat (Yuval Gonen) is killed and he is enslaved.

Lucius is taken to the outskirts of Rome where he and other captives are thrown into an arena to fight feral baboons in front of potential buyers. Lucius impresses Macrinus (Denzel Washington) who buys him to add to his stable of gladiators. Macrinus is a mysterious but clearly ambitious man who sees the rage in Lucius as a means to fulfill his bigger plans. As he does with every film he’s in, the charismatic Washington makes “Gladiator II” better. He has the time of his life playing Macrinus, a shrewd and politically savvy manipulator who has his eyes focused on one thing – unbridled power.

Meanwhile General Acacius returns to Rome where he is greeted by the depraved and corrupt twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger) who immediately plan games in the Colosseum to celebrate Rome’s victories. But secretly the war-weary Acacius has grown disillusioned with the direction of Rome under the two Emperors. So much so that he and his wife Lucilla (a returning Connie Nielsen) are secretly organizing an insurrection with 5,000 soldiers loyal to Acacius making their way towards Rome.

As the city gathers for the upcoming gladiator games, the Machiavellian Macrinus seizes his opportunity to get closer to the throne. He convinces a reluctant Lucius to fight as his gladiator, promising him an opportunity for vengeance against Acacius if he wins enough fights in the Colosseum. And much like Crowe’s Maximus in the first film, Lucius will need to earn the trust of his fellow gladiators and win the Roman crowd if he is ever to have his chance at revenge.

Scarpa’s script is loaded with political intrigue and family revelations. But its the blood and brawn of the Colosseum that will drawn the most excitement. The action scenes are electric, combining intense choreography with brute spectacle. They’re wild, brutal, and extravagantly staged. Just as impressive are the magnificent costumes and the stunning production design, both of which benefit greatly from the film’s hefty budget. A shaky digital effect or two aside, the film is a dazzling visual achievement.

For some, comparing “Gladiator II” with its superior predecessor will be immediately yet fruitlessly tempting. The sequel may not reach the same heights or have the same impact, but it’s a worthy successor in nearly every regard. Rome lives and breathes through Scott’s bravura filmmaking and Scarpa’s incisive script, both of whom create a colossal Empire on the brink. And while there’s no shortage of juicy melodrama, underneath it simmers strong statements on power and oppression. Throw in a fiery Paul Mescal and a Denzel Washington performance for the ages, and you have the most entertaining big screen blockbuster of the year.

VERDICT – 4.5 STARS

Even in the later stages of his magnificent career, Michael Keaton remains one of our best working actors. Throughout his near 50 years in the industry, Keaton has proven to be a skilled performer who routinely challenges himself. As a result, he owns an incredibly diverse filmography. In just the last few years we’ve seen him play a CIA agent, a crooked amusement park owner, the U.S. Attorney General, and a hitman while also reprising his popular roles as Batman and Beetlejuice.

At 73-years-old, Keaton is showing no signs of stopping and we should all be grateful. His latest film is “Goodrich”, the sophomore big screen effort from writer-director Hallie Meyers-Shyer. “Goodrich” is an endearing family dramedy that’s propelled by another lights-out Michael Keaton performance. It’s a movie that may be a bit cliche in spots but that features plenty of emotional depth which connects us to its central character and his relationships with those closest to him.

Keaton plays Andy Goodrich, an art dealer who has ran his own Los Angeles gallery for 28 years. But times are tough for Andy’s business. He’s struggling to pay his rent and his artists aren’t selling. His close friend and accountant Cy (Kevin Pollak) has informed him that unless something changes he runs the risk of losing his gallery. This is uncharted territory for Andy who has always felt he had everything in his professional and personal life under control.

But the real jolt of reality comes when Andy receives a phone call in the middle of the night. On the other end is his much younger second wife Naomi (Laura Benanti) who surprises him with the news that she has checked herself into rehab. It comes as a complete shock to Andy who has been so enthralled in his gallery that he didn’t even realize his wife was abusing prescription meds. She explains that it’s a 90-day program and he will need to take care of their twins, Billie (Vivien Lyra Blair) and Mose (Jacob Kopera). Naomi ends their conversation with the solemn words “I’m leaving you.”

From there the film follows Andy as he discovers some painful truths about himself, namely how disconnected he has been from his family and their lives. Much of his revelation comes through the rekindling of his relationship with his older daughter from his first marriage, Grace (Mila Kunis). She’s a successful entertainment writer who is happily married and pregnant with her first child. It’s a really good performance from Kunis who shrewdly balances Grace’s love for her father with the resentment she has for the many years he was absent.

Throughout Andy’s journey he gleans more about his family from the other people in their lives. It builds towards a somewhat predictable yet resonating redemption arc made stronger by Keaton’s effortless authenticity. It helps that Meyers-Shyer never turns him into a bad guy. He’s oblivious to his own complicity, yet sympathetic and likable from the get-go. Keaton does the rest, really capturing the heart of his character and delivering an emotional punch, especially to fathers like me. “Goodrich” hits theaters October 18th.

VERDICT – 3.5 STARS