Sydney Sweeney’s popularity is interesting to consider. I’ve heard some suggest that it’s her busty blonde beauty alone that drives the attention far more than anything acting related. While it’s easy to question the validity of such speculation, especially considering the really good small screen performances in her catalog, Sweeney’s shaky at best big screen work does make you wonder what’s the draw.

Sweeney’s new film “Immaculate” (which she also produces) is a fairly nice change of pace for the 26-year-old actress. It’s yet another entry into the nunsploitation (I love that word) sub-genre that attempts to mix religious and psychological horror. Directed by Michael Mohan and written by Andrew Lobel, the film premiered earlier this month at South by Southwest and received some pretty good early buzz.

In a lot of ways “Immaculate” is just more of the same. We get the creepy religious imagery, the exaggerated spins on Christian theology, and the twisted incorporation of (mostly) Catholic rituals and dogma. Then there are the endless genre gimmicks – creaking doors, eerie figures in the shadows, and those darned flashlights that only halfway work when you need them most. And of course there’s the smattering of cheap jump scares that seem to come baked into nearly every horror movie of our day.

To its credit “Immaculate” is built around a pretty wacky idea – one Mohan and Lobel could have really ran wild with. Sadly the filmmakers leave most of that gonzo potential untapped. Instead they’re content with using their idea for religious shock value rather than with doing anything else. You’ll also notice they introduce several things throughout the movie that mostly go unexplored. It’s a reoccurring frustration that becomes more and more noticeable.

Sweeney plays the wide-eyed and thinly-sketched Sister Cecilia, a sweet young American nun who travels to Italy at the behest of Father Sal Tedeschi (Álvaro Morte) after her Detroit parish closes. Father Tedeschi has invited her to join his isolated convent nestled in the Italian countryside. It has all the spooky amenities courtesy of Adam Reamer’s richly detailed production design. He along with cinematographer Elisha Christian do a good job setting the mood. And it’s especially impressive considering the film’s modest $9 million budget.

Once Sister Cecilia arrives she’s introduced to the crusty Mother Superior (Dora Romano). Later she’s given a tour by the ice-cold Sister Isabelle (Giulia Heathfield Di Renzi). And she eventually befriends the rebellious Sister Gwen (Benedetta Porcaroli). But there are some pretty clear signs that not all is as it seems (at least for anyone who has seen a nunsploitation horror flick). And it really comes to a head after Sister Cecilia is discovered to be pregnant despite still being a virgin (hence the movie’s pretty pointed title).

Don’t worry, I won’t spoil the movie’s surprise twist or the crazy place it chooses to go. I’ll just say it does build up some pretty good suspense even with a few noticeable blunders. It all eventually leads to a blood-soaked finish where “Immaculate” takes the form of a campy B-movie while finally letting Sweeney loose. It’s a welcomed shift but not quite enough to deliver an ending that’s as satisfying as it thinks it is.

To its credit, “Immaculate” creates and maintains an eerie atmosphere throughout and it does a good job planting us into its unsettling setting. Meanwhile fans of blood and gore will love some of the things Mohan and his team throw at us. But those things aren’t enough to cover the film’s biggest issue – its script.

It starts with Cecilia who we learn so little about. We’re told of a past tragedy and a dramatic spiritual transformation but only in the vaguest of terms. And we barely get any explanation as to why she would accept an invitation to a convent all the way in Italy. As for the convent, even less is revealed about it and its obvious dark history. There are so many questions. For instance, what’s the deal with those black robed figures in the crimson red masks who pop up at the most random times?

Unfortunately for “Immaculate” it seems some of its bigger interests are in being provocative and shocking (some of the film’s most recent marketing backs that up). It’s a shame because a little more focus on character and storytelling could have made it stand out from the pack. As it is “Immaculate” exists alongside many other movies that basically do the same thing. That will be enough for some. But those wanting more will have to wait for the next nunsploitation movie to come down the pike. “Immaculate” is in theaters now.

VERDICT – 2 STARS

Hot off of winning the Sundance Film Festival’s top prize in the U.S. dramatic competition, the slice-of-life family drama “In the Summers” marks the filmmaking debut for director and screenwriter Alessandra Lacorazza. The story is loosely based on Lacorazza’s own childhood summer visits to her father in Columbia. That’s an admirable basis for a movie, even if the movie itself doesn’t pack nearly the same emotional punch for us as it does for her.

“In the Summers” is the kind of quiet humanist work that I often find myself drawn to. But there’s several things missing here. Lacorazza’s approach is distinctly unhurried and relies heavily on the audience to pluck details out of the mostly plotless story. But beyond those details there is little to glean. And while there’s no denying the movie has a beating heart, it takes a long time to go a short distance while saying very little along the way.

The film has in intriguing structure. It follows two sisters, Eva and Violeta who live with their mother in California. Their story is broken up into four chapters set during four summer visits to see their father in Las Cruces, New Mexico. Each chapter is set at different stages in their lives and begins with the girls waiting for their father Vicente (played throughout by René Pérez Joglar aka Residente) to pick them up at the small town airport.

The first visit sees the sisters as children – Eva played by Luciana Quinonez and Violeta by Dreya Renae Castillo. Vicente picks them up and drives them to his nice adobe style home that he inherited from his late mother. There’s clearly some hesitation at first, especially from Violeta, but things go well. The trio go swimming, he teaches them to play pool, they visit an amusement park, they even do some stargazing. With Vicente we do see signs of recklessness and a short temper. He also drinks too much. But altogether the three have a good time.

The next visit is during their teen years and much has changed with them and their father. Eva (now played by Allison Salinas) is hungry for her father’s affection but is routinely rebuffed due to his favoritism towards Violeta (Kimaya Thais Limón). “She looks like her mother,” Vicente says of Eva, perhaps giving us a little insight into his otherwise out-of-the-blue lack of interest in her. And despite his doting, we see the tension building between Vicente and Violeta that finally boils over.

I won’t say much more other than the film loses its identity in the haphazard final chapter. Now barely into their twenties, Eva (Sasha Calle) and Violeta (Lio Mehiel) still pay their father a visit. But Lacorazza veers away from the more intimate father-daughters dynamic and more towards Eva and Violeta’s individual angles. Eva’s story is the most compelling although it’s hindered by a terrible lack of detail. Violeta’s feels like it belongs in another movie altogether.

Without question “In the Summers” has its touching moments and the unique structure opens the door for an equally unique exploration. Even better, the film features an eye-opening performance from Puerto Rican rapper Residente. But the final chapter really brings the movie down, needlessly splintering the story and exposing holes that otherwise would have gone unnoticed. It’s a frustrating and unfortunate finish to a film that starts on such a strong note.

VERDICT – 2 STARS

Hats off to the creative minds behind “I.S.S.”, the smart and inventive science fiction thriller set aboard the low orbit International Space Station. Screenwriter Nick Shafir taps into real-world fears and tensions with his taut and suspenseful nailbiter. He offers up a frightening, paranoia-soaked vision of a not too distant future where mankind comes face to face with its own self-destructive nature. And he does so through a clever premise that unfolds within a most compelling setting.

Director Gabriela Cowperthwaite brings Shafir’s story to the screen with a firm control and a keen sense for tension building. She has a good grasp of the kind of movie she’s making, keeping a tight focus, skillfully managing budget constraints, and keenly utilizing the various facets of filmmaking (visual, sound, and performance more specifically). The result is a gripping sci-fi tale that resonates a lot more in our current day than we’d probably like to admit.

Following the Cold War the International Space Station (ISS) was constructed in a collaborative effort towards unity and progress between the United States and Russia. Primarily a research facility, the ISS has been instrumental in noteworthy advancements in technology, medicine, and the study of space. Pretty much all of that finds its way into the film’s story.

It opens with two United States astronauts, Kira Foster (Oscar winner Ariana DeBose) and Christian Campbell (John Gallagher Jr.) arriving at the ISS. They’re greeted by fellow American Gordon Barrett (Chris Messina) and three Russian cosmonauts, Weronika Vetrov (Masha Mashkova) and brothers Nicholai Pulov (Costa Ronin) and Alexey Pulov (Pilou Asbæk). This is Kira’s first time aboard the space station so she immediately starts learning the crew, getting acclimated to her new surroundings, and adjusting to life at zero gravity.

It doesn’t take long for Kira to take note of the camaraderie between the Americans and Russians. They’re a proudly unified group, never discussing the politics or the conflicts from the world below. But everything changes after they witness a series of massive explosions on the earth’s surface. Each group immediately attempts to contact their governments but to no avail. So as the earth burns down below, the crew aboard the ISS are left in the dark.

But only a short time later the Americans receive a chilling secret message from the surface. Their orders – take control of the ISS by any means necessary and no matter the cost. Surely the Russians received a similar message, right? From there Cowperthwaite steadily yet smartly ratchets up the suspense as crew members break off into factions, torn between their loyalties to each other and their calls to duty. Suspicions lead to distrust; apprehension gives way to panic.

Shafir’s script supplies an ample amount of twists and turns, leaning more on psychological tension than action-packed, effects-driven thrills. But that’s not to say the movie doesn’t look great. The stellar cinematography from Nick Remy Matthews creates a striking sense of claustrophobia and confinement within the station while also capturing the enormity of space outside. Meanwhile Anne Nikitin’s score looms ominously in the background adding to the growing dread.

If there’s one place “ISS” falls a little short it’s with the characters. They have very little depth leaving them hard to connect with on anything beyond a surface level. But even with that, they still fit nicely into the story, offering up different personas and perspectives that morph as their situation intensifies. The performances from the six-person cast are superb, especially from DeBose who turns out to be our fresh-eyed surrogate. It’s a strong feature film follow-up for the rising young star.

“I.S.S.” thrives thanks to a clever high concept idea from screenwriter Nick Shafir and fabulous execution by director Gabriela Cowperthwaite. The movie could have easily fizzled without one or the other. But both work in unison to bring us an impressively inspired and thoroughly entertaining genre film that happens to be the first big surprise of this young movie year. Don’t miss it. “I.S.S.” launches in select theaters on January 19th.

VERDICT – 4 STARS

Growing up as a kid in the South during the 1980s, professional wrestling had a huge impact. But it wasn’t just for knot-headed boys like me. Regional wrestling had fans of all shapes, sizes, and colors. Heck, it was my incredible grandmother who first introduced me to the wonderful world of pro wrestling. The two of us had a ritual. I would walk over to her house on Saturday mornings and together we would sit and watch Mid-South Wrestling. It was a special time.

During the territory days, the television shows, wrestling magazines, and arena cards were dominated by big names like Ric Flair, Harley Race, Junkyard Dog, Hacksaw Jim Duggan, and the Fabulous Freebirds (just to name a few). But few were bigger than the Von Erichs, a family of wrestlers originating out of Denton County, Texas. Brothers Kevin, David, Kerry, Mike, and Chris wrestled professionally under the leadership of their father Fritz. Sadly their many accomplishments inside the ring are often overshadowed by the personal tragedies that followed their famous family.

Sean Durkin writes and directs “The Iron Claw”, a wrenching biographical drama that sets out to share the story of the Von Erichs. Durkin highlights many of the family’s professional achievements and documents their rise in popularity. But his biggest focus is on their lives outside of the ring, namely the tight-knit brotherhood the boys shared and their well-meaning yet self-destructive drive to please their overbearing and demanding father.

If you’re familiar with the true story of the Von Erichs you know “The Iron Claw” won’t be an easy watch. Durkin approaches it with honesty and empathy, palpably manifesting the pressurized father-sons dynamic and then hitting us with the inescapable heart-crushing results. It makes for a devastating family portrait. Yet it’s a story that doesn’t quite feel complete due to the odd omission of Chris Von Erich, the youngest brother who committed suicide in 1991. Durkin has stated Chris was left out because of running time concerns. But it could also have been an act of mercy – sparing us of even more anguish.

“The Iron Claw” is told mostly from the perspective of Kevin Von Erich (Zac Efron), the oldest son after the tragic death of his brother Jack Jr. at age 6. Through his eyes we see a family driven and ultimately decimated by a father’s personal war against a wrestling industry that never gave him the respect he felt he deserved. As a wrestler-turned-promoter, Fritz Von Erich (played with unnerving intensity by Holt McCallany) viewed everything through the prism of competition, pitting son against son and grooming them for his own selfish interests.

But Durkin keenly establishes the unbreakable fraternal bond between Kevin and his brothers David (Harris Dickinson), Kerry (Jeremy Allen White), and Mike (Stanley Simons). Their in-ring scenes are exquisitely choreographed and shot, often captured in rigorously detailed recreations of old television broadcasts and inside famed venues such as the Sportatorium south of downtown Dallas. When wrestling, the brothers have an electric presence that can energize a crowds (and us). These scenes are rich with nostalgia and loads of fun.

But it’s when they’re navigating the turbulence of their lives outside of the spotlight that their closeness really comes to light. Of course the brunt of that turbulence comes from their embittered father who shows little concern for the consequences of pushing his sons too hard. Fritz is especially tough on Mike who dares to have interests outside of wrestling. Their mother Dottie (Maura Tierney) isn’t much help. She refuses to get involved preferring to stay emotionally detached. So all the brothers really have are each other.

The unfaltering love and devotion they share makes their eventual downward spiral all the more difficult to endure. “Ever since I was a child people said our family was cursed,” Kevin solemnly shares. It’s a thought firmly lodged in the back of his mind and that haunts him more with each devastating gut-punch to his family. There are moments of light, such as Kerry beating Ric Flair (Aaron Dean Eisenberg) for the NWA World Heavyweight Champion and Kevin meeting and falling for a straightforward sweetheart named Pam (Lily James). But in reality they’re doomed by a self-serving father’s iron claw-like grip on his family.

Thankfully Durkin does provide us with a needed emotional release – a cathartic final scene that’s wholeheartedly earned and that offers us a glimmer of hope. It’s a surprisingly tender stroke for Durkin and a fitting cap on his affecting screenplay – one of the year’s best. Equally great is the terrific ensemble cast led by Efron who has never been better. He physically bulks up for the part, almost to the point of being unrecognizable. But it’s his artlessness and heartfelt sincerity that imbues the performance with such authenticity and texture.

You don’t have to love professional wrestling to be enthralled with “The Iron Claw”. But that’s not to say old-school fans won’t love the numerous name drops and cool callbacks (Durkin has really done his homework). At the same time, you can’t put this film in a box with other sports dramas. The heart-rending true story it tells doesn’t allow it. And for that matter neither does Durkin. He has crafted a painfully absorbing feature through both his pen and camera. And even with the aforementioned omission, it’s clear he cares about this story. And the sincerity of his affection resonates in a really big way. “The Iron Claw” hits theaters December 22nd.

VERDICT – 4.5 STARS

In the supernatural horror film “It Lives Inside” Sam (Megan Suri) is an Indian-American high school student caught between fitting into western culture and honoring the traditions of her Hindu heritage. It’s a key conflict in the film with one side represented by dim and insensitive white kids and the other by Sam’s stern and legalistic mother Poorna (Neeru Bajwa). In that brief description lies both the strengths and weaknesses of this admirable yet unremarkable chiller.

Despite being a little too on the nose in how it’s represented, the above mentioned clash offers writer-director Bishal Dutta an opportunity to explore several compelling themes surrounding cultural identity, assimilation, and faith in our modern society. Unfortunately the movie never goes too deep into anything. But even a light treatment of such interesting and relevant subjects is welcomed. How long that good will lasts may vary.

Growing up, Sam and her childhood best friend Tamira (Mohana Krishnan) were inseparable. But once they entered high school Sam’s desire to make new friends led to them drifting apart. Sam fell in with the popular crowd while Tamira found herself bullied and an outcast. But something else is going on with Tamira. She looks as if she hasn’t slept for days. And she walks around clinging to a mysterious mason jar. A sympathetic teacher named Joyce (Betty Gabriel) encourages Sam to check on her estranged friend.

Meanwhile Sam’s strained relationship with her ultra conservative mother makes things difficult at home. Her more lenient father Inesh (Vik Sahay) tries to play peacemaker but to no avail. Dutta creates an interesting family dynamic and sets the table for some potentially thoughtful developments. But like so much in “It Lives Inside”, the movie barely scratches its thematic surface.

Then you have the movie’s horror element which offers plenty of atmosphere but very little in terms of genuine frights. Not wanting to ruin her newfound popularity, Sam eventually confronts Tamira, breaking her jar and unintentionally unleashing something quite sinister. Tamira suddenly vanishes and the demon begins terrorizing Sam. There’s certainly ambition and some of the symbolism is pretty smart. But the movie never gears up into something even remotely unsettling.

So we end up with a movie that hints at its cultural themes more than digs into them. And we end up with horror that’s too derivative to muster much tension. There are flashes that show Dutta’s potential as a filmmaker and the cast is solid despite the sometimes flimsy material. But as it is, “It Lives Inside” never quite reaches its mark. And that’s a shame because it has plenty of good ingredients that could have made for something tastier. “It Lives Inside” is in theaters now.

VERDICT – 2 STARS

Let me be perfectly honest and open – I have a soft spot for the Indiana Jones franchise that’s a mile wide and a mile long. It’s one of the biggest reasons that I loved the first three movies and genuinely disliked the fourth one. My childhood is marked by endless memories of the series’ titular archaeologist and college professor. Whether I was seeing the original three movies in the theaters or taking my replica whip and my grandfather’s wide-brimmed fedora and making up my own adventures, Indiana Jones has been indelibly etched into my personal history.

So there was no way I was going to miss seeing “Indiana Jones and the Dial of Destiny”, the fifth and final feature film adventure for this adored character. At the same time, I entered it with hopes that we would be seeing a fitting and heartfelt farewell for Indy and one that more closely resembled the first three films than the Crystal Skull debacle. It certainly had the potential. And with a budget nearing $300 million, it was clear Disney and Lucafilm weren’t taking any shortcuts.

This latest Indy adventure instantly had a lot going for it. It starts with Harrison Ford who returns to play what is arguably the 80-year-old screen legend’s most beloved character (although I know some Han Solo fans who might disagree). The film also benefits from having the great Mads Mikkelsen as its chief antagonist. He’s not handed the most well-rounded villain here. But Mikkelsen is always a treat.

“Indy 5” is also helped by the addition of James Mangold, a smart and savvy director who clearly has a love for the franchise. He makes a few missteps and miscalculations, but for the most part Mangold is able to capture the spirit of Indiana Jones. His film is fun, action-packed, laced with humor, and with just the right amount of nostalgia to give us die-hard fans the warm and fuzzies.

But “The Dial of Destiny” isn’t without its problems. To its credit, it’s considerably better than Crystal Skull which admittedly isn’t the highest bar. But it doesn’t have the spark of the three earlier (and far superior) movies. There are flickers here and there, but it can’t maintain that playful energy of the better films. One reason is because it’s simply too long. Mangold and his three fellow screenwriters (Jez Butterworth, John-Henry Butterworth, and David Koepp) draw things out way longer than they need to and the occasional lulls are hard to miss.

There are also the issues of comedy and chemistry. The Indy movies have always had a sense of humor, much of it situational and almost always with pitch-perfect timing. The humor is definitely present in this one. But the jokes aren’t nearly as effective or even memorable.

Then there’s the chemistry. Among the many things the three earliest films had in common was a sparkling chemistry. In “Raiders” it was between Indy and Marion. In “Temple of Doom” is was between Indy and Short Round. In “Last Crusade” it was between Indy and his father. Sadly “Dial of Destiny” has nothing comparable. Phoebe Waller-Bridge is a nice addition playing Indy’s goddaughter, Helena Shaw. She and Ford share several good scenes and they play off each other fairly well. But there’s nothing that really stands out between them. I know that may sound like a small thing, but it’s noticeable.

Yet “Dial of Destiny” still connects in the places where it counts most. First off, the story is full of Indiana Jones signatures that fans should love. The awkward situations Indy finds himself in; the hilariously loud sound whenever he punches someone; the way his hat always finds its way back to him; how he continues to find ways to be a thorn in the Nazis’ side. And then there are the many references to classic franchise characters and past movie moments. Sure, there’s a bit of fan service involved. But it works.

As for the story, the bulk of it is set in 1969 and follows a tired and melancholy Indy. He’s all alone after separating from his wife Marion and he’s left will little to do since recently retiring from teaching. But his dull and lonely life gets a jolt when his goddaughter Helena shows up inquiring about the Antikythera, also known as Archimedes’s Dial. It’s an ancient orrery split into three pieces and her late father lost his mind trying to unlock its secrets.

Indy has one piece of the dial and Helena wants it. But so does Nazi astrophysicist Jürgen Voller (Mikkelsen). Indy, Helena, and her sidekick Terry (Ethann Isidore) find themselves racing around the globe to find the remaining two pieces before Voller and his henchmen can get them and use the dial for their own nefarious purposes. It all culminates in a truly wacky yet undeniably fun final act spin before beautifully sticking the landing with a truly terrific final scene.

It may not capture every facet of a classic Indiana Jones adventure, but “Dial of Destiny” has so much that fans should enjoy. The action is mostly thrilling (despite some occasionally wonky CGI), John Williams’s final film score is as sweeping and epic as ever, and Harrison Ford simply IS Indiana Jones through and through. So resist the urge to over-analyze and embrace what you love about the previous films. If you do you’ll find a satisfying final chapter that lets the franchise end on a significantly better note. “Indiana Jones and the Dial of Destiny” is in theaters now.

VERDICT – 3.5 STARS