It’s quite the accomplishment whenever someone is able to bring something new to slasher movies. I mean we’re talking about a horror sub-genre than has been around for 50-plus years and has spawned hundreds of feature films. It has fueled lucrative decades-long franchises and lined the shelves of video stores with cheap B-movies of every kind and quality. So when a slasher flick pops up with something new to bring, I admit to being impressed.

And that leads perfectly into “In a Violent Nature”, a fresh and ferocious Canadian slasher movie written and directed by Chris Nash. Unlike most slashers that view things through the eyes of its victims, Nash observes mostly from the perspective of the killer. At times his camera literally follows a few paces behind the hulking psychopath as he lumbers through the forest. Other shots provide something similar to a first-person point-of-view. Then you have these creepy wide shots that chillingly capture the killer’s interaction with the world. It’s such a striking concept and Nash mostly sticks with it throughout.

The film takes place in the Ontario wilderness where a group of college friends inadvertently and unknowingly awaken a grossly disfigured killer named Johnny (played in textbook Jason Vorhees form by Ry Barrett). Johnny, we learn, was killed by enraged locals ten years earlier after going on a killing rampage following some pretty sad circumstances. After clawing out of the damp, dark soil of his forest grave, Johnny sets out on a new spree, one-by-one targeting the group of loud and dingy campers in a number of delightfully inventive and insanely gory ways.

One of the most intriguing things about “In a Violent Nature” is how it manages to be both a high-concept arthouse film and an unashamedly traditional slasher movie. It’s both artful and unorthodox; built through the creative energy of a filmmaker who uses every facet of the cinematic form the make something unique. At the same time it gives a full embrace to the slasher genre, leaning on well-worn tropes and adding its own grisly sense of humor.

While watching the film you can’t help but feel you’re in familiar territory. Take the long-running history of insufferable teen(ish) victims who make you (in some subconscious and hilarious way) root for the killer. I’m betting you won’t remember any of the victims, but you’ll remember their demise. And that gets to the kills. Nash and his effects team have put to screen some of the gnarliest kills you’ll ever see. And that’s not hyperbole. They’re incredibly inventive yet proudly, shockingly, and (in some instances) hysterically gory.

Don’t go into “In a Violent Nature” expecting a meaty story or rich character work. At the same time, don’t go in expecting a conventional, garden-variety slasher flick. The sheer choices and craft alone is enough to separate it from the pack. The methodical pacing, the clever use of sound, the frequent moments of dark humor – they’re all vital components in realizing Nash’s unique and wildly entertaining spin on the well-traveled sub-genre. “In a Violent Nature” releases in theaters May 31st.

VERDICT – 4 STARS

Based on actress Robinne Lee’s 2017 debut novel of the same name, “The Idea of You” is a rather routine romantic comedy saved by a soulfully authentic Anne Hathaway. The movie mostly follows the tried-and-true romcom blueprint – the sweet meet cute, the simmering storybook romance, and of course that second half conflict that drives a wedge between our two star-crossed lovers. It has its share of cheese and sitting through the boy band performances can be a challenge. But Hathaway anchors the film and ultimately makes it work in spite of itself.

“The Idea of You” is directed by Michael Showalter who also co-wrote the screenplay alongside Jennifer Westfeldt. Their story sees Hathaway playing Solène, a single mother quickly approaching her 40th birthday. The bulk of her time is spent raising her teenage daughter Izzy (Ella Rubin), running her art gallery, and tolerating her obnoxious ex-husband Daniel (Reid Scott) who never shies away from expressing how wonderful his new life is.

After Daniel flakes out of taking Izzy and her friends to Coachella, Solène steps in to chaperone. Through a rather goofy mishap she meets the considerably younger Hayes Campbell (Nicholas Galitzine), a member of her daughter’s once favorite boy band, the mega-popular August Moon. I’m not 100% sure how, but sparks do fly and sets the table for a cheesy romance which quickly turns into the Lifestyles of the Rich and Pretty as the two embark on a world tour of love and lavish living.

With Izzy away at summer camp, Solène casts aside her initial hesitations and accepts Hayes’ invitation to join him in New York City and eventually on the group’s European tour. The age gap between the 40-year-old single mom and the 24-year-old pop star provides some initial tension leading them to keep their relationship a secret. But that proves impossible in an age of the paparazzi, internet, and social media. Soon Solène is forced to weigh the consequences of her own happiness.

At times “The Idea of You” seems caught between being a run-of-the-mill corny romcom and something deeper and more thoughtful. It teases interesting things about society’s expectations of middle-aged womanhood and later takes a more serious-minded look at being thrust into the modern spotlight. But the romance itself is a wobbly mix of endearing and saccharine. And the globetrotting fantasy takes away from some much-needed character work that could have given their relationship more depth.

Throughout its numerous ups and downs, the movie maintains one constant – Anne Hathaway. Her smart and grounded performance takes a fairly thin character and makes her interesting. She brings an authenticity to Solène that the story desperately needs. Galitzine is less convincing but solid enough (minus the fake tattoos and boy band bopping). If only the writing took their relationship further. Instead it never goes deep enough to fully shake the ick factor and it never goes beyond teasing themes that would have set it apart. “The Idea of You” is now streaming on Prime Video.

VERDICT – 2.5 STARS

Sophie Nélisse gives what should be a breakout lead performance in “Irena’s Vow”, the new World War II drama from director Louise Archambault. The film is written by Dan Gordon who is adapting his own stage play of the same name. It tells the incredible true story of Irena Gut Opdyke, a young nurse whose heroism in the face of great danger ended up saving twelve Jews from extermination at the hands of the Nazis.

The film takes place in Poland during 1939 as the Nazi occupation of the country was intensifying. 19-year-old Irena Gut (Nélisse) was serving as a nurse in a Polish hospital when she and several others were rounded up by Nazi soldiers and sent to work in an ammunitions factory. Her hard work and distinctly German features earns the favor of an esteemed Nazi officer, Major Edward Rugmer (Dougray Scott). He assigns her to the kitchen staff at a Nazi officer’s headquarters.

In the kitchen Irena works under a stately former innkeeper named Schultz (Andrzej Seweryn) who sees his daughter in his new worker. Schultz immediately gives Irena advice on how to survive in her new circumstances. He then informs her that her job will also include being in charge of twelve Jewish tailors who work in the laundry. The compassionate and sympathetic Irena quickly earns the trust of the workers and she develops a close affection for them.

Irena’s perspective is forever changed after she witnesses an act of unspeakable savagery at the hands of an ambitious Nazi officer named Rakita (Maciej Nawrocki). Though helpless in that moment, Irena pledges to do everything she can to save as many lives as she can. And it starts with her twelve Jewish friends. After Major Rugmer promotes her to be his personal housekeeper, Irena devises a desperate plan to hide the twelve Jews from the intensifying Nazi aggression. And she picks a place where no one would think to look – in the rural villa of a high-ranking Nazi officer.

It truly is a remarkable story and one that would almost defy believability if it hadn’t really happened. At the same time “Irena’s Vow” doesn’t feel especially unique when compared with other Holocaust movies of its kind. Still, Archambault creates some good tension and builds a suitable amount of suspense. And the performances are all-around terrific starting with Nélisse who is savvy beyond her years and really earns our emotional investment. Scott brings a surprising nuance to Rugmer while Nawrocki’s boyish good looks make Nawrocki’s cold brutality all the more sinister.

It’s hard not to moved by “Irena’s Vow” and the remarkable true story of courage and sacrifice it tells. Louise Archambault’s direction is assured and focused while Sophie Nélisse, though not a newcomer, is an actress to keep your eye on. Here she offers a compelling portrayal of Irena Gut Opdyke, showing her to be smart, resourceful, and a quick thinker with an ability to adapt on the fly. She’s the epitome of a hero, and it’s so good that filmmaker’s are still using their time and talents to share inspiring and illuminating true accounts like her’s.

VERDICT – 3.5 STARS

Liam Neeson action thrillers have almost become their own genre. And you can almost always count on getting one in the first few months of the year. This year’s entry is “In the Land of Saints and Sinners”, a gritty yet slightly uneven feature driven by a killer cast and set to the stunning backdrop of the gorgeous Irish countryside. The setting and time period alone are enough to hold your attention. But the movie has a hard time maintaining its energy, often losing itself in its well-intended yet strangely overwritten character-building.

The film comes from director Robert Lorenz who previously worked with Neeson in 2021’s “The Marksman”. Here he’s directing from a script penned by Mark Michael McNally and Terry Loane. It places Neeson in a role he knows well – that of old grizzled assassin trying to put his old life behind him. It’s a story that we’ve seen on screen many times over. But this one attempts to set itself apart starting with its distinct setting.

Perhaps the most notable difference with “In the Land of Saints and Sinners” is that it takes place in 1974 Northern Ireland, a turbulent time in Irish history known as The Troubles. Lasting nearly 30 years, The Troubles was a multifaceted conflict rooted in political, nationalistic, and ethnic division. It saw growing civil unrest eventually explode into full-on armed conflict. It’s a setting the filmmakers could have explored further, but they do offer enough to wet our appetites.

The movie opens with a gripping and violent prelude (one of the film’s best sequences) that sees IRA terrorist Doireann McCann (Kerry Condon) carrying out the bombing of a Belfast pub. But after some unexpected and tragic collateral damage, Doireann and her four-man crew find themselves all over the news. As a result, they flee the city and meet up outside of the quiet coastal village of Glencolmcille. There they hide out, regroup, and begin planning their next move.

But what they don’t know is that Finbar Murphy (Neeson), an aging contract killer with the obligatory violent past, is living in Glencolmcille. Finbar has created a new identity for himself and is enjoying the quiet, off-the-grid life. He’s made a number of friends among the locals including the town’s police chief Vinnie O’Shea (the always great Ciarán Hinds) and an attractive widow named Rita (Niamh Cusack). But as you can probably guess (especially if you’ve watched any hitman movie), an occupation like his isn’t easy to keep buried.

After Doireann’s unhinged brother Curtis (Desmond Eastwood) crosses a line with a young mother and her daughter, Finbar takes it upon himself to “handle” the situation. It sets in motion a deadly game of cat and mouse between an elder assassin protecting a small village and ruthless terrorists dead-set on revenge. It’s undeniably a combustible situation although one that never lights the kind of fuse that keeps us on the edges of our seats. That’s because the tension that builds is often zapped by stretches of dialogue that, while sometimes interesting, can grind the excitement to a halt.

A few other good names help fill out the movie’s compelling cast of characters including Jack Gleeson as Kevin, a fellow hired killer with a vaguely defined sense of loyalty to Finbar. There’s also Colm Meaney as Robert, a middle-man and friend of Finbar’s. But it’s Neeson’s show and he delivers what is a nicely tempered and nuanced lead performance. The Oscar-nominated Condon is a welcome addition to any project and she certainly makes Doireann a formidable villain. Unfortunately she’s never asked to be anything beyond fiercely intense and perpetually angry.

“In the Land of Saints and Sinners” is a case of having a lot of pieces that are more compelling than the movie is as a whole. That’s not to say it’s bad. Lorenz smartly leans into the film’s strengths, particularly the stellar cast and its intriguing setting. But the movie too often loses itself in its efforts to balance a violent action film with a talky character drama. It’s an admirable ambition and a nice change of pace from the usual Liam Neeson thrillers. But overall it makes for a pretty mixed bag. “In the Land of Saints and Sinners” hits theaters on March 29th.

VERDICT – 2.5 STARS

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