Kevin Hart’s lucrative partnership with Netflix seems to be working out pretty well for both the actor/comedian and the streaming service. Their latest collaboration is “Lift”, a heist comedy from director F. Gary Gray. This is Gray’s first film since 2019’s abysmal “Men in Black: International” and the results are certainly better. Yet there are a number of issues that weigh this movie down, none more than its utter lack of originality.

“Lift” feels familiar from its very first scene. And the more you watch the more you realize that the biggest heist of all is in the countless ideas that Hart and company swipe from much better movies. An equally noticeable issue is Hart himself. It’s not because of anything the actor is doing or not doing. He just seems miscast and terribly out of place. Buying into him as a suave and sophisticated professional thief ends up being too much to ask.

In “Lift” Hart plays a renowned thief named Cyrus Whitaker who leads a crack crew of fellow cons, each (of course) with their own specialty. There’s Denton (Vincent D’Onofrio), a master of disguise; Camila (Úrsula Corberó), the team’s pilot; Magnus (Billy Magnussen), the safecracker; Mi-Sun (Kim Yoon-ji), the hacker; and Luke (Viveik Kalra), the engineer. “We rescue works of art from undeserving owners,” Cyrus explains with an air of nobility (we learn he then sells them for huge profit on the black market so I’m not sure how noble that is).

Hot on their trail is Interpol Agent Abby Gladwell (Gugu Mbatha-Raw). She and her team have spent over a year tracking Cyrus and monitoring his activities. But all of her work is thrown aside when her boss, Commander Huxley (Sam Worthington) wants to make a deal with Cyrus. Huxley wants Cyrus and his team to swipe $500 million in gold from an international terrorist named Lars Jorgenson (Jean Reno). Jorgenson is moving the gold from London to Zurich to fund a huge strike on the world’s utilities.

At first Cyrus wants no part of it. But he accepts when offered full immunity for his team. Huxley assigns a reluctant Abby to accompany them. That’s made more awkward by some history she and Cyrus share. It seems they once had a romantic week in Paris together, concealing their true identities from each other. It’s a half-baked and utterly sparkless attempt at adding a romantic angle to the story. As with so many other things in “Lift”, it doesn’t work.

Gray leans on a number of heist movie tropes. There’s the gratuitous globetrotting to places like Venice, Brussels, Northern Ireland, and Tuscany just to name of few. There’s the big planning stage where the team puts together the heist, defying odds and doing what has “never been done before”. And of course there’s the heist itself, in this case an utterly preposterous mid-air job that will challenge even the most lenient moviegoers when it comes to plausibility.

It’s clear that a decent amount of money was put into “Lift”. Despite a few instances of wonky CGI, the movie looks pretty good. But the story is a stripped down reheat of the heist movie formula. The film has nothing of its own to offer – it simply follows a blueprint. What little humor we get doesn’t land, the heist isn’t thrilling, and the camaraderie between characters doesn’t feel organic. Add a boring villain, head-scratching holes in the story, and a general lack of excitement to the list of issues that make “Lift” little more than a forgettable time-passer. “Lift” is now streaming on Netflix.

VERDICT – 2 STARS

The star-studded psychological thriller “Leave the World Behind” sees writer-director Sam Esmail serving up what appears to be another end-of-the-world movie. But don’t let your first impressions fool you. This genre-defying treat quickly uncoils into something provocative, insightful, chilling, and even darkly funny at times. Considered together, it all amounts to a wildly entertaining and unexpectedly absorbing doomsday feature – one that has a lot going on underneath the thrills and chills.

Technology, race, misinformation, conspiracy theories, and paranoia are just some of the issues touched on in this slippery thriller which is based on Rumaan Alam’s 2020 novel of the same name. It tells a well-crafted story with interests that extend beyond Esmail’s clear love for genre filmmaking. It’s just as intrigued by the idea of society under pressure and the psychology that accompanies the collapse of civilization. At the same time it never loses sight of what makes these kinds of movies so much fun.

Seemingly on a whim, Amanda Sandford (Julia Roberts) and her husband Clay (Ethan Hawke) decide to get away for the weekend with their two kids, Archie (Charlie Evans) and Rose (Farrah Mackenzie). Sandra books a posh Long Island Airbnb that’s nestled in a quiet patch of woods just a few miles from the beach. Soon they’re packed up and leaving Brooklyn for what they hoped would be a fun family getaway.

While enjoying a sunny afternoon on the beach the first of several strange events takes place when a massive oil tanker slams ashore (it’s a brilliantly conceived and shot sequence). The family hurries back to the rental home where they discover the phones, internet, radio and television are all out. But later that night the mystery really ramps up when they’re visited by a man named G.H. Scott (Mahershala Ali) and his daughter Ruth (Myha’la) who claim to be the owners of the home.

Immediately Esmail hits us will all kinds of questions. First off, is G.H. and Ruth really who they say they are? Why are they showing up late at night unannounced? Should we believe their cryptic speak of a looming catastrophe? Most of all, should Clay and Sandra honor their request to stay overnight? Those are all reasonable things to ask. But among his many strokes of genius, Esmail slyly turns the table and asks different but equally pertinent questions. Why is Sandra so suspicious of G.H. and Ruth? What drives her (and our) mistrust? The answers may not be pretty.

The dynamic between the four is compelling. You have the tightly wound Amanda and the more easygoing Clay; the gentle G.H. and the snarky Ruth. Amanda’s cynicism routinely clashes with Clay’s optimism. G.H.’s temperance frustrates the more outspoken Ruth. It creates a pressure-cooker tension within the house. Meanwhile outside things are growing more dangerous and even more perplexing.

I won’t say much more, but Esmail creates some harrowing scenarios and shoots them with some of the most impressive lensing I have seen this year. He and cinematographer Tod Campbell incorporate an assortment of wild angles, rotating cameras, sweeping overhead shots, and dizzying pans. Some of the flourishes may come across as too showy. But they keep the film visually interesting whether it’s something as simple as scanning a room or as thrilling as a commercial airliner falling out of the sky.

Animals acting weird, crippling ear-piercing noises from nowhere, even Kevin Bacon playing a crackpot survivalist – you never know what you’ll get in this heady genre smorgasbord. The simmering tensions and growing anxieties create some terrific character moments while the apocalyptic signs raise all kinds of questions. Interestingly some may not like the ‘answers’ we eventually get. But it’s fitting, as is the utter hopelessness that Esmail leaves us with. “Leave the World Behind” premieres December 8th on Netflix.

VERDICT – 4 STARS

Of the several incredible films screened at the Arkansas Cinema Society’s Filmland 2023, “The Lady Bird Diaries” was the biggest surprise. This fabulous groundbreaking documentary from director Dawn Porter offers an eye-opening look at Lyndon B. Johnson’s presidency from the perspective of his wife, First Lady Claudia “Lady Bird” Johnson.

Comprised entirely of archival audio recordings and video footage, “The Lady Bird Diaries” gives us an fascinating insider’s look at LBJ’s stressful five years in the White House. The bulk of the film is taken from the 123 hours of audio diaries personally recorded by Lady Bird which she began on November 22nd, 1963, that devastating day when President John F. Kennedy was assassinated and Vice President Lyndon Baines Johnson was sworn in as his successor.

Throughout the documentary much is uncovered about the often misunderstood First Lady. Recordings that share feelings, frustrations, and personal testimonies show the loyal and supportive side of Lady Bird Johnson. But we also witness her boldness, ambition, and sometimes brutal honesty which reveals a strong-willed woman who wasn’t afraid to share her point of view.

Perhaps most compelling is hearing Lady Bird’s in-the-moment responses to the major historical events of the time. The killing of JFK, the Poverty Bill, Vietnam, the Civil Rights Act, the assassination of Martin Luther King Jr., tensions with Bobby Kennedy, the nomination of Thurgood Marshall, the clash with Eartha Kitt, just to name a few. To Porter’s credit, she doesn’t try to make statements or offer up critiques. She stays honest to Lady Bird’s viewpoint, regardless of how astute or misguided it may be.

Technically “The Lady Bird Diaries” is an incredible achievement. Simply choosing what to use from 123 hours of audio is a daunting task. But then piecing the excerpts together into something this cohesive is a bigger challenge. Even more impressive is how Porter and her teams match the audio with corresponding archived video and imagery. There’s also a smattering of hand-drawn animations that play during phone calls or other audio recordings. They’re very well done and nonintrusive.

The film will at times use other archived material such as footage of the Vietnam War, clips of LBJ and his cabinet, images from Selma, etc. – all to relay the gravity of these historical moments before looking at them from Lady Bird’s own unique vantage point. It makes for a mostly seamless timeline with the lone exception being a rushed final year with scarcely anything leading up to the election of Richard Nixon.

Overall “The Lady Bird Diaries” offers an unprecedented look into the life of a First Lady who served during some of our nation’s most tempestuous times. The film emphasizes several things we knew about Lady Bird Johnson while opening up another side of her that most will be unfamiliar with. And through it all the film allows Lady Bird to speak for herself. It’s agenda isn’t to promote or critique. It’s to inform and enlighten. And the movie does that very well. “The Lady Bird Diaries” premieres November 13th on Hulu.

VERDICT – 4 STARS

Haley Lu Richardson is just one reason to enjoy “Love at First Sight”, an unexpectedly contagious romantic comedy from director Vanessa Caswill. The 28-year-old actress has shined in a number of independent features since debuting in 2014 and she remains one of the most compelling young faces in modern cinema. She again shows why in this sweet but not saccharine Netflix Original that’s based on Jennifer E. Smith’s 2011 novel “The Statistical Probability of Love at First Sight”.

Interestingly, there’s nothing especially groundbreaking about the movie’s framework. Its premise is fairly familiar and the story plays out pretty much how we expect it to. But Caswill and screenwriter Katie Lovejoy do something that is essential for movies like this to work – they create and develop likable characters who we genuinely care about. And that attachment makes it easy to invest in their budding relationship, even if it’s a little by-the-books.

While its hokey title may give you pause, “Love at First Sight” isn’t as much about the warm and fuzzies of love as it is about its meaning and the possibility of its inextricable link to fate. Yes it’s plenty sweet and charming. But Caswill wants us to see her characters as real people rather than stock quality rom-com cut-outs. So she presents them as real people by focusing more on their situations and circumstances rather than the usual genre schmaltz.

The story begins on December 20th which the narrator (played by Jameela Jamil) tells us is the busiest day of the year for JFK airport in New York. Jamil represents fate itself and she routinely pops up to play her part, sometimes as a flight attendant, a bartender, a bus driver, etc. She introduces us to Hadley Sullivan (Richardson), a 20-year-old NYU student and Oliver Jones (Ben Hardy), a 22-year-old Englishman. Unexpected circumstances lead to them meeting while waiting on their flight to London.

Hadley is on her way to her divorced father’s (Rob Delaney) wedding. Oliver is heading back home to attend a Shakespearean themed “living memorial” for his dying mother (Sally Phillips). Both are navigating tough family situations and both find solace (and maybe even true love) in each other after the stars align during their seven-hour flight across the Atlantic.

Of course you all know how these things work. It’s never that easy at first. In this case the two go their separate ways after customs and the narrator is quick to remind us that the statistics (and the movie loves sharing statistics) aren’t in the potential couple’s favor. But don’t forget about the craftiness of fate and its ability to defy mere facts and figures.

The movie could have easily taken the more sappy conventional route. But to its credit, it does allow Hadley and Oliver some time away from the romantic angle. It’s welcomed time spent focused on their individual storylines and allowing them the space to grow as characters. Don’t get me wrong. It’s still very much a love story at its heart. But it might surprise you with how much attention it gives to other things.

“Love at First Sight” may not work for the curmudgeon at heart. But it’s the kind of lean and savory comfort food that certain others are sure to find tasty. Clocking in at under 90 minutes, the movie never overstays its welcome. Yet I do wish more time was given to Hadley and Oliver hammering out the feelings they have for each other. Still Richardson and Hardy have a sparkling chemistry and the movie gleams whenever they’re on screen together. They’re authentic, relatable, and all the motivation we need to see their story play out. “Love at First Sight” is now streaming on Netflix.

VERDICT – 3.5 STARS

A film that may not have gotten the hype of the other summer movies but that has remained high on my ‘most anticipated’ list is director André Øvredal’s “The Last Voyage of the Demeter”. Adapted from one lone chapter from Bram Stoker’s 1897 novel “Dracula”, the film is actually an impressively self-contained feature that turns out to be a late summer season surprise.

Co-written by Bragi Schut Jr. and Zak Olkewicz, “The Last Voyage of the Demeter” is a devilishly crafty high seas horror tale. It’s a movie that embraces classic frights and vigorous period detail to create something that at times feels plucked out of a bygone era. At the same time, Øvredal’s imaginative vision is brought to screen through some brilliant modern day craftsmanship. The extraordinary production design, cinematography, and sound work together to develop a delightfully dark and immersive experience.

Over the years there have been countless Dracula stories told on the big screen and television. “Demeter” differentiates itself in a number of fresh and effective ways. First there’s Dracula himself (played by Javier Botet). You’ll find nothing alluring or sensual about Øvredal’s version. Instead this Dracula is a vicious creature who uses brutality and smarts as a means of survival. Second there’s the terrifying setting – an isolated and inescapable vessel (think “Alien” on the open seas). Then there’s the story – a chapter of the Dracula mythos that many people will be experiencing for the first time.

The story is a bit of a slow burn but there’s no dead weight or wasted scenes. Øvredal puts a lot of time into defining his characters, creating and developing atmosphere, and building a steadily intensifying sense of dread. Set in 1897 and framed as a recording from a Captain’s log, it all begins in a bustling Romanian coastal town where a Russian freighter called the Demeter and its noble Captain Elliot (an excellent Liam Cunningham) are in port loading cargo for their doomed voyage to England.

Shorthanded, Captain Elliot sends his first mate Wojchek (David Dastmalchian) into town to select three men to help fill out their small but sea-worthy crew. Among them is Clemens (Corey Hawkins), a doctor and self-proclaimed man of science and nature. Initially the crew are suspicious of the Cambridge educated doctor. But soon he’s proving himself valuable and even befriends the Captain’s 8-year-old grandson Toby (Woody Norman) who has come along for the ride.

But things turn creepy in the Aegean Sea after a deckhand named Olgaren (Stefan Kapičić) reports seeing a strange and menacing figure on the ship. It gets even creepier when the crew discovers that all the livestock onboard has been savagely slaughtered. But the creepiest turn comes after a storm causes a crate in the cargo hold to fall and bust open. Inside they find a young woman buried in soil and barely alive. Is she stowaway or something else?

As Clemens attempts to nurse the woman back to health, Captain Elliot tries to hold his superstitious crew together. But soon they find themselves targeted by a calculated and bloodthirsty evil who begins methodically taking them out, one frightened seaman at a time. That’s when this gnarly gothic chiller really kicks into gear sporting a horror flavor reminiscent of the Hammer films from the late 1960s and early 1970s.

Marked by terrific performances (Hawkins, Cunningham, and Dastmalchian being the standouts), an ominous score from Bear McCreary (one of my favorites of the year), brilliant practical effects and makeup, and a director with a firm grasp of atmosphere, tension, and terror, “Demeter” is as gripping as it is gruesome. It’s a dread-drenched stop on the Dracula timeline that has enough to please the iconic villain’s long-time fans and plenty to win over new ones as well. “The Last Voyage of the Demeter” is in theaters now.

VERDICT – 4.5 STARS

(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)

Richard E. Grant, Julie Delpy, and Daryl McCormack make for a tantalizing trio in the new thriller “The Lesson”, a film you can file in with the ever-growing number of movies dealing with the troubles and tragedies of the rich and famous. This focused and wily confection uses characters entrenched in their own misery to tell a story about pent-up pain, resentment, and dark family secrets. With its (mostly) single setting and relatively small cast, “The Lesson” plants us in a tightly structured environment with people whose poorly veiled dysfunction eventually reaches its breaking point.

Much of the film (an impressive feature debut for both director Alice Troughton and screenwriter Alex MacKeith) is shown from the perspective of Liam Sommers, a recent literature graduate and an aspiring writer. He’s played by McCormack who grabbed a lot of attention for his performance in last year’s “Good Luck to You, Leo Grande”. When not working as a tutor Liam spends his personal time writing away on his first novel. And then along comes the opportunity of a lifetime.

Liam is hired to be the live-in tutor for Bertie Sinclair (Stephen McMillan). Bertie happens to be the bratty son of J.M. Sinclair (Grant), a revered author and Liam’s literary idol. Grant is pitch-perfect playing a pompous egomaniac whose condescending smile can’t quite hide his ever-present feelings of intellectual superiority. His slithering smugness and feelings of self-importance seep through every look, gesture, and word Grant delivers. It’s truly a savory performance.

Delpy is also good as J.M.’s enigmatic wife Hélène. She’s the one who actually hired Liam and gets him set up once he arrives at their remote country estate. Hélène is hard to read. We learn she’s an art curator but otherwise she keeps her thoughts, emotions, and any possible secret agenda to herself. She’s aware of Liam’s adoration for her husband yet she still brought him in to help her moody son prepare for his upcoming Oxford entrance exams. “He has to get in,” she stresses in a deathly serious tone.

It doesn’t take long for Liam (and us) to notice the undercurrent of bitterness and contempt running through the Sinclair home. But Liam is a bit of a cipher himself, ingratiating himself with the Sinclairs (especially J.M.) while donning a kindly innocence and a sheepish smile. But he’s also sharp-eyed, closely watching his hosts and cataloging his observations on yellow Post-It notes carefully organized on his bedroom mirror.

So we’re left pretty much questioning everyone’s self-interests and motives. We’re treated to a series of awkward dinners and tense encounters that begin with a subtle dark comedy edge. But as the truths start to surface, especially the revelation that the Sinclairs had a son named Felix who died two years earlier, the proverbial plot thickens and the thriller elements take over.

As MacKeith’s sleek and savvy script uncoils within its crisp ‘prologue – three act – epilogue’ structure, Troughton shows good instincts in keeping things moving at a smart and steady pace. Meanwhile DP Anna Patarakina captures the beauty and austerity of the Sinclair manor in a way fitting of a place housing so much unpleasantness. And it’s all surrounded by Isobel Waller-Bridge’s mischievous score which ranges from playful to all-out ominous.

Interestingly nothing about “The Lesson” feels particularly new or fresh (in fact it immediately reminded me of a similar film from earlier this year called “The Tutor”). Yet there’s a hard to pinpoint draw to movies like this specifically when they’re done well. Troughton keeps us engaged throughout, using all the pieces she’s given to their fullest. And it’s hard not to love the cast led by a deliciously noxious Richard Grant. He alone is worth the cost of a ticket. “The Lesson” is out now in select theaters.

VERDICT – 3.5 STARS