I’m still not sure how, but “M3GAN” turned out to be one of the surprise hits of 2022 both with audiences and critics. It was yet another movie delving into the world of artificial intelligence yet with its own potentially fun twist. Unfortunately the feature never quite hit its marks. It wasn’t scary enough to be good horror, and it never fully embraced the absurdity of its story.

But “M3GAN” made enough money for Universal Studios to green-light a sequel. Sadly “M3GAN 2.0” is a mind-boggling misstep. It’s a movie plagued by baffling choices that’s sure to alienate many established fans while failing to convert any new ones. Returning director Gerard Johnstone ditches the horror genre altogether and instead makes a science fiction action movie. In reality, it’s a grueling two-hour slog, hampered by endless exposition, uninspired action, and a story as emotionless and robotic as the film’s eponymous AI.

Allison Williams returns as Gemma, a high-tech roboticist who created an AI-powered humanoid doll named M3GAN. But when M3GAN gained self-awareness, she began killing anyone who came between her and her human companion, Cady (Violet McGraw). Since those events, Gemma has become a crusader pushing for regulations against AI, especially involving children. Meanwhile her niece Cady is mostly over her encounter with M3GAN, but her relationship with Gemma is a bit complicated.

Elsewhere (and this is where the movie immediately flies off the rails) a secret branch of the United States Army is giving a demonstration of their new secret weapon – an android named AMELIA. Built on technology copied from the original M3GAN, AMELIA is designed to carry out covert infiltration missions and assassinations. But the demonstration goes south after AMELIA reveals herself to be self-aware. She breaks from her mission, kills a key asset, and escapes.

Desperate to regain control of their dangerous AI creation, the military approach Gemma about obtaining another copy of M3GAN’s code. Their plan is to create another android to hunt down the rogue AMELIA (brilliant). But Gemma doesn’t have a copy – or so she thinks. It turns out M3GAN installed a backup of her mind into Gemma’s smart house. When M3GAN finally reveals herself to Gemma, she offers to help stop AMELIA in exchange for a new body.

From there it’s mostly scene after scene of bone-dry exposition as the movie lumbers onward. A few action scenes are thrown in to no effect and there are some vain attempts at humor. Meanwhile the cast of characters struggle to earn our interest. It’s especially tough for Williams who does everything she can to make things interesting and add a human pulse. Sadly “M3GAN 2.0” spends too much time reinventing itself. And the results are near catastrophic. “M3GAN 2.0” is in theaters now.

VERDICT – 1.5 STARS

Céline Song burst onto the scene with her beautifully bittersweet romantic drama “Past Lives”. Her film released to near universal acclaim and would go on to earn Academy Award nominations for Best Picture and Best Original Screenplay. It deserved every bit of the praise. “Past Lives” was a sophisticated and heartfelt feature that brought a talented new filmmaker onto the scene.

Song follows her 2023 gem with “Materialists”, yet another romantic drama but without the lasting grip of her first film. This time she’s working with bigger names in Dakota Johnson, Chris Evans, and Pedro Pascal. But there’s no Greta Lee caliber standout performance. Johnson is a solid lead in a very Johnson-like role. Evans tones things down a few notches to deliver a fairly standard-issue character. And Pascal is fittingly suave but surprisingly dry with the exception of one lone scene where he delivers dialogue that doesn’t feel right off the page.

Following a brief and unintentionally hokey prologue, “Materialists” kicks off by taking us into the unusual world of high-end big city matchmaking. It’s where we meet Lucy (Johnson), a professional Cupid who works for Adore Matchmaking in downtown Manhattan. Her job is to offer services to struggling singles who are having a hard time finding the love of their lives. In her profession people are measured with sabermetrics. Matches are little more than equations. And if two people check enough boxes, Lucy puts them together with their eventual marriage as her trophy.

Lucy likes her job and by their own peculiar standards she seems to be good at it (we see Lucy and her fellow matchmakers celebrate her 9th client marriage). As far as her personal life, Lucy has remained voluntarily single while setting her own extremely high standards for any man she’ll date. “The next person I date I’m gonna marry,” she says without a moment’s hesitation.

But those standards are challenged when she attends her most recent client’s wedding. It’s there that she meets one of the groomsmen, Harry (Pascal). He’s handsome, confident, gentlemanly, and extremely wealthy. By her company’s stat-driven scale he’s a textbook perfect 10. But as the two are getting acquainted, Lucy is surprised to see John (Evans), an old flame working as a waiter at the wedding reception.

Immediately the table is set for yet another movie love triangle. But thankfully Song isn’t interested in taking us down that well-worn route. Her story explores relationships and the modern big city dating scene. But there’s no macho rivalry with Lucy caught in the middle. Even more, neither Harry or John are bad guys. Instead they represent two very different kinds of relationships. You could say there is a blue-collar versus white-collar dimension to the story. But neither are demonized or unfairly portrayed.

While the movie’s views on dating, love, and especially marriage are all over the map, it makes for an intriguing study of modern perspectives. Interestingly it’s the romantic relationships themselves that are the weakest parts of the story. Lucy’s connection with John feels the most authentic yet it’s also the most derivative. Meanwhile her connection with Harry only occasionally goes deeper than surface level. Far more compelling is a side story involving a client named Sophie (Zoë Winters) and the impact it ultimately has on Lucy.

“Materialists” may disappoint those hoping for another “Past Lives” level feature. It lacks the emotional richness, sincere longing, and heartfelt candor of Song’s magical debut. Yet she remains a thoughtful and keenly observant filmmaker who again brings together insight and craftsmanship. Sadly not everything gels as intended. Feelings are often explained rather than shown. Love is treated more as a concept than something expressed. And the film’s cynicism and earnestness often feels at odds with its more romantic swings. Still it’s all easy to soak in – a testament to what makes Song such a compelling filmmaker. “Materialists” is in theaters now.

VERDICT – 3 STARS

Perched high among my most anticipated films of 2025 is the latest Mission: Impossible extravaganza – “Mission: Impossible – The Final Reckoning”. This is the EIGHTH feature in the Tom Cruise led action spy film series and the fourth consecutive M:I movie written and directed by Christopher McQuarrie. The film has been teased as the potential swan song for Cruise’s long-running protagonist Ethan Hunt. As a proud fan of the franchise, I went in hoping that wouldn’t be the case.

Undercut by the cultural phenomenon that was “Barbenheimer”, the previous M:I installment (2023’s “Dead Reckoning”) made just over $570 million. That’s over $300 million less than 2018’s “Fallout”. Its underperformance combined with its enormous budget led to the film not reaching the box office numbers needed. Still “Dead Reckoning” was rightfully praised by critics and fans, setting the table for this latest entry – the biggest, grandest, and longest Mission: Impossible to date.

Cruise is at his charismatic and death-defying peak in this latest adventure for IMF agent Ethan Hunt. Picking up after the events of “Dead Reckoning”, we find Ethan hot on the heels of Gabriel (Esai Morales), a former liaison to a rogue information-consuming artificial intelligence known as the Entity. The megalomaniacal Gabriel is determined to gain control over the Entity while Ethan wants to destroy it in hopes of avoiding a nuclear apocalypse.

To carry out his mission, Ethan will once again rely on the help of his longtime friends, Luther (Ving Rhames) and Benji (Simon Pegg). Also back in his fold is Grace (Haley Atwell), a skilled thief turned IMF operative, and Paris (Pom Klementieff), a former assassin for Gabriel who switched sides after Ethan saved her life. But slowing him down CIA director Eugene Kittridge (a returning Henry Czerny) and his right-hand man Briggs (Shea Whigham) who see Ethan as a reckless threat.

As the Entity quickly gains control of the world’s nuclear systems, the President of the United States, Erika Sloane (Angela Bassett) goes against her cabinet and gives Ethan the resources he needs to carry out a secret mission in the North Pacific Ocean. Inside of an old Russian submarine lying at the bottom of the icy Bering Sea is a module containing the Entity’s source codes. When combined with a “Poison Pill” created by Luther, the module will give whoever possesses it the power to control the Entity and in turn world. But the Entity has its own plans that involve wiping out humankind.

Despite clocking in at just under three hours, “The Final Reckoning” zips by and features very little downtime. Written by McQuarrie and Erik Jendresen, the story is loaded with high-stakes buildup and strong payoffs. And while it takes itself more seriously than (perhaps) any other Mission: Impossible installment, it makes perfect sense considering the gravity of everything in play. McQuarrie and Cruise want us to grasp the magnitude and urgency. Together they put a ton of effort into submerging us in the perilous world they create. It works brilliantly.

But of course what would a Mission: Impossible movie be without the fearless Cruise once again putting it all on the line? “The Final Reckoning” has lots of great action. But it’s two jaw-dropping set pieces that will have people talking – one in the wreckage of a submarine lying at the bottom of the sea; the other involving two biplanes weaving through a canyon before climbing to 10,000 feet. Both easily sit among the very best action sequences ever to be put on screen. It may be tempting to dismiss that as hyperbole, but it’s far from it. Trust me when I say you’ve never seen anything like them.

While “The Final Reckoning” is a terrific entry into the Mission: Impossible franchise, it’s not without a few small blemishes. There’s a surprising early reveal (I won’t dare spoil it) that I’m still trying to make sense of. And there are a couple of threads that really could have used more time and attention. But aside from those ticks, the story had me riveted to the screen. The thrilling setup, the propulsive pacing, the cool callbacks, Fraser Taggart’s eye-popping cinematography, the nerve-shredding final act, the unexpected humanity at the core of it all – there’s so much to love.

“Mission: Impossible – The Final Reckoning” is everything you want from a big-budget blockbuster, delivering an exhilarating big screen experience that reminds us of why we go to the theater. Cruise and company give it their all to create yet another insanely entertaining spectacular that accomplishes its mission to wow audiences. It’s a gloriously satisfying cap on arguably the greatest and most consistent action franchise of our time. It also happens to be one of the best movies of the year.

VERDICT – 4.5 STARS

Bong Joon-Ho follows his universally acclaimed 2019 Best Picture winner “Parasite” with the wildly ambitious yet wildly uneven “Mickey 17”, a science-fiction dark comedy based on Edward Ashton’s novel “Mickey7”. While nowhere near as absorbing and clever as the filmmaker’s heralded Oscar darling, Bong’s social critique wrapped in sci-fi dressing has a lot to say and has a lot of fun saying it. But that alone doesn’t equal a good movie.

“Mickey 17” is as wacky as it is unwieldy. As you might expect from a Bong Joon-Ho film, it has a wealth of big ideas swirling all around. But while it delivers a few well-packaged laughs here and there, it’s never as funny as it tries really hard to be. Similarly, the big budget world Bong creates never quite lives up to its promise. Worst of all, the story he’s telling drags on for an eternity and is hampered by pacing that ranges from erratic to lethargic. In a nutshell, “Mickey 17” is an extravagant mess.

To his credit, an endearing Robert Pattinson gives it his all playing Mickey Barnes (Pattinson). After their business venture goes belly-up, Mickey and his childhood friend Timo (Steven Yeun) find themselves on the run from a sadistic loan shark. In an impulsive act of desperation, the two sign up for a space expedition leaving Earth to colonize the distant planet of Nilfheim. Timo gets hired on as a pilot. Mickey signs up for the Expendable program without really knowing what it is. Not the best idea.

As an Expendable Mickey is assigned to an array of extremely dangerous missions that almost always result in his death. But here’s the catch – each time he dies his body is “reprinted” using a controversial cloning method that has been outlawed on Earth. The scientists then upload his mind from their database (quite literally a brick with a few flashing lights) into his new body and get him ready for his next mission.

Filling out the supporting players, Naomi Ackie plays Nasha, a security guard and Mickey’s supportive love interest. Her character is all over the map, but Ackie’s performance is solid. The same can’t be said for the comically bad Mark Ruffalo playing Kenneth Marshall, a failed politician and raving egomaniac who’s somehow leading the expedition. The deliberately exaggerated Ruffalo keeps his act cranked up to 10, gnawing the scenery whenever he’s in front of the camera. He’s exhausting and often smothers out the much funnier Toni Collette who plays Marshall’s devious wife, Ylfa.

The second half shakes things up after the 17th iteration of Mickey is believed to be dead after an encounter with a native species. So they “reprint” Mickey 18. But what they don’t realize is that Mickey 17 is still alive leading to a strictly forbidden case of “multiples”. From there the movie seems to take one wild swing after another. It lurches from point to point, leaving holes all throughout its story while stitching them up with handy voiceovers and vain attempts at humor. It results in a long-winded and surprising unfunny affair.

Bong’s track record may earn him a pass with the faithful, but it’s hard not to see “Mickey 17” as a disappointment. We do see some of his signatures including his unique use of visual language and his commentary-soaked storytelling. But much of what he is going for gets bogged down amid so-so digital effects and a lumbering (and at times incoherent) story. Even Bong’s sermons, hammered most through Ruffalo’s shrill authoritarian televangelist impersonation, pale in comparison to his more incisive and insightful past efforts.

VERDICT – 2 STARS

Writer-director Terre Weisman tells a deeply human story with “Max Dagan”, a penetrating crime drama that follows two shattered families whose overwhelming personal animosity towards each other leaves everyone involved wounded in one way or another. Weisman’s feature premiered in New York at Dances With Films and just screened at the El Dorado Film Festival. It’s now preparing for distribution and it’s certainly a movie to look out for.

“Max Dagan” is a drama driven by flawed and in some cases damaged characters. It’s a story about bad choices and painful consequences. But it’s also a story about not letting those choices and consequences define you. It’s about overcoming your faults and finding mercy for those who have wronged you. But Weisman doesn’t pretend it’s easy. In fact, it can sometimes feel impossible. Such is the case with the characters in “Max Dagan”, most of whom find themselves struggling with past mistakes.

The altercation that sets the main story in motion takes place in an extended prologue. Ilene Brennan (Lisa Roumain) is a battered alcoholic; John (Richard Neil) is her abusive husband and a cop whose personality can change in a snap. After an argument turns violent, Ilene slips away to secretly meet Albert Dagan (Rob Morrow) who she’s been having an affair with. But a suspicious John surprises them and begins brutally beating Albert. Weisman cuts the scene short, leaving the details a little hazy. But we have a good idea how things played out.

In the incident’s aftermath, John ends up dead and Albert is charged with manslaughter. His lawyer and brother Bob (Rob Brownstein) makes a strong case for self-defense. But the jury finds Albert guilty and the judge sentences him to fifteen years in prison. Left in the rubble is Albert’s 15-year-old son, a guitar prodigy named Max (Harry Holden White) who now has nowhere to go. Bob won’t accept custody for reasons involving his wife that never makes much sense. So Max becomes a ward of the state. But he runs away before he can be taken to a foster home.

From there we jump ahead several years as Max (now played by Zachary Gordon) has become a successful guitar player for a popular rock band. He has also been working hard to get his father out of prison. But so far they’ve lost every parole hearing in large part due to the testimonies of John’s heartbroken daughter, Alaina (a superb Lindsey Dresbach) and a dirty detective named Dan Clancy (Michael Madsen) whose shady motives remain murky throughout.

But a new sense urgency comes after Albert is diagnosed with terminal brain cancer. With only a short time to live, Max hopes his father is granted a ‘compassionate release’ rather than dying in prison. But getting such a release won’t be easy, and it may require working with his uncle who he still blames for not taking him in. It may also require convincing Alaina to show mercy and not testify against his dad.

From there the story unfolds at a well-modulated pace as Weisman unknots and then reties the many narrative threads that make up his story. Meanwhile the performances stay grounded and feel firmly rooted in the gritty and textured Los Angeles setting. DP Tim Banks shoots the city in a way that helps vividly bring the characters and their circumstances to life.

Not everything in the story comes together as it should and we’re left with a few head-scratching questions. But those things don’t stop Terre Weisman from telling a compelling story that is imbued with humanity from beginning to end. The film deals with some weighty subject matter and difficult themes. But in the end it’s the characters who take center stage and who steadily grow through the tensions that bind them. Weisman keeps them as his main focus, and as the audience, so do we.

VERDICT – 3.5 STARS

Kyle Hausmann-Stokes makes an impressive directorial debut with “My Dead Friend Zoe”, a deeply personal feature inspired by the tragic deaths of two of his platoonmates. There’s a number of powerful themes sewn into the fabric of his movie. But its chief interest is in exploring the experiences of military veterans in America. Hausmann-Stokes honors them through a poignant and honest examination of the wartime scars combat vets often return home with.

Merit (played by a brilliant Sonequa Martin-Green) is a troubled veteran who spent eight years in Afghanistan as a light-wheel mechanic for the U.S. Army. While serving she became close friends with the brash and boisterous Zoe (Natalie Morales). But Zoe’s life met a tragic end which is revealed to us over the course of the movie. Now Merit sees visions of her late friend and the two routinely carry on conversations. During their frequent tête-à-têtes, Zoe’s barbs range from darkly funny to piercingly cruel.

The idea of a deceased friend popping up to crack jokes and needle our protagonist may sound insensitive, especially considering the weight of the film’s subject matter. And this certainly isn’t the first movie to use this device in its storytelling. But kudos to Hausmann-Stokes who takes a thoughtful and schmaltz-free approach. At no point does his handling of the material feel insincere or gimmicky. Instead it adds a crucial emotional layer to the story that helps ground it in reality.

Aside from the flashbacks in Afghanistan, most of the story takes place in Oregon. Following an accident at her warehouse job, Merit is charged with criminal negligence and ordered by the court to attend group therapy meetings for former soldiers struggling with PTSD. The sessions are led by Dr. Cole (Morgan Freeman), a VA counselor who refuses to coddle Merit but also shows her a great deal of compassion.

Meanwhile Merit gets a call from her mother, Kris (Gloria Reuben) telling her to go check on her grandfather, Dale (Ed Harris) who has been taken to the hospital. The doctor diagnoses Dale with early stage Alzheimer’s leading Merit and her mother to consider some difficult choices. As they do, Merit moves in with her surly grandfather at his beloved lakeside cabin, rekindling a strained but cherished relationship that may help her finally confront her own emotionally crippling pent-up trauma.

Hausmann-Stokes does a superb job delicately balancing a post-service soldier story with an affecting domestic drama, connecting them in a way that raises awareness to a number of potent real-world issues. The performances are top-to-bottom strong led by Sonequa Martin-Green’s eye-opening leading turn. And the sturdy Ed Harris proves again why he’s such a cherished actor. Morgan Freeman is effortlessly solid in what is a small-ish role while Utkarsh Ambudkar adds some levity playing an awkward retirement home administrator and part-time cemetery caretaker.

On the surface, its concept may sound far-fetched. But nothing about “My Dead Friend Zoe” comes across as exaggerated or inauthentic. Even the measured and well-tuned injections of humor fit well with the story Hausmann-Stokes is telling. We have to maneuver through a few narrative cliches to get to the ending and it’s a bit rushed once we get there. But those things do nothing to hinder the clarity of the filmmaker’s firsthand inspiration. It pulsates all throughout this stirring and insightful slice of reality. Opening in theaters February 28th.

VERDICT – 4 STARS