“Night Patrol” shouldn’t be confused with the 1984 comedy of the same name that could be called a “Police Academy” knockoff if the two films hadn’t released mere months apart. No, this is a much different animal – a movie that defies categories. It’s as if you threw multiple genres and sub-genres into a blender and out came “Night Patrol”. Regardless of how you categorize it, this wild confection will still find ways to surprise you.

Directed by Ryan Prows, “Night Patrol” features equal helpings of supernatural horror, pitch-black comedy, social commentary, graphic gore, family drama, exploitation excess, and more. The story (written by Prows, Shaye Ogbonna, Tim Cairo, and Jake Gibson) comes packed with a wealth of themes that involve police corruption, racial injustice, gang violence, fractured families, economic disparity, and more. And they’re accompanied by no shortage of blood-spraying and gut-slinging.

The movie begins with Wazi Carr (RJ Cyler) sitting in an interrogation room at the LAPD police station, bleeding from the jagged black shard protruding from his side. As the questioning begins, Prows uses Wazi’s telling of events to frame his gonzo story. A fun ensemble fills it out, playing a medley of colorful characters that includes police officers, gangbangers, family members, and neighbors.

Much to the chagrin of his family, Wazi’s big brother Xavier (Jermaine Fowler) is an ambitious LAPD cop who’s hungry to climb the ladder. He’s jealous of his partner Ethan (played by scream king Justin Long) who was recently invited to join an elite anti-gang task force called Night Patrol. Not much is revealed about Night Patrol other than they’re intensely exclusive and they have their run of the police department. Oh, and they’re also secretly vampires.

Lest you feel that last sentence was a spoiler, Night Patrol’s identity is revealed pretty early on. It’s their ultimate goal that’s the bigger mystery. Prows uses Ethan’s initiation to plunge us into the dark, twisted, and zany world of Night Patrol. Overseeing the group’s operations is a street-tough cop called Deputy (Phil Brooks aka wrestling’s CM Punk). He reports to the organization’s mysterious leader referred to as “Sarge” (Dermot Mulroney). It only gets crazier (and bloodier) from there.

Things ratchet up pretty kick, especially after Wazi witnesses the brutal murder of his prospective girlfriend, Primo (Zuri Reed) at the hands of Night Patrol. The killing draws the attention of two rival gangs, both neighborhood offshoots from the Bloods and the Crips. The comically superstitious Bloods are led by Bornelius (Freddie Gibbs) and are always on the watch for demons, shapeshifters, and lizard people with acid tongues. The local Crips are headed by Wazi and Xavier’s mother, Ayanda (Nicki Micheaux), a Zulu mystic who always seems to know more than she’s letting on.

Everything ultimately propels us forward to an inevitable showdown at the Colonial Courts housing project. It’s there that secrets are revealed, new alliances are formed, and gallons of blood is shed. On the way there the pacing is a little wobbly, but it’s undeniably fun regardless of how bonkers things get. Visually, Prows gives his film a gritty and grainy texture. And the choice to employ practical effects ends up paying huge dividends.

“Night Patrol” tackles more themes than you can count on two hands with most handled surprisingly well. It also employs just as many metaphors, some of which start strong but get sillier over time, and others that veer close to heavy-handedness. Still, the film maintains a self-awareness that keeps things fun. And Prows’ clear love for exploring genres produces an infectious energy and a go-for-broke uniqueness that gives the movie an identity all its own.

VERDICT – 3 STARS

One of my favorite directors honors one of my favorite cinematic movements in “Nouvelle Vague”, Richard Linklater’s stunningly realized ode to the French New Wave. This time capsule masterpiece is not only a lesson in movie history. It’s also a celebration of the creative independence forged by the brilliant filmmakers at the heart of the movement – filmmakers who would reshape cinema from France to Hollywood.

The French New Wave holds a special place in my heart. Years ago, it ignited the cinephile within me by opening my eyes to international filmmaking. I had seen foreign language films and was even a big fan of some. But it was my dive into the Nouvelle Vague era that opened my eyes to the styles and influences that paved the way for so many movies and moviemakers who would follow. Even more, I adored the bold experimental style and the iconoclastic verve that were staples of the movement.

To no surprise, Linklater shows he has a firm grasp on what made the French New Wave special with “Nouvelle Vague”. Not only does he tell a story rooted in the movement, but he shoots his film like it’s a New Wave work. He uses the same black-and-white photography with a 1:37 aspect ratio. He uses similar editing tricks such as the hallmark jump cuts. He captures the spirit of spontaneity that was ever-present in the filmmaking of the era. And he sticks almost exclusively with the French language – a huge plus.

As for its story, “Nouvelle Vague” follows the filming of one of the Wave’s signature films, “Breathless” from one of its signature directors, Jean-Luc Godard (played with such comfortable ease by Guillaume Marbeck). Linklater begins in 1958 at the Paris premiere of “La Passé du Diable”. There Godard playfully critiques the current state of cinema with his friends and fellow cinephiles François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), and Suzanne Schiffman (Jodie Ruth-Forest).

Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.

Godard seeks out actor Jean-Paul Belmondo (Aubry Dullin) who ignores the misgivings of his agent and agrees to star in the film. But his most audacious catch is American starlet Jean Seberg (a delightful Zoey Deutch) who is persuaded to co-star despite her own reservations. With his two stars in place, Godard zips through pre-production and begins shooting his film, shattering conventions and making up his own rules along the way, much to the chagrin of his bewildered and often frustrated cast and crew.

Linklater spends a big chunk of his movie chronicling the twenty-day shoot of “Breathless”, honoring the headstrong director and his guerilla filmmaking along the way. We get to see the creative chaos at the heart of Godard’s process which was maddening to his producer and often perplexing to those working on set. His script was “fluid” and he often cobbled together scenes on the fly. Some days they would shoot scenes that came to Godard the night before. Other days were spent hanging out in café as Godard played pinball awaiting inspiration.

The lack of structure gets especially frustrating for Jean who nearly quits on several occasions. But like everyone else working on the film, Godard wins her over with his breezy demeanor and revolutionary spirit. Those same characteristics are found throughout Linklater’s film. There’s an inherent playfulness in his approach and an easygoing tenor that hearkens back to some of his best hangout movies. Yet there’s also a clear reverence, not just for the New Wave era, but for the filmmaking process itself.

“Nouvelle Vague” is unquestionably a movie made by a cinephile for cinephiles. It’s hard to guess the response of someone not familiar with the French New Wave movement. But there’s plenty here for anyone who generally loves film history and the creative process. Linklater keeps things light and flowing while still capturing the essence of the New Wave’s style and purpose. Marbeck’s uncanny likeness to Godard, Deutch’s effervescent charm, the stunning VFX shots that help recreate late 1950s Paris – it all contributes to this evocative love letter to cinema.

VERDICT – 4.5 STARS

Tis the season to be frightened. It’s October, and while it’s true that horror movies come all throughout the year, this is that special month where horror fans celebrate the genre they so passionately love. In keeping with the holiday season, what better time to check out one of the horror movies that I missed from earlier this year. I’m talking about “Night of the Reaper”, an old-fashioned slasher with a distinct mystery element to it.

After a well-done prologue, “Night of the Reaper” introduces us to Deena Golding (Jessica Clement) who is returning to her hometown after being away at college. Deena was reluctant to come back to the town where her sister Emily was murdered a few years earlier. But she decides to return despite her sad and life-altering history with the place. Once there, Deena checks in on her parents and reconnects with her old friend Haddie (Savannah Miller).

Later that evening Deena gets a call from Haddie who’s in need of a favor. Haddie was supposed to babysit the local sheriff’s son but has gotten sick. So she asks Deena to fill in for her. Deena agrees and promptly drives out to the sheriff’s rural rustic homeplace where she meets his son Max (Max Christensen). The two hit it off well and settle in for the evening. But their night will soon take a chilling turn with the sudden appearance of a masked killer.

While Deena is a central character, the movie alternates its time between her and Sheriff Rodney Arnold (Ryan Robbins). His story is fueled by tragedy, as he lost his wife and Max’s mother to a fatal car accident. As Rodney attempts to manage his grief while raising his son, he’s also put on the trail of several unsolved area murders. He begins receiving mysterious packages containing clues linking the murders together.

While the sheriff intensifies his investigation he makes more alarming discoveries. Meanwhile Deena finds herself in terrifying game of cat-and-mouse with a demented killer. As you can probably guess, the sheriff’s murder mystery eventually merges with Deena’s slasher story, but not in ways you might expect. Writer-director Brandon Christensen throws in some big twists that sees the final act taking some refreshingly wild turns.

The writing takes some big swings, and to its credit it always stays one step ahead of its audience. We’re kept guessing which is a big part of what makes the movie such fun. At the same time, the script doesn’t spend enough time on key people to allow the ending to land as intended. I know that’s a very vague criticism, but it has to be in order to avoid spoilers. Still it’s too big of an issue to miss as it lessens the impact of the otherwise big finish.

“Night of the Reaper” leans on a number of tropes that horror fans will spot a mile away. And its lack of attention to specific characters and their arcs has repercussions. But the film surprises with its genre fusion of slasher and mystery. It also cleverly channels its 1980s setting through the aesthetic as well as the filmmaking. And it makes good use of its small budget, especially in the gory kill department. As a result, “Night of the Reaper” ends up being a nice surprise and a little bit more than your run-of-the-mill slasher flick.

VERDICT – 3 STARS

Bob Odenkirk returns in the unexpected sequel to 2021’s fun but low-key action thriller “Nobody”. The straightforwardly titled “Nobody 2” features the same entertaining mix of bloody beat ‘em up action and dark humor that earned the first film good marks from both fans and critics. It pushes credibility a little further, mostly in the interest of laughs. But not so far as to lose its bone-cracking charm.

This time around Indonesian filmmaker Timo Tjahjanto takes the directing duties in what is his English-language debut. Written for the screen by Derek Kolstad and Aaron Rabin, “Nobody 2” sees former CIA assassin Hutch Mansell (Odenkirk) in a bind after burning up the Russian mafia’s money in the first film. Hutch’s debt to the mob was paid by his former handler, The Barber (Colin Salmon). Now Hutch is forced to pay off his debt to The Barber by carrying out contracts for him.

Back at home, Hutch’s constant absence is taking a toll on his relationships with his wife Becca (Connie Nielsen) and their two kids, the increasingly aggressive Brady (Gage Munroe) and the younger Sammy (Paisley Cadorath). Hoping to mend things with his family, Hutch plans a family getaway to one of his favorite childhood places – a vacation town called Plummerville. With his father David (Christopher Lloyd) in tow, Hutch and his family head off in Griswald-like fashion to “make memories”.

But violence seems to follow Hutch wherever he goes. In the case of Plummerville, it’s ran by a shady businessman named Wyatt Martin (John Ortiz) who is nothing more than a pawn for an area crime syndicate. Its leader, the ruthless and psychotic Lendina (Sharon Stone), uses the town as a hub for her lucrative bootlegging enterprise. But with his arrival, Hutch inadvertently throws a wrench into Lendina’s operation.

It all starts during a run-in with the town’s corrupt and ambitious sheriff, Abel (Colin Hanks). From there, a domino effect of bloody-knuckled violence follows as Hutch beats his way through waves and waves of goons much to the chagrin of Becca who was hoping for some quiet, leisurely family time. The family dynamic adds a fun twist, but the action is the movie’s bread and butter, with much of it infused with a healthy injection of humor.

Odenkirk makes a great transition from the cynical action-thriller vibes of the first film to a more straightforward action-comedy. He once again embodies the everyman vibe that hides Hutch’s true one-man killing machine identity. But he gets to show a much more playful side as well as some real heart. Nielsen has a blast with a considerable bigger role and a better character arc. As for Stone, she’s entertaining in chaotic bursts and over-the-top by design. But perhaps a bit too over-the-top.

“Nobody 2” is a violent movie with a proudly prominent body count. Yet it’s an openly unserious romp that adds lighter layers to everything from its story to its unconventional antihero. We get lots of well-choreographed action and several well-earned laughs. And it’s all seasoned with some great needle drops. Yes, the movie is formulaic to a point, but never to its own detriment. That’s because Tjahjanto stays true to his vision and we’re treated to some solid fun as a result. “Nobody 2” is in theaters now.

VERDICT – 3.5 STARS

It seemed like all the right ingredients were in place. You have a film trilogy that I loved. You have a style of absurd comedy that I’ve always been drawn to. And you have a lead actor in Liam Neeson who I’ve always enjoyed watching regardless of what film he’s in. But here’s the thing – you don’t just recreate something as hilariously absurd as 1988’s “The Naked Gun”. And you don’t just step into the Oxfords of a comedy legend like Leslie Nielsen.

Yet that’s the attempt we get in “The Naked Gun”, a 2025 legacy sequel that follows that goofy trend of using the exact same title as a previous series installment. Perhaps it’s my unwavering love for the original three movies. Perhaps it’s my concern from seeing Seth MacFarlane attached. But from its very first trailer, I was resistant to the idea of a sequel, reboot, or remake. The earlier films were built upon such a distinct brand of humor that since has all but disappeared. And the late, great Nielsen had a flawless knack for it.

To director Akiva Schaffer’s credit, his sequel certainly makes an effort to honor the original films, at least early on. It’s sets itself up well through some really good gags that feels fairly in-tune with David Zucker’s gems. But “The Naked Gun” 2025 runs out of steam around the midway mark. The laughs become noticeably more scarce. And as much as I like Neeson, he just doesn’t have the imbecilic innocence and irresistible charm that Leslie Nielsen effortlessly brought to the role.

Amid its slew of movie-defining early jokes, the story is initially set up as a classic film noir, complete with a hard-boiled detective, cynical voiceover, moody music, and even a femme fatale. But either intentionally or not (it’s hard to tell), Schaffer tosses it aside for a more conventional structure. Neeson plays Frank Drebin Jr., the son of Nielsen’s Frank Drebin, who has chosen to follow in his father’s footsteps and join LA’s Police Squad.

After stopping a downtown bank robbery, Frank finds himself in hot water with his chief (CCH Pounder) over his use of excessive force. As punishment, he and his partner Ed Hocken, Jr. (a woefully underused Paul Walter Hauser) are moved off the bank case and assigned to investigate a suspicious car accident. Killed in the wreck is a man named Simon Davenport. After interviewing the deceased’s sultry sister Beth (Pamela Anderson), Frank makes a surprising discovery.

It turns out the car wreck and the bank heist are connected. And that connection is Edentech, a big tech corporation ran by the shady Richard Cane (Danny Huston). In truth, the story is pretty preposterous to the point of being mostly inconsequential. Things like coherence, a compelling narrative, character development, etc. are nowhere to be found. There’s nothing about the story to latch onto or to even bother caring about.

But frankly, that’s okay in a joke-a-minute movie where the main focus is on quickly shuttling us from one gag to the next. The problems come when the jokes stop landing, and sadly that happens too much in the second half. It takes some late swings that are simply too ridiculous. A few other swings come off as just lazy. Meanwhile some of the running jokes run out of gas yet Schaffer keeps going back to them.

While I’ve made a point to praise Nielsen for his tremendous comic work in the original films, I don’t want to shortchange Neeson’s efforts here. He and Schaffer attempt to recreate Nielsen’s Frank Drebin but the results are noticeably different. But it has more to do with the material than Neeson. The 73-year-old screen veteran fully commits to the cornball humor and is a key reason why the film works as well as it does. Throw in some good callbacks and a keen self-awareness, and you have just enough to keep this wobbly legacy sequel on its feet.

VERDICT – 3 STARS