Since Steven Spielberg’s original “Jurassic Park” first blew up the global box office, there has been no shortage of feature length knockoffs. They’ve come in all varieties, bearing such hilariously corny titles as “Jurassic Galaxy”, “Jurassic Shark”, “Jurassic Thunder”, and so on. As Oscar Wilde so eloquently put it, “Imitation is the sincerest form of flattery that mediocrity can pay to greatness“. For the most part that certainly fits when it comes to Spielberg’s 1993 blockbuster classic.

In some ways “Primitive War” may fall into the knockoff category. It has the CGI dinosaurs and its story revolves around humanity’s clash with these beasts from the past. Even some of its shots directly call back to the Jurassic Park movies. Yet dismissing “Primitive War” as nothing more than a knockoff would be a disservice considering how the film takes so many wild swings all its own. To be clear, this is no clone of “Jurassic Park”, not in style, tone, narrative, or ambition.

“Primitive War” is an Australian production helmed by Luke Sparke. A man of many hats, Sparke serves as the film’s director, writer, producer, editor, visual effects supervisor, and production designer. On paper there’s no way “Primitive War” should work. But Sparke’s craftsmanship does wonders in many of the areas mentioned above. His direction is solid, his editing is crisp, his production design is superb, and his budget special effects impress more than they let down (more on them in a second).

Arguably the film’s biggest strength involves its time and place. Sparke gets a ton of mileage out of his Vietnam War setting. Set in 1968, the story (based on a 2017 novel of the same name by Ethan Pettus) follows Vulture Squad, a well-oiled elite unit of highly trained Army outcasts who conduct dangerous missions deep behind enemy lines. Sparke smartly lets us spend some time with the seven men early on, both in the field and in the barracks. It’s a choice that adds some needed weight to what’s to come.

After a Green Beret unit goes missing in occupied territory, Vulture Squad is called on by their commander, Colonel Jericho (played by Jeremy Piven brandishing an unfortunate Southern accent). He tasks them with discovering the whereabouts of the missing soldiers and reporting back. But Jericho gives them practically no intel, content with saying everything is “classified”. So Vulture team leader Sergeant Baker (Ryan Kwanten) and his ragtag unit are sent deep into the jungle under the cover the night. And what they discover isn’t the Viet Cong. It is in fact (as you’ve probably guessed) dinosaurs.

Sparke wastes no time putting Vulture Squad in danger. They immediately discover a massive animal track, a giant feather, a heaping pile of dung, and a journal with the slightly ambiguous words “we are being hunted” scribbled inside. Those words become a reality after the soldiers are attack by a ravenous pack of Deinonychus. During the chaos, Baker and a rookie named Leon (Carlos Sanson) are separated from their squadmates. They have a harrowing encounter with a Tyrannosaurus Rex before being saved by a stranded Russian scientist named Sofia (Tricia Helfer) who takes them to her heavily fortified research station.

From there the movie takes one of its several genre turns, introducing a stone-cold crazy science-fiction twist. I won’t spoil it, but you have to respect the audacity while you’re audibly laughing out loud. It’s utterly preposterous, yet the movie’s earnest treatment of it makes it work within the confines of the story. And the entire cast is fully onboard, embracing the nuttiness through characters who have just enough individual personality for us to care. That sounds like a small thing, but it makes a difference in a movie like this.

As mentioned, Sparke squeezes a lot out of the story’s Vietnam War setting. He puts plenty of effort into recreating it, as seen in his choices of shooting locations, the carefully detailed sets, the authentic uniforms, gear, vehicles, and weaponry. As for the visual effects, Sparke doesn’t let his modest budget stymie his vision and what he is able to do with $8 million is pretty remarkable. Without question, some of the CGI isn’t up to snuff. But for the most part, the dinosaurs look great with Sparke and DP Wade Muller often using their camera in a number of clever ways to enhance what we see. It’s pretty impressive.

As for the script, it not only presents a gonzo premise – it fully embraces it. It does so by weaving together a war movie, a gory creature feature, and sci-fi action, putting its own spin on each in the process. At the same time, it tries a little too hard to be grounded and gritty – an issue that shows itself most in the dialogue. Sure, you can pick apart certain things (such as the squad’s seemingly endless supply of ammunition). But those issues are trivial in a movie that succeeds in being exactly what it wants to be – two fun-filled hours of pure genre entertainment.

VERDICT – 3.5 STARS

I wonder if there has ever been a filmmaker more devoted to his or her style than Wes Anderson? If you went into a movie blind, chances are you would know it was a Wes Anderson movie midway through the opening credits. His new film, “The Phoenician Scheme” is about as Wes Andersonian as a Wes Anderson movie can be. So your appreciation for his latest will undoubtedly hinge on your feelings towards his work as a whole.

I proudly consider myself a Wes Anderson fan and (sometimes) apologist. For that reason, “The Phoenician Scheme” was a must see for me. But that doesn’t mean I’ve fallen for every movie he has made (sorry “The French Dispatch”). But there’s so much admire in a Wes Anderson production – the immaculately detailed compositions, his distinct color palette, the quirky characters, the hilarious deadpan performances, etc. His latest features all of those elements plus some.

Yet despite having all the Andersonian hallmarks, “The Phoenician Scheme” stealthily surprises with its mix of humor and heart. There are plenty of wry and whimsical laughs scattered throughout the movie’s zany adventuring, corporate espionage, and family melodrama. But at its core is a sweet father-daughter reconciliation story. And while it takes some time to fully develop, the slow and subtle healing of that central relationship adds an unexpected tenderness that leads to a heartfelt payoff.

“The Phoenician Scheme” brings together another colorful ensemble that mixes longtime Anderson favorites with fresh new faces. Benicio Del Toro gets top billing playing Anatole “Zsa-Zsa” Korda, a ruthless industrialist and overall controversial figure who narrowly escapes the latest in many assassination attempts from an unknown enemy. It prompts him to reach out to his estranged daughter, Liesl (Mia Threapleton) who is studying to become a nun.

Liesl reluctantly meets with her father where she learns he wants to make her the sole heir to his fortune and the overseer of his grandest and most ambitious scheme yet. Korda’s meticulously planned scheme involves a number of large infrastructure projects meant to revitalize the long-dormant region of Phoenicia. Of course Korda sets himself up to make a nice profit, namely a 5% annual revenue share for the next 150 years. Liesl is suspicious and hesitant, but she eventually agrees, hoping she can bring some good out of her father’s shady plans.

Unfortunately for Korda, it doesn’t take long for his scheme to hit a snag. A clandestine international business consortium led by a driven bureaucrat codenamed Excalibur (Rupert Friend) use their power to fix the prices of essential construction materials. Realizing the crippling effects of a funding deficit, Korda sets out to meet with each of his underground investors, hoping they will help financially cover the gap. He’s accompanied by Liesl and Bjørn (Michael Cera), a nerdy entomologist who gets promoted to Korda’s administrative assistant.

As the motley trio travel across the region they encounter all kinds of threats from business rivals, hired assassins, and terrorists. Meanwhile each stop they make plays like its own Anderson vignette, and each eccentric investor they visit have their own distinct peculiarity. They’re wonderfully portrayed through the finely tuned talents of Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Jeffrey Wright, Scarlett Johansson, and Benedict Cumberbatch.

While Benicio del Toro is a pitch-perfect lead and we’re treated to my very favorite Michael Cera performance, it’s Mia Threapleton who will have most people talking. Her bone-dry delivery and off-kilter charm gels perfectly with Anderson’s world. And it’s a world we know well. “The Phoenician Scheme” has all the visual artistry, striking symmetry, and stunning production design fans have grown accustomed to. And the dense dialogue has that same witty tenor. But to his credit, Anderson often delivers something unique amid all the creative sameness. And that is certainly the case with his latest.

VERDICT – 4.5 STARS

The Predator universe was infused with new life following the release of the surprise hit “Prey” in 2022. The franchise kicked off in 1987 with “Predator”, a sci-fi action feature that remains one of Arnold Schwarzenegger’s very best films. Since then there have been a number of sequels, spin-offs, and crossovers of varying degrees of quality. But director Dan Trachtenberg offered a new take on the franchise with “Prey” and since has been given the keys to the series.

Trachtenberg has a standalone movie coming out in November titled “Predator: Badlands”. But in October of last year, it was revealed he had made a secret film that was set for release between “Prey” and “Badlands”. That movie is “Predator: Killer of Killers”, an adult animated anthology(ish) film co-directed by Trachtenberg and Joshua Wassung. Releasing as a Hulu Original, “Killer of Killers” puts a fresh spin on Predator, similar to what “Into the Spider-Verse” did for Spider-Man movies. And it sets the standard for animation’s potential in future Predator projects.

Built upon an action-fueled script by screenwriter Micho Robert Rutare and extraordinary visuals from the animation studio The Third Floor, “Killer of Killers” takes us through centuries and across cultures in telling the stories of three warriors. The three – a Viking raider, a ninja assassin, and a World War II pilot – fight their battles at dramatically different points on Earth’s timeline. While they all could be considered killers, they also have something else in common. Each encounter a technologically advanced alien predator who turns these warriors into prey.

The first chapter is titled “The Shield” and is set in 841 AD. It follows Ersa (Lindsay LaVanchy), a Scandinavian Valkyrie who leads her son Anders (Damien C. Haas) on a quest for revenge against a brutal chieftain. The second chapter titled “The Sword” takes place in 1629 feudal Japan where a ninja assassin (Louis Ozawa) confronts his shogun brother who now leads their family’s clan. And the third chapter, “The Bullet” sees a young man from Florida named John Torres (Rick Gonzalez) drafted to the military during World War II.

Rutare’s script does a nice job introducing and defining each character, stumbling only with some shaky dialogue in “The Bullet”. Each story is distinctly compelling in its own way, exploring such themes as vengeance, trauma, and generational cycles of violence. But franchise fans needn’t worry. Each story is action-packed with brutal fight sequences often playing out through stunningly choreographed set pieces. They’re fittingly and unabashedly bloody and each alien predator is uniquely menacing.

Most surprising is the unexpected yet satisfying way Trachtenberg, Wassung, and Rutare brings the three stories together. It’s best you see it for yourself, but just know it involves an unanticipated turn that sets up the film’s big finish. And it’s capped off with a killer final shot that has intriguing implications for past and future movies, especially with Trachtenberg at the helm of the franchise (for the time being).

“Predator: Killer of Killers” is arriving with very little attention, but it’s a movie worthy of some buzz, especially for anyone interested in the Predator universe. The inventive story and savvy storytelling work hand-in-hand with the many rousing action sequences. And it’s all enhanced by a visually captivating art style that does justice to the time periods and cultures as well as the brutally violent Predator world. “Predator: Killer of Killers” premieres June 6th on Hulu.

VERDICT – 4.5 STARS

Despite getting rave reviews and making big money at the box office, there’s a part of me that believes the Paddington films are remain surprisingly underrated. There never seems to be the same enthusiasm surrounding them as there is with so many other stock quality family movies. And they’ve been completely overlooked by most major awards shows including the Oscars, Golden Globes, and Critics Choice.

But for my money the two previous Paddington movies sit among the very best family features ever made. So it goes without saying that “Paddington in Peru” immediately found its place on my ‘Most Anticipated’ list for 2025 movies. Based on the popular series of children’s books by the late Thomas Michael Bond, the Paddington films follow the adventures of Paddington, a warmhearted Peruvian bear who finds a loving home in London with the kindly Brown family.

Dougal Wilson takes the directing reins from Paul King and tells a new story – one that may not have the laughs of previous Paddington films but that has the same big heart. Despite living in the same London flat, the Browns don’t spend much time together. Judy (Madeleine Harris) is getting ready to head off to college. Jonathan (Samuel Joslin) spends all of his time in his room playing video games and tinkering with his inventions. Henry (Hugh Bonneville) is swamped with work at his insurance firm. And Mary (Emily Mortimer) is left to her painting while lamenting how times have changed.

The one constant in the Brown family is the lovable Paddington (wonderfully voiced by a returning Ben Whishaw) with his red floppy hat, blue duffle coat, and heart of gold. Paddington still loves his life in London, but he also enjoys his letters from his beloved Aunt Lucy (voiced by Imelda Staunton). She lives in a retirement home for bears back in Peru.

But one day Paddington receives a concerning letter from the retirement home’s Reverend Mother (Olivia Colman). She tells him that Aunt Lucy deeply misses him and has been acting noticeably strange lately. A worried Paddington is determined to pay her a visit. Meanwhile Mary sees the trip as an opportunity for their family to spend some much needed time together.

So the Browns pack up and set off for Peru. But upon arrival they’re met with some bad news. The Reverend Mother informs them that Aunt Lucy has gone missing. While searching for clues in her cabin, Paddington discovers an old map to a mysterious place called Rumi Rock. So the Browns hire out a boat captained by treasure hunters Hunter Cabot (Antonio Banderas) and his daughter Gina (Carla Tous) to take them deep into Peruvian Amazon to find Rumi Rock and hopefully Aunt Lucy.

From the opening title card, there’s something comforting about being back in this world. The characters, the tone, the style, the aesthetic, the gorgeous digital effects, the extra storybook animations – it’s all like a warm hug from someone (or on this case something) you‘ve missed. Wilson knows what fans expect from a Paddington movie and for the most part he delivers.

That said, “Paddington in Peru” doesn’t quite reach the heights of the previous movies. Most notably, it’s not as funny. It certainly packs some laughs and just the very notion of it all is amusing in itself. Yet it’s hardly a steady diet of humor. Also, by the third act Paddington’s adventure begins to run out of steam. And there are times when the movie leans a little too much on big action sequences and not on what makes the characters and their journey special.

But to Wilson’s credit, even when his film wanders he still manages to guide it back, punctuating the story with a tender and heartfelt ending that hits just the right note. And as the credits roll we’re reminded of why we adore this marmalade loving bear and his endearing human family. Even more, it leaves us with the hope that there are more big screen Paddington stories set to be told. I know I’ll be there for them.

VERDICT – 4 STARS

Steven Soderbergh dips his toes into the horror genre (at least on paper) with his latest film “Presence”. The always intriguing Soderbergh directs, shoots, and edits this visually striking and atmospheric supernatural feature that had its premiere a year ago at Sundance. It took a while, but after some cryptic and creepy teases, Neon has finally brought it to theaters. And like so many others, it’s a movie that should be viewed on the big screen.

But despite those chilling teases, scares in “Presence” are hard to come by. That’s because from its fascinating opening to its abrupt finish, the movie is much more akin to a sad dysfunctional family drama than a creepy supernatural chiller. In fact, it’s hard to even categorize it as ‘horror’. It just all happens to play out from the point-of-view of a ghost who is sharing a house with its new owners.

Screenwriter David Koepp’s story is built upon a really compelling premise. Unfortunately it never blossoms into something bigger than its concept. Visually it’s a stunner, sharpened by Soderbergh’s keen instincts and firm control. And several of its thematic through-lines strike a heartbreaking chord as we watch this family crumble through a set of fresh eyes. Things click more into place when approaching the film from this angle. But its advertising doesn’t do it any favors. And in this case it’s best to ignore the trailers altogether.

The entirety of “Presence” consists of brief scenes filmed from the ghost’s first-person perspective. They mostly consist of static shots and tracking shots, each ending with a quick cut to black. On the surface it may seem like a showy technique. But as we get in tune with the movie’s disconsolate rhythm, Soderbergh’s methods make more and more sense.

After a hypnotic tracking shot gives us a tour of the suburban house, were introduced to the Payne family – parents, Rebecca (Lucy Liu) and Chris (Chris Sullivan) and their teenage kids, Tyler (Eddy Maday) and Chloe (Callina Liang). At first the four seem to make up a strong and fully functioning family. But through the ghost’s eavesdropping and spying we quickly learn that each member has their own issues, some of which threaten to tear them apart.

For example, Rebecca is an aggressively take-charge woman who does a poor job hiding her favoritism towards her son. Chris is overly reticent and passive to the point that his frustration is eating him up inside. Tyler is spoiled and self-centered with a hateful side that comes out more as the movie progresses. Chloe is quiet and withdrawn, still emotionally reeling from the recent death of her best friend. Together their burdens build domestic tensions which slowly take their toll on the household.

As for the ghost, it’s little more than a lens, only occasionally showing emotion and letting its presence be known. Where did it come from? Why is it there? Does it have a connection to this family? Minus a couple of speculations, these questions largely go unanswered. This leaves you wondering if the ghost exists solely to give Soderbergh a reason to play around with his camera.

But again, “Presence” is far more interested in the family. Soderbergh’s near experimental filmmaking leaves too many gaps in their story and the characters never get the room they need to fully form. The final ‘twist’ gets even less time to play out which ends the movie on a fairly awkward note. Yet there’s something alluring in Soderbergh’s heady yet delicate approach. At times he draws us so far in so deep that we nearly forget the ghost conceit. The film is at its best in those moments. It’s only when you think about the film that its flaws become most evident.

VERDICT – 2.5 STARS

The renowned Donnie Yen directs, co-produces, and stars in “The Prosecutor” – the 80th film from the 61-year-old legend of Hong Kong action cinema. Of course fans know that Yen has frequently crossed over to the United States, starring in such movies as “Blade II”, “Rogue One: A Star Wars Story”, and most recently “John Wick: Chapter 4”. Yet in many ways “The Prosecutor” sees Yen at home in his comfort zone, adding another sturdy action-thriller to his impressive résumé.

“The Prosecutor” sprinkles in ingredients from an assortment of genres. It’s as much a legal thriller as it is a crime thriller. It has a healthy amount of courtroom drama while also featuring the signature action scenes that have been highlights of Yen’s remarkable 40-plus year career. At the same time, the movie takes a critical look at such weighty subjects as class, corruption, and the justice system to go along with its impressive visual panache.

Reteaming with screenwriter Edmond Wong from the “IP Man” quadrilogy, “The Prosecutor” takes its inspiration from a true case. Yen plays Fok Chi-ho, a police officer transferred from the force after a case goes bad. He’s assigned to the Department of Justice where he’s to serve as a prosecutor under the leadership of the seasoned Bao Ding (Kent Cheng).

Fok’s first case involves a young man named Ma Ka-Kit (Fung Ho Yeung Mason) who is accused of drug trafficking after unknowingly lending his address to a local syndicate that uses parcels to import cocaine and contraband. Fok suspects the young man was manipulated and doesn’t deserve to be prosecuted. But Kit’s defense attorneys, Au Pak Man (Julian Cheung Chi Yu) and Lee Sze-Man (Shirley Chan) convince their client to plead guilty, assuring him it will result in a reduced sentence and barely any jail time.

But it quickly becomes evident that Kit’s attorneys aren’t giving him a fair shake. That prompts Fok to begin his own investigation which puts him at odds with both the defense and his own team of prosecutors. Even more, after the syndicate’s involvement becomes clear, Fok has to fall back on his old police training after both he and Kit become the gang’s chief targets.

While the story employs a few common courtroom tropes, the script is smart enough to keep us engaged. And it’s helped by the performances from Yen and the really strong supporting cast. We get lots of legal wrangling and verbal jostling both in the courtroom and behind the scenes as Fok’s colleagues push for him to forget his righteous crusade and fall in line with the system. It all adds several nice layers to the drama.

And of course there’s the action. While maybe not as plentiful as in many other films from Yen’s catalog, “The Prosecutor” still treats us to the some lights-out action scenes, from the blistering warehouse shootout to open the film to a ferocious subway fight sequence near the end. All are thrillingly choreographed and sharp reminders that even in his sixties Donnie Yen remains a star of the genre. And it’s that star-power that drives “The Prosecutor”, even when it tries to juggle a little too much.

VERDICT – 3.5 STARS