Throughout my many years of covering and reviewing movies I’ve been pretty vocal about my belief that Guy Pearce is (and for a long time has been) one of the most underrated and undervalued actors in the business today. He’s charismatic, incredibly diverse, and easily one of the industry’s busiest workers (he has FOUR films coming out in 2021). Sure, occasionally he will lay an egg and attach himself to a really bad movie (look no further than last year’s “Disturbing the Peace”). But far more often than not, Pearce delivers the goods and he deserves bigger and more prestigious roles.

Unfortunately (and it pains me to say it) his latest film “The Seventh Day” is closer to a rotten egg than a tasty omelette. The supernatural buddy-exorcist flick from writer-director Justin P. Lange teases us with some cool albeit wacky potential. But that’s not where his interests lie. Instead Lange shoots for a more serious horror movie – one that borrows too much from other films and struggles to muster any energy much less genuine chills.

Image Courtesy of Vertical Entertainment

Pearce plays Father Peter, a renowned exorcist known for his “unconventional” methods. He’s both scarred and driven by the loss of his mentor (Keith David) who was slain during a harrowing exorcism that also saw a child burn alive in their bed. That was 25 years ago. Now Father Peter is one of the few exorcists remaining after the Vatican stepped away from the ritual following some bad headlines. So he works underground for the New Orleans Arch Bishop (Stephen Lang), training new recruits to help fight the growing number of demonic possessions.

Next under his wing is a young rookie priest named Father Daniel (played by a dry and ever dour Vadhir Derbez). With a pinch of “Training Day” and a tiny dash of “Se7en”, the two head out into the field where the seasoned but offish Peter tosses Daniel headfirst into a demon encounter (‘baptized by fire’ for those itching for a bad pun). Soon they’re investigating a particularly gruesome murder where a young boy named Charlie (Brady Jenness) butchered his parents and sister with an ax. The state says the boy is mentally incompetent to stand trial and belongs in an institution. But Peter suspects something far more sinister at work and sees this as the perfect case for Daniel to cut his teeth on.

Image Courtesy of Vertical Entertainment

Pretty simple plot but enough for a reasonably entertaining diversion. The problem is “The Seventh Day” keeps everything on a surface level – no depth to the characters, no depth to the story. It also doesn’t help that the two lead actors are so terribly mismatched on screen. Pearce at least looks comfortable and you can buy him in his role. Although watching him maneuver through the erratic dialogue is pretty funny and his ability to utter lines like “the epitome of darkness” with a straight face is a testament to his commitment. Derbez on the other hand goes through the entire movie with the same stunned, deer-in-the-headlights expression. It’s not entirely his fault, but at times he seems lost and unsure especially when next to Pearce.

Aside from an occasionally unnerving image from DP Nick Remy Matthews or a creepy chord from composer Gavin Brivik, “The Seventh Day” doesn’t do enough to get under our skin. Material like this should be unsettling and make us squirm. But it all comes across as pretty generic despite having an enticing general premise and at least one capable lead. And as for Pearce, this probably won’t be included in his end-of-career highlight reel. “The Seventh Day” is now available to stream on VOD.

VERDICT – 2 STARS

Last year Netflix ventured into space with the George Clooney directed “The Midnight Sky”. It was a low-key, yet soulful and penetrating slice of science-fiction that deserved more buzz than it received. The streaming giant is back among the stars with their new film “Stowaway”, a similarly understated sci-fi drama that probes the human experience as much as it does the vast wonder of deep space. It may not dive as deep into its central premise as it could have, but it’s both thoughtful and immersive which is exactly what I was hoping for.

“Stowaway” is the sophomore effort from director Joe Penna. His previous film was 2018’s “Arctic”, a terrific Mads Mikkelsen survival thriller that introduced Penna as a filmmaker of remarkable restraint and focus. “Stowaway” sees him pulling out those same traits in telling yet another survival story although one with a few more characters and more moving parts.

Image Courtesy of Netflix

The story (written by Penna and Ryan Morrison) begins with a space capsule launching from earth, its three-person crew set for a two year research mission to Mars. Space junkies should love the exhilarating opening sequence which gives a cockpit view of the craft as it leaves the atmosphere and then docks with their main ship high above the planet. Once connected, Dr. Zoe Levenson (Anna Kendrick), team biologist David Kim (Daniel Dae Kim), and ship commander Marina Barnett (Toni Collette) begin settling in for their long journey.

While it may not play well with everyone, one of my favorite things about “Stowaway” is the way it shows the crew’s meticulous operation of the ship. Penna’s observant camera allows us to watch the crew members work rather than listen to long drawn-out scientific explanations for everything they do. Of course we do get conversations about magnetic radiation proofing and the CDRA, but they’re very organic. We don’t always understand what they’re doing or saying, but the characters know and we believe them. And don’t worry, it’s never monotonous, just authentic.

A few hours into the mission while running a routine systems check, Marina makes an alarming discovery. She finds a man (Shamier Anderson), wounded and unconscious in a large overhead compartment. He wakes up in a panic, realizing he’s in space and with no recollection of how he ended up onboard. Once the crew settles him down they learn his name is Michael, a launch support engineer with the ground team. As Marina works to confirm his identity with Mission Control, Zoe and David show Michael around the ship and try to help him feel like a part of the crew.

And then things start to get hairy. Marina discovers that the ship’s life support system was critically damaged during Michael’s incident. Even worse, calculations show there’s only enough oxygen for three people to make the trip to Mars. So the original trio are faced with a unenviable dilemma. Do they remove the new and virtually untrained Michael from the ship in order to save themselves and the mission? And if they do, could the guilt-burdened crew ever safely complete their mission? The moral conundrum infuses the story with a psychological tension that could have been explored deeper but that is fascinating nonetheless.

Image Courtesy of Netflix

The cast of four turn in solid performances and serve up some interesting characters even though they aren’t given much in terms of backstory. Zoe is an energetic young doctor who sees the mission as a chance to give her life meaning. David is a dedicated scientist with a wife back home who loves Harvard and experimental jazz. Marina is a seasoned space traveler with two missions under her belt and this one set to be her last. And of course Michael is a bit of a mystery by design but we do learn he has a sister back on earth who he looks after. Those handful of facts are pretty much all we get. It’s not a huge issue but it softens our emotional attachment to the crew.

“Stowaway” doesn’t break any new ground nor does it move the genre into any new directions. But it is an entertaining and assured science-fiction effort from a talented and tightly-focused filmmaker. It also looks great, from its terrific set design full of cool and highly-detailed ship interiors to the obligatory yet harrowing spacewalk sequence. And while they may lack some depth, Penna doesn’t allow his characters to turn into stale predictable types. They’re just four people using their know-how to navigate a hopeless situation while fighting to keep their moral integrity in tact. “Stowaway” premieres today (April 22nd) on Netflix.

VERDICT – 4 STARS

I think it’s safe to say that youth sports has never been as popular as it is right now. At the same time, it has become as addictive and consuming for grown-ups as crack cocaine. Where ‘win at all costs’ and ‘forsake all else’ mentalities are increasingly prevalent and drive many adults in charge and in the stands. We also live in a world where horror stories such as the USA Gymnastics sex abuse scandal are painful realities and monsters like Larry Nassar are able to prey on child athletes for 15 years.

We see these two issues converge in director Charlène Favier stinging feature debut “Slalom”. With a bracing and unflinching honesty, Favier details the vile, calculated sexual exploitation and abuse of a teen skiing prodigy by her much older adult trainer. The snow-covered French Alps make for a beautiful backdrop and setting, but don’t let it fool you. Favier never hides her movie’s intention so we know exactly where the story is heading. Incredibly, she’s able to turn predictability into a strength as she forces her audience to not only watch in discomfort, but to understand how our failures as adults have such devastating effects on our children.

Image Courtesy of Kino Lorber

A fiercely committed Noée Abita plays 15-year-old Lyz Lopez, a talented and ambitious downhill skier recently accepted into a prestigious skiing academy known for churning out champions. As the movie begins we see her already a part of an intense training regimen led by the school’s tenured ski coach Fred (played by Belgian star Jérémie Renier). He’s a product of a familiar mold – a coach who is hard, abrasive and insulting especially to his new trainees. “He crushes you, you listen and you get better.” Over time he has them starving for any scrap of approval he throws their way.

For Lyz, skiing is her passion and she wants to be the best. But when asked why, all she can muster is “I just want to.” It’s a telling moment that speaks a heartbreaking truth. Lyz is essentially alone. She has an absent father and a self-absorbed mother (Muriel Combeau) who is more interested in her new boyfriend and nice-paying job in Marseille. So she skis. Perhaps for validation. Maybe to prove herself. Either way, it leaves Lyz vulnerable to Fred who the movie slowly reveals to be monstrously skillful at manipulating his young prey. His slithery psychology is chilling to watch.

Soon Fred is crossing boundaries that make us squirm in our seats yet is so deceptively persuasive to Lyz, leading her to comply despite her discomfort. It has to be okay. After all he’s her coach. He’s an adult. He’s on her side. Of course he’s looking out for her. All are reasonable thoughts for any young girl to have. But the gross reality is that these vile predators exist and Favier uses her film to remind us of that harsh truth. Meanwhile Favier is subtly yet constantly emphasizing Lyz’s innocence. Her camera will often cut in close to show Lyz’s wide-eyed youthful gaze. Or we get scenes showing her catching snowflakes on her tongue or letting out a childlike giggle when she’s given a new pair of skis. It makes what we eventually see all the more repulsive.

Image Courtesy of Kino Lorber

Make no mistake, there are moments in “Slalom” that are extremely difficult to watch. At times you’ll want to turn your head and look away. Renier, a veteran of several Dardennes brothers films, has a knack for giving very natural and unvarnished performances which proves to be a real asset in fleshing out a character who by necessity is deeply rooted in reality. Renier’s grounded authenticity reveals the devious layers his character – his facade of respectability, his ability to veil his motives, the way he uses Lyz’s improvement on the slopes as a means of controlling her. It’s made more unnerving when put together with the earnestness and vulnerability Abita brings to Lyz.

“Slalom” is a gut-wrenching dose of realism that should leave any adult with a working moral compass uncomfortable, appalled, and enraged. There are a couple of short and needless angles that add more to the ‘mature’ rating than to the actual story. But those aside, the movie maintains a razor-sharp focus and a deep sense of conviction. It takes its subject seriously and forces its audience to do the same. It’s the kind of treatment this material needs and it speaks to an issue that can’t be allowed to continue. “Slalom” is now showing in select theaters and virtual cinemas.

VERDICT – 4 STARS

I’ve always been able to make time for a good action flick. Norwegian filmmaker Magnus Martens directs “SAS: Red Notice”, the new British action-thriller based on the novel of the same name by Andy McNab. Hardly original but reasonably entertaining, “SAS: Red Notice” squeezes everything it can out of its “Die Hard on a Train” premise. But it turns out to be a classic case of a movie that simply runs out of ideas. And while it does throw in a handful of original twists, most of them land with a thud.

The film stars Sam Heughan from television’s “Outlander” giving us his best ‘James Bond meets John McClain’ impression (sadly he doesn’t seem comfortable filling either’s shoes). Heughan plays cold-as-ice SAS Special Agent Tom Buckingham III (how’s that for a British name). His ability to shut off his emotions makes him one of the British government’s most lethal and effective agents. It has a much different affect on his relationship with his loving girlfriend Sophie (Hannah John-Kamen). He plans on asking her to marry him, but she’s concerned about his frosty demeanor.

Image Courtesy of Sky Cinema

The film opens with a beautifully shot prologue that quickly turns gritty and violent. In the beautiful mountains of Georgia near the Black Sea we’re introduced to the Black Swans, a mercenary group led by by William Lewis (Tom Wilkinson) and his family – his hardcore daughter Grace (Ruby Rose) and his dimmer but loyal son Olly (Owain Yeoman). The Swans secretly meet with a crooked military liaison named Clements (Andy Serkis) working for the Prime Minister (Ray Panthaki) who hires them to clear out a local village who refuses to relocate so that a gas pipeline can be ran through the area.

The Swans carry out the blood-soaked contract but are tagged by British SAS who issue red notices (essentially high-priority arrest warrants) for William, Grace, and Olly. This leads to the story’s labyrinthine political sub-plot involving the SAS attempting to take down the Swans, the Prime Minister trying to cover his tracks, and the Swans threatening terroristic attacks for being hung out to dry by the Prime Minister. All of it adds some okay twists and a few interesting layers to the story. But it also bogs things down and leaves you thirsty for the bigger action bits.

During all of this Tom schedules a romantic trip to Paris with Sophie where he plans on popping the question. But their train ride is interrupted by none other than a ruthless Grace and her mercs who hijack the Paris-bound Eurostar and bring it to a stop in the tunnel that runs under the English Channel. But little does she know Tom Buckingham III is onboard and he’s going to use his particular set of skills (I know, different guy) to make sure Grace and her goons have a fight on their hands.

Image Courtesy of Sky Cinema

The inevitable action in the tunnel starts strong and even though it’s familiar and formulaic, there’s enough energy to keep things upbeat and entertaining. Ruby Rose is a big reason why, gelling charisma and psychopathy to create a fun and engaging villain. Unfortunately the story does start to run out of gas both narratively and in the action scenes. Things pep up when Tom’s friends with the SAS and Clement and his team all converge on the tunnel. But even then the movie doesn’t seem confident in what it wants to do with all of its moving parts. It ends with an inevitable but really satisfying showdown that would have ended things on a high note. But regrettably there’s a laughably bad epilogue that even my far more forgiving wife couldn’t help but chuckle at.

Despite being a little too long and all over the place, “SAS: Red Notice” is still a pretty easy watch. There’s not much here that will stick with you or that will encourage a revisit. I understand there are two more books in Andy McNab’s Tom Buckingham series. It’s hard to say this movie warrants a trilogy, but I’ve seen franchises built on a lot worse. As usual, time (and more importantly money) will ultimately tell. “SAS: Red Notice” is now streaming on VOD.

VERDICT- 2.5 STARS

In the States it seems like “Stan & Ollie” came and went with barely a peep. Yes John C. Reilly earned a Golden Globe nomination and the film received a warm reception from critics, but otherwise it’s a film that got no real attention. I don’t remember it hitting any theater around me and the promotion for the movie seemed nonexistent. It’s unfortunate because “Stan & Ollie” is a solid biopic minus most of the usual trappings.

I’ve have an enormous affection for Laurel & Hardy going back to my childhood. PBS was instrumental in introducing me to and developing my love for the classic comics from the silent era (Lloyd, Keaton, Chaplin) as well as Hal Roach’s biggest acts, Our Gang and of course Stan Laurel and Oliver Hardy. To this day I adore all of these great comedians, but there was and is something special about Laurel and Hardy. I’ve seen most of their ‘talkie’ shorts and can quote many of them. I’ve watched their feature films like “Way out West”, “Sons of the Desert”, and “The Flying Deuces” countless times. So natural “Stan & Ollie” had an immediate appeal.

Photo: Sony Pictures

The film comes from director Jon S. Baird and screenwriter Jeff Pope. But the biggest draws are the two stars and their stunning likenesses to their characters (Steve Coogan as Stan Laurel and John C. Reilly as Oliver Hardy). Everything rings true – their distinct voices, comic mannerisms, even individual details from Oliver’s signature toothbrush mustache to Stanley’s wry smile. Most importantly, neither Coogan or Reilly are simply relying on impersonations. Their performances dig into both the personal and performance sides of Stan and Oliver.

The bulk of the film is set in 1953 during the comedy duo’s final appearances as an act. The two embark on an arduous stage tour across England and Ireland while struggling to find funding for their next movie. The tour starts in rinky-dink theaters with small crowds thanks to shoddy promotion from their British producer Bernard Delfront (Rufus Jones). But after adding more public appearances to their already intense schedule, they begin grabbing bigger crowds and booking larger venues.

The boys are joined by their wives in London where the duo is booked for a two-week engagement at the Lyceum Theatre. But soon old wounds from the the past begin festering, specifically about their brief split several years earlier (seen in a prologue). Pent-up bitterness and resentment threaten to not only end a beloved comedy team but a longstanding friendship as well.

Photo: Sony Pictures

The film is driven by its warm and endearing central relationship. There is a tender, organic chemistry between Coogan and Reilly that fits well with Stan and Ollie’s easy-going camaraderie. An unexpected spark comes with the appearance of their wives, Oliver’s anxious and concerned Lucille (Shirley Henderson) and Stan’s Russian-born fireball Ida (Nina Arianda). Both add a bit of zest at a time when the movie really needs it.

But I can’t overstate just how terrific the stage performance scenes are. With an almost eerie similitude, the film captures some of Laurel and Hardy’s greatest bits. Take the stage recreation of their classic short “County Hospital”. From the pinpoint line readings to the smallest gesture, you swear you’re seeing the real thing.

I’m not sure if any movie biopic has captured its subject(s) as authentically as “Stan & Ollie”. Fans of the pair will find the similarities uncanny. But what makes the movie is their ability to go beyond appearances and mix physical authenticity with genuine humanity. Best of all it captures what fans like myself love about Laurel and Hardy while giving us a behind the scenes glance at their enduring friendship.

VERDICT – 4 STARS

A part of me would have loved to have been a fly on the wall when the crazy idea for “Spontaneous” was pitched to the studio heads. “It’s an adaptation of a book about high school students who inexplicably begin exploding in class. And I mean literally blowing up, spraying blood all over their classmates and sending the community into one big panic. Oh, and it’s also a teen love story”.

As nutty as it sounds, nothing in the above paragraph is untrue. “Spontaneous” is based on Aaron Starmer’s 2016 young adult novel about two high school seniors and their unexpected romance during the most unexpected of events. A terrific Katherine Langford plays Mara who is sitting in Calculus class bored out of her mind when suddenly her classmate Caitlyn “pops like a zit“. Not my words, that’s Mara vivid eyewitness description.

After the initial shock the kids from the classroom are quarantined as officials try to figure out the cause and more importantly if it will happen again. When it inevitably does the students must face the reality that any moment could be their last. During this time Mara hits it off with fellow classmate and outcast Dylan. He’s played by Charlie Plummer, so good in 2017’s “Lean on Pete”, solid but fairly ordinary here. Soon an unexpected romance blossoms as the two teens come to realize they must (of course) live for the moment.

Image Courtesy of Paramount Pictures

Before anything else you have to get in sync with the movie’s tonal gymnastics. It’s literally all over the map: a brash teen comedy, a sudsy romance, blood-soaked horror, a coming-of-age story, a family drama, etc. Frankly its attempts at being so many things gets a little exhausting. At its core you can’t help but notice all the ingredients for a really fun and original dark comedy, but then it begins checking off far too many of the usual teen comedy boxes. And rather than coming natural, you can see the movie actively working to come across as rebellious and cool. This is most visible in Mara. Langford gives an eye-opening performance, but her character has so much swagger and attitude that it’s a breath of fresh air whenever she’s allowed to dial it back and be an actual person.

“Spontaneous” is the kind of movie that is sure to find an audience, but it’s skittish genre hopping could just as easily turn some people off. And for everything the movie does that’s fresh and original there is just as much that feels like well-worn ground. The saving grace is Katherine Langford who ably holds together a character who erratically bounces between grounded in the real world and made for the screen. Still, without question she’s a young actress to keep your eye on. “Spontaneous” is now available on VOD.

VERDICT – 2.5 STARS