The new Netflix drama “Uncorked” tells the age-old story of a demanding father and a dutiful son. The father has plans for his son, but the son has dreams of his own. It’s a tried-and-true formula and well-plowed movie ground. Yet despite its familiar premise, “Uncorked” has its own welcomed flavor and is pleasant enough going down. And with that I promise no more wine-inspired puns.

Writer-director Prentice Penny caught the wine bug while attending a wedding in Paris. He quickly began soaking up books and documentaries as well as taking a wine studies class. All of this helped inspire “Uncorked” which sees a young man named Elijah (Mamoudou Athie) sporting a passionate interest in wine. The problem is his father Louis (Courtney B. Vance) runs a BBQ restaurant that was handed down to him from his father. “This place is historic,” Louis says. “Frankie Beverly had a stroke here.”

Obviously Louis’ plan is for Elijah to one day take over the place. But he grows frustrated at his son’s lack of interest which (predictably) drives a wedge between them. As is often the case, it’s the mother who plays referee/voice of reason. Here she’s played by a fun but affecting Niecy Nash. While we have seen this whole family dynamic in numerous other films, Penny and his cast inject a strong dose of personality and authenticity while showcasing a welcomed perspective on the black experience not often represented in cinema.

Photo Courtesy of Netflix

Athie’s subdued performance hits it mark in giving us a conflicted twenty-something who feels an obligation to his family while dreaming of becoming a master sommelier (for the unlearned like me, a sommelier is a trained wine professional who specializes in wine services for fine restaurants). He finds encouragement in his new girlfriend Tanya (a terrific Sasha Compère) and his mother backs his enthusiasm. But it all comes back to his father who only thinks of the restaurant and his expectations for his son.

The central conflict plays out as you might expect, but it’s getting there that makes “Uncorked” feel fresh. First off, Penny nimbly walks a fine line and keeps Louis from being an all-out villain. You’ll want to pull his hair out at times, but Penny gives the character several dimensions and imbues him with enough human complexity to avoid caricature. In fact I can see Louis striking a chord with many people who will see shades of their own fathers.

Photo Courtesy of Netflix

I also like the scenes with the rest of Elijah’s family, many of whom are endowed with their own special eccentricities. Penny gives them all a role in Elijah’s story whether it’s back-and-forths at the BBQ joint or the comical dinner table rapport when they all gather to eat. All of these side players breathe a lot of life into the story. So does the Memphis setting which moves in the background like a silent supporting character. The hip hop interludes aren’t quite as effective although I appreciate what Penny is going for.

As Elijah decides to pursue his dream the movie shifts to Paris but home is always somewhere in the scene. And while Penny allows us to dip our toes into wine culture, he doesn’t bypass Deep South urban living and all of it’s moving intimacies and bitter realities. And despite being built on an all-too-familiar framework, there is enough fresh meat on its bones to make “Uncorked” as enjoyable as a plate of Louis’ scrumptious ribs. Okay, maybe not that good but you get what I’m saying.

VERDICT – 3.5 STARS

Readers of this modest little site probably know I have a soft spot for all kinds of science-fiction. That even includes movies like “Underwater”, a sci-fi/horror/survival mashup from director William Eubank. The movie follows a pretty familiar path – survivors find themselves trapped after a catastrophic event and must find a way to escape. Of course they won’t all make it out (they never do in these things). But who survives and who doesn’t, that is the question.

“Underwater” isn’t all that interested in setup or background. It opens with a series of images and reports that tell us a giant corporation is drilling for resources on the ocean floor deep down in the crescent-shaped Mariana Trench. From there the movie wastes no time getting going. We are immediately dropped nearly seven miles below the ocean’s surface where we meet Norah. She’s played by Kristen Stewart with cropped blonde hair almost as if she were prepping for a Jean Seberg biopic.

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Norah is a mechanical engineer living and working on the Keppler 822 Deep Sea Station. Within a minute of actually screen time she begins hearing strange noises which are never a good sign. In an instant the hull of the facility begins to crack and Pacific Ocean water gushes in at every seam. Norah instinctually springs into action sprinting towards a hub where she is joined by a tech named Rodrigo (Mamoudou Athie). The two seal off the hub and begin their search for other survivors. The entire opening sequence is tense, energetic, even a bit thrilling.

Norah and Rodrigo eventually meet up with a handful of other station dwellers. Several of them fit particular types common to these movies: the stoic captain (Vincent Cassel),  the terrified young technician who everyone tries to keep calm (Jessica Henwick), and the yawn-worthy comic relief (T.J. Miller before his litany of bad behavior had surfaced). None of the characters really develop past what you first see although Stewart deserves credit. She works hard to bring a welcomed vulnerability to Norah who turns out to be a tough woman but a very human one as well.

While the movie starts strong it’s hampered by a hit-or-miss mid-section. Way too much time is spent walking along the ocean floor in the dark murky waters. At first the tension is thick as the survivors come face-to-face with the harsh environment while an unknown and unseen predator prowls around in the shadows. But it eventually runs its course. And so much time in the water leads to several instances of undecipherable effects shots.

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“Underwater” gets back on track in the third act where it fully embraces its ‘creature feature’ influences. Unfortunately the story doesn’t get any deeper and some character motivations are still a little muddled. But for a movie that languished in development purgatory for three years following Disney’s acquisition of 20th Century Fox, it ends up being a fun although shallow (horrible pun intended) popcorn genre flick.

There are some who for whatever reason have zero tolerance for these kinds of movies. Perhaps its the redundancy of ideas or the predictable story structures. Maybe it’s the stock characters or their lack of depth. Those gripes aren’t without merit. But that doesn’t mean there isn’t fun to have with these genre pictures. All of those things describe “Underwater” to a T. It’s not all that original and it has some character issues. At the same time it’s a fun deep-sea survival romp that essentially delivers on its promises.

VERDICT – 3 STARS

I can’t tell you the last time I was genuinely curious about an Adam Sandler movie. Maybe 2002 with “Punch Drunk Love”? His latest man-child venture, the blandly titled but propulsive “Uncut Gems”, reminds us that when given the right kind material Sandler is more than capable of keeping your attention. And he certainly keeps you watching here even when other elements of the film test your endurance.

“Uncut Gems” comes from the directing duo of Josh and Benny Safdie. The pair also co-wrote the film along with Ronald Bronstein. It doesn’t take long to notice the movie doesn’t have much in terms of narrative. The Safdies seem far more interested in breaking the single movie f-bomb record than really putting together a compelling plot. Obviously I’m being a little facetious, but with the exception of a character or two, no one can hardly utter a line of dialogue without it. It’s a pretty big distraction.

The story is as simple as this: Sandler plays Howard Ratner, a sleazy jeweler working in New York’s Diamond District who owes some really bad people a lot of money (for what, I don’t know). We do learn he is a compulsive high-stakes sports gambler and he’ll pawn off anything for money whether it belongs to him or not. We end up following him around for over two hours as he works different angles to try and score some cash to pay off his debt. It requires a lot of lying, a lot of yelling, and a lot of avoiding various people he owes.

Howard thinks he has found the answer to all his problems when he gets his hands on a rare Ethiopian opal which he values at $1 million. Normally that would be an incredible score, but Howard fails to consider his one biggest hurdle – himself. He’s a natural screw-up and after one irresponsible act here and a poor choice there he finds himself deeper in trouble than he was before.

The Safdies do try to add a little depth to Howard by throwing in some scenes with his estranged wife (Idina Menzel) and kids. To no one’s surprise they don’t like him very much since he’s proven himself to be self-centered and unreliable. About the only person who does is his girlfriend-on-the-side Julia (Julia Fox) who he secretly shares an apartment with. She’ll pretty much help him with anything and forgive him regardless of what he does.

None of the family scenes add much other than to establish his credentials as a crappy husband and father and also that he is Jewish. But again, the Safdies aren’t too concerned with that. They’re all about propelling forward at an adrenalized fever-pitch. The film’s aggressive pacing is relentless. There’s no nuance or complexity. It simply wants you to grab hold and brace yourself as it bulls forward. Stop to look for more and you’re going to be disappointed.

One of the film’s big upsides is Darius Khondji’s kinetic cinematography. Khondji has shot several films I truly love including “Se7en” with David Fincher, “Midnight in Paris” with Woody Allen, and “Amour” with Michael Haneke. Here he creates a gritty, street-level aesthetic that maintains this steady fluorescent glow. He uses tight closeups and assertive camera movements which gives the movie some extra kick.

Many have mentioned anxiety and frazzled nerves when talking about “Uncut Gems”. I didn’t really have that kind of reaction. Instead I found myself asking more questions than I should have. How has Howard not been arrested? How has he not been killed? How does he still have a business? How is he still married? How can so many people be swindled (either emotionally or in business) buy such an obvious scumbag? I guess you could argue that Howard is shrewd and charismatic. But in “Uncut Gems” all we see is him consistently failing. But again, the Safdie’s are more interested in the ride.

So if you’re into what the Safdies are doing you’ll probably love this. But for others it will be similar to colonoscopy we see at the very beginning – extremely unpleasant. Sandler’s character may not be the best company, but his performance is solid. All of them are including from Lakeith Stanfield and NBA star Kevin Garnett. But I think you could make a case that this film wants to be off-putting. If so, mission accomplished.

VERDICT – 2.5 STARS

Brie Larson’s directorial debut “Unicorn Store” is a movie destined to leave some of its audience scratching their heads. Bathed in glitter and pastels and juggling more themes than you would expect, Larson gives us a weird little concoction with a sweet, whimsical flavor that I kinda fell for.

Larson not only directs but stars as Kit, an aspiring artist who has her dreams shattered by her snobbish art professor. Dejected and cash-strapped, she moves back in with her hyper-motivated parents (really funny turns from Joan Cusack and Bradley Whitford). It’s a big blow for a young woman still clinging to her childhood ideals. She finally crawls out of her melancholy, caves to her parents wishes, and joins the uninspired everyday work force.

Kit lands a job as a temp at a public relations agency, a workplace filled with ambition-quenching monotony and one creepy boss named Gary (a wonderfully absurd Hamish Linklater). Kit tries to assimilate but her rainbow colored dreams are kept alive thanks to a series of elaborate invitation cards that lead her to “The Store”. It’s ran by the truly bizarre Salesman (Samuel L. Jackson) who tells her his shop can provide whatever she needs.

The movie’s title probably gives it away, but Kit asks for a unicorn. A real one mind you although the metaphors are aplenty. The screenplay from newcomer Samantha McIntyre treats Kit with tons of sympathy and respect. She and Larson challenge us to do the same – to look at Kit through an empathetic lens. Everyone in the film wants Kit to change and be someone she isn’t. The exception is Virgil (Mamoudou Athie), a learn-on-the-fly handyman and the lone person who accepts Kit for who she is.

Larson’s direction makes for a nice behind-the-camera debut. It doesn’t showcase a ton of flair but it’s proficient, nimble, and steady. She doesn’t overreach and has a nice actor-like way of highlighting her characters. That leads to her performance which is warm, charming and utterly convincing. And fans of “Captain Marvel” will instantly recognize the chemistry between Larson and Jackson. This was wrapped up prior to her big Marvel splash, but you can already see how well the two work together. Linklater, Athie, Cusack, and Whitford are all strong in supporting roles. Also toss in a very funny Karan Soni.

“Unicorn Store” slyly straddles the line between celebrating and embracing our inner child and finding identity and fulfillment in the real world. I can see it being too quirky for some. Maybe it is lighthearted to a fault and too optimistic for our cynical current-day climate. But despite its flaws I found it to be warm, charming and packed with a ton of heart and far more laughs than I expected. Even more, it’s a really good performance from Larson and a satisfying directorial debut. I’m anxious to see what she does next.

VERDICT – 3.5 STARS

“The Intouchables” was a funny yet sensitive 2011 French dramedy that became a mammoth box office hit. In France it still sits as the second highest grossing French film of all-time. It was a movie loaded with charm, with a great chemistry between its two leads, and an unforgettable score from Ludovico Einaudi. It would go on to spawn several international remakes including the new (and inevitable) American version titled “The Upside”.

Without question “The Upside” has had a rocky path to the big screen. It actually premiered back in 2017 at the Toronto International Film Festival. Unfortunately it was one of several movies put aside and eventually sold off in the wake of the Harvey Weinstein scandal. Now two years later it has a distributor and has found its way to theaters.

The story centers around the unlikely friendship between Phillip Lacasse (Bryan Cranston), an extremely wealthy but deeply depressed quadriplegic and Dell Scott (Kevin Hart), a man just out on parole who desperately needs a job to stay out of prison. Phillip haphazardly hires Dell to be his live-in caretaker against the recommendation of his loyal but uptight assistant Yvonne (Nicole Kidman).

These two polar opposites form a bond that goes beyond their economic and racial differences. Dell offers Phillip the chance to feel alive again while Phillip gives Dell an opportunity to earn back the trust of his estranged wife (Aja Naomi King) and son (Jahi Di’Allo Winston). The movie sprinkles in several ‘fish out of water’ gags along the way, some of them landing better than others.

As you would expect Cranston is solid but it’s Hart who surprises. He has always been an actor I could only handle in small doses. Here he dials back his hyperactive brand of comedy and gives what is easily some of his best work. The problem is director Neil Burger and writer Jon Hartmere barely push these characters. Cranston and Hart are left with good chemistry but plenty of unexplored territory.

Despite the nice performances, the central relationship in “The Upside” doesn’t quite have the same energy and charm we got with François Cluzet and Omar Sy. Also missing is any real tension between them. “The Intouchables” begins with a genuine disconnect which makes the journey towards respect and friendship more compelling. With one lone exception “The Upside” keeps everything pretty lukewarm, once again missing out on some good dramatic opportunities.

I don’t want to be too hard on the film. Much like the original it still has a good story to tell and uses some strong performances to tell it. While some have taken shots at the movie for its lack of angry modern-day racial commentary, I wonder if they have forgotten this is based on a true story. The film’s investment is in telling us about this crazy and unique friendship. In doing so it may not hit every note it should, but it still manages to be a worthwhile watch.

VERDICT – 3 STARS