The great J.K. Simmons has slowly and steadily moved into that special category of actors who I will watch in anything. The Oscar-winning Simmons has appeared in nearly 250 productions that span movies, television, stage, and even video games. Perhaps most impressive is his ability to excel in any genre. Whether it’s superhero movies, dark comedies, adult dramas, gritty action films, or animated family features, you’re liable to see Simmons in anything. And you can guarantee that he’ll be good in it.

His latest film does a good job proving my point. From director (and Simmons’ real-life wife) Michelle Schumacher, “You Can’t Run Forever” sees the actor letting loose in a juicy role that may catch some people by surprise. He plays a mysterious serial killer who goes on a murderous rampage in rural Montana, eventually targeting and hunting a terrified young girl. Co-written by Schumacher and Carolyn Carpenter, the story makes good use of its Northwest setting and even better use of Simmons, who remains a chilling presence even as things start to go off the rails.

“You Can’t Run Forever” opens with a bang (several of them actually). A man on a motorcycle (Simmons) pulls up to a country gas station to fill up his tank. There he guns down three people in a manner that almost indicates some warped moral code. He willingly leaves two witnesses and then rides away. It’s a shrewdly brutal cold open that immediately and firmly establishes Simmons’ character in our minds.

From there were introduced to Miranda (Isabelle Anaya), a young teen who suffers from panic attacks following a recent trauma. After her divorce, Miranda’s loving mother Jenny (Fernanda Urrejola) remarried to the kindhearted Eddie (Allen Leech). Both have daughters from previous marriages and are now expecting a child of their own. For Miranda, adjusting to this new family has been a struggle.

In an effort to spend some quality time together, Eddie takes Miranda with him on a day trip to pick up a new bassinet. While taking a bathroom break at a rest stop, they encounter the strange man from the opening scene. It only takes a few minutes for their encounter to turn violent. Miranda flees deep into the Montana forest with the unhinged killer stalking her like a predator does his prey. To survive she’ll need to conquer her anxiety and find an inner-strength she never knew she had.

The story unfolds on two fronts. While Miranda runs for her life in the woods, the news reaches Jenny and Eddie’s daughter Emily (Olivia Simmons) back home. Meanwhile two dutiful yet overwhelmed young deputies, Morgan (Andres Velez) and Dwyer (Graham Patrick Martin), feel their way through the investigation while waiting for the new sheriff to arrive. They’re well-meaning but at times shockingly incompetent to the point that they almost feel like a parody.

Both sides of the story work together yet have their own weaknesses. For instance, some of the choices made by the deputies and Miranda’s family will have you shaking your head. And there are a couple of miscalculations later that don’t quite have their desired effect. Take Miranda’s encounter with mushrooms which leads to a drug trip sequence that doesn’t land as intended. These gripes don’t derail the movie, but they do take your attention away from what it does well.

As far as pacing, following a strong opening and a solid middle act, the film loses some steam in the final stretch. But it picks itself up and ends with a tense though conventional finish. Even with its hiccups, Schumacher makes some savvy choices that energize her movie. For example, we never learn much about the killer beyond vague hints at what might have pushed him over the edge. That may frustrate some, but I found it made him more unsettling. And a lot of credit goes to Simmons who gives us a cold-hearted yet cryptic antagonist. It’s yet another great performance from one of the most consistently good actors working today. “You Can’t Run Forever” opens May 17th in select theaters and on VOD.

VERDICT – 3 STARS

Evan Mitchell James was born on April 24, 1991 to Beth and Dennis James. It was a time of pure elation for the couple who had tried for years to have a child. After several heartbreaking miscarriages, Beth gave birth to Evan – a beautiful and joyous miracle that from every early indication was everything the Jameses were hoping for. All seemed well in Evan’s earliest years. But when he hit two-years-old Beth began worrying about her son’s development. By age three, Evan had been diagnosed with autism.

Beth, Evan, and their resilient mother-son relationship form the core of “You Have No Idea” – a new documentary that’s as much about information and awareness as it is a heartfelt personal story. Director Alexander Jeffery thoughtfully weaves all of those elements together in an evocative film that pulls at our heartstrings while enlightening us to a number of past and present-day truths.

Born in Canada, raised in El Dorado, Arkansas, and residing in Shreveport, Louisiana, filmmaker Alexander Jeffery’s empathy-rich and life-affirming project began as a video tribute to a loving and committed mother. Moved and inspired himself, Jeffery turned his tribute into a feature-length documentary that thoughtfully yet honestly tells the story of Evan James and his incredible support system anchored by his intensely devoted mother Beth.

Jefferey directed, produced, edited, and shot “You Have No Idea” which features a well-incorporated mix of interviews, live recordings, home movies, and family snapshots to tell Evan’s story. We learn that he was a sweet, pleasant, and happy baby. We hear how concerns surfaced during his toddler years when he wasn’t speaking or responding to the simplest commands. We see his enrollment into the public school system and the obstacles he had to navigate. Yet despite the many difficulties and challenges he faced, Evan remained big-hearted and fun-loving with some pointing out his “contagious energy”.

But the documentary is just as much (if not more) about Beth, a strong and determined mother driven by her unwavering love for her son. Beth’s story is an inspiration in itself, beginning with Evan’s autism diagnosis in the early 1990s. At that time autism wasn’t the topic of conversation that it would eventually become. Unlike today resources were scarce; there was no information at your fingertips. Doctors hadn’t grasped what they were dealing with meaning they didn’t know how to properly treat it.

So Beth took it upon herself to learn as much as she could in order to give her son his best life. Jeffery documents her exhaustive efforts which proved to be transformative, not just for Evan but for herself and many others who witnessed her works and the fruit they produced. This is perhaps best displayed in the incredible network of family members and close friends (affectionately known as Evan’s Village). Each take on essential roles in Evan’s life and in turn see their lives impacted as well.

Jeffery does a terrific job balancing Beth’s journey with its impact on Evan. By offering a more intimate examination he’s able to burrow behind common misconceptions, offering an unvarnished first-hand perspective. Whether its through emotional personal testimonies or his revealing yet unobtrusive camera, Jeffery offers his audience a clear-eyed look into Beth and Evan’s shared life – one marked by many uplifting highs but also some devastating lows.

On a side note, I’ve been married nearly 30 years to a wonderful woman who has devoted much of her life to Special Education. Understandably, she’s taken a special interest in Jeffery’s film. Yes, it tells an affecting true story and open eyes to the real-life family struggles that can be associated with raising a child on the autism spectrum. But in many ways it’s also a reassurance for those working in essential fields – teachers, therapists, and nurses (among others) who are having a tremendous impact in the lives of those with autism and their families. It’s yet another beautiful facet of this urgent and endearing documentary. “You Have No Idea” is now streaming on Prime Video.

VERDICT – 4 STARS

Adam Sandler’s Happy Madison Productions doesn’t have the steadiest record when it comes to quality movies. Especially since starting his lucrative deal with Netflix. But he hits a home run with “You Are So Not Invited To My Bat Mitzvah”, a delightful and heartfelt coming-of-age film based on Fiona Rosenbloom’s 2005 young adult novel of the same name.

Directed by Sammi Cohen and adapted by screenwriter Alison Peck, “You Are So Not Invited To My Bat Mitzvah” is equal part family drama and teen comedy. But don’t let that scare you. The family dynamic is sweet but not at all saccharine. Better yet, it’s refreshingly organic. And as a teen comedy its such a nice departure from the lazier trends. It’s whip-smart and thoughtful humor that doesn’t rely on cheap raunch or annoying toilet gags.

But perhaps most notably is how the film offers a window into the world of the Jewish experience. And among the many things it explores is the Bat Mitzvah, a coming-of-age ritual centered around faith and family. The ceremony has long signified a young person’s membership into the Jewish community. But for many it marks the first step into adulthood, and the massive parties that come afterwards often overshadow the ceremony itself.

That’s certainly the case for 13-year-old Stacy Friedman (played by Adam Sandler’s youngest daughter, Sunny). She seems to have a great life that includes two loving parents, Danny and Bree (wonderfully played by her real-life dad and Idina Menzel) and a supportive older sister, Ronnie (played by her real-life sibling Sadie Sandler). Then there is her longtime best friend Lydia (a breakout Samantha Lorraine). Inseparable since childhood, Stacy and Lydia have been planning their bat mitzvah parties for years. Afterall, it “determines the rest of my life” Sunny states with an unwavering belief.

Among the film’s biggest strengths is the honesty and accuracy in its portrayal of family and friendship. The Friedman home is a breath of fresh air in that it feels like a real lived-in family space. Their scenes together are genuine, warm, and a lot of fun. But they aren’t the perfect family and we do see the kinks that come with any parent or sibling relationship. The elder Sandler gives its a wonderful supporting performance but its his two daughters who steal the show.

Meanwhile the movie does a superb job of capturing the layers of young friendship and a 7th grader’s social experience. Sunny Sandler and Samantha Lorraine have a sparkling BFF chemistry, but it’s when their characters find themselves at odds that the performances really shine. The movie does tease us with a couple of teen movie caricatures (namely the dreamy guy, and the cool rich girls), yet it looks at them through the undiscerning eyes of a 13-year-old girl. It’s an often funny yet thoroughly truthful perspective, conveying how kids that age see themselves, their friends, their parents, and their world in general.

The great supporting cast extends even further, playing classmates, parents, teachers, etc. They all fit nicely in this story of two lifelong best friends who see their relationship crumble on the eve of their bat mitzvahs. And all over a boy from their Hebrew school. There’s so much good humor woven into the very fabric of Peck’s lights-out script. But she also shows how cruel young people can be to each other. It all makes for a surprisingly effective in portrayal of adolescence.

It’ll be funny to see how many critics wedge the word “nepotism” into their reviews. Whatever. Adam Sandler’s two daughters, Sunny and Sadie, give cracking performances and are big reasons “You Are So Not Invited To My Bat Mitzvah” works so well. The movie is an all-around entertaining affair that may seem like your prototypical coming-of-age creation. But it’s full of its own flavor and packs its own sweet and sassy punch. It routinely caught me off guard in the best ways possible and quickly won me over with its big heart and indelible charm.

VERDICT – 4 STARS

(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)

“Your Place or Mine” lives and breathes through the likability of its two stars, Reese Witherspoon and Ashton Kutcher. Both have plenty of charm and they give us two best friends who are fairly easy to root for. They have decent chemistry, although it’s hard to gauge due to the fact that they’re rarely on screen together (the vast majority of their interactions come through phone calls and FaceTimes). But for the most part, the always likable Witherspoon and the nicely toned down Kutcher have the ingredients for a winning pair.

But here’s the issue – the film is plagued by a problem that comes baked into so many of these romantic comedies – predictably. Within the first five minutes we know exactly how this story is going to end. Over the course of the movie we recognize many of the genre’s usual character types. And even with a couple of noticeable diversions, the overall trajectory of the story follows the well-worn rom-com blueprint to a tee. So we’re left with a promising yet ultimately forgettable movie.

Debbie (Witherspoon) and Peter (Kutcher) have a close yet not-so-close friendship. They had a fling 20 years ago in Los Angeles and then Peter promptly left for New York (he claims it was due to his fear of earthquakes). But they stayed in touch, becoming long distance best friends. During that time Debbie stayed in LA, got married, had a son Jack (Wesley Kimmel), and got divorced. Peter became a successful business consultant and now lives in a swanky apartment overlooking the Manhattan Bridge.

Listening to them talk, you would think Debbie and Peter are two peas in a pod. But they’re actually quite the opposites. Debbie plays things safe and is very by-the-numbers. She never takes chances and rarely makes time for herself despite the urging of her thoughtful (and dryly funny) friend Alicia (a really good Tig Notaro). Peter is a bit of a flake and can’t get a firm grip on what he truly wants to do with his life.

Debbie is all set to come to New York for a writing class she’s long put off, but her excitement and plans are put on hold after her sitter for Jack bails out on her. So Peter offers to fly over and watch Jack. He’ll stay at her homey place in LA and she’ll stay at his ultra-modern apartment in New York. While there, each gets a taste of the others life. “We tell each other everything,” they each repeat during their stay-overs. But both are surprised by how little they actually know about the other, including feelings that may go beyond friendship.

As Debbie and Peter have their considerably different adventures on opposite coasts, we’re introduced to a collection of colorful characters including Debbie’s wacky self-assigned gardener Zen (Steve Zahn), Peter’s trendy and kooky neighbor Minka (Zoë Chao) who takes Debbie under her wing (despite not being asked), and a hunky literary editor named Theo (Jesse Williams) who Debbie immediately hits it off with. He’s the romantic diversion that helps her to ‘see the light’.

Within its smattering of hit-or-miss humor and a lot of songs from The Cars, “Your Place or Mine” has a pretty sweet center. The relationship between Peter and Jack is easily the funniest and warmest. Meanwhile Witherspoon and Kutcher manage enough chemistry despite spending the majority of their time ‘together’ in split screen. But it’s hard to shake the feelings of “we’ve seen it all before”, and it simply doesn’t have enough ideas of its own to be the slightest bit memorable. It’ll probably work for its target audience. But for anyone else…it probably won’t. “Your Place or Mine” is now streaming on Netflix.

VERDICT – 2 STARS

Yet another debut feature that premiered at this year’s Sundance Film Festival was “You Won’t Be Alone” from Goran Stolevski. The Australian-Macedonian writer-director has over 25 short films to his credit, and here he brings a unique and fresh twist to the familiar witch story. His folk horror concept is intriguing. His visual style is stunning. And at different times his film can be both chilling and beautiful. If only it played as well as it sounds.

Snatched up by Focus Features prior to the festival, “You Won’t Be Alone” is already slated for an April 1st release. It will be interesting to see the reactions considering how shockingly gruesome it can be. Yet it can also be quiet and soothing, with the meditative rhythm and visual sensibility of a Malick film. It fully embraces the ghoulish and grotesque, while also taking an often tender and poignant look at what it means to be human. Unfortunately, certain indulgences keep it from seamlessly combining those two extremes.

Set in a remote mountain village in 19th century Macedonia, the story begins on an disturbing note. A mother finds a hideously scarred crone (Anamaria Marinca) hovering over her newborn baby’s crib. Legend says she’s a shape-shifting witch known as the Wolf-Eateress. Others in the village refer to her as Old Maid Maria. The mother breaks down and begs the ghastly woman not to take her child. The two come to an agreement – the mother can raise her daughter until she turns 16. At that point the crone will return and take the girl for her own. But before leaving the old woman leaves her mark on the child (not an easy watch).

The mother takes her daughter to a sacred cave in the mountains. Her motives are good – hide and protect her daughter (named Nevena) from the witch. But by raising her in such stark isolation, Nevena has no understanding of the real world when Maria inevitably finds her. The old maid takes her prize to the forest and endows Nevena (now played by Sarah Klimoska) with her shape-shifting ability. But Nevena’s childlike and open-hearted curiosity infuriates Maria who casts out the young witch. Alone, Nevena wanders into the nearby village where the movie’s bigger interests unfold.

To say much more would be a disservice, but broadly speaking, Nevena begins (rather gruesomely) inhabiting the bodies of villagers. And with each new person she inhabits, she gets a new perspective on the world. It’s a captivating conceit – living and experiencing humanity through the bodies (and in turn the experiences) of others. It gives Nevena the opportunity to see both the ugliness and the beauty of the human condition. It also allows Stolevski to explore a number of social themes that are still relevant today.

In addition to Klimoska (Macedonia), Stolevski puts together a well-tuned international group to play the witch’s different incarnations. Noomi Rapace (Sweden) plays an abused wife who vividly portraying the travails of women, Carloto Cotta (Portugal) is a handsome village beefcake who embodies patriarchal privilege, and Alice Englert (Australia) as a sweet innocent little girl who allows Nevena a taste of the childhood she never had. Each offer moments of insight and challenge many modern-day norms despite being set in the 1800s.

While the film impresses with its surprising amount of emotional depth, some of the more practical things aren’t as convincing. Take Nevena’s strangely eloquent internal monologue which doesn’t exactly ring true considering all her time spent disconnected and in isolation. She was barely a step above a feral child when Maria found her and took her away. Yet the mellifluous and poetic flow of thoughts in Nevena’s mind at times sound like the words of a seasoned lyricist rather than a wild and untamed girl. Perhaps it’s meant to simply convey feeling, but it doesn’t come across that way.

There’s also Maria’s appearance which too often looks like a rubber suit and thick makeup. It’s unquestionably a reflection of the film’s budget, but it also keeps Maria from being as visually forbidding as she could be. But that’s okay because it’s her backstory that’s most haunting. As is often the case in stories like this, the history behind Maria’s scars are both horrifying and tragic, and Stolevski brings it to light with unsettling clarity.

With “You Won’t Be Alone” Goran Stolevski has created something that defies categorization. He brings with him an undeniably artful vision and a truly thoughtful mind. Along with it comes a few needless excesses, such as the sometimes weird and almost obsessive way he uses sex and gore. But beyond that is movie of impeccable craft. An arthouse drama with a folk horror veneer that doesn’t reach every mark it’s going for. But at least it’s reaching for something.

VERDICT – 3 STARS

After seeing the trailer for the upcoming family comedy “Yes Day” I immediately wondered if the two likable leads could make the movie’s otherwise shaky premise more appealing. After all it stars the ever-pleasant Jennifer Garner who makes credit card commercials charming and the talented, often underappreciated Édgar Ramirez. Without question both make the movie better, but carrying the movie especially through its loud and contrived second half proves to be a tough task.

Garner and Ramirez play Allison and Carlos Torres. From the day they first met their relationship has been full of excitement and they would say “Yes” to every adventure that would come their way. Now happily married with three children, things are a lot different. Now it seems like they’re always telling their kids “No”. Some of it is just good responsible parenting. But there’s no denying their sense of adventure has fizzled. Allison takes the brunt of their children’s frustrations, to the point of being branded “fun killer” by their oldest daughter Katie (Jenna Ortega) and compared to Mussolini and Stalin by their son Nando (Julian Lerner).

Image Courtesy of Netflix

In need of a jump-start, Allison and Carlos take the advice of a kooky school guidance counselor, teacher, and coach (a funny but overused Nat Faxon) and decide to have a ‘Yes Day’. The idea is that for 24 hours the parents must say “Yes” to everything their kids ask with a few rules of course. It has to be legal. They can’t ask for something in the future. Requests have to stay within a 20-mile radius and so on. The Torres five set out to rekindle their spark during a day of silly fun and family bonding. And who knows, through it all both sides may come to better understand the other.

Directed by Miguel Arteta from a script by Justin Malen, “Yes Day” starts with a lot of promise as it introduces its characters through some cute family moments and some pretty funny family-oriented humor. Even the first couple of stops on their ‘Yes Day’ journey are sweet and smile-worthy. But in a snap Artera amps things up past 100 and the rest of the movie plays out to a lot of screaming, scenes of over-the-top mayhem, more screaming, some really cheap humor (gas gags, a crotch shot, it’s all here), and even more screaming. I quickly realized I was grimacing much more than grinning.

The ending scrambles to get back to the sweetness and charm of the earlier moments, but the high-volume silliness and the artery-clogging cheese that comes before it makes it hard to readjust. It’s unfortunate because Garner and Ramirez have a delightful chemistry and the movie gets off on a good foot. Who knows, maybe there is enough good-natured, big-hearted fun for kids to enjoy on a rainy Saturday afternoon. But that doesn’t shake the feeling that this could have been a lot better. “Yes Day” is now streaming on Netflix.

VERDICT – 2.5 STARS