As America celebrated its 250th birthday, it made sense that we got a movie about the country’s preeminent Founding Father and the eventual first President of the United States. Of course I’m talking about George Washington, and the simply titled movie is “Young Washington”. It comes from director Jon Erwin, whose last film was the surprising “Jesus Revolution”. His latest tells a vastly different yet equally unexpected story that is accessible to those with or without a history degree.

Rather than being an overly exhaustive (and by extension overly long) cradle-to-grave biopic, “Young Washington” sets out to cover a specific segment of Washington’s life . It’s a choice that ends up benefiting the movie, even though you may find yourself wishing you had gotten more. That’s because Erwin pulls the plug before there’s even a whiff of looming revolution. There’s nothing inherently wrong with the move. But it does feel like the credits start to roll just as things are heating up.

William Franklyn-Miller ably plays the young and ambitious George Washington. Following the death of his father in 1743, a frustrated 11-year-old George (played briefly by Will Joseph) is forced to work on their King George County, Virginia farm rather than attend school. He ends up being tutored by his older half-brother Lawrence (John Foss) who also trains him in land surveying. It’s a skill that will serve George in ways he doesn’t expect.

Ten years later, a determined George heads to Williamsburg in hopes of becoming a commissioned British officer despite the objections of his disapproving mother, Mary (Mary-Louise Parker). But he is promptly denied due to colonial status. But with Lawrence’s help, he is able to join the Virgina Militia. And after cunningly charming the wealthy and powerful Lord Thomas Fairfax (Kelsey Grammer), George wins an audience with Lieutenant Governor Robert Dinwiddie (Ben Kingsley), a British officer who can barely conceal his contempt for colonials or his Virginia post.

Dinwiddie reluctantly assigns George the task of surveying the Ohio Territories. With the help of his surly old friend Christopher (Leo Hanna), George maps out the beautiful unexplored land, has a tense yet diplomatic encounter with an indigenous Seneca leader Tanacharison (played with solemn intensity by Ryan Begay), and discovers the French have built a fort on land claimed by the Crown. After sharing the news with Dinwiddle, George is given the unenviable mission of warning and (if necessary) forcing the French off the land.

All of those details do a good job introducing characters and defining their place in George Washington’s story. But they mostly serve as a setup for the film’s stronger second half which includes George’s costly defeat at Fort Necessity, his fragile partnership with the French-hating indigenous tribes, and battles waged against everything from a raging ice-cold river to a severe case of dysentery. We also see his time under the command of General Edward Braddock (a growling Andy Serkis), which culminates in a fierce finish that sees George becoming the leader who would soon guide a new nation.

The script (co-written by Erwin, Tom Provost, and Diederik Hoogstraten) devotes itself equally to being a coming-of-age story, a historical drama, and a military action movie. The combat sequences are especially well shot, and they often play out with an edge-of-your-seat intensity. And they’re helped by Erwin’s choice to shoot on location. He and DP Kristopher Kimlin make great use of the natural environments, not only to create gorgeous scenery, but to fully immerse us in what we’re seeing.

Yet there are moments that don’t quite feel authentic. And there are characters with story threads that could use more attention. The most notable is George’s budding yet underserviced relationship with the spirited Sally Fairfax (Mia Rodgers). I also wish we had more of George wrestling with his mother’s firm belief that he is protected by providence. It’s an angle that does finally get some meaningful time near the end. But it feels as if there is more to it that is left unexplored.

As mentioned, “Young Washington” mashes the brakes just as we see George ascend to being an inspiring leader. By focusing on his military origins amid the French and Indian War, we never get to see his part in standing up against the Crown. But the film does highlight England’s disrespect for the colonists. It also shows how Washington’s ambition, fortitude, and courage made him into the man who would guide a young nation towards independence. The solid performances, impressive craftsmanship, and good storytelling ensure that this dramatically compelling period piece does its namesake justice.

VERDICT – 3.5 STARS

“The Yeti” is exactly what its simple and straightforward title suggests. It’s a proudly old-fashioned creature feature that calls back to the kind of late-night monster B-movies that once frequented drive-ins and syndicated horror-themed television shows. In that way, “The Yeti” has enough to satisfy those like me who grew up relishing those unabashed genre flicks of old. But even I found myself wanting the film to push its clear genre affections further.

“The Yeti” is co-written and co-directed by Gene Gallerano and William Pisciotta who put together a solid setup. Set in 1947, the United States is shocked by the mysterious disappearance of prominent oil tycoon Merriell Sunday Sr. (Corbin Bernsen), accomplished explorer Hollis Bannister (William Sadler), and their entire crew while on an expedition in the Alaskan Territory. Desperate for answers, Merriell Sunday Jr (Eric Nelsen) forms and funds a rescue team to accompany him to Alaska where he hopes to discover what happened to his father.

Among those approached to join Merriell Jr’s team is Ellie Bannister (Brittany Allen), a cartographer and navigator who happens to be the missing Hollis Bannister’s daughter. Merriell wants Ellie to lead their search but she turns him down, believing this to be another one of her estranged father’s irresponsible antics. But there is enough cause for suspicion that she eventually agrees.

Joining Merriell and Ellie is a doctor named Parker (Elizabeth Cappuccino), a sensitive communications expert named Booker (Jim Cummings), a tormented and permanently scarred war veteran, Coates (Linc Hand), Margaret (Christina Bennett Lind), whose twin sister was on the lost expedition, and an overly chatty explosives expert who goes by Dynamite Dan (Gene Gallerano).

The collage of characters range from slightly interesting to barely registering to full-blown caricatures. Gallerano and Pisciotta attempt to add weight to them through campfire conversations and banter. None of it builds much of an emotional connection with the audience, but it does feed into the film’s interest in family dynamics which continually resurfaces in a number of unexpected ways.

But truthfully, the characters are mostly there to push the story forward and to keep us wondering who is going to die next once the eponymous creature is revealed. And the movie takes its time fully revealing the Yeti. Gallerano and Pisciotta begin their tease with distant roars, crunching footsteps, and ominous silhouettes, with most of the early kills taking place in the shadows. When we do finally see the beast, it is a nostalgic delight – a well-designed full body suit without a speck of digital enhancement.

The environments don’t fare quite as well. The Alaskan wilderness blanketed in snow makes for a great setting. But the noticeably tight budget constraints keeps it from being as unforgiving as it could have been. As for the storytelling, it can be a little clumsy. Some deaths are channeled way too early, and it’s not always easy keeping up with who is where. Yet at its core, “The Yeti” delivers on its promise. It’s pulpy and gory entertainment that only gets sideways when it tries to be more.

VERDICT – 3 STARS

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