Tag Archives: movies

FIRST GLANCE: “Jurassic World Rebirth”

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Studios are ramping up promotion for their big summer blockbusters. Yesterday it was Disney and Marvel Studios teasing The Fantastic Four. Today it’s Universal Studios releasing the first full trailer for “Jurassic World Rebirth”, the seventh feature film in the Jurassic Park franchise. While the previous two films made a lot of money, they left a lot to be desired. Thankfully “Rebirth” gives us reasons to be optimistic starting with the first trailer.

“Rebirth” is a standalone sequel to 2022’s “Jurassic World Dominion”. It’s story takes place five years after “Dominion” and follows a top-secret mission back to the island of Jurassic Park. Team leader Duncan Kincaid (Mahershala Ali), Covert Operative Zora Bennett (Scarlett Johansson), and paleontologist Henry Loomis (Jonathan Bailey) are among the group searching for DNA that can be used in a number of medical cures. Of course they find much more than they bargained for mostly in the form a dangerous mutated dinosaurs.

The cast is a good one and helps make the film intriguing. But what excites me most is Gareth Edwards directing. He has delivered big with each of his last three films, “Godzilla” (2014), “Rogue One: A Star Wars Story” (2016), and “The Creator” (2023). After seeing the new trailer, there’s no reason to believe he won’t deliver once again.

“Jurassic World Rebirth” tromps into theaters on July 2nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Companion” (2025)

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The new horror film “Companion” is the latest entry into the ever-growing artificial intelligence genre. Much of what has come down the assembly line has been throwaway entertainment (“M3GAN”, “Subservience”, etc.). But occasionally we get something interesting and unexpected. “Companion” falls somewhere in between. It has just enough creative juice to stand out from the crowd. Yet it’s not as original or insightful as it clearly wants to be.

“Companion” is the feature film debut for writer-director Drew Hancock. His movie falls in line with several others from this current phase of modern horror that simply aren’t that interested in actual scares. “Companion” isn’t the slightest bit creepy, chilling, or unsettling. In fairness, Hancock doesn’t hide his intentions. He’s just as much interested in delivering a black comedy and a twisted revenge fantasy. So don’t go into it expecting to be on the edge of your seat.

Image Courtesy of Warner Bros. Pictures

Unfortunately as Hancock admirably attempts to corral all of his ambition, his film stumbles in areas that are hard to miss. For starters, “Companion” begins with what would have been quality table-setting if its first major reveal hadn’t been routinely spoiled during its promotion. Yet to the movie’s credit, it still manages to entertain while we wait for its story to catch up with what we already know.

But as the story progresses you begin to see its seemingly tight story slowly begin to unravel. By the end the movie struggles to stay on the rails, hampered by glaring plot holes and leaving us with obvious questions that never get unanswered. Meanwhile its overall message is a familiar one that hinges on a few popular well-worn themes without really expressing anything about them that we haven’t seen before.

The story centers around a group of friends who gather at a secluded lake house for a weekend getaway. They’re possibly some of the dumbest characters you’ll encounter on a screen this year. The lone exception is the sweet yet timid Iris (Sophie Thatcher) who arrives with her boobish boyfriend Josh (Jack Quaid). Waiting for them at the house are Josh’s friends Kat (Megan Suri) and her Russian sugar daddy Sergey, and Eli (Harvey Guillén) who brought along his significant other, Patrick (Lukas Gage).

It’s best that you know as little as possible going in. But since it was such a big part of the promotion I’ll go ahead and say it – we learn pretty early on that Iris is actually an AI-driven robot that Josh purchased from a tech company. He’s able to control her through an app on his phone that allows him to adjust everything from her intelligence to her affection to her aggression. Here’s the catch – she doesn’t know she’s a robot which means she doesn’t realize the emotions she feels is little more than programming.

Image Courtesy of Warner Bros. Pictures

But everything comes to light when an act of violence leaves one person dead. Soon after, a shocked Iris learns the truth about her existence. She also learns that Josh and his friends aren’t who she thought they were. Wacky plot turns and lukewarm reveals follow, sometimes making sense but not always. And as more twists are thrown at us, things only get sillier and bloodier. Of course that’s not always a bad thing. But here, none of it feels rooted in anything worthwhile.

There’s enough bonkers material in “Companion” to make for some breezy entertainment and Hancock smartly (and thankfully) moves us along at a fairly swift pace. But it’s hard to turn a blind eye to its shortcomings which only seem to mount the farther we go. And there’s not enough meat to its message or satirical bite to give the story the punch that it desperately needs. “Companion” is in theaters now.

VERDICT – 2.5 STARS

REVIEW: “Into the Deep” (2025)

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As icy temperatures have most of my area in a deep freeze, I was certainly open to a relaxing summer movie set on the warm seas. Enter “Into the Deep”, the latest in the ever-growing shark thriller sub-genre. This particular one comes with a fun addition that longtime film fans will certainly enjoy. The cast features Richard Dreyfuss who (of course) also starred in the most well-known shark movie of all time, “Jaws”.

While that makes for a fun connection, it goes without saying that “Into the Deep” is no “Jaws”. In fairness it’s no “Jaws the Revenge” either. To the credit of director Christian Sesma and screenwriters Chad Law and Josh Ridgway, this deep-water thriller has some interesting ideas. Yet the film turns into a mostly forgettable shark movie that’s hampered by shaky execution and some noticeable budget constraints.

Image Courtesy of Saban Films

Cassidy (Scout Taylor-Compton) is an oceanographer who has been haunted by nightmares since losing her father to a horrific shark encounter when she was a little girl. Her husband Gregg (Callum McGowan) comes up with the not-so-good idea of returning the the scene of his wife’s trauma to dive for gold believed to be in an old shipwreck. Easily convinced to face her lifelong fears, Cassidy agrees to accompany her husband which (of course) proves to be a terrible idea.

Gregg gets them a ride on a tub captained by his old friend Benz (Stuart Townsend) who is accompanied by his two paper-thin and underdeveloped chums, Itsara (Lorena Sarria) and Ed (David Gray). Once out to sea, the group gears up for their first dive. But to no surprise, its interrupted by a shiver of hungry great white sharks who immediately attack our hapless divers. They manage to make it back to the boat but not before one of them is seriously injured.

As the terrified friends try to figure out what to do, they’re surprised by a boat of heavily armed pirates led by a cold-blooded and borderline cartoonish American named Jordan (Jon Seda). He and his menacing entourage are in the area to retrieve 80 kilos of heroin from the ocean floor, and the last thing they need are some pesky divers finding it before they do.

Image Courtesy of Saban Films

Surprisingly, the story’s main tension shifts to be between Cassidy’s bunch and the drug-running pirates. But the sharks are never too far out of the picture and soon make their presence known again in a ferocious yet unintentionally comical way. Where does Richard Dreyfus fit in you ask? He plays Cassidy’s grandfather, Seamus who is mostly relegated to a series of ham-fisted flashbacks that do more to slow the movie down than add anything impactful.

I’m guessing most people will come to “Into the Deep” for the wild shark action. Unfortunately it mostly underwhelms. You hate to be too hard on a movie with such obvious budget limitations. But it’s impossible to look past the shoddy visual effects which are highlighted by some of the worse (and admittedly hilarious) digital blood you’ll see. Sadly once you take away what should have been one of the movie’s biggest strengths, you’re left with nothing to help you overlook its other blemishes.

VERDICT – 2 STARS

REVIEW: “Love in the Afternoon”

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Gary Cooper and Audrey Hepburn. Folks, that’s all I needed to hear to be interested in 1957’s “Love in the Afternoon”. And as if I needed any more prodding, this romantic comedy was directed, produced, and co-written by the great Billy Wilder. And then to add even more personal intrigue, “Love in the Afternoon” is set in the magical city of Paris. So you have an unlikely love story filled with good humor, some really strong central performances and the City of Lights. Sounds good.

One of the first things you’ll notice when watching the film is the dramatic age difference between Cooper and Hepburn. Cooper was 55 years old at the time and there were some people who had a problem with his casting. Hepburn plays a beautiful (and much younger) girl named Ariane. She lives in Paris with her father Claude (brilliantly played by Maurice Chevalier) who works out of their home as a private investigator. Watching Hepburn and Chevalier is pure joy. They have an adorable father/daughter chemistry which shows itself in her playful curiosity about his work and his father-like encouragement of her cello playing.

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One day Ariane eavesdrops as her father reveals to a client that his wife is having a fling with a wealthy American named Frank Flannagan (Cooper). She hears the trysts are taking place in Flannagan’s hotel room and that the husband plans to kill him. The curious and adventurous Ariane decides to go warn Flannagan of his upcoming demise. In doing so she finds herself smitten by the millionaire playboy’s charm. Her innocence and inexperience with love creates new feelings within her. On the other hand Ariane is initially just another victim of Flannagan’s globetrotting womanizing. But she leaves him in the dark about many things including her name and her far-fetched tales of her many boyfriends intrigues him. But is that enough to cure him of his playboy ways?

Wilder does a great job of getting us to love Hepburn and her character. She instantly comes off as pure and sweet and her childlike curiosity is adorable. That’s one reason we dislike Gary Cooper and his Flannagan character. We see that she is enamored with him but he sees her as just another toy. We genuinely worry for her as this unusual story plays out. But Wilder also shows that she’s not just a child with a bout of puppy love. She’s clever and, as Flannagan finds out, she can be abstruse. All of this is key to developing what is a well conceived love story.

This was the first of many screenplay collaborations between Wilder and I.A.L. Diamond. As you would expect from anything that Wilder has a hand in writing, the dialogue is slick and smart and his two lead actors handle it nicely. Hepburn was Wilder’s one and only choice to play Ariane but he wanted Cary Grant to play Flannagan. Grant turned down the role (as he did with several other Wilder offerings) which opened the door for Cooper. I admit, Cooper was an unusual choice and at first I wondered if he was going to fit. But as things move along, I think he captures what the role calls for.

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The film also features some good bits of humor. The dialogue itself can be quite funny and there are several running gags that become pretty outrageous. There’s a hilarious reoccurring bit with gypsy musicians who Flannagan pays to play for him whenever he has a woman over. But we later see them popping up in some of the most absurd locations. It’s very funny. I also have to again mention the fun moments between Hepburn and Chevalier. She is her usual peppy and sprightly self. But Chevalier is a real scene stealer and for me some of the best moments featured him on screen.

“Love in the Afternoon” is a movie I’m glad I finally caught up with. This is another energetic and intelligent Wilder film that hits the romance and humor it shoots for. “Love in the Afternoon” may not be up there with the great romantic comedies of its time, but it’s still a solid film featuring a wonderful cast, beautiful Paris locations, and a smart director who has no problem putting all of his pieces together.

VERDICT – 4 STARS

4-stars

REVIEW: “Focus”

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I can’t say I have always shared the general enthusiasm for Will Smith’s movies or his performances. It’s not that he is a bad actor. But, with a few exceptions, he often seems to play variations of the same type of guy. That is certainly not a problem for his fans who have made him a bonafide box office draw, but as someone who doesn’t always care for ‘that guy’ he plays, it can be a turn off.

Smith’s time on the big screen hasn’t been as prominent as during his heyday. He had at least one film (sometimes more) come out every year between 1995 and 2008. “Focus” ushers in a bit of a return to the starring spotlight and once again he is playing a variation of the same type of guy. He’s cool, stylish, cocky, and a bit of a wise guy. Sound familiar? Here he plays a dapper professional con-man with a seemingly endless amount of resources at his disposal. But more on that later.

 

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The story begins with Smith’s character, Nicky Spurgeon, being seduced and conned by a novice scammer named Jess (Margot Robbie). Nicky isn’t fooled and he sees through her amateurish scheme. A few days later Jess approaches Nicky in dire straits begging to be his protegé. Nicky agrees and tests out her sticky fingers on Bourbon Street in New Orleans. Impressed by her success Nicky invites Jess to join his crew. A few good scores and a painfully predictable romance follows.

Nicky’s dad always taught him that business and pleasure don’t mix, so he drops Jess after realizing he was falling for her. But obviously the story doesn’t stop there and the two meet again three years later in Buenos Aires. Is it a chance meeting or doesn’t Jess have something up her sleeve? A web of twists, turns, deceptions, billionaires, parties, and race cars make up the second half of the story.

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There are times when “Focus” could be called a fashion extravaganza masquerading as a con-artist movie. Some scenes serve only as opportunities for the two stars to show off their good looks, nice physiques, and chic attire. This works well with the aforementioned typical Will Smith character. We get a lot of that here. It’s interesting that the film’s best scene features Smith casting aside that persona and showing us a vulnerable and intensely human side of his character. I won’t build it up but you will know it when you see it.

Ultimately “Focus” is a movie stymied by its amoral vanity, its overload of mediocre twists and turns, and the lukewarm chemistry between Smith and Robbie. If you view it through a very simple and straightforward lens you’ll notice a few fun moments. But it is never as cool or crafty as it tries to be and designer sunglasses, swanky sports jackets, and posh gowns only carry things so far. And even the movie’s title makes you wonder if you are the one being conned because there isn’t a lot of focus here.

VERDICT – 2 STARS

2 Stars

REVIEW: “The Two Faces of January”

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Beautiful Greek locales and three strong performances anchor “The Two Faces of January”, a smart and measured adaptation of Patricia Highsmith’s 1964 novel. Viggo Mortensen, Oscar Isaac, and Kirsten Dunst star in this steady-moving thriller that doesn’t depend on big twists or reveals. Instead it is straightforward and focused – a slick and stylish retro noir full of fedoras and cigarette smoke.

It’s 1962 in Athens, Greece. Rydal (Isaac) is a tour guide and small-time con man. While at the Acropolis of Athens he connects with an American couple Chester MacFarland (Mortensen) and his younger wife Colette (Dunst). Rydal is instantly attracted to Chester’s wealth and Colette’s beauty. Colette takes a liking to Rydal but Chester doesn’t trust him at all. The three have a pleasant dinner together and then part ways.

 

JANUARY1Chester and Colette return to their posh hotel where they are confronted by a mysterious armed man. Turns out Chester owes money to the wrong people. A struggle follows and the stranger ends up dead. In a panic Chester scrambles to do something with the body. While doing so he runs into Rydal who is returning a bracelet Colette left in a cab. A desperate Chester pleads with Rydal to help him and Colette get out of the city. Rydal agrees and the three head to the Greek Islands where they try to lay low until they can get back to the States.

The tensions between the three characters skyrockets. There is an obvious sexual tension between Rydal and Colette. This leads to a growing animosity between Chester and Rydal. There is also Colette’s anger and frustration with Chester for getting them into the mess they’re in. Then you can sprinkle in Chester’s heavy drinking and growing paranoia along with the question of Rydal’s trustworthiness. Each one of these tensions are allowed to play out, sometimes in unexpected but satisfying ways.

Screenwriter Hossein Amini, probably best known for his work on “Drive”, makes his directorial debut and he certainly has an intriguing eye. The film is exquisitely shot and Amini doesn’t shy away from using the beauty of his setting. He also gives a keen attention to detail particularly in creating a nostalgic noir atmosphere. I swear, at times this film looked as if it were plucked right out of the the late 1940s or early 50s. It’s something Amini is clearly going for and for the most part he nails it.

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The film is also helped by its exceptional cast. Oscar Isaac is finally getting the respect he deserves as one of cinema’s most reliable actors. Here he gives a character that is charismatic, charming, but also a mystery. Mortensen is tasked with the bigger and louder performance and he has no problems with it. He lays out the intricacy of his character sometimes with bravado but other times with quiet uncertainty. And Dunst was also very good. She is an actress who keeps getting better and better. Here she gives us a character who may be the only one worthy of our sympathy.

“The Two Faces of January” is an intelligent and efficient thriller that is very confident with its presentation and with the story it is telling. Hossein Amini gives an impressive directorial debut, but he also deserves credit for his well-conceived screenplay. And it doesn’t hurt to have talents like Isaac, Mortensen, and Dunst to help create your vision. I wouldn’t say “January” will be one of those essential time capsule movies, but it is a highly entertaining throwback thriller that more people need to see.

VERDICT – 4 STARS