ARMAGEDDON TIME

Set in 1980 New York City, the film follows 2 friends, Paul Graff (Banks Repeta) and Johnny Davis (Jaylin Webb). Both are troublemakers in their 6th grade class but the level of discipline exerted to both is contradictory at best by their teacher Mr. Turkeltaub (Andrew Polk). One time Paul is made to stand in front of the class for a grotesque picture he drew of Mr. Turkeltaub, whereas Johnny is made to sit on more than one occasion in the front of the class for his more profane and disrespectful outbursts towards their teacher. At the heart of this film is the message of racism and how it's nurture over nature, something that's taught rather than biological (which, I do agree with). I will applaud the efforts of the film that it's not heavy-handed in its message but the point is still made nonetheless as Paul's grandfather Aaron (Anthony Hopkins) tells him the story of how his grandparents (Paul's great-grandparents) fled Ukraine during the second World War due to the violence shown towards Jews within their local community. Yet, just 2 generations later Paul's parents Esther (Anne Hathaway) and Irving (Jeremy Strong) show the same bigotry towards African-Americans, blaming young Johnny for all of the recent trouble Paul has found himself in while all the while Paul is usually the instigator or a willing accomplice himself. In need of some good old fashioned discipline, Paul walks all over his parents, particularly his mother until the law finally catches up to him, at which point she's at her wits end. The best performance I can commend here is Anne Hathaway's Esther as it's a very familiar stereotype. Make no mistake about this, the film plays into all stereotypes typical of this time, yet begs the audience to condemn them by today's standard. A slow moving story that is at times dry. Might not be a bad idea to check it out at some point, although this can most definitely be passed upon in the theaters IMO. 6/10

WEIRD: THE AL YANKOVIC STORY

Daniel Radcliffe plays the esteemed musician whom this film is based upon. However, it soon becomes obvious to the audience this film is like everything else in Yankovic's life: a parody (and we wouldn't have it any other way). Completely exaggerated and over-the-top, the film explores Al's troubled relationship with his father, his rise to platinum level recording artist, and relationship with Madonna (amongst many other topics). Evan Rachel Wood plays Madonna and her and Radcliffe have a wonderful onscreen presence, each attempting to out do the other and both deliver fantastic performances! A funny film that garners laughs, which is all Al's ever been after in his life and it's a refreshing musical biopic that doesn't follow the standard formula. 6/10

SEE HOW THEY RUN

Set in 1953 in London's West End, the film centers on the murder of director Leo Kopernick (Adrien Brody), who is attempting to direct a film adaptation of Agatha Christie's THE MOUSETRAP, which is currently on stage in London and cannot begin its film adaptation until its onstage run is complete. Poking fun at the whodunnit subgenre, the film is meta in the way the original SCREAM was to horror films. A wonderful cast as is stereotypical to this subgenre featuring Brody, Sam Rockwell, Saoirse Ronan, David Oyelowo, and Ruth Wilson just to name a few. As is usually the case, when Kopernick is found dead at the theater celebrating the 100th show of the play, everyone soon becomes a suspect and has a motive for the killing. Rockwell plays Inspector Stoppard, a disconnected World War II veteran who carries a slight limp from his wartime days who sluggishly makes his way through life after a recent divorce. He's soon paired with Constable Stalker (Ronan), who is an overzealous policewoman attempting to pass her sergeants exam in a little more than a month and is assigned to be Stoppard's partner in order to gain real-world experience (since England was so progress in 1953 but I digress for the sake of the film). Everyone whom the duo interviews at one point or another soon becomes the main suspect until the only person everyone is overlooking is finally revealed to be the killer in the final act. Decent acting with no one standing out except for Ronan, who really seems entrenched in her character. A final reveal that makes sense on paper but feels boring upon its arrival. Passable as a whodunnit but nowhere near the level of Christie. 5.5/10

KANSAS CITY CONFIDENTIAL (1052)

Tim Foster (Preston Foster), former cop turned master criminal, recruits three champion-level plug-uglies (Jack Elam, Lee Van Cleef, Neville Brand) to rob a bank. They all wear masks when the meet, the better to prevent ratting-out. Joe Rolfe (John Payne), an ex-con trying to go straight as a flower van driver, becomes a patsy for the holdup. After being roughed up and then released by the cops, Rolfe is determined to get revenge (and a share of the money), even though he doesn't know the robbers or how to identify them. His path leads to a Mexican fishing resort, where they rendezvous to split up the cash. This isn't a sophisticated film noir, but it has plenty of action and many nice twists as identities are gradually found out and alliances shift. Plus, the bad-guy trio is irresisstable. Very good!

I watched Barbarian with my wife last night. Pretty decent horror flick until the third act. It's a solid 6 from me

I rewatched that and SMILE a couple of weekends ago. Didn't enjoy SMILE as much as I did the first time around (but I loved it the first time, 8 from me). BARBARIAN I enjoyed more a second time, but still about a 6 from me as well.

YES…. Barbarien was a mess at the end.

BLACK PANTHER: WAKANDA FOREVER

Following the sudden passing of Chadwick Boseman, Wakanda is in mourning for their fallen king. I know many will be curious how they take the real-life tragedy of Boseman's passing and incorporate it into the film but to be honest, not much time is spent on the reasoning. All things considered, this was probably the best Marvel could do under the circumstances and it's a fitting tribute while still moving the storyline forward. Outside of that, the premise follows Americans who have discovered vibranium on the ocean floor and look to begin extracting it. This alerts Namor, the king of an underwater empire by the name of Talokan. Being a mutant and having the ability to breath underwater, on land, and the ability to fly amongst other powers, Namor is a considerably dangerous threat to the surface people (us) and Wakanda. In order to protect his people, he must kill the scientist who created the vibranium seeking machine so his world is left undisturbed. Overall, I honestly enjoyed this more than I thought I was going to heading in to see it. Tenoch Huerta absolutely crushes it as Namor and even though his origins were changed a bit, it fits well for the story. However, I will say Marvel needs to begin scaling back on these films as this has a runtime of 2 hours and 41 minutes and it showed here, especially in the third act, which was unfortunately a chaotic mess at times bouncing from fight-to-fight. 7.5/10

THE FUNERAL (1996)

Johnny Tempio (Vincent Gallo), obnoxious, violent, Communist (!) youngest brother in a NYC Mafia faction, is murdered, and laid out at the home of his morose but menacing oldest brother, Ray (Christopher Walken), chief of the clan. He and overwrought, unstable middle brother Chez (Chris Penn) swear revenge on top suspect, swaggering, up-and-coming Gaspare (Benicio Del Toro), who turns out not to be the killer but dies anyway. There's little action in what fans call a "character study," but I didn't like the characters, particularly Ray, who goes on and on about God, religion and other distractions; and Chez, who's really irritating. The acting is good, especially Annabella Sciorrio, as Ray''s hard-edged, pragmatic wife, who knows where this is going to end up--and it does. Director Abel Ferrara has his fans, and they say this is one of his best efforts. Not me.

ALL ABOUT EVE (1950)

Mousy, stage-struck--and cunning--Eve Harrington (Anne Baxter) inveigles her way into the good graces of her idol, Margot Channing (Bette Davis), ageing Broadway superstar, and proceeds to con everyone around her until she almost takes over Margot's life, career and fiancee. It's a ruthless tale of stage competition and treachery, But it's elevated by a witty, knife-edged script by director Joseph Mankiewicz, and outstanding performances by Davis, Celeste Holm as her best friend, and George Sanders (Eternal Cynic) as a (what else?) jaded Broadway columnist. Gary Merrill is good as Davis' beau (she married him right after "Eve" was wrapped), and Hugh Marlowe is sturdy as Holm's playwright/husband. Gregory Ratoff and Marilyn Monroe do well in supporting roles. It's basically a sophisticated and talky soap opera, but it holds up.

THE MENU

Set at a swanky restaurant on a remote island, THE MENU opens with young couple Tyler (Nicholas Hoult) and Margot (Anya Taylor-Joy). Tyler is an overzealous foodie who admires Chef Slowik (Ralph Fiennes) in a practically idol worshipping way, while his date Margot doesn’t seem to share or even understand his obsession. The restaurant is very exclusive, cost $1,250 per person (with only 12 guests allowed in at a time), and is a privilege for anyone to dine there. The guests are prepared six different courses over the evening, each with a thematic story that comes together at the end. With the holidays coming up, this is a very solid film to begin the season with. Hoult, Taylor-Joy, and Ralph Fiennes are all exceptional in their individual roles and the chemistry within their dynamic is *chef’s kiss*. Hoult is wonderful as the giddy, I-can’t-believe-I’m-here fan boy, Taylor-Joy as the strong and disobedient guest, while Fiennes continues to amaze with his villainry side as the highly demanding/I-won’t-accept-excuses Chef. At this point in his career it should be noted how amazing Fiennes can be as either a protagonist or antagonist. The man refuses to be typecast and I can say the same for Taylor-Joy, who continues to add another incredible performance to her already strong and budding resume. Without giving away too much, one of the film’s messages in a way reminded me of Ingmar Bergman’s THE MAGICIAN about artists and critics. A cheeky dark comedy that marvelously builds anticipation, that’ll leave you satisfied but also asking for seconds, so bring your appetite. 6.5/10

SHE SAID

A film about the two New York Times investigative reporters who broke the Harvey Weinstein story: Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan). Judging from the trailer I would have guessed Mulligan was the main star but the story seems to follow Kazan's character more, even though the film opens with Twohey (in yet another desperate attempt to bring up and take a personal dig at Donald Trump, who hasn't been in office for almost 2 years now). The film's story is messy and even bringing up Trump while the film is about the story of Harvey Weinstein was petty, unnecessary, and distracting to the main culprit. Dealing with a story like this that took years to investigate before ever receiving an ounce of printer toner, the highlights are what are given; however, many of the scenes are redundant of each other: one of the reporters either makes a call or personally shows up to a victims house asking her to go on the record about their own history and experience working for Harvey and Miramax. Most of the time the women give them a quick no or in some cases, think about it before declining. I was very disappointed in Mulligan as she came off an Oscar worthy performance in PROMISING YOUNG WOMAN (which I still feel to this day she deserved) for this sleeper of a film. I understand the subject matter is personal and sensitive but outside of a few violent outbursts against men, she's wasted and going through the motions. Finally and to be clear, I'm not saying what happened to these victims isn't tragic and everything Harvey Weinstein has received wasn't completely justified and warranted. I'm simply saying as a film, for me, this disappointingly didn't work. 5/10

THE WONDER

Set in Ireland, 1862, English nurse Lib Wright (Florence Pugh) is hired by an Irish village to watch and observe 11-year-old Anna O'Donnell (Kíla Lord Cassidy), who has been fasting without food for 4 months. Amazed that she's still alive, locals come to visit the girl and hold her in esteem as a miracle from God. Nurse Lib and Sister Michael (Josie Walker) rotate their watches over young Anna and are requested by the village elders who hired them, to offer their own and separate observations of Anna. Truth be told, you're invested in this story to see if the girl is faking it or not and that's a lot of what this film is based upon. However, and without spoiling anything, the ending left me dissatisfied and angry at their poking fun of religion. It seems in today's Hollywood you can love anyone or anything except God and country. Furthermore, I'm a big Florence Pugh fan but even her performance is relegated as forgettable as I clearly understand why this went straight to Netflix and opted out of a theatrical release. The trailer does its job to pique your curiosity, but the film sadly doesn't deliver on the goods. 5.5/10

I just saw the trailer 4 this pic.. i do want 2 c it..looks good , but i will keep ur review in mind I12...always helpful ur views..thanx .

As we speak.. Watching "From Here to Eternity" 4 the umpteenth time..always get something outta this flick...alot of my older relatives were in WW2 & I try 2 relate 2 that...good flick...TCM is a good channel even though they replay some flicks over & over...Montgomery Clift is @ his best..as well as Burt Lancaster..the stabbing scene between Borgnine & Clift is a nail biter 4 first time watchers...

A CHRISTMAS STORY CHRISTMAS

39 years later we get a sequel to the timeless holiday classic, A CHRISTMAS STORY. Set in 1973, Ralphie (Peter Billingsley) has made a deal with his wife to quit his 9-5 job for the year to focus on his writing. However, if he doesn't get published before the year is over, he'll go back to the grindstone in 1974. With only 5 days before Christmas, the family makes the trip from their home on the south side of Chicago to Ralphie's old home in Hohman, Indiana where Ralphie is deputized by his mother to take over the Christmas planning. Bearing the weight of the stress of waiting to hear back from a publisher before the year's out and taking over Christmas duties, Ralphie and his wife Sandy (Erinn Hayes) do their best to navigate the pitfalls they must continually overcome until Christmas day. Let's be honest, it's nearly impossible to recreate the magic the original 1983 film accomplished as it's such a revered film, but this is a very touching sequel that stands on its own and doesn't besmirch it's predecessor. The role of Ralphie's mom has been recast from Melinda Dillon to Julie Hagerty but outside of that, everyone else has reprised there roles and there are a number of cameos. I'm confident in saying the world didn't need a sequel to A CHRISTMAS STORY as the original is ageless, but this is a worthy enough follow-up. 6/10

BONES AND ALL

A twisted love tale set throughout the Midwest circa 1988. Taylor Russell plays Maren, an 18-year-old who must satisfy her hunger by feeding (i.e cannibalism). She attacks a classmate and her father unwillingly puts her on her own path before being found out by the authorities. Abandoned, alone, and attempting to survive on her own, she begins a journey to connect with her estranged mother. During her travels she crosses paths with both Sully (Mark Rylance) and her soon-to-be lover Lee (Timothée Chalamet), who are also both "feeders." Sully takes Maren in to train her more in her powers and set some rules amongst their community but is also unstable and very unnerving. Lee on the other hand can be short tempered when it comes to protecting the ones he loves and he's more easily comfortable to take the necessary steps needed in order to survive, while Maren is still struggling with her own acceptance of her own needs. Brilliant performances by all involved (Maren, Chalamet, and Rylance). The film hooks you in early as it's a unique but graphic take on a love story but then struggles with pacing the rest of the way and has, what I believed to be, multiple endings as the film continues when I thought it would tune out. One characters arc I thought was completed comes back later on and I understand why it's presented but still not sold on the fact that it was needed. What started out great losses steam throughout unfortunately but a different experience that is worth a look. 7/10

Yes...just saw it recently on firestick ...good flick...

Watched the first two episodes of Stallone's Tulsa King. It's Stallone, so I watched it. Okay performances, but the premise is silly and unauthenric. Michael Franzese gave it a thumbs down and I agree. However, I'll still watch.

VIOLENT NIGHT

Connecticut, Christmas Eve: Santa Claus (David Harbour) takes a break from delivering presents only to find the luxury house he's resting in is being ambushed by a group of robbers who are attempting to steal $300 million from the vault within the house. The owner of said house is a wealthy, no BS heiress Gertrude Lightstone (played marvelously by Christmas icon Beverly D'Angelo) who believes her money is unreachable from the robbers; however, having planned this job for months, the thieves (lead brilliantly by John Leguizamo who plays "Scrooge") are always one step ahead due to their inside source. With the family held hostage, Santa finds the time in his busy schedule to still save the day and salvage Christmas. A hybrid of BAD SANTA meets DIE HARD with a touch of HOME ALONE peppered in for good measure. Foul-mouthed, gratuitous, and obscene, the film earns its R rating very early in the film. Acts 1 and 3 are worth the price of admission but the bridge between the two was a little difficult to sit through as the story comes to a loud and screeching halt. But, it was extremely entertaining watching David Harbour play a drunk and burnt out Santa Claus who has a "unique set of skills" shall we say. 6/10

THE IPCRESS FILE (1965)

Top British scientists are being kidnapped and held for ransom by some untitled but nefarious organization. When the intelligence services ransom them, they find that the scientists have been brainwashed and are no longer useful. Rival officers from two competing spy officers use Harry Palmer (Michael Caine), a clever, insubordinate cockney Army sergeant released from jail for racketeering, as their bird dog in catching the mastermind. Palmer finds him, but gets captured and is brainwashed, too, though he manages to resist giving in totally. The movie is slow at times, but is well acted by Nigel Green and Guy Doleman, the two spy rivals dish each other in that delightfully British upper-class way. But the move belongs to Caine, who gets many great lines from this exceptionally witty, well-written script. "Ipcress" made Caine, and led to two more Harry Palmer movies based on Len Deighton novels. Intelligent, twisty movie--best of the trio.

AVATAR: THE WAY OF THE WATER

13 years later we're given the sequel I'm not quite sure anyone asked for; however, I'm not willing to bet against James Cameron. AVATAR set the bar for beautiful and enticing visual effects and this raises that bar even higher. I saw this in IMAX 3D and there were times I actually felt like I was in the movie because the action is so intimate. With saying all of that and once the visual eye candy subsides, the story is mostly average and bloated. Yes, James Cameron doesn't want to hear about the runtime but you're going to hear about it. The story could and should have been trimmed as it felt at times a labor to get through. Sigourney Weaver is wonderfully incorporated back into the story after the events of the original and typical Cameron, there are moments that pull at your heartstrings. So far the reviews seem positive and the money's already rolling in and I'll continue to see further additions in the franchise but as was the case with this, do we really need more and did anyone ask for them? I will say if you plan on seeing this, spend the money and see it in IMAX 3D! 7/10

Thanks for this review 7/10 is not really high how did you rate the first Avatar?

About the same but between the two and after a first viewing, I think I liked the first one more overall. Visuals are better in the sequel, story's better in the original.

SAN QUENTIN (1946)
iI watched this movie because it stars Lawrence Tierney, one of my favorite tough guys of that era (and an off-screen tough guy, too). Here he plays Jim Roland, a reformed bad guy--product of San Quentin's "League" of model prisoners who've earned parole. The benevolent warden wants him and a current supposed model prisoner, Nick Taylor (Barton Maclane, Eternal Heavy) to go to a newspaper to be interviewed about the League, but Taylor, using a hidden gun (natch!) shoots the warden and takes off on a one-man crime spree. Roland vows to bring him in, getting help from a network of League graduates on the streets, and earning the malevolent interest of a SF detective, who wants to put him back in prison. This is a simple B movie with a fairly interesting plot and decent action. Tierney's your basic one-note actor, but when used in bad guy/tough guy roles, he's quite effective and has excellent stage presence. Not a bad film at all.

EMANCIPATION

Based on a true story and set in Louisiana, 1863, Lincoln has passed the Emancipation Proclamation which makes all slaves now free. Peter (Will Smith) leaves his family on the plantation in order to get to Baton Rogue to join the Union army and free his family from bondage. Rumor has it Quentin Tarantino originally wanted Smith for DJANGO UNCHAINED but Smith passed on it. Here, Smith takes on a more serious role and while his performance can easily be viewed as at least Oscar nominee worthy (but may not actually get the accolade with his recent suspension from the Academy), it appears Smith chose the wrong movie and should have taken Tarantino up on DJANGO. Outside of Smith's performance, the film feels rather light even while dealing with the subject matter. Most of it is a cat-and-mouse game between Peter who's on the run and Jim Fassel (Ben Foster) and company who are chasing him down. Director Antoine Fuqua chooses an interesting choice with the color of the film as most of it is seen in a gray, almost black-and-white filter with very little color. My expectations were higher with both Smith and Fuqua attached to the project. I'll also say despite what happened at the Oscars, I'm still a Will Smith fan and it's good to see him back onscreen. 5.5/10

THE WHALE

You've heard the hype surrounding Brendan Fraser and it's very much real and deserved. He puts together his absolute best performance and to say he's back would be a huge understatement! Fraser plays Charlie, an obese English teacher during his last week of life attempting to reconnect with his daughter Ellie (Sadie Sink). He's checked in and looked after by his friend Liz (Hong Chau), who also happens to be a nurse. In typical Aronofsky fashion the film is a downer (like REQUIEM FOR A DREAM level depression) but still poignant and powerful. Fraser is seen consuming food in practically every scene and his binge scenes are especially difficult to stomach as a viewer. However, underneath it all, there is a very real and powerful message of love and acceptance. Fraser will most definitely get at least an Oscar nomination but I daresay Sink and Chau are worthy as well and I have my finger crossed for Aronofsky to get a nod or possible win. 7.5/10

WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY

Another forgettable biopic about a pillar within the music world. Naomi Ackie does a wonderful job portraying The Voice herself, Whitney Houston. She's supported solidly by Stanley Tucci (Clive Davis), her record manager. The look and mannerisms are down but since Whitney has such a distinct and powerful voice, Ackie is left to lip sync her singing scenes. And like a lot of films about musicians the focus is on the music while offering just a glimpse of the real individual behind-the-scenes. Although I will be honest and say I like some Whitney Houston songs but was surprised to find she was bisexual upon the early moments of the film. Another tragedy of star gone too soon, even if Houston passed at the age of 48. A decent film worth a viewing but will be forgotten about soon after. 6/10

GLASS ONION: A KNIVES OUT MYSTERY

Benoit Blanc (Daniel Craig) is back for another murder mystery, this one set on a private Greek island owned by billionaire Miles Bron (Edward Norton). He invites his closest group of friends which makes for another name worthy advertisement with the likes of Dave Bautista, Kate Hudson, Janelle Monae, and Kathryn Hahn. Miles' birthday is what is being celebrated and he's created a clever game for all of his guests: to determine who, how, and why he's been murdered (not literally, just for the purposes of the game). However, fiction soon turns to realty as Miles' life and that of the other guests are in danger and Blanc just so happens to be on the island to assist with uncovering the truth. I will say, this film isn't as tight, sharp, or funny as its predecessor, which in my opinion, was a high bar to reach let alone surpass. This sequel had a very DEATH ON THE NILE vibe to me (which too was inferior to its original MURDER ON THE ORIENT EXPRESS) and didn't work as well as KNIVES OUT, which was set in classic style manor. In addition, the film continues to harp on the glass onion theme and I was able to guess who the killer was about halfway through, thus in a sense, ruining the film for me when the reveal was made. Still a fun little ride and I'd watch additional sequels (Lord knows Netflix paid enough for them), so I am looking forward to a third iteration with Mr. Blanc. 6.5/10

BABYLON

Writer/Director Damien Chazelle's homage to the birth of Hollywood. Set between 1926-1932 the film follows 4 characters: Brad Pitt's Jack Conrad, who's already an onscreen legend in the industry; Margot Robbie's Nellie LaRoy and Diego Calva's Manny Torres, who are both desperately seeking to break into the industry; and Jovan Adepo's Sidney Palmer, a trumpet player who happens to land himself in Hollywood without much effort or ambition. Overall the film (especially the first 20 minutes) are a study in debauchery and excess the likes of which few films have presented onscreen. Robbie is simply spectacular as the fiery and ferocious girl from Jersey Nellie, who knows she can be a star and is forward enough to make it happen. I've got my fingers crossed she can nab an Oscar for this. However, my real criticism of the film has to do with Adepo's Sidney character. This is the worst written character of the bunch, with barely any screen time compared to his costars, with an arc that is the weakest as well. In order to pick up pacing while at the same time cutting down on the run time, his character and story could really have been disposed of as it served very little purpose in the film. Outside of that, this is a lot of fun but probably won't make a lot of money at the box office. I still endorse a viewing whether theatrically or streaming when available. 7.5/10