The aliens have shown there is no punishment other than what is in your own mind.

You make your own reality. Your reality has a time stamp and do what you want in it.

I'm glad you and the Mrs. enjoyed it DP. I always encourage film discussions. My reviews have and will always be about my own experiences and I'm glad you two had a different one.

Thank you Sir…..keep ‘em coming and we will always follow up, we love your reviews.

Old Dads 6/10

A few good laughs, tackles the right issues, but it never got good for me. Been a fan of Burr's for over 10 years, but I felt he lacked energy here. Almost like he wasn't sure how to play that character or didn't believe in his own film. He can act, so I personally feel like it was the latter. Moreover, what caused this film to metamorphose into a domestic drama that emphasizes the wife's role as the wisest character? That being said, this movie is still better than 90% of the trash that's made these days.

I’ll check it out,
Thanks for the review.

PAIN HUSTLERS

Loosely based on the true story of disgraced pharmaceutical company Insys Therapeutics and their drug Subsys, which was a fast acting pain relief spray for cancer patients. However, it contained fentanyl and before long and in an attempt to increase profits, founder John Kapoor, pushed for the drug to be used to treat more minor pain such as migraines, causing patients to get addicted and overdose from the drug. The main players Liza Drake (Emily Blunt), a single and financially struggling mother who's daughter suffers from seizures. Pete Brenner (Chris Evans) her boss who if you probably went by some peoples definition of the phrase "toxic masculinity" his picture would show up and Andy Garcia as Dr. Neel who runs the company is and based upon Kapoor. A decent enough film that plays it safe and if you've ever seen any film about pharmaceutical abuse and false advertising, you're not missing much here as it's basically the same. A big pharma company that's on its deathbed misleads doctors and patients on the results of a single study, push their product while getting said patients addicted, who some then in turn overdose and die. The government comes down on the company and those mainly responsible receive a fine and lite prison sentence. Wash and repeat. Blunt, Evans, and Garcia especially are solid in their respective roles but again, there's nothing to write home about here. 6/10

FIVE NIGHTS AT FREDDY'S

Based upon the video game of the same name, the film finds young Mike (Josh Hutcherson) unemployed while taking care of his much younger sister Abby (Piper Rubio). Struggling to make ends meet and being threatened to be taken to court by his Aunt Jane (Mary Stuart Masterson) for custody, Mike agrees to accept a security gig working nights at abandoned restaurant Freddy Fazbear's Pizza. While the building is on its last legs the owner can't quite seem to part with it yet but it's an easy gig as Mike only needs to keep people out. Although, the animatronic characters come to life and attempt to kill Mike and Abby. The film isn't much of a horror story and actually moves along rather sluggishly. Mike's character is fleshed out plenty, with a deep backstory into why he originally got into security work, the pressures of caretaking for his sister, and his inability to move past an incident from his own youth that's left him permanently and emotionally scared. This plays more of a psychological horror film that a slasher and while not technically the same, I'd still prefer Nicolas Cage's WILLY'S WONDERLAND over this if you're looking for characters locked overnight in an abandoned restaurant, fending off killer robotic animals. 5/10

PRISCILLA

A film about the power couple from Priscilla's POV, Cailee Spaeny and Jacob Elordi star in this beautifully shot film from director Sofia Coppola. The film begins with 15-year-old Priscilla being courted by Elvis while they're both in West Germany in 1959. From there it details her moving into Graceland with him, their marriage and child (Lisa Marie). I'm not sure how much of the story is fact or fiction but it is based upon Priscilla's novel, ELVIS & ME. She's also an executive producer so I'm sure she would have made her opinions known if she felt the film was being disrespectful to Elvis in anyway as the film depicts a rather strong bond between the two. It also paints Elvis as unstable at times. Prone to anger and outbursts before quickly apologizing (the pills may have played a role in that as well). However, I was quite impressed with both 25-year-old Spaeny and 26-year-old Elordi's performance. They're both terrific and have great chemistry together. Keep in mind, this is not the Austin Butler version of Elvis. He's very subdued outside of his anger fits and his accent isn't as strong either but the performance is still enjoyable. I would endorse a viewing in theaters if you're even the slightest bit curious on this one. I'm looking forward to another viewing again myself! 7/10

Curse of the Demon, a black and white production from the Fifties. Surprisingly, Rotten Tomatoes had it rate in the 90s. What's cool about it is the demon. It appears out of a small cloud of smoke which gets bigger and bigger until the whole demon is there and you don't stand a chance. It's called forth by an ancient script that a professor finds. A customary formula for such genre, but the demon is worth watching it.

THE EXORCIST: BELIEVER

Universal's attempt to reboot another franchise after mixed results from their HALLOWEEN trilogy finds two girls, who go missing for 3 days, and return to their parents possessed. Unable to find any answers to assist to better their children, the parents agree to have an exorcism conducted on the pair. The story is dull, weak, and non-engaging. It appears the studio was more concerned with DEI points rather than a quality film and it shows in the results, taking an established franchise and attempting to shove the politics of today into viewers faces. The people spoke with their wallets (or lack their of) and this film has bombed at the box office. I've heard plans for future installments have already been altered since Universal coughed up $400 million for the rights so we'll see where they go from here but definitely not off to a great start. Hopefully, other studios will learn the lesson Universal is painfully enduring now, but, I doubt it. 4/10

LE SAMOURI (1967)

Jef Costello (Alain Delon), a coldly calculating hired killer, gets a contract to whack a nightclub owner. Several witnesses see him leaving the crime scene, and he's swept up in a police dragnet.. He's not worried--he prearranged an alibi with his call girl lover, and a pianist at the club who saw him leaving inexplicably denies that he's the perp. But the boss cop (Francois Perrier), is all over him like white on rice. Life gets further complicated for Jef when the people who hired him for the killing try to kill him because he'd been arrested, leading him to simultaneously trying to dodge the cops and to find out who's behind the contract on him. Then his would-be killers about-face and give him another contract.

Films-noir famously don't waste dialog. There's practically none here, but Delon carries it off with body language and personal style. Director Jean-Pierre Melville brilliantly uses long, seemingly boring scenes (corridors in police HQ, Delon on Metros and in his smudged, one-room apartment) to create constant tension and show how Jef must constantly be in control of his ever-deteriorating physical safety. Real French Existential stuff. Well done!

THE MARVELS

A sequel to 2019's CAPTAIN MARVEL, THE MARVELS teams Carol Danvers (Brie Larson) with Marvel TV stars Monica Rambeau (Teyonah Parris) and Kamala Khan (Iman Vellani) who team up to take on Dar-Benn (Zawe Ashton), the gender swapped version of Ronan the Accuser because, you know, it's 2023 and girl power. For anyone who hasn't kept up or seen the Marvel TV shows featuring Monica and Kamala, they're going to be lost on who these characters are. The runtime clocks in at 1 hour 45 minutes but the film still at times feels unbalanced and the story clunky. The characters are hollow and not fleshed out while the story is thin and meek. This seemed more like a filler movie for Marvel but building towards what, I have no idea? The homage at the end was a cheap rip-off, even within Marvels own property and my favorite part was the mid-credit scene (so that should tell you everything you need to know right there). 5.5/10

THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES

A prequel to the existing franchise finds Coriolanus Snow (Tom Blyth) mentoring District 12 tribute Lucy Gray Baird (Rachel Zegler) during the 10th annual Hunger Games. For The Capital, viewership of the games is down and the possibility of discontinuing the games has been put out. In an effort to salvage the games, young Coriolanus is tasked with assisting Lucy Gray in order to attract viewers back to the games, thus ensuring his place to receive a scholarship at the university he can simply not afford due to lack of finances. The film does a wonderful job of balancing both the games and the after effects of both characters. While the runtime of 2 hours and 37 minutes might scare some folks off, the film feels like 2 parts into 1. My only gripe with the film is the constant singing of Lucy Gray. Although, having never read the source material, I'm more inclined to after watching the film. This surpassed my expectations and if this opens up additional installments for the franchise, consider me onboard! 8/10

THANKSGIVING

16 years after the fake trailer debuted in GRINDHOUSE, Eli Roth finally makes good on the feature film. Taking place in Plymouth, Massachusetts where Thanksgiving "is an institution there," a killer in a John Carver mask terrorizes the small town. An homage to the horror films Roth grew up on from the opening John Carpenter/Halloween/Michael Myers shot, this film delivers the goods for any diehard horror fan. The cast features a group of up-and-coming youngsters akin to the original SCREAM cast, I was hoping Eli would not disappoint with this endeavor and he did not! I enjoyed this more than I expected and it's probably my favorite movie of the year alongside THE SUPER MARIO BROS. MOVIE. The only negative I can give the film is the reveal of the killer/killers as it felt a little light but I had so much fun getting to the reveal that I'm able to overlook it. I can't wait to see this again! 9/10

THE HOLDOVERS

Massachusetts 1970, professor Paul Hunman (Paul Giamatti) is stuck babysitting 5 students at a private school over the winter break. Having a reputation as a harsh disciplinary, the students push back at ever instance in order to gain their independence as well as salvage whatever they can from their 2 week winter break. The films plays beautifully as an homage to films of the period. From the intro titles to the scene transitions, this really feels like a film made at anytime other than 2023. Giamatti is at the top of his game as the cantankerous, Jim Beam drinking teacher that I dare say this role is Oscar nomination worthy. Equally entertaining is his young student Angus Tully (Dominic Sessa), who challenges his teacher and is the complete opposite from him. The pair make for a dynamic duo, often feeding off of each others banter. Unfortunately, the film appeared funny in the previews as there weren't many laugh out loud moments during the film other than the occasional chuckle. Still a film worth seeing, just perhaps not in the theaters. 6/10

Delon is a bad ass lol and Melville's films were a source of inspiration for filmmakers such as Quentin Tarantino and John Woo.

Have you watched Tony Arzenta, Turnbull? Stylish Italian revenge film with another tailor-made role for Alain Delon, just don't mess with him.

https://www.imdb.com/title/tt0069013/

THE KILLER

Michael Fassbender stars as the unnamed killer in David Fincher's latest. The film opens with Fassbender on assignment in Paris when he fails in his task of eliminating his target. Fearing he's compromised, he returns to his safe house in the Dominican Republic. However, upon arrival, he finds his friend/girlfriend clinging to her life. Fassbender promises this will never happen again and sets out for vengeance on the very people who hired him. I loved Fassbenders performance here: he's stoic, non-emotional, steady, calm whether he's carrying out an assignment or he's killing those who've wronged him, his demeanor never changes. As for Fincher, he's one of my favorite directors and while I enjoyed the film, sadly, it's not his best work. I wasn't bored with it but I could see how others would decry it's pacing. 6.5/10

It is a good one I would not rank it so high. I wonder what will be pulled out of the over on Thanksgiving.

What didn't you like about it and what would you rate it?

I would rate it 8. One reason is it pays too much hommage to other horror movies with the POV so the surprise is not a surprise except for the casual viewer. Another reason is that too many of the main cast survived. A couple of other minor reasons, but overall Roth does a good job on the movie.

Just saw Napoleon. Far from the best movie ever, but I enjoyed. Joquain Pheonix is great in it, and some of the battle scenes are really cool, especially in the theatre. Kept me entertained the whole 2.5 hours. 7/10.

NAPOLEON

Ridley Scott brings another historical epic to the screen, this time with Joaquin Phoenix and Vanessa Kirby telling the tale of Napoleon & Josephine Bonaparte. The film tells both stories of Napoleon's achievements on the battlefield as well as his volatile and unstable relationship with Josephine. My take from the film is the relationship is more central to the story than the battles. Both Phoenix and Kirby shine in their respective roles, each taking turns at being the domineering figure in the relationship at any one time. Phoenix in particular plays the role with little emotion; having either an overconfident case of his sh*t doesn't stink or an apparent apathy, he's wonderful as Napoleon. A historical film being told in 2 hours and 38 minutes, it hits the highlights of his life. However, knowing Scott and his pension for extended/director's cuts (even hearing a rumor that a 4-hour version could soon be made available), I'm curious to see more from this story as I was quite entertained throughout, but sadly, this version left me wanting more. 6.5/10

"RUSTIN" (2023)

This Netflix film illuminates Bayard Rustin, an often overlooked civil rights activist and main organizer of the famous 1963 March on Washington. It's very good on exposing the often vicious rifts in the movement, especially the opposition to the march by the NAACP and its head, Roy Wilkins (Chris Rock), and the perfidy of Rep. Adam Clayton Powell (Jeffrey Wright). Rustin (played forcefully by Coleman Domingo) gets support only from one leader, A. Philip Randolph (Glynn Turman), and later, reluctantly, from M.L. King (Ami Ameen). Rustin was an ex-Communist and was gay, big handicaps in that uptight era, but he soldiered on with incredible energy and leadership, ultimately marshaling an army of enthusiastic white and black youngsters to bring off the March. The acting is uniformly excellent and the pace never lets up. The gay angle is overplayed, but the drama's the driving force. Pretty good.

"THE BEATLES: LET IT BE" (1969)

This movie should have been subtitled "McCartney hires three surly sidemen to play on his album" It was his idea to film them in the studio making the record of the same name, not long before they broke up--and the tension shows, big time. None of the other three look at the camera, leaving it all to Paul and his wistful glances. Ono sits on a chair, a dark and (except for Lennon) ignored presence. McCartney nastily hectors Harrison on his playing--ugly. The mood lightens a bit when ace keyboard player Billy Preston shows up (apparently at Harrison's invitation). A few bright moments: McCartney's overarching musicianship--he could have been a concert pianist; Starr, the most overlooked and belittled Moptop, effortlessly laying down just the right drum tracks without direction from Uncle Paulie; Lennon and Ono waltzing gracefully around the studio while Harrison records "I Me Mine." The famous rooftop concert (a great idea) shows why (as McCartney said) "We were always a pretty good little rock 'n roll band." But they had clearly come to the end of that long and winding road.

I just downloaded it, and will watch it soon. Thanks for the recommendation, Hollander.

"OPPENHEIMER" (2023)

This is a gigantic movie (3 hours), superbly filmed and well acted. It tells an important story...but not very well. It has three, nonlinear components: Oppie's life loosely put together, his security hearing (1954 and the Senate conformation hearing of his nemesis, Lewis Strauss (1958). All of this is told in irritating, piecemeal jump-cuts, with no supporting context, not even a caption or crawl to tell you what, where or when it's happening. Ditto a parade of characters who are important to the narrative, but who are largely unidentified and unexplained. Unless you've read the Kai Bird/Martin Sherwin Pulitzer-winning "American Prometheus" on which the movie is based, or are well versed in physics and the details of the Manhattan Project, there is no way you can put together the narrative in any rational way that makes sense of this important man and his travails. Cillian Murphy no doubt will win an Oscar for his portrayal of Oppie--he's suitably skinny but has one expression (popping eyes and morose demeanor) and mostly whispers his lines. Matt Damon is ok as Gen. Leslie Groves, the commandant of the project, but he doesn't even come close to matching Brian Dennehy's brilliant portrayal in "Day One," a much better account of the Manhattan Project. The greatly acclaimed sound track simply amps up the noise of explosions and foot-stampings to mega-decibels--no doubt to wake up slumbering viewers.

EXPEND4BLES

9 years after the last installment, we catch up with the team and a new line of recruits, attempting to, yet again, save the world from complete annihilation. Personally, I'm not a fan of franchises with 4 installments. I feel it's going back to the well one too many times and the output that's put onscreen here, reinforces that idea. The script is extremely weak, a new team is quickly assembled, who we don't get invested in, and a twist between acts 2 & 3 that's completely predictable. Overall, this franchise has never done much for me. Sure it's great seeing an ensemble of action stars team up but I wouldn't consider any of the films in the franchise great. Hopefully this'll be the last time going around the block with the team. 4/10

SILENT NIGHT

John Woo is back in Hollywood after a 20 year hiatus and he brings us a holiday film featuring Joel Kinnaman as Godlock, a grieving father who goes after the gang who accidentally killed his son. Godlock works as an electrician or welder, chases down the car driving the individuals responsible for his sons death, and in the process gets shot in the throat. Left for dead, Godlock survives his injuries and plans for a year to hunt down and punish the player's involved. While I do like the fact the film has very little dialogue (and I do mean very little - maybe 5 lines are said throughout the runtime). So it was a nice feature as more of our communication is conveyed non-verbally as opposed to verbally. My issues with the film are the pacing. The story is told out of order so you're putting the pieces together the whole time but it takes more time than I would have cared for for Godlock to begin his rampage. Secondly, I wasn't wowed visually like I usually am in a John Woo film. Yes there's some cool, over-the-top death scenes but this sadly didn't feel like Woo's best effort unfortunately. Finally, being a civilian, Godlock learns how to fight with a knife and shoot via YouTube vidoes which I found to be a little bit of a cop out. If he had some background in fighting or guns, it's more plausible. But an average guy going on a killing spree like this with only online videos, that's a bit of a stretch for me. 5.5/10

MAY DECEMBER

Natalie Portman and Julianne Moore star in this Netflix film about Gracie (Moore) a convicted criminal who at the age of 36, married and with 2 children, had an affair with a 7th grader Joe (Charles Melton), who years later after she's released from prison, becomes her husband. Portman plays Elizabeth, a Hollywood actress who's conducting research on the family for an upcoming movie that's being made about their life. Portman and Moore are both wonderful here, going toe-to-toe with each other at times. Portman, the out-of-towner Hollywood actress, attempting to briefly fit into small town America Georgia. Although her intentions are not always known and at times, there seems to be something sinister or self-fulfilling going on under the surface. Moore plays the at times, fragile housewife, who is typically so pleasant and accommodating towards her guest. Although by the end of the film, the shift in her attitude has changed. The premise is interesting and I'll give a nod to the score as well as it felt at times to have a "made for TV movie" feel to it, but not in a bad way. 6.5/10

THE NAKED ALIBI (1954h

California police commander Joe Conroy (Sterling Hayden) sets his sights on Al Willis (Gene Barry), a seemingly respectable, church-going family man with anger management issues, as the prime suspecst in the killing of three cops. After roughing up Willis, Conroy is fired for "police brutalitiy," but he keeps after Willis, following him to a border town where he leads a double life: head of a hijacking ring and keeper of Marianna (Gloria Grahame), his mistress. Willis gets violent with her, sending her into Conroy's arms. They try to bring him back to his hometown for justice but the cops are after Conroy as well. Bullets fly at the end. Crime Does Not Pay. Despite the title having nothing to do with the movie, script holes and low budget, this is still a trim little film noir. I will watch anything with Hayden, who satisfies here as both his usual tough guy, and vulnerable after being rolled by a border town heavy and being kind to Marianna. Grahame gives a good performance--her hard edge tempered by fear of Willis. Barry is memorable. He's usually a one-note actor but he makes a very convincing violent and resourceful bad guy--wouldn't want to run up against him anywhere. Good watch.