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‘THE BEEKEEPER’ Makes John Wick Look Like Walt Whitman

Just because a movie actively acknowledges how dumb it is doesn’t make it any less so. This is the case with The Beekeeper, a low-rent John Wick knockoff that almost plays like a spoof. There’s plenty of quick-cut bloody action, a truly mind-boggling amount of references to bees and bee hive politics, and some of the worst dialogue this side of an Expendables movie. Pretty much everyone involved in the project seems to be in on the joke, hamming up the lowbrow camp when not administering decent, if unmemorable, action shoot ‘em ups, but that doesn’t make its consumption any less grueling. Read More

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Move Over ‘MEAN GIRLS’, There’s a New High School Musical in Town

A new movie adaptation of the Broadway smash musical version of the original 2004 hit movie, which in turn was adapted from Rosalind Wiseman‘s 2002 book Queen Bees and Wannabes, 2024’s Mean Girls is a redux with pizzaz. Updating the impressively not-dated Lindsay Lohan/Rachel McAdams early-aughts teen comedy classic to the modern era while adding in a number of catchy tunes, the musical from co-directors Samantha Jayne and Arturo Perez Jr. is an accomplishment in IP recycling that doesn’t feel, well, recycled. In fact, the whole thing is pretty fetch. Read More

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Shallow, Campy ‘NIGHT SWIM’ Mostly Treads Water

A former Major League Baseball player moves his family to a house with a haunted pool in the campy Jan-horror release, Night Swim. Six months after receiving a career-ending MS diagnosis, Ray Waller (Wyatt Russell), his wife Eve (Kerry Condon), and their two high school aged children, Izzy (Amélie Hoeferle) and Elliot (Gavin Warren), struggle to accept the reality that life as they once knew it is over. Put off by the idea of moving to an assisted living community, Waller finds himself drawn to a house with a shady past (an instance of its evil detailed in the mildly effective cold open) and a mysterious pool. He soon discovers that its waters, drawn from a nearby natural spring, have healing qualities. But not all who wade into its wet quarters fare so well.  Read More

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‘AQUAMAN AND THE LOST KINGDOM’ a Juvenile Underwater Hootenanny 

All good things come to an end, and fortunately, so do all bad things. With Aquaman and the Lost Kingdom, it’s more the latter for the DCEU. Although there were occasional flashes of good to be found in the decade-spanning franchise, many of the 16 films inspired by DC comics were middling to flat out terrible. Aquaman and the Lost Kingdom is the end of the line for the entirety of the failed experiment that was the DCEU and it’s about as awkward and unthought-through an ending as any other chapter of the franchise, which in a way makes it a suitable conclusion. Is it any good? Certainly not. But, like the larger franchise it was contained in, the last DCEU joint does have some things that people would ostensibly like, even if they’re shipwrecked in clumsy narrative flotsam and weak character work.   Read More

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Old-Timey Underdog Sports Drama ‘THE BOYS IN THE BOAT’ Lacks Personality, Punch 

George Clooney’s adaptation of Daniel James Brown’s biography, ‘The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics,’ is a study in contrast.  Brown’s diligently researched and thrillingly told biography loses its texture and depth, succumbing to  formulaic filmmaking. The film falls prey to the pitfalls of a tepid adaptation, trading the story’s nuance for Hollywood shorthand, effectively reducing it to a SparkNotes version of events. As a film, The Boys in the Boat overlooks its most crucial element: the individual boys in the boat. Presented as a singular unit, the boys emerge as a vague assortment of working-class underdogs, lacking distinct individual characterization. By glossing over the individual motivations of each boy, the film forfeits its inspirational potential, resulting in a glossy and paint-by-numbers recounting of events. Read More

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‘WONKA’ Delights in Making the Roald Dahl-Verse Dreamy Again

Two words: Paul. King. The 45-year old British writer/director has not so much stumbled as pioneered his way into the most winsome of formulas with his trifecta of perfectly delightful family friendly films, Paddington, Paddington 2, and, now, Wonka. By exploring the backstory of the mysterious titular character from one of Roald Dahl’s most iconic tales, King seamlessly blends the charm and whimsy that have defined his previous works with the musical fantasia of the 1971 Gene Wilder-starring film Willy Wonka & the Chocolate Factory. The result is a truly special prequel: a largely wonderful and never-not-dazzling film that revels in oodles of fun, deliciously lavish set pieces, and many a toe-tapping song and dance numbers. Read More

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‘THE IRON CLAW’ Wrestles with Tragedy but Fails to Pin Down Greatness

The Iron Claw, Sean Durkin’s foray into the tumultuous world of the Von Erich wrestling dynasty, made up of multiple generations of wrestling stars and a number of notable title wins, juxtaposes the silly spectacle of wrestling with a profoundly dysfunctional family drama. Starring Zac Efron as much-too-beefy wrestler Kevin Von Erich, this A24 film offers an intriguing, if somewhat limited, look into the larger-than-life spectacle of the wrestling world and the grim reality of a family marred by real life tragedy. Read More

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Bureaucracy of Evil: ‘THE ZONE OF INTEREST’

How dare the guardians of hell find solace on its perimeter? That is the question that Jonathan Glazer’s harrowing holocaust drama asks. Not so much about the banality of evil as the bureaucracy of evil, the stomach-churning film ruminates on the operational complexities of the Holocaust and the monstrous administrators who oversaw its execution, making for a new entry to the Holocaust recreation sub-genre that’s starkly unique and entirely haunting. Glazer and cinematographer Lukasz Zal capture the simple, beautiful domesticity of a Germany family living just outside the barbed-wire walls of Auschwitz, juxtaposing the visually appealing nature of their idyllic grounds against the soul-piercing aural nightmare sounding on the other side of the wall. That stark contrast and cognitive dissonance – trapping the audience between seeing beauty and hearing hell – creates a truly disturbing tension in The Zone of Interest, sure to make viewers queasy and entirely unsettled.  Read More

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Fantastical ‘POOR THINGS’ A Madcap Adventure Through Self-Discovery 

As if involving the likes of Emma Stone, Willem Dafoe, and Mark Ruffalo in a Yorgos Lanthimos film wasn’t enough of a good thing, the delightfully madcap Poor Things treats viewers to the combined prowess of these actors, harnessing their considerable talents for a wickedly funny and fresh reimagining of Mary Shelley’s ‘Frankenstein’. Stone plays Bella Baxter, the creation of mad scientist Dr. Godwin Baxter (Willem Dafoe), who prefers simply to go by the modest moniker “God”. Lanthimos presents Bella Baxter, a dullard reanimated beauty, as a miniature study in maturation. Viewers are invited to observe her journey, witnessing her rapid learning and growth onscreen. From her awkward first steps through her unhinged sexual awakening and eventually onto self-discovery and actualization, Bella’s odyssey is a delightful mix of hysterical black comedy and a thought-provoking feminist manifesto on personal evolution and revolution.  Read More

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Fiery ‘SALTBURN’ Glows With Psychosexual Heat, Palace Intrigue

In her second feature, writer, director, and producer Emerald Fennell digs her heels deeper into the themes of power dynamics and the consequences of privilege that she explored in 2020’s explosive Promising Young Woman, this time folding in palace intrigue by moving the action to the lofty estate of a family of aristocrats at the eponymous Saltburn. A decadent feast for the senses, Fennell’s sophomore feature calls to mind a tale as old as time framed through a modern lens: an unassuming Oxford scholar is allured by the corrosive power of wealth, finding himself sucked into a vortex of desire, greed, and materialism. It’s Fitzgerald’s The Great Gatsby with the hyper-modern visual high-shine of Euphoria and the cold calculation of a Bret Easton Ellis novel, plus a splash of the wealthy ennui found in a Sofia Coppola film. Read More