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I watch the original Home Alone and Home Alone 2 every year with my wife and kids. We wind up watching the first more than once during the holidays. Home Alone one is a classic that I’m happy has been passed down to the next generation. I’m sure we can all agree on that. I despise the off shoots that have come after any Macaulay Culkin film in the franchise. So Home Sweet Home Alone was getting all the smoke if it was bad. Give me a second but get the smoke machine ready.

Writers Mikey Day and Streeter Seidell get tons of credit here. They understood the assignment and executed a screenplay that pays homage to the original, gives reasonable explanations for what’s happening, and tries to dig itself from under the mountains of nostalgic love for Home Alone. Emphasis on tries.

After randomly stopping into an open house to use the restroom, Carol (Aisling Bea) and Max Mercer (Archie Yates) talk with homeowner Jeff McKenzie(Rob Delaney) for a moment. Carol mentions to Jeff that the dolls he’s moving around happens to be a collectors item. Max, a somewhat ornery boy, seemingly takes an unusual doll to spite Jeff for not giving him a soda. 

It’s revealed that Jeff and his wife Pam (Ellie Kemper) are selling their home because they can’t afford to live there anymore. With one salary, they need the money. Once Jeff finds out this ugly doll is worth $200,000 on Ebay, he and Pam set off to get the doll back.

This isn’t the set up that other films have tried to take with genuine burglars and bad guys. Instead, it’s two people trying to get back what’s theirs from the kid protecting what’s his. So the film takes a step away from what has been done and redone far too much. However, while the concept is grounded in reality, the antics and traps aren’t. 

The majority of this films revolves around Jeff and Pam, as it should. Archie Yates is punching above his weight class. He lacks the charisma and charm that it takes to be the kid at home that we want to root for which brings the film down, but he’s noticeably not the centerpiece here. Instead, it’s Delaney and Kemper who do the heavy lifting. Their physical comedy and genuine relatability shines, making them burglars we can get behind.

Still, this is another Home Alone iteration that didn’t have to be made. My kids enjoyed laughing at the burglars getting hurt in traps and other shenanigans. There are some nice easter eggs that pay homage to the original. However, this is another film that will make you slap your face and scream!

Eternals is far from the Marvel films we’ve come to expect. There is generally a formula to these films. You have a problem that occurs, heroes who respond, big action set pieces and spoon fulls of comedy sugar along the way. Co-writer/director Chloe Zhao takes this film in a dramatic direction with spoon fulls of action along the way. With a complex story and multiple characters to get to know, this is another step in the staircase of Marvel that feels like a set up to take us somewhere new.

A group of immortal beings have been on Earth since BC time. They came and have helped civilization advance forward, but have remained in the shadows trying not to interfere as much as possible. The Eternals are a rag tag group with special powers. Ajak (Salma Hayek) leads the group as the maternal figure who has the power to heal and give wise advice. Ikaris (Richard Madden), Kingo (Kumail Nanjiani), Gilgamesh (Don Lee), and Thena (Angelina Jolie) are the frontline warriors, each imbued with unique powers to fight. The thinkers of the group are the young illusionist, Sprite (Lia McHugh), speedster Makkari (Lauren Ridloff), master inventor Phastos (Brian Tyree Henry) and telepath Druig (Barry Keoghan). Sersi (Gemma Chan), whom much of the film revolves around, can transmute inanimate matter and finds herself somewhere in between the warriors and thinkers.

The non-linear story jumps through history while grounding itself in present day, not long after the events of Avengers: Endgame. With fifty percent of the planet back, a countdown to an apocalyptic event has started. The Eternals must decide if they will intervene to protect the species they’ve grown to respect and love or continue to stand by.

Zhao’s vision for the film is fully manifested. Much of the movie’s flashbacks are shot at golden hour, giving a soft, warm hue to the cinematography. Her camera frames subjects in an affectionate way. She bottles the feeling you have when you’re falling in love with someone and in a room full of people, it’s just you and that person, and pours it on screen. It’s that tenderness that infuses throughout the film to give MCU fans something that feels wholly different and unique.

As beautiful as the film is, it can drag along at times with its two and a half hour plus running time. The character building and backstory that has to occur in an origin story is hum drum at times with certain characters receiving more love than others. With ten Eternals to introduce to an audience, that can be a task. Overall, the task is achieved but not without the price of a bit of fatigue in getting there.

Then there’s the topic of sexuality. Sexuality in this film feels forced rather than the “firsts” it desires to display. Parents of younger children be warned, two of the Eternals get busy in a mid-shot that shows them naked (while bodies cover private areas) but leaves no question to the thrusting going on. So if you haven’t had the sex talk, you’re going to have to after this. There’s a same sex kiss as well. The reason this all seems forced is because, well (semi-spoiler alert if you haven’t read the comics ahead), the Eternals are humanoids and can’t breed amongst themselves. So logically, reproduction and sexuality doesn’t seem to make sense as the story unfolds in this world.

Special attention needs to be given to the performance of Harish Patel as Karun. In the film, he follows Kingo around as his manager/personal cameraman. Patel provides not only humor throughout the film, but touching moments that would be hard to perform in the hands of a lesser character actor! Even though he is a side character, we should give that man his props and flowers for his performance!

Zhao and company shoot for the stars and land somewhere in Earth’s orbit. This isn’t a bad film. You can get lost in its entertainment. However, it truly feels like a stepping stone to open other parts of the MCU. This film feels like a door to opening more of the Marvel Cinematic Universe (MCU) in two ways. One is that the Eternals unlocks a new characters layer in the MCU as we learn about Eternals, Celestials and deviants. The second is the arthouse influence from Zhao’s direction that will shift the blockbuster feel we’ve experienced in the past to possibly give us more of an independent vibe in these films. We’ve seen the shift in Disney+ shows, but this is certainly different. Overall, if you’re a fan of the MCU you’ll be entertained. If not, you can catch up to this when it streams!

The Harder They Fall is a stylish, fully realized vision from co-writer/director Jeymes Samuel. Rooted in the western genre it borrows French New Wave characteristics as well. With a stellar cast, engaging dialogue, and a bumping soundtrack, this movie is not only an entertaining watch but memorable as well. With a predominately black cast, the film tells a fictional tale of real life black cowboys who once roamed the American West.

The film starts out giving us the backstory of Nat Love (Jonathan Majors) as a child. After witnessing the murder of his parents and receiving a scar from Rufus Buck (Idris Elba), we find Nat as an adult years later on the path to accomplishing his revenge. Layered through this journey we’re introduced to Mary Fields (Zazie Beets), Bass Reeves (Delroy Lindo), Trudy Smith (Regina King), and Cherokee Bill (Lakeith Stanfield) amongst other notable faces. That’s about all I’ll reveal as far as the plot goes because how the story unfolds is where so much of the enjoyment lies here. 

There are way too many beautiful shots to talk about in this film. In a scene where Cherokee Bill is introduced to us, he slowly glides down the center of the train, center framed while the rest of the gang is blocked by his head. He gives a young boy an alternative telling him to “put the gun down or we’ll kill everyone on this train”. When no movement is made, Bill draws his weapon and simultaneously arms from his gang members behind him shoot out of his head in the background. This camera placement and blocking of the actors conveys the danger while showing us in one shot in a stylistic but thoughtful use of framing. This is consistent throughout the film as Samuel uses his camera to show instead of tell.

Samuel takes his framing even further with the use of music and sound. Whether it’s pushing in on a character to the thump of a gun hitting the floor or the kick of a drum in the soundtrack, there is intentionality here. Two percussion hits reveal one character behind another in step with a camera move to the right. Samuel’s chucking of conventional framing has French New Wave influence but shows his creativity in creating a movie that draws on western genre traits while being refreshingly unique.

Cinematographer, Mihai Malaimare Jr. (The Master, Jojo Rabbit) adds his gift of painting with light here. The colors in the film are vibrant throughout while shifting from cool to warm temperature with ease. Understanding when to implement the shift in palettes may be missed by the average viewer, but it builds this story to perfection. When a character tells something from their past, warm colors are used to bolster the vulnerability of discussing an old memory. 

The dialogue in this film is handled masterfully in its delivery from each main cast member. Silence is used where it’s needed to allow the visuals of the film speak for itself. If someone speaks, it's important to the forward progression of the film’s storytelling. The southern drawl or New Orleans accent of characters not only rings authentic, but serves as a layer to this delicious cake of a film. The soundtrack of the film fills in the role of an additional, unseen character, telling a part of this tale. Turn on the subtitles and you’ll see the lyrics align perfectly with each scene they are heard in.

At a two hour and ten minute running time, you won’t notice it. The Harder They Fall is engaging from start to finish and if we got more from this world we’d be lucky! Grab your popcorn and turn on Netflix as soon as you can!

Dear Evan Hansen is Netflix’s You the musical! If you’re a fan of You, you understand how the main character seems like a nice person, has an interesting internal dialogue that no-one else hears, but at the end of the day is a stalker/killer. While Evan Hansen (Ben Platt) isn’t a stalker or killer in this film, he certainly has the same underlying creep factor. So this may be enjoyable for some, but I’m flabbergasted as to how anyone would believe this film is a drama/musical when it should be labeled a psychological thriller.

Evan Hansen has a social anxiety disorder that makes it hard for him to make friends. As much as he’d love to, it’s extremely difficult. He’s on medication and writes letters to himself as instructed by his therapist. After Connor Murphy (Colton Ryan) intercepts one of these letters and then commits suicide with the note on him, his parents believe Connor’s only friend was Evan. Evan runs with the lie because Cynthia (Amy Adams), Connor’s mom, is absolutely distraught over Connor’s death while his father, Larry Mora (Danny Pino), is numb. Seeing it as an opportunity to bring healing and maybe get closer to his crush, Zoey (Kaitlyn Dever), Connor’s sister, Evan goes full method acting.

The film is guaranteed to make you as anxiety ridden as its main character. That’s if you can get over the fact that high school senior, Evan Hansen, is played by 28 year old Ben Platt. That’s if you can go along with the film’s premise, which all of the characters in the film do, and leaving its audience befuddled as to why they go with the rouse. The mixture of serious dramatic acting with giant musical numbers feels so out of touch for cinematic adaption from the Tony and Grammy winning play. 

The film has its moments in shining a light on how we treat death. The same jocks that ridicule Connor one day, take a solemn selfie in front of his locker the next. Students create The Connor Project in honor of the boy no one seems to have really known, but it brings the entire town together. There are plenty of moments where you think the film is going to make an important statement on suicide, grief, and loss but it never commits to bringing that to light. 

I give Dear Evan Hansen credit that takes itself seriously as a film adaptation. Unfortunately, this is an uneven film. Themes of having empathy for others, understanding we all have something to contribute to the world and recognizing we all have insecurities are lost in the sauce of the uncomfortable, awkwardness of the melodrama of it all. Maybe this worked on stage, but it doesn’t on screen. 

“The Vault” is every trope of a heist film that you’ve seen before rolled into one, beautifully shot, pretentious piece of work. I don’t think it’s worth watching because you can imagine everything that happens just from hearing the synopsis. Sometimes, I think Netflix should use its money to combat world hunger the way it wastes money picking up certain content.

If you read IMDB’s synopsis of the film it says the film “follows a genius engineering graduate who is interested in the Bank of Spain's safe.” That’s pretty lazy writing from someone who doesn’t care about the film. Maybe, one of the writers? The film is about Thom (Freddie Highmore, a Cambridge engineering student who solved some oil spill issue that gives us a montage of a bunch of oil companies coming after him to work with them. Thom isn’t interested in the money. Instead, he’s interested in Walter’s (Liam Cunningham) offer to crack the world’s most impenetrable safe in order to get back something that was stolen from Walter. You know, the one offer our hero gets after receiving an anonymous text, following instructions and winding up in a bar sitting across from the mature, seasoned actor who will give this thing some gravitas!

We already met Walter’s daughter (I think it’s his daughter, they elude to their closeness) Lorraine (Astrid Berges-Frisbey) in luring Thom to Walter. She’s the one who wears a wig, pick-pockets people and will likely be Thom’s love interest. So we need the rest of the gang of thieves: Klaus (Axel Stein) is the whitty, chip eating tech guy, Simon (Luis Tosar) is the gruff muscle, and James (Sam Riley) is the “don’t trust anyone” good at his job guy that probably likes Lorraine. Everybody here? Check! Getting into this vault is going to take some work.

First, we’ll have to do some reconnaissance! The type that’s never been done before, but wet behind the ears Thom will have to be on the ground to do something smart to build his character. With new information, we need to strike at an opportune time. How about during the World Cup Finals? Of course, great diversion and way to put a ticking clock in the film. I’m just sticking that in there in the same way writers…wait, I have to list five names!? Writer’s Rafa Martinez, Andres Koppel, Borja Santaolalla, Michel Gazambide, and Rowan Athale inserted the intense looking, smart but soon to be outsmarted Gustavo (Jose Coronado) as the head of security. However, with five writers on the job, it makes sense as to why this ensemble of characters lack depth.

The film has lots of great music. There is the music that we hear when someone is thinking through something, when danger  or a near death experience is about to take place, and the absence of music when a joke is told to break the suspense of an intense moment. Ultimately, everything that makes this film tick, we’ve seen before. Thom isn’t really that smart, he just sees things that other people don’t, but likely would if they just thought a little bit more. 

I can only imagine the money spent on the production design, location and cast for this film. It looks extravagant and like the best American heist films from the early 2000s. It even cuts together like one too. It has Freddie Highmore doing his best “if Dr. Shaun Murphy wasn’t autistic impression”. Unfortunately, it’s a pig with lipstick. I’d only recommend this if you’re extremely bored, have exhausted all of your streaming options and enjoy the rhythm of heist films.

When you hear the name M. Night Shyamalan, it doesn’t stir up exciting emotions about cinema. Instead, it’s generally a frustrating mixture as to whether he’s a hack or not. Don’t get me wrong, I think he has talent. I clearly enjoyed The Visit but had issues with After Earth. It’s the constant back and forth battle of his legacy. The premise of his films are always intriguing enough to make you watch, but they don’t quite live up to the excitement of a trailer. Never one to disappoint, Shayamalan’s latest, Old, has interesting concepts and poor execution.

The film has the set up of a horror film. A young family arrives at a resort after winning a sweepstakes. It’s supposed to be one last great outing before the parents tell their kids some news. Guy (Gael Garcia Bernal), Prisca (Vicky Krieps), Maddox (Alexa Swinton), and Trent (Nolan River) are excited to be there. We’re slowly introduced to other couples and families on the resort property. The kind resort manager (Gustaf Hammarsten) suggests that our main family visits a secluded private part of the beach that no one knows about and they take him up on the offer.

Of course, they quickly find out that they weren’t the only ones told about this strip of paradise. Perhaps as swiftly, they also learn that the beach is aging their bodies. Like any good horror film, there are enough people on the beach to have some start leaving the flick in interesting ways due to the situation. Will anyone survive?

Old is another one of Shyamalan’s exercises in camera movement and blocking. I wouldn’t say its masterful camerawork but it is intentional. His camera focuses on what he wants us to see by keeping characters in the foreground with chaos happening in the background, dollying from one part of the beach to another while action is taking place where the camera just left, and giving us angles that exaggerate situations. There is definitely someone behind the camera telling this story, but a mixture of poor performances and weak plot points make the controlled camera engage in a fight between art and a train wreck.

One of the biggest problems with Old is the delivery of lines in the film. It sounds like many of them are doing a live table reading of the script. Vicky Krieps struggles to deliver her lines clearly but her Luxembourg accent muddies it. The chemistry of the cast is missing minus the brother/sister relationship in Maddox (Thomas McKenzie as the 16 year old version) and Trent (Alex Wolff as the 15 year old version). If the cast could have received a few more days to bond before rolling the camera, this may have been more believable. Instead you have many talented actors give a good solo performance while not responding to one another to create an ensemble. The heart of the film’s characters being a mediocre ensemble makes solid performances with chemistry from Nikki Amuka-Bird and Ken Leung go under the radar. 

Once the why is revealed, it makes a lot of sense. In fact, it may make you want to read the graphic novel it was based on, “Sandcastle”. Old could have been greater if it was given a little more time and fleshing out. Instead, much like its young characters, it ages rapidly and misses key beats that were important to its development. Not a bad flick to catch when it goes streaming and you’re looking for something to watch though.

Black Widow opens with arguably one of the top 3 openings in a Marvel film to date! Much like its television shows, Black Widow doesn’t feel like most Marvel films. It’s an espionage thriller with a mix of super heroes. It start strong, lulls, and finds its footing again. A solid entry in the development of a long-overdue solo film for Natasha Romanoff (Scarlett Johansson).

The film is a snapshot of what happened after the battle of Leipzig/Halle Airport in Captain America: Civil War. It starts further back in Natasha’s childhood, setting up an understanding of her psyche and her family dynamics. The opening sequence is equal parts you name it Spielberg kids scene and Jason Bourne action.  From there, the film is off to the races sending us to present post-battle life.

While this film struggled to the release finish line, the film’s secret weapon is its ensemble cast. Florence Pugh’s entrance into the Marvel Cinematic Universe (MCU) is worth the film being created alone. As Natasha’s sister, Yelena, Pugh establishes herself as a take no prisoners, dark humor, force to be reckoned with. There is no doubt that she will make a mark and quickly become a fan favorite in future films. David Harbour and Rachel Weisz bring the gravity and nuance to their roles as Natasha’s parents. Harbour’s comic timing as a dad reliving his greatest battles/missions is reminiscent of Mr. Incredible from The Incredibles, but a real life version.

There are some pacing issues with this stand alone film. Somewhere in act two the film comes to a halt as it settles into one of its themes of family. While the moment provides reflection and character building, it’s hard not to notice the difference in pace and change of tone. It’s as though we can see writer, Eric Pearson, step into a hole and try to write his way out without thinking of how to skip the hole in the first place.

Ultimately, Black Widow is a fun, espionage installment in the MCU with big set pieces and action sequences that give a nice curtain-call for Romanoff. We know her fate, but now we know a little more of her backstory. Most importantly, she has a sister that we’ll see a lot more of! 

The Purge franchise has seemed to always tell us something in its themes. We’ve seen racial tension touched in The First Purge, family strife in The Purge, and in the latest installment we see immigration tackled. The Forever Purge takes a look at what its America may look like if citizens continued The Purge after the most recent bloody 12 hour night.

The film opens with married couple Adela (Ana De La Reguera) and Juan (Tenoch Huerta), giving coyotes money to get them across the border from Mexico into America in search for a better life. Ten months later they seem to be on that path. Adela works in a kitchen while Juan works on the wealthy Tucker family’s ranch. The Tucker patriarch, Caleb (Will Patton), is impressed by Juan but Caleb’s son, Dylan (Josh Lucas), has issues with the hired help. 

As the work day ends, preparation for The Purge begins. The Tucker family locks down in their secure home while Adela and Juan take a bus full of Mexican workers to a space that provides armed protection. This Purge isn’t about the 12 hours of mayhem though, it’s about what happens after. As Adela and Juan return to work, it becomes clear that some people are extending the annual sanctioned mayhem by continuing to kill and destroy. Thus, the survive the night films that we’ve become accustomed to seeing starts.

This installment is full of sermons and lectures on America’s malicious history of disenfranchising the poor and people of color. Colonialism and The American Dream are parts of conversations. In one scene, a swastika tattooed prisoner calls out every gun that he hears firing; he talks about the specific rhythm of the guns and calls it “American music”. It’s meant to be a creepy moment, but it rings full of authentic truth. We’re known for the fight for our 2nd amendment rights, so the film continues its analysis of who we are as Americans yet also continues its awkward handling of truth. It gives us stereotypes and archetypes to make its points.

Perhaps its most ironic moment is found in Americans running for the Mexican border in order to escape the Forever Purge. The film pays specific attention to the white Americans reliance on Mexican and Indigenous help to get across the border while being chased by white Americans who believe the country should be purged of those who don’t look like them. It’s a matching bookend to its beginning as Mexican news talks about American “Dreamers”. 

Director Everardo Gout handles the action and blocking of scenes well. The film is entertaining for what it is and what you’d expect. Ana De La Reguera is a refreshing addition to women who can handle themselves in the killing fields. As her character navigates the turn of events, its evident there is much more to her than meets the eye, but it’s De La Reguera’s performance that is fun to watch. While writer/creator James DeMonaco may have written something that could have been straight from the headlines a year ago when it was supposed to be initially released (it was filmed in 2019), the film feels a bit dated.

However, you wade through its social commentary, the action and kills you’ve come to expect are there. I saw this at home and that’s just the way this film should be seen in my opinion! It’s a great streaming flick but not necessary for your first time back in theaters!

There’s no question, F9 is for the fans! If you have a problem with submarines, shootouts where trained military miraculously miss one person running away, airstrips that last forever…you’ve probably checked out a couple installments ago anyway. This film gives you the story rooted in family that you’ve grown to love and the superhuman, physics law breakin’ action true fans have come to expect. I’ll admit, this die hard fan is a ten second car away from riding off to the sunset on this franchise as well.

The film starts in the past to give us more backstory on Dom (Vin Diesel). From there the film plays out exactly as you would expect. There’s a big action set piece to get our heroes back in the action after finding out a world destroying weapon has potentially gotten into the hands of new villain, Jakob (John Cena), who is Dom’s long lost brother. (This is all trailer info of course.) In fact, the trailer gives away most surprises. The question is, how does it all connect?

How does it all connect is a question that, like family, is a through line through the franchise. How did Han (Sung Kang) survive? How have we never heard about Dom’s brother? Are they really going to space with a car? All questions are answered in their own zany ways. In fact, the film gets meta as Roman (Tyrese Gibson) and Tej (Chris Bridges) talk about how they never get killed or seriously hurt throughout all of their adventures. 

Has the Fast & Furious franchise jumped the shark? You would have thought it had when they jumped a submarine, but it persists and we love it for its insanity. However, this installment is really pushing its limits. Whether they talk about invincibility or Dom lands like Superman with an explosion behind him (close enough that you’d think he’d feel it or cover his head) we’re entering Marvel territory here. This can’t go on much further like this. Check the record, I’m a huge fan! So I say this with absolute love and respect. The franchise needs young blood and a change of direction, otherwise 10 should be the final bow.

Real fans will not be disappointed, but I believe your faith will be tested. The film’s pacing is a bit clunky as we deal with so many flashbacks to explain one particular aspect of the past. However, the family theme is there, nearly all major characters are here and the insane action is definitely front and center! I’d highly suggest watching 1, 4, 5, and 6 if you want to go into this with a fresh memory of who is who and what’s what. Otherwise, get ready for an entertaining time at the movies. See it in theaters for the best experience!

We could all use a good laugh these days. Netflix’s Bad Trip is a blend of scripted narrative with real pranks. For me, I’m not a huge fan of Jackass or Borat, but I get a huge kick out of people’s natural reactions to pranks on shows like Punk’d or IG channels. So if any combination of things I just listed appeals to you, this film will too!

The basic storyline of this film follows friends Chris (Eric Andre) and Bud (Lil Rel Howery), who take a cross country trip to unite Chris with a high school flame he thinks he has a shot with. Like, Dumb & Dumber, “so you’re saying there’s a chance” type deal! In order to get to New York, they decide to drive Bud’s sister Trina’s (Tiffany Haddish) Pepto Bismol colored car while she’s in jail. Only she’s not in jail, she just escaped, and she wants her car back!

With a thinly knit storyline, the entertainment is really in the various pranks along the way. Some are lighthearted, like Chris’ character breaking into song and dance about love in the middle of the mall. Others are extremely raunch like Chris being “violated” by a guerrilla at the zoo. With Trina hot on their tail, it’s funny to see the buddies enter a place and then her enter not to long after. What’s priceless are the faces and reactions of the bystanders at each of the prank locations that capture a slice of America from Florida to New York!

The film focuses on Eric Andre’s ability to be a shameless, mixed bag of emotion, hopeless romantic. While Andre is a “I’ve seen that guy before” actor that isn’t as famous as his co-stars, it also helps sell the story that he could go in to different places and get people to believe he’s an everyday individual. Lil Rel and Tiffany Haddish get makeup, different hairstyles and tattoos to help make them a little less recognizable. While Lil Rel plays the straight man in this comedy, Haddish is able to let loose with her character as she’s done in another movie with trip in the title, making for hilarious moments.

The blend between cinematic shots and reality tv setups can take you in and out of the film at times. It’s clear that in order to sell the prank, certain shots- like a drone flying over the main characters to capture him hanging over a building- would have to have been done at a separate time. However, if you just go with it, you’re guaranteed to laugh out loud more than a few times! The film ends showing the reveal of the pranks to the people involved, so stick around for the end credits.

If given the chance to be a fly on the wall for a historic conversation, what conversation would you choose? We’ve been invited to be a fly on the wall with four black historical figures in One Night in Miami. Director/Producer Regina King and screenwriter Kemp Powers have given us a thought-provoking glimpse into history through a fictional interpretation of true events as discussed by iconic figures.  The concept is fresh, innovative, and does not disappoint.  Thanks to Kemp’s screenplay and a star-studded cast, the transition from stage play to the screen is smooth.

On Feb. 25, 1964, after Cassius Clay (Eli Goree) shocked the world by defeating Sonny Liston to become the Boxing World Champion, he and a few friends (Jim Brown (Aldis Hodge), Sam Cooke (Leslie Odom Jr.), and Malcom X (Kingsley Ben-Adir)) decide to meet in a room at a hotel in Miami before going out to celebrate Clay’s victory. Once in the room, the men begin to exchange stories of their personal trials and tribulations of being a black man with power in America in 1964.

From the cinematography to the music selections, everything is intentional and well crafted. With King in the director’s chair (for the first time, mind you) and Powers’ powerful writing (Disney’s Soul), this film sets a bar for one location plays adapted to the screen. It doesn’t feel like a stage play, but more like a documentary. Powers’ writing captures and confronts topics with a perspective on political, religious and racial issues that still ring true with African Americans today. 

The film exposes the difficult situation these men found themselves in as prominent figures in society. There was a particular crossroad they had to pass in terms of the fact that they could personally be successful and wealthy and not ruffle political feathers or use their status to make a difference which would come with strife. An example of a topic of discourse is between Malcom X and Sam Cooke. Malcolm feels Cooke could use his voice through music to help with the black movement in a direct way rather than indirectly helping from the sidelines. Cooke explains how he writes songs and receives royalties to be able to have financial capital  to make a difference, stating “I don’t want a piece of the pie; I want the recipe.” The clash gives an interesting notion of the two wanting the same results but attaining it in different ways, which is something we saw from many leaders at the time.

You can feel the emotion that each actor delivers in their interpretation of their characters as though they channelled their real-life counterparts. Goree (Clay) and Ben-Adir (X) re-imagined the expressions of the figures previously portrayed by Will Smith and Denzel Washington (with great success) and etched and expanded their own paths forward. Goree portrays Clay as a charming charismatic version of the champ, coming to make the big decision of converting to the Nation of Islam. Ben-Adir shows multiple facets of Malcom X as a family man whose goal is to advance black people from the harsh realities of America at the time, while fighting a few personal fights within the Nation of Islam simultaneously. Hodge (Jim Brown) and Odom Jr (Sam Cooke) also set a high bar for their performances of the two characters. Hodge shows the calm and dominant demeanor that turned Brown into a household name for both football and acting. The multi-talented Odom, uses the voice we loved in Hamilton to effortlessly step into the crooner’s shoes.  

Overall, this concept is a first-class piece of art. I laughed, my thoughts were provoked, and I learned something about each of these high-profile characters on a personal level, especially their stances on the advancement of black people. Most importantly, I was inspired by each character as he shared how his experiences supplied purpose to his life and how status as a celebrity was going to be used to fulfill that purpose. If you love original content that tells a good story, this is a must watch. If it was in theaters, I’d go, but the at home experience does it justice. It’s a well-constructed film that will give you an appreciation for each of these characters and will have you looking for other opportunities to be a fly on the wall. One Night in Miami is set to start streaming on Amazon Prime January 15th.

What if the man with a particular set of skills was being chased by men with a particular set of skills? I’m mixing movies, but “The Marksman” is a slow burn film more in line with a Clint Eastwood “get off my lawn” type of film. In fact, the main character says “why’d you have to cross my land?” at some point in the movie. It’s the mixture of storylines we’ve seen before with no innovation that makes this film marked for death. 

Jim (Liam Neeson) is a recent widower who is trying to keep his ranch afloat. His wife’s battle with cancer has taken a toll financially and he’s behind on his mortgage. While he tries to figure out how to make ends meet, he does find comfort at the bottom of a bottle. 

In an instant, his life is changed when Rosa (Teresa Ruiz) and her eleven year old son, Miguel (Jacob Perez), try to cross his land on the Mexico/US border. The mother/son duo are running from Maurico (Juan Pablo Raba), an underboss in a nameless Mexican cartel. Jim has a standoff with the cartel that ends with people dead on both sides. This results in Jim reluctantly honoring Miguel’s mother’s dying wish to get him to Chicago to reunite with family. 

The film becomes more of a buddy road trip picture over action film as Jim begins to bond with Miguel. Jim is from an older time. He doesn’t carry a cell phone, has to use a map to get across the country, and automatically assumes Miguel doesn’t speak English because he doesn’t speak (which gives some rather cringeworthy moments of dialogue as Jim tries to communicate). As most movies like this go, both characters eventually open up to one another and grow together as they try to evade the cartel.

Mark Patten’s cinematography is beautiful. The undeniable majesty of sunsets and country landscapes are captured exquisitely throughout the film. The extreme wides of an old western flick mixes in with the tight shots of modern action giving the film a nostalgic feel, much like its protagonist. Particular attention should be given to Juan Pablo Raba’s performance as Maurico. The villain of the film has to be believable and Maurico is scary. At any time he seems like he could go crazy, but he’s also a soldier who has a considerable amount of constraint. Rather than playing Maurico as full on bad guy, Raba gives him glimpses of humanity throughout different beats of the film that don’t make Maurico look weak but rather a human who has evolved into a monster. 

There’s so much about this film that is predictable unfortunately. A trained marine who uses his credit card along the highways while being chased by the cartel doesn’t make much sense. A map is dropped with the destination point circled in bold red. It’s a very paint by numbers film with less emphasis on action than conversation. Neeson is certainly filling the shoes of the aged, stoic action hero Clint Eastwood has left behind. Unfortunately, this movie misses the mark and will get left behind in the genre as well.

My wife and I debated why Mariah Carey’s Christmas album is the one we remember from back in the day, above all the others. It was a different time. You went out to buy an album because you couldn’t download it, so choosing an album was intentional. She was hot at the time. Everyone was talking about it or playing it on the radio. It was really good. There were quite a few reasons. With her latest, “Mariah Carey’s Magical Christmas Special”, shooting to No. 1 on Apple TV+ in more than 100 countries, it’s obvious she’s still got it! Here’s why:

First and foremost, the music is dope. I’m not just talking about her voice and the classic Christmas songs we all can sing along with her but the instrumentation and composition of it. We turned on the home theater speakers and watched a concert. I mean, if you’re going to do a Christmas special it should sound great right?

The special has a loosely written plot and storyline in which jolly old St. Nick needs Mariah to help save the Christmas spirit. Tiffany Haddish is the fireside narrator of the story. We see Mariah the mother with her children at home and then the diva and star we know once she gets to the North Pole to make it happen. The juxtaposition of the two roles makes her somehow more relatable. (I’m actually being serious about that.) The best part is that there is less emphasis on story and it’s just a way to transition into songs. It features Ariana Grande, Jennifer Hudson, Billy Eichner, Snoop Dogg, and Jermaine Dupri on different songs. Misty Copeland also visits the North Pole to grace us with her skills. So the talent and old school nods are there.

The production value is outstanding! The set design is elaborate. Production designer Julio Himede brings his years of experience with MTV award shows and comes to work, creating a winter wonderland in various settings. Looking at the frame, you know they’re not out in the middle of the woods, but the set design looks so real and detailed that you get lost in it. The costume and makeup team deserves a hand for the same reason. (Sans the one Spider-Man looking outfit she dons in the beginning.)

Ultimately, the special is a mixture of feel good music, holiday visuals, and a positive vibe we need to cap off the year. Apparently, Mariah Carey has been called the Queen of Christmas. As someone who got dragged into watching the special by his wife and wound up singing along, that title may be well deserved! 

Knowing our history is important. As a human race, regionally, locally, and right down to your family unit’s history. It tells us where we’ve come from, lessons learned along the way, and perhaps where we’re headed. August Wilson penned a ten play series collectively known as The Pittsburgh Cycle which beautifully documents a part of history for Black America. The contrast of the events and themes that have taken place in America in 2020 in regards to race and the themes that are dealt with in this film adaptation of “Ma Rainey’s Black Bottom” make the film, but more so the plays, that much more powerful. 

In 1927 Ma Rainey (Viola Davis) was a voice to behold! Dubbed the “Mother of Blues”, she sang the pains and joys of her people from her soul. Director George C. Wolfe captures a fictional day in the life of the singer and her band as she’s brought to Chicago for a recording session. The boys in the band consist of Levee (Chadwick Boseman), Toledo (Glynn Turman), Cutler (Colman Domingo), and Slow Drag (Michael Potts), and they’re all waiting for Ma to arrive. As they wait, Levee, the promising young trumpet player with a burning desire to do and be more, tries to convince the band to play the songs with a little added flavor he’s created. 

When she finally makes her fashionably-extremely late entrance, Ma brings her nephew Sylvester (Dusan Brown) and her lover, Dussie Mae (Taylour Paige). Ma makes it clear that she is on time because her time is the right time and the studio is lucky to have her in their presence. She also makes it clear that the music will be played the way it was originally written to Levee’s chagrin.

The majority of the film takes place in either the recording studio or the basement of the studio where the band gathers while waiting. While initially you may forget that this was adapted from the stage, there are certainly moments that will remind you, as the story is not told visually. The focus of the story is on the words. The telling of and analyzation of struggle. In perhaps the most talked about scene in the film, Ma explains why she won’t start to sing without the coca-cola she asked for in the studio. “They don’t care nothin’ about me,” she states. “All they want is my voice. Well I done learned that, and they gonna treat me the way I wanna be treated no matter how much it hurt them.” 

It’s so interesting to watch a black woman, at that time, with such a confident, “play with me if you want to, but I’ll show you who is boss” attitude. We’ve become trained to believe that she is being “difficult”, demanding, and could possibly “get in trouble” with the white studio executives. Yet, at her core, she is simply demanding to be treated like a human being rather than a commodity. Which goes back to the importance of Wilson’s work.

As far as performances go, the entire cast gives great performances. Viola Davis shows why she’s one of the best actresses of our time. I’ve enjoyed the way she has spoken out about pay inequity between her and Meryl Streep as of late. Davis stated that off-screen she’s starting to speak up more and go after what she wants in a recent press conference held by Netflix for the film. It’s obvious that she stepped into the role with a certain kinship with Ma Rainey that comes through on screen. 

It would be a shame to not mention this film is Chadwick Boseman’s last on screen, and what a bittersweet performance it is! Before he was Black Panther, he was playing dramatic roles of important black figures. In fact, 42 was one of the first films I reviewed with Picture Lock in 2013. Here, Boseman crafts the essence of young talent that shows up as arrogance due to a chip on his shoulder built from life’s challenges. In an electric scene, Levee rages at God for not being there during pivotal moments in his life. It’s a moment of gut level honesty that we may have in our private thoughts that he brings to life in a memorable way. While it’s sad that we lost him this year, he put it all on the line in the films he was involved in, without complaint.

“Ma Rainey’s Black Bottom” is an analyzation of white exploitation of Black culture and Black voices. It’s a sad history that has been documented in history books and film. Wolfe and his cast do a great job of capturing the essence of Wilson’s work and putting it before us to dissect. A tip of the hat goes to Denzel Washington for his commitment to bringing all 10 plays to the screen. This is important history, that I likely would not have known if not for the film.

It’s not that “Wonder Woman 1984” is not entertaining. I found myself invested in Diana Prince’s (Gal Gadot) journey by the time it was coming to a close. It’s just not as inspired and handled with the same care that director Patty Jenkins had with its predecessor, Wonder Woman. While the studio was brave in releasing the film in 2020 to HBO Max and theaters during COVID, this film is suited for small screen excitement. It’s not much of a visual spectacle and suffers from a predictable story.

The last time we learned about Diana Prince’s back story it was focused during World War I. This time we’re in Washington D.C. in 1984. (As a 10 year DMV resident, D.C. is displayed well in the film.) Diana works at the Smithsonian and is burdened by her responsibilities as a protector of her city, while not having a true relationship with anyone due to her double life. After a jewelry heist she thwarted reveals precious artifacts were squirreled away in said store, the artifacts wind up coming to the Smithsonian to be analyzed by Dr. Barbara Minerva (Kristen Wiig). 

Barbara is the overlooked lab geek that just wants to be noticed. She gets special attention from Maxwell Lord (Pedro Pascal), a failing serial entrepreneur, who is driven to succeed at all costs. He's after the crystal that’s recently come into her possession and seems to be the only person who knows it is a Dream Stone. Anyone who touches it and makes a wish will have it granted at a price. That’s it. That’s the bad guy, the McGuffin, and the lesson. Be careful what you wish for. Diana, Barbara, and Maxwell all get a chance to make a wish, knowingly or unknowingly.

The story is unremarkable and the characters are dull. The problem with characterization in this film is that every person that you think “something ain’t right with him/her”, you’re correct. There is no subtlety in the design and depth of these characters. Everyone as written, whether child actors, villains or heroes are stereotypes of archetypes we’ve seen before. Even the glow up of Kristen Wiig from baggy clothed nerd to beauty feels pedestrian. 

Gal Gadot has a strong on screen presence throughout the two and a half hour running time. In fact, her earnest performance is what makes the film palatable. In a year in which we’ve had an unprecedented lack of super hero films, it’s nice to have a moment to escape! I highly recommend seeing it in the comfort of your home over seeing it in theaters. You won’t regret it. Oh, and stick around mid credit roll to see a nice cameo!

“Fatale” is the latest in the cheating husband who messed with the wrong woman genre. “Fatal Attraction” is the gold standard for husbands stepping out on their wives and reaping what they sow. Since the 1987 film there have been plenty that have tried to emulate it or deliver something similar. In fact, screenwriter David Loughery wrote 2009’s “Obsessed”, which had a similar theme. It seems he learned a few things with his latest screenplay for “Fatale” by side-stepping predictability but a couple flaws keep it from greatness.

Derrick (Michael Ealy) is a man who has it all on paper. He’s got the job, the luxurious house, and a beautiful wife. He and his wife have hit a rough patch and they seem to be on different pages. So when Derrick attends a bachelor party in Vegas with his business partner Rafe (Mike Colter), he has a one night stand with Val (Hilary Swank). It’s a mutual fling with both stating they are from out of town trying to blow off steam. 

The next morning, Derrick wakes up and is ready to bounce, having come to his senses, but Val wants more. Weeks later, Derrick has the fight of his life with a masked home invader. When the police arrive, the detective in charge of the case is Valerie Quinlan, his one night stand. From there, the game of cat and mouse begins with some surprising twists along the way. 

Swank has fun trying on a non-traditional character for her. She walks the tightrope of a scorned woman and an evil genius with just the right touch of humanity to create a three dimensional fatale. Ealy brings a certain relatability to his fish out of water character and does what he can with the script. Unfortunately, his character is written to continuously make poor decisions. That doesn’t stop him and Swank from having some juicy moments on screen. The subtext in their second encounter, right after the home invasion, is fun to watch. In fact, a lot of the delivery of Swank’s lines have a consistent weight to them that makes her character scary yet thrilling to watch because she’s so smooth with her hidden rage.

A lot of credit goes to director Deon Taylor. He’s shown tremendous growth in his storytelling since he dipped his toes in the thriller genre with "Traffik". He understands how to craft suspense (as evident in his last pairing with Ealy in "The Intruder") and uses his camera to speak where the script doesn’t. In one scene, after speaking with Derrick, Val backs out of the driveway with the camera locked down and watching from the back seat. As the car goes up the natural incline of the driveway and then levels out, Derrick disappears from the background of the frame due to the front of the car lifting up. We’re left to focus solely on Val’s face in the foreground. It’s a power shift that is told in pictures, not words. Taylor is certainly one to watch. 

Cinematographer Dante Spinotti shoots LA for the first time since “Heat”. It’s a gorgeous and sleek looking film that adds to the story that all that shimmers isn’t gold. This is the third collaboration of Taylor and Spinotti and each outing continues to build on their ability to tell story through film.

While the “Fatale” does a good job of subverting the stereotypical plot, it forgets to leave the dumb husband trope out of loop. By the time Derrick starts making good decisions, you’ve yelled at the screen enough to leave him to Val’s schemes. Nonetheless, it’s still an entertaining watch with some moments you won’t see coming.

Writer/director/producer Emerald Fennell penned “Promising Young Woman” in 2017 during the height of the Me Too Movement. The film is quirky, a little rough around the edges, but focused like its heroine. Its heavy handed with lesson after lesson but it’s a gut punch that men and everyone else should take heed to.

Carey Mulligan is Cassandra Thomas, a med school dropout with a chip on her shoulder. We’re first introduced to her alone, seemingly drunk, and preyed on by a few men in a club. After being taken home by one of the men, she allows him to get far enough to see that he would take advantage of a young woman who, while drunk, clearly said no. She then makes it clear to him that she’s not drunk. We don’t really know what happens after, but that’s the set up for the film. 

We’re introduced to Cassandra’s world. She lives at home with her parents, works at a coffee shop, and keeps a running tab of the men she’s taught a lesson too in a small notebook. The sexual assault of her best friend in med school has radicalized her because while everyone seemed to move on from the incident, her brain has been seared by it. Cassandra uses Roman numerals to count each man she’s educated in her notebook and the film uses the Roman numeral theme to set up the various lessons she’ll teach to those who played a particular role in her past trauma over the course of it. 

This is a movie where you’re better suited going in with a blank slate. So that’s all I’ll state about its plot. However, this is a film that addresses the issues of the culture behind sexual assault allegations, the victims, the accused, and the community of people that cover it up. As Cassandra implements her plan we’re forced to think about her message as well. 

Mulligan really carries the film with her performance. There is a layering of her character that is noteworthy. You can see Cassandra’s brilliance, hard exterior, and wounded soul simultaneously in moments during the film. Alison Brie and Connie Britton also provide brief, but grounded performances as well. Unfortunately, the male actors in this film are mostly hollow, perhaps by design, serving as pieces that move the story forward. Many are portrayed as fragile when confronted by Cassandra, breaking down into scared little boys. Perhaps that’s Fennell’s intent? Yet it feels more like a subjective judgement of men, rather than allowing them to be three-dimensional. If it had been, the film as a whole would be elevated, rather than Mulligan elevating the film herself.

Regardless, Fennell’s points are direct and on target. The hypocrisy, double standards, and depravity of harassment and assault are on full display. Flaws aside, “Promising Young Woman” speaks for those who have and haven’t spoken their truth on the subject. While it is entertaining to watch, we should all listen to its message!