Sunshine State Cineplex: Recent Episodes

View Details

It’s time to discuss the finale of The Penguin. After the destruction of Oswald Cobblepot’s (Colin Farrell) base, Cobblepot’s been captured by the Gigantes. We’ve reached the showdown between Sofia (Cristin Milioti) and Oz, and the winner controls the Gotham underground criminal organization. Jennifer Getzinger directs the season finale, “A Great Thing or Little Thing.”

“A Great Thing or Little Thing” – The RecapDr. Rush (Theo Rossi) hypnotizes Francis (Deirdre O’Connell) so they can access her past. In the past, she remembers a time in the aftermath of her childrens’ deaths when local gangster Rex (Louis Cancelmi) tries to console her. In their discussion, she reveals the truth: she knows Oswald killed his brothers. She discovered the flashlight in Oswald’s pocket.

Francis questions what she can do about him after she’s discovered his actions killed her other children. Rex suggests she control him and guide him as needed. Her options are to kill the boy or use him for her own purposes. That night, she takes him dancing.

At the club, they spot Rex watching them from the corner. Oz will drive home with Rex later, but Francis appears horrified by her son. For a moment, she loses the memory, spotting Dr. Rush and Sofia in the corner. She snaps back into the moment and Oz promises her the world. In return, Oz asks Francis to not give up on her and asks her to dance.

In the present, Victor rides with Link toward the Cobblepot headquarters. When they see the explosion, the cars stop. While Vic pleads for their help, the other members of Cobblepot’s alliance leave him. When Vic calls them cowards Link punches Vic and tells him he’ll catch a bullet if he’s not careful. They leave, and Vic finds other members of Cobblepot’s crew. Vic asks where Oz went.

Oz wakes up gagged and bound. Sofia tells him a story about bird chicks, where a smaller chick murdered the older bird by pushing it out do the nest. She begins using the bird metaphor to ask if the bird’s mother knew what happened. Across the room, Francis appears disturbed by the tale.

Sofia asks Oz to tell the truth about what happened to his brothers. Confused, Oz does not reveal any about how his brothers died. When this makes Sofia angry, she reveals that everyone knows what he did and that Francis was going to have Rex kill Oz. She changed her mind that night, and Sofia goads Francis to tell Oz the truth. Instead, Francis spits in her face.

An angry Sofia tosses Rush a cigar cutter to take off Francis’ finger. As Francis screams, Sofia offers him a chance to tell the truth. If he tells Francis, they will not take her finger. Oz refuses to admit it, causing Francis to scream that she knows the truth already. She tells Oz that she hates him, blaming him for everything that happened. After admitting Oz should have died at Rex’s hands, she shatters a bottle and stabs Oz in the stomach. In the aftermath, she sees apparitions of Jack and Benny.

When she collapsed, Oz breaks the chair in anger. He kills several of Sofia’s men, including the cop in her pocket. He escapes the dance club with Francis and rushes her to a hospital. There, he stitches himself up with a stapler and calls Vic.

When Vic arrives at the hospital, he tells Oz about the gangs flipping sides. Vic thinks he has people who believe in him, including Link, but Oz needs to be himself. Oz agrees, and they get ready to take down the Gigantes.

The gangs meet with Sofia in the Gigante compound. She offers the gangs control of her territory if they bring her Oz. Whichever group finds him first gets the power. Link questions OG it’s an honest offer, but she repeats that it’s real. She’s leaving Gotham.

Vic and Oz arrive at the Gotham Courthouse, and Oz walks into the assembly. As he does, Link calls Vic, trying to suss out the information about where they are. Inside, Oz speaks to City Councilman Hady (Rhys Coiro). He paints a story about the Falcones and Maronis at war. He tells the truth about which events happened and passes his actions off as Sal’s actions. The Councilman asks if any of his story is true. Oz tells him they’ll find all the bodies in the rubble. Hady agrees to their deal and warns Cobbletpot that he needs to be clean.

Outside, Oz walks back to the car. Vic is gone, and Link tells Oz to get in the car. They drive to a Triad base, alerting Sofia they have Oz. Sofia pours alcohol over her father’s bed and lights it on fire before she leaves the room. She lights a few more fires, starting them on her father’s items. She leaves the compound as it’s engulfed in flame.

Sofia meets Zhao and Oz at the airport. There, she gets ready to leave Gotham. However, Link and Vic open fire on Zhao, killing him and his men. They quickly dispatch of Sofia’s men, and Oz take her on a drive. As he does, the underlings of the other gangs kill the heads of their organizations, establishing a new order. Oz tells her she lost herself as an elite, and forgot others will do whatever it takes to make something of themselves. She laughs, telling him he will believe whatever story he wants.

Oz takes her to the waterfront and pulls the gun on her. Oz knows she won’t run from him, and he tells her to face the harbor. He tells her she’s going to hell, but Sofia reminds him she’ll be waiting for him. She expects a bullet, but none comes. Instead, the police – led by Bock (Conn O’Neill) arrive to arrest her.

Oz and Vic arrive at the hospital to celebrate. As they turn on the TV and relish their victory, Oz realizes Francis has not responded. They call for doctors, who tell Oz that Francis suffered a serious stroke. Oz begs Francis to tell him he did something with his life, but she never responds.

Vic comforts Oz, and they drink on the waterfront. Oz thanks Vic for securing Link’s loyalty. Vic calls Oz his new family. He tells Vic that he appreciates that they met and got through everything together. However, he cannot have a family because it makes him weak. Oz strangles Vic, steals his money from his wallet, and leaves his body. He tosses Vic’s ID into the bay.

At Arkham, Dr. Rush comes in to speak with Sofia. He tells her she’s received a lot of random mail but one note of interest. A letter from Selina Kyle arrived, claiming to be Sofia’s half-sister. She opens the letter and smiles.

Oz arrives at a new building where he’s put his mother. Oz is dressed in a tux and top hat, the traditional Penguin outfit. As he stands beside his mother, Oz asks how she enjoys the room. He knows it’s everything she ever wanted. Downstairs, Eve (Carmen Ejogo) welcomes them as they dance. Eve is dressed as his mother, and she tells him she’s proud of him. Nothing stands in his way.

As the camera zooms out of the window, the Bat Signal turns on in the sky.

“A Great Thing or Little Thing” – The TakeawaysWhile The Penguin may have concluded it’s run, it’s certainly made a mark on superhero TV. With a handful of blips, it completes it’s run as one of the better comic book shows of the year. “A Great Thing or Little Thing” lands the plane successfully, allowing the emotional stakes of the series to pay off. Simply put, The Penguin and “A Great Thing or Little Thing” proved excellent for TV.

Once again, the Francis/Oswald relationship drives “A Great Thing or Little Thing” until its last moments. Whether realized or not, Oswald remains completely dependent on his mother’s affection. The Penguin had other episodes with Carmen Ejogo as an escort. However, one has to wonder if her approach as his mother started long before the events to close the series. Cobblepot’s been needing this affection. This very easily could be part of their routine, and “A Great Thing or Little Thing” opens this up.

Additionally, Oswald’s final moments with Vic in “A Great Thing or Little Thing” speak to how Cobblepot has fully broken. He no longer trusts those alive. The death of Vic would already be atrocious. Yet stealing his money and throwing the ID into the ocean is like pouring salt on a snail. Vic will never be identified, and he was strangled by someone he considered family. It’s grating to watch “A Great Thing or Little Thing,” but regardless, this was an incredibly upsetting death to watch.

Another aspect of “A Great Thing or Little Thing” that comes through – especially in a post-election world – is the rhetoric used by Hady. The man begins cursing and undermining the current government administration. Hady wants power above all else. If his speech doesn’t ring true to the MAGA world, it’s unclear who “A Great Thing or Little Thing” would be for. Meanwhile, the message of The Penguin boils down to sayings about “absolute power corrupts absolutely.” Hard to not to see the parallels.

We’re going to be sad to say goodbye to Farrell for now, but they’ll be back in the next Reeve-related Batman project. It’s easily the best performance in the DC Comics movies from the last few years. It’s easy to doubt Farrell, but remember to do so at your own peril. “A Great Thing or Little Thing” features another dynamic performance. If he could not sell the emotion under the makeup, “A Great Thing or a Little Thing” would be a disaster. Instead, it’s an excellent finale, and we bid adieu (or now).

Watch The Penguin on HBO or Max today. “A Great Thing or Little Thing” aired on November 10, 2024. Read our recaps of The Penguin here. Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘A Great Thing or Little Thing’ – THE PENGUIN – Season Finale Recap appeared first on Sunshine State Cineplex.

View Details

In America, you grow up hearing you are one moment away from changing your future. That myth has long influenced decision-making and risks people take at every level of American society. Anora, Sean Baker‘s latest sex-worker-focused film, uses this jumping-off point to tell a story of sex and money. A star-making turn from Mikey Madison delivers one of the world’s most poignant films while easily being the funniest adventure of the year.

Anora, a.k.a. Ani (Madison), lives a repetitive life as an erotic dancer in a club known as HQ. One night, she’s asked to perform for Ivan (Mark Eydelshteyn), the son of a wealthy Russian oligarch. Smited by Ani, Ivan asks to see her outside the club and eventually pays her for a “girlfriend experience.” At the end of the week, he asks her to marry him, and they tie the knot in Vegas. However, when Ivan’s family hears the rumors of the nuptials, they send henchmen Toros (Karren Karagulian), Garnick (Vache Tovmasyan), and Igor (Yura Borisov) to annul the marriage. After Ivan takes off into the streets, Ani must help the goons find her husband.

From its opening frames, Baker leans into myth-making. A recurring needle-drop of Take That’s “Greatest Day,” remixed by Callum Scott and Robin Schulz, provides neon-glazed optimism to the parties in strip clubs and mansions. With the hint of money and what we’re willing to do for it hanging over every scene, Baker lets his characters live their lives. It’s impossible to fault them for it. It’s a 24/7 party refueled with IVs, spa days, and late nights in clubs. The pure energy Baker pushes into Anora makes for a euphoric experience from the word go.

However, Baker knows the power of money creates an ephemeral high in ways that few directors can communicate. The whiplash we feel from one scene to the next speaks to how we try to control our environments, depending on the person. For Ivan, his money provides a get-out-of-jail-free card. For Anora, she must use her body and sex to change her world. Meanwhile, the three guys working for Ivan’s family want to exert power over an immature boy, only to land in a situation they cannot handle.

How power is built and negotiated throughout Anora is one of its most compelling aspects. Madison owns the screen in every scene as a screen presence, and Ani, as a character, rules over every environment she enters. In strip clubs, she uses her body. In quiet houses, her brash energy gives her the power of a grizzly bear. When Igor looks at her, he’s drawn into her vortex. Even when Ivan’s mother Galina (Darya Ekamasova) arrives, Anora will not back down. Her willingness to claw for her agency and power in every setting charms the hell out of the audience, and you cannot help but root for her.

It’s also interesting to watch Baker engage with a character that actually can assert their power over the world. Where Simon Rex’s character in Red Rocket certainly used sex to his advantage, his idiocy made it feel like incompetence turned into luck. Bria Vinaite in The Florida Project barely holds her life together, while Mya Taylor and Kitana Kiki Rodriguez fight for their mere existence. Yet Baker’s examinations of power structures in Anora feel more devastating. Even when a character can seemingly warp reality to her favor through sheer self-awareness and competence, she still cannot overcome the power structures in place to keep her down.

Of course, there’s a question of how each of these characters was forced to exert power through sex. That is certainly at the heart of Anora, which features dozens of nude performers, real-life exotic dancers, and very graphic sex scenes. For some audiences, this will be too egregious for Anora to feel like anything other than smut. The sequences in question are often short, barring the most emotionally taunt one of Anora.

For the “sex doesn’t belong in movies” crowd, Anora will certainly push all the buttons. However, Baker’s brilliantly complicated portrait of his title character tells us a lot about where the world is versus where we want it to be. The scammer at the heart of the film ensures that even people hardened by the world are vulnerable to false hope and belief in escape.

It’s hard, in the aftermath of the 2024 election, not to feel the impending dread of corruption and money continuing to illustrate the differences between the haves and have-nots. The character Ani does everything she can to make money and escape her life. Ivan treats his privilege with incredible disregard and continues to live his life without fear or consequence. It’s hard not to feel those dynamics feel more relevant today than when Anora debuted at Cannes. It’s the kind of aspect that speaks to Anora‘s instant timelessness.

To add to Anora‘s power, it’s beautifully photographed, and the editing is often top-notch. It is slightly too long and repetitive at times, which causes act two and three to feel about five minutes too long each. Even with that nitpick, the highs of Anora often involve Baker’s editing. He stitches together the beautiful cinematography from Drew Daniels and creates a high-octane experience. As it bounces between parties, sex scenes, and comedowns, Anora wraps you in the insane lifestyle on display. It creates a feeling of anxiety while highlighting the pure joy emanating from the experience.

Beyond Madison’s incredible performance, the rest of the cast hits their marks to perfection. The comedy from the Karagulian, Eydelshteyn, and Tovmasyan gives Anora incredible juice. Eydelshteyn gets to play the worst Timothee Chalemet you’ve ever seen while also proving charming (despite the red flags). It’s incredible to see both sides of that character at the same time. Karaguilian and Tovmasyan are hysterical and their exasperation cannot be contained by the screen. You can feel their meltdowns coming from a mile away, and Anora gets incredible mileage out of it. Karaguilian gets to play the more emotionally complete of the two, especially as he finds his phone going off in the middle of an Orthodox Baptism.

Finally, Borisov’s arrival moves Anora on its axis. He’s not only brilliant in his subtle nonverbals, but he brings a sense of menace to every scene. While he only lets it out a couple of times, Borisov changes the temperature of the movie in these moments. One moment, he’s hysterically silent, and the next, he’s throwing a baseball bat so high it disappears off the screen (never to return). Baker pulling Borisov from Russian cinema (including the excellent Compartment No. 6) is one of the best casting decisions in recent American independent cinema.

Anora taps into ideas and performances that feel impossible to replicate. Baker perfectly calibrates his performers to rise to the moment, and everyone meets the movie where it needs them. It’s a brilliant array of actors, anchored by Madison’s near virtuosic performance. It’s among the very best performances of the year in one of the year’s best movies.

Alan’s Rating: 9/10Watch Anora in theaters today. NEON distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: ANORA – A Gorgeous Tale of Poverty, Sex, and Scammers appeared first on Sunshine State Cineplex.

View Details

As 2024 comes to an end, this year will be remembered, among other things, for being an election year. Approximately 49% of the world’s population will have participated in a national election by the time 2025 rolls around.

This provides the perfect climate for director Edward Berger to tackle the intricacies of politics and the sometimes-unethical pursuit of power via his latest film, Conclave. Based on the book of the same name by Robert Harris, Conclave explores political dynamics within a religious institution, in this case, by pulling back the curtain on the centuries-old Catholic process of electing a new pope.

(L to R) Brían F. O’Byrne as Cardinal O’Malley and Ralph Fiennes as Cardinal Lawrence in director Edward Berger’s CONCLAVE, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.Fascinating is the reveal, as Berger manages a nuanced and gorgeously crafted political thriller. Conclave has razor wit and unexpected moments of levity. He thoroughly weaves in and out of the political machinery while the battle between faith, doubt, dogma, and secularism propels Conclave toward its shocking finale.

As opposed to his previous effort, the excellent and harrowing All Quiet on the Western Front, the setting shifts from battlefields to the secluded confines of the Vatican. Intellectual thought and engrossing mystery replace guns and tanks while character assassinations of a different kind are on display as the bellicose power struggle treads on throughout several days. However, different, as one character emphatically states: this is war.

Ralph Fiennes stars as Cardinal Lawrence in director Edward Berger’s CONCLAVE, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.Straightforward in its approach, Conclave goes about its business in a methodical yet detailed manner. The pope has died, and as per Catholic tradition, the world’s cardinals convene at the Vatican to elect a new pope. In charge of the conclave is Cardinal Lawrence (Ralph Fiennes), who is challenged not only by the weight of the responsibility but also by the politics behind the election and his own crisis of faith.

Composing the College of Cardinals vying for the Chair of St. Peter are an eclectic group comprised of liberals, conservatives, schemers, humanists, and downright corrupt individuals. As the conclave is prolonged, each of their motivations and pasts are gradually viewed through increasingly opaque lenses. This threatens to cast doubt on each Cardinal’s intentions. Furthermore, revelations within the Basilica walls speak to the fallibility present in the most noble of causes, as these also provide plenty of twists to keep audiences guessing.

Lucian Msamati stars as Cardinal Adeyemi in director Edward Berger’s CONCLAVE, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.Berger’s vision is made possible by a collaboration of stunning artists willfully dominating their craft. Screenwriter Peter Straughan keeps the dialogue clever and eloquent, never bogging it down. In one sequence, Straughan delivers back-to-back monologues, with one serving as the antithesis to the other. That Berger and Straughan managed to make this work, is a miracle of religious proportions.

Conclave is shot through the lens of Stéphane Fontaine. In his approach, Fontaine exacts precision with sharp cuts of varying lengths and distances as he reveals the intricately designed Vatican, where the characters will be sequestered until a new pope is chosen. The crew behind the set design led by Suzie Davies deserves its own canonization, as they bring to life a stunningly detailed replica of the Sistine Chapel. Providing the sound to the elaborate visuals is the score of Volker Bertelmann, comprised of shrill strings accentuated by plucking staccatos in the bass. Combined with raspy breaths and ominous tick-toking, makes Conclave an aural experience of its own.

John Lithgow stars as Cardinal Tremblay in director Edward Berger’s CONCLAVE, a Focus Features release. Credit: Philippe Antonello/Focus Features ©2024 All Rights Reserved.The assembled cast is extraordinary in their roles with Fiennes commanding every scene along the way. His performance of the weary yet serviceable Monsignor not only ranks among this year’s best but also among his career best as Fiennes expertly displays Lawrence’s inner turmoil. Faith and doubt are at odds in Lawrence’s heart and mind, however in a moving speech addressing the College of Cardinals, he makes the case for both for the future of the Church. It is one of the most poignant yet inspiring moments in film this year, and Fiennes delivers it with aplomb.

Pulling at opposite ends of progress are the liberal Cardinal Bellini (Stanley Tucci) and the conservative Cardinal Tedesco (Sergio Castellitto). Both actors phenomenally portray their characters and enrapture when discussing politics to keep the other out of power. Cardinal Trembley (John Lithgow) and Cardinal Adeyemi (Lucian Msamati) are among the favorites heading into the conclave, but their scheming ways and problematic past threaten to keep them out of the running. Lithgow and Msamati are given precious moments to explore the darkness of ambition.

Isabella Rossellini stars as Sister Agnes in director Edward Berger’s CONCLAVE, a Focus Features release. Credit: Courtesy of Focus Features. © 2024 All Rights Reserved.Speaking to the overlooked members of the Church who are victims of misogyny or marginalization are Sister Agnes (Isabella Rossellini) and Cardinal Benítez (Carlos Diehz). Rossellini is electric during her brief stint. The nun silently yet astutely watches over the ongoing proceedings, readily offering her perspective even though it is not traditionally welcomed. Diehz is astounding in his first role as the enigmatic Benítez. The Cardinal quietly observes the different unraveling circumstances, eventually feeling compelled to offer his own thoughts. These moments give Diehz ample opportunity to display his talents, and in return, he provides some of Conclave’s most moving scenes.

Berger has crafted a smart, technically stunning, and beautiful work, all while completely enthralling despite the film’s conversational makeup. Berger juxtaposes the 2,000 years of Catholic tradition with a modern flair, offering a look into the imperfect beings behind righteous causes. Conclave makes no qualms to call out the liability for error and corruption of the politics that guide them yet stops short of proposing a damning perspective. Instead, once the puff of white smoke is seen over St. Peter’s Square, it won’t only signal that a new pope has been chosen. It will also signal hope for a future where faith, doubt, dogma, and secularism walk hand in hand toward glorious uncertainty.

Borja’s Rating 10/10Watch Conclave in theaters today. Focus Features distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: CONCLAVE – Habemus a Masterpiece appeared first on Sunshine State Cineplex.

View Details

While Christmas movies have seemingly disappeared to streaming, every once in a while, one makes its way to the theaters. Despite a clamoring for movies that celebrate the holiday season, these audiences have been wildly underserved by movies that key in on the secular power of the season. The Best Christmas Pageant Ever finally makes its way to the big screen, allowing the adaptation of the great children’s book to live up to its premise. Directed by Dallas Jenkins (Director of The Chosen), it takes a step up and delivers a heartfelt experience that should touch even the most cynical hearts.

Pete Holmes as Bob, Molly Wright as Beth, Sebastian Billingsley-Rodriguez as Charlie and Judy Greer as Grace in The Best Christmas Pageant Ever. Photo Credit: Allan FraserAdapted from the children’s book by Barbara Robinson, The Best Christmas Pageant Ever follows a small church’s production of The Christmas Story. After an incident injures the director in charge of the event, Grace Bradley (Judy Greer) takes over the production. Told by Grace’s daughter Beth (Molly Belle Wright as a child, Lauren Graham as the narrator), the production becomes a problem when the local “problem children” – The Herdmans – become involved. Led by Imogene (Beatrice Schneider), the Herdmans and the Bradleys must find common ground to put on the important show for the town.

Beatrice Schneider as Imogene Herdman, Matthew Lamb as Claude Herdman, Essek Moore as Ollie Herdman and Mason Nelligan as Ralph Herdman in The Best Christmas Pageant Ever. Photo Credit: Allen FraserJenkins correctly frames The Best Christmas Pageant Ever through the lens of compassion. Rather than hit the audience over the head with pure faith and belief, it takes a far more practical and empathetic to the Herdmans’ situation. Where other faith-based films struggle to connect, Jenkins walks a middle ground. It’s not a faceless or cartoonish villain who hates religion and serves as the antagonist. If one were to diagnose people who need to change, it stems from the churchgoers and the town itself. It’s an argument that even with faith, our bias can overshadow our ability to create community. It’s a powerful message that should resonate.

Pete Holmes as Bob, Molly Wright as Beth and Judy Greer as Grace in Best Christmas Pageant Ever. Photo Credit: Allan FraserThe Best Christmas Pageant Ever also looks better than many films of its ilk. The simple production design is polished and shot well. Jenkins does little to reinvent the wheel, but his film’s competency sells the experience. Everything feels handmade, the world feels lived in, and the set pieces feel real. It’s the kind of mid-budget movie we rarely get anymore, and while it’s not quite as accomplished as Are You There God, It’s Me, Margaret, it’s not far from that. That nostalgic feel will place it in the rotation with movies like A Christmas Story and Home Alone.

Beatrice Schneider as Imogene Herdman and Judy Greer as Grace in Best Christmas Pageant Ever. Photo Credit: Allen FraserThe performances throughout The Best Christmas Pageant Ever helps lift the story as well. Greer fits into the lead role perfectly, providing a performance that is equal parts frustrated and empathetic. She’s phenomenal in the subtle role, and it helps ground the film. Pete Holmes is also excellent as the patriarch of the family. He’s distant enough to fit into the stereotype of the era, but he’s so inherently good, it stands in stark contrast to other recent performances. He’s very funny and his turn is so heartfelt that you miss him when he’s not on screen.

Beatrice Schneider as Imogene Herdman, Mason Nelligan as Ralph Herdman, Matthew Lamb as Claude Herdman, Ewan Matthys Wood as Leroy Herdman, Essek Moore as Ollie Herdman and Kynlee Heiman as Gladys Herdman in The Best Christmas Pageant Ever. Photo Credit: Allen FraserThe children in the ensemble have some of the issues you might expect out of child actors. It’s difficult to strike the balance between overly precocious and a subtle performance. Many of the child actors fall in the former camp, which falls on Jenkins’ plate. However, his two core performances from Wright and Schneider are phenomenal. With the two of them shining in every scene, they make the rest of The Best Christmas Pageant Ever fall into place.

Judy Greer as Grace and Molly Belle Wright as Beth in The Best Christmas Pageant Ever. Photo Credit: Allan FraserWith good vibes and a positive message, The Best Christmas Pageant Ever hits the sweet spot. It’s a cute and fun movie, and Jenkins stands out in the director’s chair. It’s nice to see a film that balances the ideas of faith and general empathy, allowing its message to go down easy. More films about the Christmas Story should be this engaging, and it’s nice to see The Best Christmas Pageant Ever succeed. It’s sure to make the holiday rotations for many in the near future.

Alan’s Rating: 7/10Watch The Best Christmas Pageant Ever in theaters today. Lionsgate distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE BEST CHRISTMAS PAGEANT EVER – Community Drives a Saccharine Tale appeared first on Sunshine State Cineplex.

View Details

Taking back stolen property from colonial powers has been rare. However, when it does occur, it should be celebrated for the power it restores to the communities and countries of origin. Dahomey, a new documentary from the brilliant Mati Diop, charts one such shift. The resulting film is not only incredibly creative but opens an important discussion.

After years of pressure, the French government finally began to return some works of art to their home countries. In total, twenty-six artifacts were returned to the modern-day nation of Benin. The small West African nation encompasses an area that was once the Kingdom of Dahomey. The pieces of art are extremely varied but Diop chooses to celebrate number 26 in particular. This piece, a statue of King Ghézo (who ruled Dahomey from 1818 until 1858), speaks about its journey back to its homeland.

Diop proved herself one of the most visually ambitious filmmakers alive with Atlantics in 2019, continues to showcase her talent. Diop wrote the screenplay for Ghézo’s narration, which quickly becomes the heartbeat of Dahomey. It’s an experimental twist on the art form, but it imbues the story with life. Ghézo tells us about the ways the world has changed, about their dreams of their homeland, and about the experience of going in and out of crates. Diop’s editing further emphasizes this process, as if she left the cameras in crates as they traveled between locations. Her dialogue and writing in the narration are poetic, and the sound design to create the voice is uniquely unsettling.

While traveling art across oceans and reobserving the quality of the pieces does not sound compelling, Diop wisely keeps the pace up with a 68-minute runtime. While it still lags at times, her choice allows a town hall-style discussion to become the centerpiece of the film in its closing act. The energy and ideas bounding out of this choice alone are worth the price of admission. As students argue about the importance of culture and history, Dahomey comes to life as it implores us to continue the discussion in our own countries.

Dahomey also features incredible cinematography from director of photography Joséphine Drouin-Viallard. For a documentary about pieces of art, the visuals are dynamic. Drouin-Viallard shifts and turns the camera when necessary, but her wide-angled established shots are painterly in their own right. The simple framing and blocking of Dahomey far exceeds any other documentary shot this year, and the beauty Drouin-Viallard finds is quite breathtaking.

As art is taken from nations and cultures, it is integral to discuss the importance of its return. The colonial efforts of Western Europe and America have deprived cultures of their goods for centuries. These actions not only stole that history from the people who grew up in that area but removes something intrinsically human in the process.

The want to create and shape the world around us is seemingly imbued in our being. While art will not be the answer for all of us, it is the answer for some. To deprive people of their art is to steal a part of their soul. While 26 is a start, Dahomey references that as many as 7000 pieces lie in French museums. That is a travesty and the need to return these pieces to their homeland.

Even with some slowness in its execution, Dahomey carries a powerful message. Diop far exceeds what should be possible in this kind of documentary, but the limits of its structure and story make it fall short of true greatness. Still, the highs are so incredibly ambitious that Diop continues to build her own legacy.

Alan’s rating: 8/10Watch Dahomey in select theaters today. Dahomey is distributed by MUBI. Please check out other Sunshine State Cineplex reviews here!The post Review: DAHOMEY – A Brisk Museum Story From the Brilliant Mati Diop appeared first on Sunshine State Cineplex.

View Details

Like stepping into high school, the raucous teen comedy featuring a debaucherous party is a rite of passage for young actors. Fast Times, American Pie, Superbad; each generation has a defining film that serves as a springboard for new comedic talent. Incoming, while not an instant classic, arrives to mark the next class of up-and-comers. It features all the expected hijinks and wields a surprising heart and charm. Incoming doesn’t break new ground yet delivers enough laughs and enjoyable performances to make it worth a watch.

Incoming. Ali Gallo as Alyssa Nielsen in Incoming. Cr. Spyglass Media Group, LLC and Artists Road, LLC/Courtesy of NetflixBenj (Mason Thames), Eddie (Ramon Reed), Connor (Raphael Alejandro), and Koosh (Bardia Seiri) step into their freshman year of high school with high expectations and low self-esteem. Knowing that the start of their freshman year can set the course for their next four years, each is determined to make a good impression. Hoping that a killer party will answer their problems, the four friends discover that being themselves is key.

Written and directed by Dave and John Chernin, the film’s story predictably throws every bit of foul language, gross-out gag, and awkward interaction into the melting pot. The result churns with excess, but the brothers never linger on one comedic beat for too long. Splitting the action between the house party and a wild joyride in a borrowed Tesla, the filmmakers utilize cutaways to keep the pacing. When so much is thrown at the wall, not everything is going to stick. However, enough jokes land to keep the laughs coming at a steady pace.

Incoming. (L-R) Raphael Alejandro as Connor, Mason Thames as Benji Nielsen, Ramon Reed as Eddie and Bardia Seiri as Koosh in Incoming. Cr. Spyglass Media Group, LLC and Artists Road, LLC/Courtesy of NetflixThe young stars collectively show much promise. Veteran stars Kaitlin Olson and Bobby Cannavale shine in smaller but hysterical roles, and their younger costars attack with the same level of comedic timing and professionalism. Thames, looking much like a less heroic version of Tom Holland’s Peter Parker, may be the film’s lead, but each of the other character’s storylines is made better by Reed, Alejandro, and Seiri’s performances. The script doesn’t provide many moments for quieter reflection, but each actor steals moments of deeper pathos than one might expect.

The film’s message of “be yourself” roars through with no subtlety or finesse, yet the filmmakers inject it with enough heart to avoid patronizing. Had the characters been unlikeable, the lesson would have fallen flat. After all, who can get behind “be yourself” when the self-presented is horrible? Yes, the characters are flawed, but time has been taken to address those flaws. In an age of influencers and the burden of growing up at ever younger ages, it’s a true coming-of-age tale that feels more authentic than most. That said, moments of introspection are brief, so the film’s pacing never stumbles to a halt.

Incoming. (L-R) Isabella Ferreira as Bailey and Mason Thames as Benji Nielsen in Incoming. Cr. Spyglass Media Group, LLC and Artists Road, LLC/Courtesy of NetflixIncoming likely will not become a classic, but for the current generation, there is enough to find favor. The young, likable cast matches their veteran co-stars’ energy and comedic prowess to deliver some truly funny moments. While not particularly deep, the filmmakers ensure the film delivers some relevant messages in an age where the line between online persona and true self blurs. Like most people’s high school experience, Incoming may not be a film that needs to be revisited, but there are still plenty of moments to think back fondly on.

Josh’s Rating: 7/10Watch Incoming on Netflix today. Incoming was distributed by Netflix. Please check out other Sunshine State Cineplex reviews here!The post Review: INCOMING – A Funny Coming of Age Story for this Generation appeared first on Sunshine State Cineplex.

View Details

For those of a certain age who weren’t around for the new millennium, Y2K was really concerning. In all computer systems, no one realized there could be a problem if the program was not adjusted to accept the year 2000 onward because no one programmed something to be past 1999. There were worries that everything would collapse, our power would fail, and the world would come to an end.

Obviously, things were normal, but there was a lot of effort to fix those problems before midnight that fateful day. For former SNL star-turned-director Kyle Mooney and his friend Evan Winter, they lived through this odd moment as teenagers and have come up with this farfetched, yet totally hysterical concept of what if Y2K turned out bad.

High School friends Eli (Jaeden Martell) and Danny (Julian Dennison) make plans to crash a New Years Party, get drunk, and maybe get laid. They go to their local store for a movie and some weed from the clerk, played by Mooney in dreadlocks. Eventually, the two break the liquor cabinet of Eli’s parents, get drunk, and have the courage to go to a house party. There, Eli has his eye on basketball player and code-learner Laura (Rachel Zegler) but believes he is way out of her league.

After dealing with the bullies who mock them as being zeros, they countdown to midnight and the New Year. Only seconds afterwards, something suddenly becomes amiss, as one of the guests dies in a freak accident with a fan. Y2K is not William H. Macy shooting himself after midnight in Boogie Nights, but the tone shifts immediately when an unmanned remote-controlled car rolls up with a lighter and aerosol spray. In front of another guest, the dangerous mix torches off that person’s head, and chaos ensues.

Every gadget with a computer chip that is attached to the Internet attacks someone and kills people in comical ways. Or, for one teen who is not killed, a live blender attacks and emasculates him. It’s painful for any male to watch.

After this, a few partygoers, including nu-metalhead Ash (Lachlan Watson) and wannabe rapper CJ (Daniel Zolghadri), get out of the house alive and run off to regroup. The city is ablaze, electricity is the enemy, and they find an abandoned factory lit by fire in a barrel to figure it out. From there, Y2K goes everywhere, anywhere, carrying itself a bit thin at the end. However, go along for the ride because Mooney is here for all zany things in 90 minutes.

One noted highlight is Limp Bizkit frontman Fred Durst playing a fictionalized version himself as the only survivor of his band to not get killed and is a little traumatized. He plays a silly version of himself, scared, but he does an excellent job of showing what he may be like, though not as tough.

Y2K is one of those late-night, get-high-and-drunk movies where it is more enjoyable like that rather than being sober. It’s a simple explanation of what that bug could have done if it was real, but being over the top and some questionable choices by Mooney and Winter, Y2K starts to lose its comic luster. Still, it’s a solid effort by Mooney as a director and proves he should helm another film. Loving the late 90s and the opening scene of AOL, dialup, the standard definition vision of Bill Clinton and porn still brings a smile to those who lived it. Just beware of A.I. now being the bigger threat.

Brian’s Grade: 6.5 of 10Follow me on BluSky: @briansusbielles.bsky.social

Y2K releases on December 6, 2024. A24 distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: Y2K – New Year’s Eve 1999 Confirms We Are Stupidly Lucky To Be Here appeared first on Sunshine State Cineplex.

View Details

It’s been twenty-eight years since writer/director Mike Leigh and actress Marianne Jean-Baptiste got together to make Secrets & Lies. The Cannes winner gave Jean-Baptiste her first Oscar nomination, and the film was nominated for Best Picture. With Hard Truths, they are back together. Leigh, a decade after shooting period dramasMr. Turner and Peterloo, returns to the modern-day character study of a dysfunctional family with its protagonist being the crux of all issues.

Hard Truths follows Jean-Baptiste as Pansy, a middle-aged wife and mother to her handyman husband Curtley (David Webber) and their 22-year-old son Moses (Tuwaine Barrett). The boy wanders around playing video games with really no future. Pansy is a woman who is bitter, paranoid, frightened, and just stubborn with everyone, including her family.

This stands in contrast to her sister Chantelle (Michele Austin) and her daughters Kayla (Ani Nelson) and Aleisha (Sophia Brown), who are more lively at their home than Pansy, Curtley, and Moses. Chantelle is a woman who gets on with it, even after her husband left the family.

Marianne Jean-Baptiste (Left) and Michele Austin (right) star in Mike Leigh’s Hard Truths. Bleeker Street distributes the independent drama.Pansy is clearly somewhere else inside her mind because it isn’t normal. After one funny insult after another to every random person she runs into, the story of Pansy and Chantelle gets down to the core of their differences with a pivotal scene at their mother’s grave. Pansy’s insecurities and distrust begin to explain themselves; a tough relationship with her mother and getting herself involved in an unhappy marriage makes Pansy feel personally imprisoned.

In old Leigh fashion, he does not write a screenplay. Instead, he has a storyline and has the actor develop their own characters along the way. With every rehearsal, the actors come out with their own feelings about what their characters would say. Leigh brings out the best in his actors to develop very natural dialogue.

The performances are solid all-around, especially because Baptiste has to carry all the emotions in the story. Pansy is an enigma that she beautifully coils up and slowly unravels to get to the heart of what she is. Leigh has always gone to different locations, families, and classes to explore the inner works of slice-of-life to every story, whether light-hearted (Happy-Go-Lucky) or quite dark (Naked).

Marianne Jean-Baptiste and Michele Austin star in Mike Leigh’s Hard Truths. Kayla (Ani Nelson), Aleisha (Sophia Brown), Curtley (David Webber), and Moses (Tuwaine Barrett) co-star. Bleeker Street distributes the independent drama.Hard Truths is a domestic drama about being stuck in a life never desired, with all types of pain. The years of discontent with everything and how it turned out to be rears its ugly head late in life, and nothing can fix it. Pansy is a person that many middle-aged adults could relate to in some way because of how sensitive it is and the fear of talking about it openly.

Leigh, as he does in many of his films, has us look at the fear we all have (especially for me at age 34) that we could also become. Disappointment in what happens is something no one wants to have going into our 50s and 60s, but for those who have some of Pansy’s traits, the hilarity and sadness of Hard Truths is equal to the reality of it all.

Brian’s Grade: 8.5/10Follow me on Twitter: @Brian_cine (Cine-A-Man)Follow me on BluSky: @briansusbielles.bsky.socialWatch Hard Truths later in 2024. Keep up with it on Bleeker Street’s website or IMDB. Bleeker Street distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: HARD TRUTHS – Mike Leigh Returns With Piercing Precision (Miami GEMS) appeared first on Sunshine State Cineplex.

View Details

Since the Satanic Panic of the 1980s, blood, gore, and rock & roll have felt synonymous. Some bands leaned into the aesthetic, while others served away to avoid comparisons. Yet, every once in a while, a movie like Director’s Cut can have it both ways. Following a post-hardcore band looking to break into the mainstream, Director Don Capria finds some balance in marrying the slasher subgenre with rock history. While the story is relatively thin, an excellent performance from Louis Lombardi keeps this one afloat. The result is a mostly satisfying slasher for millennial punk fans.

After a dark tragedy leaves a punk band lead singer in tatters, the group tries to rebuild their momentum. Jay (Tyler Ivey) wants to write new music. Menace (Brandy Ochoa) and John (Greg Poppa) want to prove they’re a legit draw with live shows. Jay and drummer Juan (Louis Rocky Bacigalupo) discover a music video director – Mister Director (Lombardi) – who wants to help them shoot a video for free. When the band agrees this is a perfect middle ground, they drive to the Pennsylvania woods with their manager and girlfriends (Haley Cassidy and Danielle Kotch). However, Mister Director’s methods quickly prove unusual and dangerous.

Capria dives us straight into the band’s inner fighting, which provides a good starting point for the tension. Even close-knit friends find irritation points over years in a relationship, but it’s well documented that band life takes a particular toll on those in them. Factions develop, and relationships fray. Tack on the death of a close friend, and you have a recipe for disaster. Even as the group tries to prop each other up and provide support, it’s quickly apparent that no actions can heal the exposed riffs.

However, the band is so close to stardom that they refuse to acknowledge the warning signs in their own relationships, let alone the external threat that lands at their doorstep. They ignore what has occurred, instead trying to move on with life. They date new people, try to write more songs, and build a brand. At the same time, they retain their old ways, playing stupid pranks and use bullying tactics. Cabria proves that even the tragedies surrounding them bring them no closer to maturity.

The search for fame in America is as old as time and resonates throughout music history. Bands have often pushed the limits of infamy, all in service to the mantra that “all press is good press.” Even when a band goes too far into drugs and alcohol, it can lead to a lasting legacy. However, when those at the periphery of a band die or find themselves seriously injured, they rarely get the same treatment. Much of Director’s Cut wonders how a band moves on from these incidents, especially as they carry remorse for how the violence occurred.

The real performance that sells Director’s Cut is Lombardi. The veteran character actor from Ed Wood and The Sopranos finds himself in a meaty role here. He disarms the audience by appearing in a wheelchair but establishes a vicious undertone that courses throughout Director’s Cut. That menace provides the needed tone for the slasher elements to come through, and his masochism becomes one of Director’s Cut‘s enduring aspects.

Like many good slashers, Director’s Cut asks the audience to join its antagonist on a journey. While it delays its initial reveal, the reason for the violence becomes obvious. Even when a young punk band feels they’ve moved past tragedy, others may be willing to let bygones be bygones. As a result, the slasher becomes a fun ride as the characters are picked off one by one in their pursuit of fame above all else. Despite their good intentions, some deeds require punishment. With Capria’s film, you can be assured there is plenty to go around.

Alan’s Rating: 6/10Watch Director’s Cut in select theaters and on VOD.Please check out other Sunshine State Cineplex reviews here!The post Review: DIRECTOR’S CUT – A Flawed Rock & Roll Slasher appeared first on Sunshine State Cineplex.

View Details

After taking over the drug game from the Maronis and the Gigantes, Oswald (Colin Farrell) finds himself at the top of their hit list. His power continues to grow, especially with his new deals with smaller gangs. However, Sofia (Cristin Milioti) has found his mother. The tides may turn, and the true violence may have only just begun. Directed by Kevin Bray, “Top Hat” raises the stakes for Oswald and Gotham in the penultimate episode. Can the gangster rise to the top as he predicted? Or will he crumble under the pressure?

“Top Hat” RecapRather than begin in the present, “Top Hat” begins with a flashback to Oswald’s childhood. His mother (Emily Meade) works at a calculator while Oswald (Ryder Allen) watches her work. Benny and Jack play, storming into the room chasing each other. Francis tells Jack he needs to take Oz and Benny out for the afternoon. While walking, they see local gangster Rex, who gives Jack $50.

On the way home, Oz asks Jack what they will spend it on. Jack tells Oz and Benny they cannot trust Rex. He’s a gangster. They break into the tunnels and find flashlights. They begin to play hide and seek, with Oz kicking off as the seeker. His brothers hide down a storm drain and taunt him to come find them. He grows angry and leaves them in the drain, slamming the door shut and locking them in the storm drain.

Oswald returns home, telling Francis his brothers went out to a movie. They lay down and watch the 1936 film Top Hat (starring Fred Astaire as a nimble dancer). As they watch, the camera cuts back to the storm drain, where Benny and Jack beg for help. As the song stops, so do the screams.

We return to the present day as Cobblepot (Farrell) returns home. He noticed the door broken down and quickly searched the room. He finds Vic (Rhenzy Feliz) bleeding in the corner and discovers Sofia took his mother. Sal Maroni pulls up, and Cobblepot sends Vic out to raise an army with Zhao.

Cobblepot gives up to Sal, who beats him with a golf club. They tell Oswald they’ve got his family. Sal calls Sofia, telling her they have Oswald. Before they return to Sofia’s compound, Sal wants to see the drug operation in action.

Francis sits nervously in Sofia’s living room until Sofia arrives with toast. Sofia tries to prod Francis, but Oswald’s mother turns most lines of questioning into insults towards the Gigantes. Sofia finally hits a nerve when she brings up Jack and Benny. Francis has an episode of dementia until Sofia tries to show kindness. Dr. Rush (Theo Rossi) enters the room and tells Sofia that her niece, Gia, wants to speak to the police. Rather than have Rush speak to Gia, Sofia sends him to Francis.

Sal brings Cobblepot to one of the drug locations. His men kill two Cobblepots, and Sal tells the workers they now work for the Maronis. Oswald taunts Sal until his attention is pulled. One of Cobblepot’s men kills the lies, with Oswald and Sal fighting into a bus. During the fight, Sal has a heart attack, and Oswald puts a clip into his corpse. Cobblepot throws the body out of the train car, and he thanks his men for their hard work. However, there’s more coming on the horizon.

Sofia arrives at the institution to meet with Gia. The young girl asks about Sofia’s mask the night of the gassing. Sofia deflects but notices the cuts and slashes all over Gia’s arm. Sofia uses this as an opportunity to tell Gia the truth about their family and that Gia deserves better. Outside the room, Sofía breaks down.

Sofia receives a phone call, assuming it is Sal. Instead, Oz offers the entire crime syndicate in exchange for his mother. Sofia interrupts Dr. Rush’s session with Rush to speak with the doctor. She’s struggling with the choices in front of her, especially because it’s too close to what her Dad would have wanted. Instead, she wants to hurt Oswald.

Oswald readies his men to complete the swap with Sofia. A black G-wagon pulls up and drives up to his gates. Before it pulls in, Cobblepot receives a phone call from Sofia. She tells him that Francis taught her to be something different. Inside the car is a bomb, which blows up the entire Cobblepot operation. Oz makes it to a storm drain to hide and is blasted down the shaft. Sofia tells Oz to find her if he survives. They head into the shell of an old dance club, Monroe’s.

In the past, Oswald tried to feed his mother after the deaths of his brother. Francis takes him out dancing to a club named Monroe’s. While they dance, Francis begs Oz to make her a happy life. He promises her the life she deserves.

Back in the present, Oz wakes up in ash. The entire city block has exploded and come down on top of him. However, he climbs out of the sewer drain and through the rubble. Others stumble through the ash, but one of the cops working for Sofia finds Oz. He knocks out Oz with a nightstick and kidnaps him.

“Top Hat” – The TakeawaysAnother excellent episode, “Top Hat” digs deeper into the Reeves version of the iconic comic book character. Each layer, especially around the deaths of Oswald’s brothers, proves more complicated than the last. It’s rather stunning to see a comic book series not only get away with this imagery but the darkness that it embodies. HBO has always been at the forefront of letting its protagonists do awful things. Having them commit fratricide to gain the attention they believe they deserve is certainly a shocking one.

Farrell once again turns in an excellent performance in “Top Hat.” The moment before he discovers the bomb is powerful because he’s ready to see his mother dead in the back of the G-Wagon. As he tries to emotionally process what he will see, we watch Farrell’s eyes go dead. He already knows his next step is to kill everyone involved in the Gigante crime family, and simply because the explosion in “Top Hat” does not kill him, does not mean his objectives changed. This will be a man on a mission in the finale, and Farrell continues to bring new subtleties to the performance in “Top Hat” that cannot be ignored. It’s an early contender for the Emmy.

We also say goodbye to Clancy Brown with “Top Hat.” He worked effectively as a big bad for us to worry about, yet it’s hard to ignore how he goes out. The heart attack might feel anti-climactic, but again, Oswald is deprived of his ability to conquer. That aspect continues to drive him up a wall, and shooting a corpse proves his frustrations. “Top Hat” dives into Oswald’s anger issues, which results in unwanted consequences. Once again, Cobblepot’s inability to complete his goals frustrates him. Brown was excellent when put up against Farrell or Milioti, and he certainly lived up to his intimidating vocal and physical presence.

Finally, the face-to-face conversations between Francis and Sofia in “Top Hat” were worth every penny. It’s a brilliant move to put the two most insightful characters into a room together and watch them attempt to tear one another apart. There’s respect between the barbs, even if Sofia knows that Francis is powerless. The way they attack each other is a work of art and one of the best-written dialogue sequences in all of “Top Hat.” Given the strength of this teleplay, that’s quite the compliment.

Where do we go from “Top Hat?” Well, it appears dark and darker. Oswald is captured, and Sofia is going to hurt him. That does not mean Oz is going quietly, as one can note in every other episode this season. Cobblepot and Sofia cannot co-exist in this world, and one must die. While “The Hangwoman” has not lived up to her name yet, it would not shock me to see it come to life in this final episode.

Additionally, keep an eye out for any defectors. Could Dr. Rush turn to maintain power over Sofia? Or will he prove loyal to the end? Get ready for a violent ending to the Matt Reeves The Batman spinoff, and it’s been a fun journey as we round the corner. “Top Hat” is just another big win for the show.

Alan’s Episode Rating: 9/10Watch The Penguin on HBO and Max. “Top Hat” aired on November 3, 2024. Read our recaps for The Penguin here. Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘TOP HAT’ – The Penguin – Episode 7 Recap appeared first on Sunshine State Cineplex.

View Details

More celebration than documentary, Music by John Williams is a greatest hits showcase of cinema’s greatest composers. Joining the ranks of the watered-down Stan Lee and the more heartbreaking Jim Henson: Idea Man, this new Disney+ original stands out as more than a showcase of other projects on the streaming giant’s platform. Instead,the documentary chronicles John Williams’ varied and far-reaching body of work in mostly chronological order. With such a massive resume, that means that the focus is primarily surface level. Those looking for an in-depth analysis of what makes a genius may be disappointed that the filmmakers allow the music to speak for itself but Williams himself doesn’t seem to have an answer to that question.

Director Laurent Bouzereau opts for a straightforward narrative. Williams is introduced and his relationship with Steven Spielberg is established immediately. Though Williams had long made a name for himself prior to his first collaboration with Spielberg, Music By John Williams seems to suggest that the duo’s partnership led to nearly all of Williams’ greatest achievements. And who can argue with that? Certainly, not Spielberg, who is happily on hand to heap as much praise on his long-time friend throughout Music By John Williams‘ runtime.

With nearly any other set of partners, the interviews might seem trite, but Williams and Spielberg, both together and individually, have earned the right to pat each other on the back. The twinkle in Spielberg’s eye is infectious, and it is impossible not to feel joy hearing him talk about Williams.

Williams’ daughter and grandson are both on hand to share more about the man behind the music, offering insight into what he is like away from his piano. These segments, though sparse, offer the clearest vision of who Williams is. Unlike other celebrity families, Music By John Williams does not hint at any contentiousness. Williams was a workaholic, but not at the expense of his family.

The only hint of turmoil was after the passing of his wife at a young age, Williams threw himself deeper into his work, leaving his daughter to primarily care for his other two sons. Jennifer Williams tells the story matter-of-factly and without malice. Perhaps there is more to it, but Music By John Williams elects to keep things positive.

A small smattering of other entertainment talking heads shed light on the cultural impact that Williams has had beyond the cinema. From television series to themes for Monday Night Football and the Olympics, Williams’ influence is further reaching than some may realize. Another segment highlights Williams’ involvement with the Boston Symphony Orchestra and how he overcame the adversity he faced as a film composer, something seen as beneath the like of a classical orchestra. In hindsight, the ordeal seems ridiculous, but it is a testament to what a master Williams is at his craft that he can blur the line between what is “film music” and what is “traditional music.”

Music By John Williams’s greatest strength lies in the composer’s involvement. Though he never delves too deeply into his process, he does take the camera behind his piano to share how he still handwrites his compositions. Though excited for the opportunities that technology allows modern composers, Williams reflects that such advances may come at the expense of more traditional musical arrangements. Throughout Music By John Williams, he offers other insights that firmly cement his position as a traditionalist. His steadfast devotion to not doing things the easy way is just another of his endearing qualities that, if presented by nearly anyone else, would seem out of touch and tiresome.

Borrowing from Spielberg’s own library of home videos, Bouzereau includes many great behind-the-scenes segments of Williams’s process for scoring films. The process, though not surprising, is fascinating and fun to see. These glimpses of how films are scored are not unique to Williams and provide the audience with some context in how the music fits into the established footage. The argument is made that, whether Williams or another composer, the music is vital in making a scene complete. This is likely not something that anyone would rightfully contest but when presented with before and after music samples, Bouzereau makes a pretty compelling case.

Music by John Williams offers an explanation of why Williams’ music is a soundtrack to our collective psyches. Bouzereau doesn’t challenge the great composer’s genius, nor does he offer an explanation for it. Instead, audiences are provided with a feel-good walk through the career of music royalty, with insights from the man himself, his family, collaborators, and fans. It is an unproblematic celebration of a remarkable talent and a great reminder about the importance of a quality movie score. And yes, this review was composed with Williams’ music playing in the background – Jurassic Park for those wondering.

Josh’s Rating: 9/10Watch Music By John Williams on Disney+. Disney distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: MUSIC BY JOHN WILLIAMS – A Feel-Good Romp through the Composer’s Songbook appeared first on Sunshine State Cineplex.

View Details

Certainly, a cartel musical was not on many people’s bingo cards for 2024. Furthermore, a cartel musical revolving around a story of acceptance and rebirth is so out of left field that only the most audacious of personalities could envision the possibilities that result in the wonderfully weird Emilia Pérez.

French director and screenwriter Jacques Audiard possesses the boldness required to tackle such themes. Throughout his career, Audiard has demonstrated a penchant for the non-conventional, with the excellent A Prophet, Rust and Bone, and The Sisters Brothers serving as odd, yet deep displays of intense character studies. With Emilia Pérez, Audiard tackles the stories of women looking to find their way in the world through connected experiences. But of course, Audiard, having been loosely inspired by Boris Razon’s Ecoute, sets his musical drama in uncommon territory.

So alien is the terrain the characters inhabit, the question prevails: what exactly is Emilia Pérez? Part musical, cartel drama, social realism, and even part telenovela, Audiard plays with multiple genres. Typically, this exploratory exercise threatens to implode the narrative under the weight of its ambitions. However, for Audiard, these are familiar stomping grounds, allowing him to dexterously realize his vision all the way through.

Musicals are not something commonly associated with cartel dramas. That the director dares to undertake such a nuanced and complex form speaks to his ambitions for Emilia Pérez. Audiard’s forte lands in making incompatible ingredients stick. His self-awareness allows him to be ridiculous yet sincere, forceful yet tasteful. Combining his skills with two fearless performances at the hands of the equally bold Karla Sofía Gascón and Zoe Saldaña results in a one-of-a-kind offering.

As dispirited lawyer Rita Moro Castro (Saldaña) prepares closing arguments for a high-profile case. Using a Stomp-like style, along with dialogue recited in beats, helps the sequence blend in with the onscreen proceedings on its way toward the musical number. This formula, concocted along with composers Camille and Clément Ducol, is repeated throughout, ensuring the sequences never become cumbersome. Paul Guilhaume’s energetic cinematography helps with keeping momentum as well. Rita sings about the social injustice and the widespread corruption that stain Mexico as citizens repeat choruses and dance around locations. Not far away, someone gets murdered in a jarringly innocuous fashion as the rest of the unwitting crowd goes about their dutiful dancing.

From the onset, the stage is seemingly set. Things go as expected even as Rita is kidnapped just after her closing arguments helped her pendejo boss win the case in favor of a clear murderer. Her kidnapper, a cartel boss known as Manitas del Monte (Gascón) has a simple request: help him retire from the business and transition to life as a woman. In the history of Mexican cartels and drug lords, similar procedures are not entirely unheard of (See Amado Carillo Fuentes). Audiard still plays in familiar territory despite the odd request while making the most of the chosen setting.

However, in Emilia Perez, Manitas’ motivations are linked to their desire to finally live the life they were meant to live. Sacrifices will be made in the form of saying goodbye to his wife Jessi (Selena Gomez) and children, as they are displaced from Mexico to Switzerland, all while believing their beloved husband and father was assassinated. For Rita, accepting the offer allows her to finally live the life she envisioned for herself. The Manitas’ proposition comes with a large financial incentive, and with the uncertainty of what would happen if Rita refused.

From that point, the Manitas and Rita dynamic dominates Emilia Pérez. Years later, after Rita has completed the task, their paths cross again with Manitas fully living life as Emilia Pérez (Gascón). Their working relationship evolves right on the cusp of friendship, as Rita helps reunite the family under the pretense that Emilia is Manitas’ cousin. Emilia and Rita also work together to form Lucecitas, an organization dedicated to finding people lost to cartel violence. No one is more fitting than someone with Emilia’s past to lead such an initiative.

The proliferation of subplots helps serve the central idea of Emilia Pérez. Emilia and Rita are in constant struggle as they live through their rebirth. Emilia struggles with her past and her new family dynamic. Rita doubts her life’s work and purpose, as increased wealth and appreciation do not always bring the closure she had longed for. To a lesser extent, Jessi’s incapacity to find her north after her husband’s passing and a subplot involving Emilia’s lover Epifanía (Adriana Paz) help cement the theme of finding oneself amid life-changing circumstances.

Lending credence to the layered themes are equally layered performances from the leads. Saldaña completely owns every musical sequence she is in, displaying her extraordinary capabilities and range when not held back by globs of green makeup. There is a freshness to her performance where an “as you’ve never seen her before” designation is more than fitting. In one musical sequence, it is difficult not to smile and feel all types of rebellious as Saldaña dances on tabletops and sings hard, incriminating truths to the face of the murderous and corrupt. That kineticism permeates throughout her award-worthy performance.

Not to be outdone is Gascón in her dual roles. The Spanish actress not only needs to convincingly handle Emilia’s existential struggles, but she must bring to life an imposing, cold, dead-eyed criminal. Distinct mannerisms and vocal inflections are not obvious but subtle and convincing, helping to differentiate Manitas from Emilia. Gascón also expertly manages to conspicuously bury the monster Manitas inside of Emilia, revealing the malevolent presence still inhabiting her. The complexity of Emilia is fascinating, and Gascón delivers a performance that led the ensemble to win the best actress award in this year’s Cannes Film Festival, and that will undoubtedly garner more awards consideration.

Audiard’s presentation, skimming through various genres, is an odd yet moving and frequently powerful affair. Emilia Pérez never feels like too much of any one thing, yet the different themes it employs each manage to shine under their own spotlight. Several musical numbers will sear into minds due to their energy and uniqueness. Telenovela tendencies land in explosive fashion, and social issues are treated with reverence while still maintaining graphic realism.

Certainly, a cartel musical was not on many people’s bingo cards for 2024. But it should be on everyone’s must-watch list. Emilia Pérez requires audiences to hang on as it will pull and yank in multiple directions. Despite its wild demeanor and multiple personalities, Emilia Pérez doesn’t stray too far from its sincerity and truth. And even though that trajectory is often bonkers, what path of rebirth ultimately isn’t?

Borja’s Rating 8/10Watch Emilia Pérez in select theaters today. Emilia Pérez streams on Netflix on November 13, 2024. Please check out other Sunshine State Cineplex reviews here!The post Review: EMILIA PÉREZ – Audiard, Gascón, and Saldaña form Triumvirate of Refreshing Audacity appeared first on Sunshine State Cineplex.

View Details

Morgan Neville (20 Feet From Stardom, Won’t You Be My Neighbor?) has been on quite a run since winning his Best Documentary Oscar ten years ago. His diverse subjects in all his works have been solid pieces of entertainment. They pullback the curtains of major figures such as Orson Welles, Fred Rogers, Anthony Bourdain, and now, with the release of Piece By Piece, Pharrell Williams.

It is actually Pharrell’s idea to pursue a story about his life, but not in a non-traditional documentary style. As noted in the first scene of Piece By Piece, Pharrell wants his life to be told, deconstructed, and rebuilt to replicate everything using LEGO bricks. It took five years to make it, but the final product is a very glossy, fun presentation of his music.

Pharrell Williams stars in director Morgan Neville’s PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLCThe story of Pharrell is a lot like that of other R&B and hip-hop artists of his time. Growing up in Virginia Beach, Virginia, coming from public housing made life challenging. Pharrell still had his parents (also interviewed) and grandmother to lean on. He picks up music at an early age, with Stevie Wonder as the major inspiration.

Pharrell became friends with rapper Pusha T (famous for his diss track “The Story of Adidon” against Drake, years before Kendrick Lamar’s “Not Like Us”), Missy Elliott, and his cousin, Timbaland – all interviewed in LEGO format. Forming The Neptunes with high school friend Chad Hugo, they are able to pitch to producer Teddy Riley at a competition to get hired in his new studio right across from their high school.

However, Pharrell wants to produce his own music, and after co-writing the song “Rump Shaker” for one of his bands, The Neptunes branch out on their own. His career expanded as he started to work for other artists and pitched their innovative sounds. Neville portrays these with colorful lights, packaged differently and bounce to their own beats. This late-90s refreshing sound captures the attention of artists who would be in the film and interviewed. Artists Gwen Stefani, Jay-Z, Justin Timberlake, and Snoop Dogg all appear. In a hilarious visual gag, the smoke that comes from Snoop’s puff off a joint is eliminated with “PG Spray” to keep Piece By Piece rated PG.

Jay-Z and Pharrell Williams in director Morgan Neville’s PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLCPharrell’s story also has his down moments. A period before Random Access Memories and the Despicable Me series resurrected his career to new heights. Those depictions of his unhappy moments is where the animation really helps express emotions. Neville visualizes Pharrell feeling drowned by the sea or being lifted into the mothership of Daft Punk. A tripe of documentaries is theusekf are archival footage and that closeup on the subject when it gets to those melancholic moments. The lack of it here doesn’t bring the same effect of emotion as you would see in a traditional documentary.

Director Morgan Neville and Pharrell Williams in their film PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLCThe fact you see all of these historical figures as LEGOs, with near-perfect resemblance is quite an achievement. Those small details do show off Piece By Piece’s worth. Yes, it is a gimmick, but the effect is really good because of the extra creation the LEGO animation allows when describing events. Plus, Piece By Piece is Neville’s first foray into animation. While it is not perfect, and other parts could have played on longer, this is a fun-looking documentary. Most importantly, it is entertaining to hear about one of our most creative geniuses working today.

Brian’s Grade: 7 of 10Follow me on Twitter: @Brian_cine (Cine-A-Man)Follow me on BluSky: @briansusbielles.bsky.socialWatch Piece By Piece in theaters. Focus Features distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: Piece By Piece – Animated Doc Personifies Pharrell’s Colorful Career appeared first on Sunshine State Cineplex.

View Details

There are run-of-the-mill slashers, and then there are the slasher icons. Chucky, a killer doll inhabited by the spirit of a serial killer, remains one of the most recognizable faces in horror. With Brad Dourif’s iconic voice work, Chucky has become a mainstay of horror triple features, theme park attractions, and even TV shows. The show’s cancellation in the last few months has sparked a movement to save the show online. The “Save Chucky” fans are active on social media and hope to see Don Mancini continue his story in whatever form is available.

The killer doll and slasher icon remains in the news today, highlighting his ability to transcend his genre. Even Steven Spielberg included the doll in the one scene of Ready Player One with an F-bomb. Adding to his relevance, Doc of Chucky, a five-hour examination of the franchise, hits Shudder this weekend. In celebration, we’ve ranked the movies and the TV show to see which ones have stood the test of time.

1. Child’s Play 3 (1991) – Directed by Jack BenderRushing a Child’s Play feature into production led to one of the weaker entries in the series. The military school premise could work in theory, but it comes apart at the seams. The cast doesn’t work, the original actors (except for Dourif) are gone, and the comedy is weak. Unfortunately, it was a rough experience that led to a surprising lull for the Chuckster. However, the garbage truck kill, is still among the best in the series.

2. Child’s Play 2 (1990) – Directed by John LafiaThe follow-up to Child’s Play was always going to have high expectations. However, losing some of the core cast puts Child’s Play 2 at a disadvantage. Andy becomes Chucky’s official foil, assuming his role as the Tommy Jarvis-like figure in the larger Mancini canon. Despite some changes to the tech, making it slightly better, the storytelling is not here. There’s a rather large gap between this one and Child’s Play 3, so even this low, you’re likely to have a good time.

3. Cult of Chucky (2017) – Directed by Don ManciniAfter the surprise of Curse of Chucky, Cult of Chucky looked to expand the lore. This becomes something of a mixed bag, with Mancini bringing several characters back into the fold. A marriage of the original plotline with the Bride of Chucky entries puts too much on Cult’s plate. Most frustrating, it loses the scariness of the last entry. It’s the epitome of one step forward, two steps back, but it does provide the template for the franchise moving into the TV series. There, Mancini would capitalize on many of the themes he introduces here. That said, introducing the multiple Chucky’s remains a stakes-killing problem the franchise continues to face.

4. Seed of Chucky (2004) – Directed by Don ManciniEasily the biggest swing of the Chucky franchise, Mancini makes a funny homage to B-movies, slapstick horror, and meta-comedy. The problem facing Seed of Chucky comes in its push to be campy and subversive at the expense of a meaningful plot. It touches on a dozen very taboo ideas in 2004, and that subversiveness is why it’s found a cult audience today. However, the scene-to-scene performances are questionable outside of Jennifer Tilly. The biggest indictment of Seed is how much better the eventual TV series would cover all the same ground.

5. Child’s Play (2019) – Directed by Lars KlevbergPerhaps the most controversial entry in the franchise, the 2019 Child’s Play feels extremely relevant in 2024. The use of AI as a central driver of the Chucky machine feels way ahead of its time. The cast is also loaded, with Aubrey Plaza and Brian Tyree Henry lifting their characters off the page. Unfortunately, a very poor design on Chucky and a middling voice from Mark Hamill hold this one back. There’s a lot to like here, it just doesn’t reach the heights of some of the others.

6. Curse of Chucky (2013) – Directed by Don ManciniThe surprise return of the franchise in 2013 also served as an important reset. While Seed of Chucky had turned some audiences off, it was primarily because the franchise outright abandoned horror. However, Curse of Chucky makes a strong case to be the scariest movie outright. While the puppetry is not at the same level as movies before (or the show since), Mancini proves excellent at lighting the rooms of Nica’s house to perfection. The environment and haunted house-style approach allow for some grizzly kills, and frankly, we just needed Chucky to remind us how scary he could be.

7. Chucky (TV Series, 2021-2024)Despite all the issues with the continuity, the overly campy nature, and the dozens of performers that have passed through the franchise, Mancini pulls it all together in Chucky. The show has seen some incredible swings. It emerged from a small-town slasher to a prep school gorefest and even took over the White House. Along the way, bigger roles for Brad Dourif, Fiona Dourif, and Jennifer Tilly and the introduction of Devon Sawa to the franchise cemented this as some of Mancini’s best work.

There are moments when Chucky tests its audience to stick with it, but the overall experience is incredible. While the series has seemingly been canceled, Mancini is out there saying he’s got more story to tell. It’ll be interesting if it finds a revival elsewhere or if Chucky is heading back to theaters.

1. Bride of Chucky (1998) – Directed by Ronny YuAfter the frustrating disaster that was Child’s Play 3, the killer doll needed a strong relaunch. Luckily, Scream helped prove to studios that the meta-comedy route was viable in theaters. Not long after, Ronny Yu and Mancini had a strong idea to honor horror of the past, while striking forward a cool future. The kills in Bride of Chucky are iconic. The gore is stunning. Even when it devolves into comedy, this movie’s mind is always on the kill and terror first. There’s a reason why Tiffany became an instantly iconic co-star in the series and why Tilly has become a must-cast in every version of Chucky in the future.

2. Child’s Play (1988) – Directed by Tom HollandWhile there were many attempts to recapture the glory of the first adventure of the Charles Lee Ray, unfortunately, none have quite hit that mark. The impeccable animatronics and practical effects are rarely better than in the Tom Holland-directed hit. There’s also a stronger cast in the first entry, allowing Chris Sarandon and Catherine Hicks to bring incredible pathos into their roles. However, even this early, Dourif dominates. His slapsticky humor feels incredibly fresh here, and while other entries let him be funnier, he’s rarely blended the comedy and drama to perfection. In Child’s Play, he nails that balance.

Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post Ranking Chucky: The Demented, Funny Doll Leads 8 Movies and Show appeared first on Sunshine State Cineplex.

View Details

At the time of this writing, the television series LOST has just turned 20. From its groundbreaking pilot episode, the show became an instant sensation that inspired fans (“Losties”) to religiously tune in, speculate, and engage in conversation about the show’s buzzworthy moments. Those conversations have continued for two decades and show no sign of slowing down.

Entering into the conversation is Getting LOST, a new feature documentary that not only keeps the conversation going but adds generous new insight into long-held mysteries and divisive moments in the show’s history from those who know best. This all-access film lands as a celebration of a phenomenon. Equal parts reunion and retrospective, cast, creators, and fans readily share favorite moments, processes, and stories that illustrate how special LOST was and remains to this day.

Directed by Taylor Morden, a self-proclaimed huge fan of the show, Getting Lost immediately establishes itself within the LOST legacy. Pulling from the lore of the show, Francois Chau appears in character as Jacques Chandler, a new pseudonym for Dr. Pierre Chang. Presented in the style of the iconic Dharma Initiative orientation films, Chau introduces Getting Lost. The opening is a fun nod to the LOST but further lends legitimacy to the project.

Immediately, fans are given reason to be excited and casual viewers are treated to a hint of what’s in store. Getting Lost was fully funded through a crowdsourcing campaign, and the opening proves the contributions were well utilized. The care the filmmakers take with the material shines through in every scene. The passion behind the camera elicits great footage from those in front of it.

Getting Lost then dives right in, examining the show’s origins and the creation of the pilot episode. As Evangeline Lilly acknowledges with a chuckle in one of her segments, fans may already know many of the stories and facts shared. However, with J.J. Abrams, Damon Lindelof, Michael Giacchino, Jorge Garcia, Josh Holloway, Lilly, and so many others weighing in, this is the most definitive account to date.

While ravenous fans have devoured every bit of LOST trivia since the shows inception, more casual viewers will find revelations such as Michael Keaton’s near involvement and the lack of faith that the show would be picked up beyond the pilot to be surprising. Fans, meanwhile, will receive the satisfaction of being in the know. Morden cleverly finds the balance to present old information with new as part of the wider dialogue.

From there, the show’s impact is examined. The inclusion of insight from media personalities and everyday fans help to place the series in the context of a larger cultural environment. Intercut with footage from fan events and expos shows the fervor surrounding the show while a supercut of Lost references in other media demonstrate the impact on other creators. Actor and fan Bobby Moynihan delivers some of the film’s more humorous moments while sharing his collection and his efforts to shoehorn LOST references into Saturday Night Live.

Getting Lost also takes time to examine the groundbreaking way that diversity and inclusion were woven into the narrative of the story. This lays the groundwork for a segment later in the film that takes a more critical look at the later stage toxicity that plagued the writers’ room. Morden approaches the subject delicately and includes perspectives from those directly involved. The segment is open and honest, a refreshing take that is rightfully critical of such behavior in what is otherwise a celebration of the series.

By not omitting the controversy, Morden establishes Getting Lost as a definitive account of not just the show’s successes but its shortcomings as well. Morden has stated that these serious topics, along with being a fan, made the experience more emotional than most of his previous work. The desire to be comprehensive shines through and lends weight to Getting Lost, reaching a hand across the aisle to those who are more critical of the show.

Elizabeth Mitchell surmised during one of her segments that “We talk about the things we love or things we hate. We don’t care about the gray.” The quote stands out as one of the film’s guiding principles. It is clear from all involved that the passion for LOST burns bright. To hold discourse about the divisive ending or the toxic writers’ room requires participants to care deeply.

Morden does a service to the show by acknowledging that some viewers were left disappointed by the finale. However those he’s gathered are quick to defend the ending. It’s perhaps an oversight to not include commentary from those overly critical of how the show culminated to round out the conversation but it is equally understandable to focus on the positive given the time constraints on a feature film documentary.

At the end of the day, fans of LOST will be fans for life. Getting LOST is a celebration of the show and of the fandom that made it successful. Morden has gathered an impressive roster of the show’s stars, creators, fans, and entertainment personalities who share a passion for one of television’s greatest series. With unrestricted access to behind-the-scenes footage, the documentary highlights previously untold stories while collecting other familiar tales into one massive celebration of 20 years of LOST. Getting LOST is a must-see documentary for anyone with the shared desire of “We have to go back.”

Josh’s Rating: 9/10Keep up with Getting Lost and it’s theatrical status on the film’s website. Check out any updates here. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post Review: GETTING LOST – A Fitting Celebration of One of Television’s Greatest Series appeared first on Sunshine State Cineplex.

View Details

In a post-Twilight/Vampire Diaries world, the lore surrounding vampires has softened. Seen as more sexy than sinister, modern audiences have, by and large, been deprived of true bloodsucking horror. Salem’s Lot fills that void by delivering a vampire horror that feels both classically retro and refreshingly new. Adapted from the novel by Stephen King, Salem’s Lot fits snuggly in the aesthetic created by the recent adaptations of IT but lacks the latter’s stellar cast and emotional weight. However, Salem’s Lot boasts more solid visuals and enough old-fashioned chills to make it a worthy addition to the not-yet-established-but-totally-should-be Stephen King Cinematic Universe.

Writer Ben Mears (Lewis Pullman) returns to his hometown of Jerusalem’s Lot, looking for inspiration for his next book. As he settles in, he soon discovers that the townspeople are hunted by an ancient vampire called Kurt Barlow (Alexander Ward). Barlow is assisted by R.T. Straker (Pilou Asbæk), who has come to town as a wealthy business owner. As strange occurrences begin, Mears partners with a handful of locals including the priest (John Benjamin Hickey), doctor (Alfre Woodard), new kid (Jordan Preston Carter), and shopgirl Susan (Makenzie Leigh) to combat the forces of evil.

Director Gary Dauberman has assembled a fine group of actors to portray King’s eclectic characters. However, he fails to draw forth any noteworthy performances. In fact, quite the opposite. Across the board, performances are as wooden as the stakes they use to pierce the vampires’ hearts. Preston Carter shows the most promise as the stone-faced child hero who gets vampire-slaying tips from a comic book. The challenge may be that the cast wasn’t given clear direction on how to play their characters. Woodard, in particular, swings from serious to near-parody in her depiction of fear. Likewise, the playful budding relationship between Susan and Ben falls flat due to the lack of chemistry between the two stars.

Fortunately, Dauberman overcomes his cast’s shortcomings by crafting a visually enthralling spectacle thanks to stunning camerawork from cinematographer Michael Burgess. Together, they use the setting and visuals to heighten the tension. Light is almost its own character, playing as both villain and savior in equal measure throughout. The effects are likewise notable, surpassing the cartoonish CGI seen in the IT duology. The atmosphere they create ultimately delivers more terror than the vampires themselves.

That’s not to say the vampires don’t provide their own thrills. These vampires take on the classic look of the creature, giving more Nosferatu than pale humans. Their appearance alone is unsettling, but the jump scares Dauberman employs throughout make for near-constant frights.

The service level scares, though, do wear down throughout the film’s runtime, and as the audience comes to expect them, the jumps become less effective. However, when it becomes clear that any character is fair game, the tension steadily ramps up, providing its own kind of terror. This may not be the scariest movie to watch this Halloween season, but it provides enough chills to warrant a viewing.

It is refreshing for filmmakers to deliver an old-fashioned vampire horror film that doesn’t paint the monsters as misunderstood human variants. Dauberman’s take on Stephen King’s classic story brings a retro sense of horrific fun. Despite some lackluster performances, Salem’s Lot shines in its visuals and cinematography, creating an unsettling atmosphere that elevates the artistry of the storytelling. While perhaps not an instant classic, it is a serviceable adaptation that is streaming just in time for spooky season.

Josh’s Rating: 7/10Watch Salem’s Lot on Max today. New Line Cinemas and Warner Bros. distribute. Please check out other Sunshine State Cineplex reviews here!The post Review: SALEM’S LOT – A Classic Vampire Horror with More Bite than Beauty appeared first on Sunshine State Cineplex.

View Details

After the stunning conclusion to “Follow Me My Friend,” Agatha All Along returns to tie up some loose ends. While Billy and Agatha are surely at the center of the episode, “Maiden Mother Crone” explores the backstory of Nicholas Scratch and the origins of the Witches Road. Gandja Monteiro directs the series (season?) – “Maiden Mother Crone.”

“Maiden Mother Crone” – The RecapIn 1750, Agatha Harkness runs through the woods. She bites down on a lemon and screams into the woods as she suffers from labor pains. Off in the distance, she spots Rio – watching from a distance. Agatha begs Rio not to take her baby. If Rio takes him, Agatha will hate her forever. Rio must take the child, but she can give Agatha time. The witch gives birth, overjoyed that she has her baby. She made him “from scratch” without the help of magic.

Agatha meets a group of women in the woods, surrounded by a protection ring. They offer her shelter, but Agatha takes their powers. She gives the magic to Nicholas as they wander deeper into the woods. Six years later, Nicholas is a young boy sitting in a town square. He steals some goods from other witches, and when they chase them back to the Harkness house, Agatha kills them.

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.Nicholas asks why they kill witches, and Agatha tells him it’s so they can survive. Walking through the woods, they sing a chant that will become The Ballad. At camp, Nicholas asks Agatha to show him her “purple.” After she does, she tells him that her power can do many things but cannot protect him from “her.”

They come upon another town where Nicholas sings to entertain a pub. Agatha tries to get others to give Nicholas money for his performance, but one woman offers him a hot meal. However, he feels guilty about killing more witches, and after a slight cough, he runs into the woods. Agatha follows him, and Nicholas apologizes to his mother. They sing The Ballad once again as Nicholas falls asleep.

Late in the evening, Nicholas awakes. As he does, he sees Rio standing in the woods with a green-flamed torch. Rio beckons him, and the two walk into the darkness. The following day, Agatha awakens next to Nicholas. She tries to stir him awake, but he will rise. She cries out for more time. She buries him and sings him a eulogy.

Afterward, as she returns to her camp, a witch from town comes across her. The witch asks Agatha to show her the way to The Road. Agatha agrees, and over the years, other witches make the same request. Every time, she makes them believe they are unworthy and chastizes them for being bad witches. When the other witches attack her, she steals their power. This continues until Billy, Jen, and Lilia. For the first time, there was a real place to go. Billy rushes them down the steps and onto “The Road.”

(L-R): Jennifer Kale (Sasheer Zamata), Lilia Calderu (Patti LuPone), Agatha Harkness (Kathryn Hahn), Mrs. Hart/Sharon Davis (Debra Jo Rupp), and Ali Ahn (Alice Wu-Gulliver) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.In Billy’s room, a ghost of Agatha appears for Billy. She reveals the truth about the Ballad as a con. Billy initially grows angry, until he realizes that if anyone died on The Road, it was because of his mind. Agatha tells him that’s true, but unlike Wanda, he did something interesting with his powers. She also reveals that he saved a life. In Eastview, Jen rises from the dirt and flies away.

Billy returns to Agatha’s house to find the door to The Road. Agatha stays with him, asking him to return her locket to her. Billy ignores her, instead setting up his conjuring. He reveals that he’s trying to banish her. Agatha yells at him to stop. She cannot die because she’s scared to face Nicholas in the afterlife.

As she admits that, she knocks the locket out of Billy’s hands. She bends down to pick it up, and Billy tells her that Nicholas will forgive her. They make amends, and then Billy uses his power to seal The Road. He leaves behind a memorial to Sharon, Alice, and Lilia. As they stand, the door to the basement opens. Agatha and Billy leave together on a quest to find Tommy.

(L-R): Lilia Calderu (Patti LuPone), Jennifer Kale (Sasheer Zamata), Agatha Harkness (Kathryn Hahn), Mrs. Hart/Sharon Davis (Debra Jo Rupp), and Alice Wu-Gulliver (Ali Ahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.“Maiden Mother Crone” – The TakeawaysFor the pieces of “Maiden Mother Crone” that occur in the past, Agatha somehow approaches new heights. The stunning Kathryn Hahn performance allows the audience to watch her push her boundaries as a performer. It’s dark, scary, and incredibly full of love. You can see how her villainy began and why she took her anger out on the world. It’s another stunning performance by her, providing an excellent coda to the virtuosic eight episodes she already delivered. The opening sequence in the woods might be the best Hahn has ever been in any project.

Unfortunately, the remainder of “Maiden Mother Crone” is less effective. The second half of the episode does not have the power the first half showcases. The Billy storyline felt complete in “Follow Me, My Friend,” and while we get more time between Agatha and “Teen,” many more interesting dynamics are at play. This relationship met a powerful emotional beat, and now we just spent another episode retreading. It’s not the worst thing in Marvel TV, but it stands out when watching these episodes back to back.

The “Maiden Mother Crone” falls into the traditional issues one expects from the Marvel TV offerings. It’s more focused on setting up a future and explaining aspects and dynamics of the show that were already clear than actually concluding the end of the story. Marvel has a closing issue, which does not kill you if it’s the movie’s last ten minutes. It’s far more jarring when it’s a full fifteen or twenty minutes of a forty-minute TV episode.

Nothing is mentioned about Jen outside of having her fly away after regaining her powers. What Rio’s role will be moving forward is unclear. Rather than putting the finishing touches on this journey, “Maiden Mother Crone” feels like we’re stalling for future adventures. The shift from the brilliant first half of the episode to this approach is killer in terms of tone.

While Agatha All Along has an incredible run for the first eight episodes, “Maiden Mother Crone” cannot keep that vibe. It almost feels worth telling friends in the future to just stop after Episode 8 unless they really want the Agatha backstory. Otherwise, the next time we check in with Billy and Agatha, we’ll be in the exact same spot. That’s the most damning aspect of “Maiden Mother Crone,” which almost feels more like a short film and bonus feature than an episode of a show as strong as Agatha All Along.

Alan’s Episode Rating: 6/10Watch Agatha All Along on Disney+. “Maiden Mother Crone” aired on October 30, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘Maiden Mother Crone’ – Agatha All Along – Episode 9 Recap appeared first on Sunshine State Cineplex.

View Details

After Lilia’s sacrifice, the group is reunited. However, Rio is revealed to be far more dangerous, literally embodying Death. How Billy, Jen, and Agatha survive the road is anyone’s guess, especially with others missing from the coven. Gandji Monteiro directs “Follow Me My Friend, To Glory at The End” – the eighth and penultimate episode of Agatha All Along.

“Follow Me My Friend/To Glory At The End” – The RecapAlice awakens in the room, and Rio tells her it’s time to go. At first, Alice pushes back, not believing she has died. As Rio/Death points out, Alice is a protection witch, and she died protecting others. Alice accepts, and they walk through the doors to the great beyond.

Jen slams on the doors, trying to get to Lilia. However, she cannot get back through the door. Agatha finds herself outside the tunnels, where Rio confronts her. Rio tells Agatha that Billy is an abomination, and she’s mad that Agatha protected him.

(L-R) Agatha Harkness (Kathryn Hahn), Billy Maximoff (Joe Locke) and Jennifer Kale (Sasheer Zamata) in “Follow Me My Friend/To Glory At the End.” Rio also asks Agatha why she’s pushing back against the “special treatment” she’s received. Agatha grows angry with that insinuation. Rio asks why she lets everyone believe the story about her son. Agatha believes the truth is worse.

Jen and Billy piece everything together between their journeys. They understand Lilia’s sacrifice and Agatha’s relationship with Rio. They even piece together that Rio is Death. Together they need to find their other companions.

Upstairs, Rio tells Agatha that Billy cannot reincarnate his brother. Agatha tells Rio to kill him but realizes that will not work. Rio needs Billy to turn himself in for Death to take him. Agatha agrees to help Rio if she will stop chasing her. When she does die, she does not want Rio to collect her. Begrudgingly, Rio agrees. Rio uses a knife to slash through the fabric of reality and leaves.

Billy and Jen try to find Agatha and ask each other how she even met death. Agatha finds them and tells them they’ve got to finish the Road. Billy expresses some doubt without a Green Witch in their party. However, Agatha stumbles into a circle. They discover they’ve gone full circle, literally. The Road seemingly goes on forever. Out of anger, Billy says if they’re going to continue, he’s going to put on his shoes.

(L-R) Agatha Harkness (Kathryn Hahn) and Death (Aubrey Plaza) in “Follow Me My Friend, To Glory At the End.” Photo by Chuck Zlotnick. © 2024 MARVEL.This immediately transports them into an alternate, sterile environment. One at a time, they awake in body bags. Agatha identifies it as her basement, even if it’s closer to a morgue. As they try to game out what they need to do, Agatha and Jen come to a realization. Agatha was the witch that bound Jen from her powers, selling the binding spell to the Doctor in Boston. They fight but eventually perform the unbinding ritual. Jen’s powers return.

Immediately after, Jen disappears. Agatha reveals the truth about the Road. Once you’ve received what you need from it, you’re transported away. Agatha pushes Billy to use his power so that he can bring his brother back. Agatha guides his meditation as Billy remembers his last moments with Tommy. She pushes Billy to seek a host for his brother. He seemingly finds a place for Tommy and disappears.

Agatha sits alone in the trial and sees time is closing in. She opens a locker and touches Nick Scratches’s hair. There’s also a dandelion seed, which she realizes is related to her trial. “Out of Death comes life.” She plants it and grows a dandelion as time expires. The lights return, and her basement collapsed. As she bangs on the door, and escapes.

Outside of her Westview house, Rio cackles from the sky. She tells Agatha that because she did not deliver Billy, it’s time for Death to collect. She cuts and hurts Agatha until Rio is floored by magic. Billy has returned to Westview (clad in comic-appropriate gear), and he gives magic to Agatha. Before he does, he asks her not to take it all. She follows through on his request.

Now that they’re “on the same page,” Rio agrees to let one of them leave, but she will take the other. Rio and Agatha fight after Billy is thrown into a greenhouse. Rio gets the upper hand on Agatha, but Billy blasts Rio into the house. They agree that one of them has to give themselves up.

Agatha Harkness (Kathryn Hahn) in Marvel’s “Follow Me My Friend/To Glory At The End” Photo by Chuck Zlotnick. © 2024 MARVEL.While Agatha volunteers at first, but Billy steps up and tells Rio it should be him. Agatha joins him and agrees, fulfilling her promise to Rio. As Agatha walks away, Billy telepathically asks if this is how Nicky died. This stops Agatha, who turns around and kisses Rio. Her soul and powers evaporate, leaving Death and Billy next to flowers in her backyard. Billy recovers Agatha’s locket, and Rio grants him permission to leave.

As Billy leaves, the people of Westview see him walk away. Billy puts up his hood and returns to his car. In Eastview, his parents have been worried sick. Billy disappeared for 24 hours without a word.

After a shower, Billy returns to his room. As he walks around his room, he realizes every piece of The Road came from his room. Every trial, every costume, every idea. As he realizes the truth – that it was all in his head – Agatha cackles and scares him.

“Follow Me My Friend/To Glory At The End” – The TakeawaysWhat a dozy of an episode. Agatha dies. Jen and Billy get supercharged. Rio gets deathly. Yet it’s all in Billy’s head? There’s a lot to dig into with “Follow Me My Friend,” yet the plot feels secondary in most aspects.

The emotion coursing through every moment of “Follow Me My Friend” feels unbelievably earned. It’s awesome to see the power these moments – based in character – have created. It’s genuinely patient storytelling that leads to the reveals.

Agatha Harkness (Kathryn Hahn) in “Follow Me My Friend/To Glory At The End,” exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.It’s through each interaction with Agatha that “Follow Me My Friend” soars. The Jen and Agatha relationship always seemed contentious, and when Jen receives her power once again, the catharsis is real. Zamata absolutely slays that moment.

The same can be said about Hahn and Plaza a half dozen times. The bartering of their deal is impressive scene work, delivering one of the best scenes between lovers in MCU history. The hatred, the love, and the passion are all on display. As their targets shift, each actress peels back more layers. Both deserve Emmy nominations for “Follow Me My Friend/To Glory At The End,” and it’s so impressive to see Hahn deliver this character to such a cathartic ending.

However, despite all of that, we have one episode left. What felt like a perfect percent ending to the series gets pulled out from under us. Instead, we have a big reveal, and the Fight Club vibes are off the all. We cannot give a definitive answer on how that episode will turn out, but I will say, it’s hard to feel great about the extension when perfection was already there. Slight docking for that and we’re onto the finale.

Alan Episode Rating: 9/10Watch Agatha All Along on Disney+. “Follow Me My Friend/To Glory At The End” aired on October 30, 2024.Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘Follow Me My Friend/To Glory At The End’ – Agatha All Along – Episode 8 Recap appeared first on Sunshine State Cineplex.

View Details

The concept of using a dating show to find the next victim seems outlandish, but Woman of the Hour turns the scenario into a high-stakes battle of wits that grabs your attention and doesn’t let go. The true-life thriller is a damning testament to the flagrant misogyny of a time when victims were seldom heard and a reminder that the toxic behaviors of men aren’t just a thing of the past. While perhaps an odd choice for Anna Kendrick’s directorial debut, her wit imbues the film with a dark humor that makes it satisfyingly entertaining and equally as disturbing.

Woman of the Hour. Daniel Zovatto as Rodney in Woman of the Hour. Cr. Leah Gallo/Netflix © 2024.In the 1970s, Rodney Alcala (portrayed in the film by Daniel Zovatto) was a serial killer and rapist who left in his wake a series of victims. Posing as a photographer, he would gain the confidence of young women and lure them to their doom. During this time, he would go on to make an appearance on The Dating Game, a popular matchmaking game show on ABC.

Contestant Cheryl Bradshaw (Kendrick) would unknowingly pick Alcala from the selection of competing bachelors. While Bradshaw becomes suspicious of Alcala’s intentions, audience member Laura (Nicolette Robinson) recognizes Alcala as the man who murdered her friend and attempts to warn studio security. Following his appearance on the show, Alcala would go on to find another victim, Amy (Autumn Best).

Working from a script by Ian McDonald, the film is presented in a non-linear narrative, where Kendrick frames the Dating Game segment as the centerpiece of the film. This allows Alcala’s crimes to bookend the more light-hearted nature of the game show. With that foreknowledge, Kendrick is able to ramp up the tension until the edge-of-your-seat confrontation between Bradshaw and Alcala. One particular scene, involving Bradshaw giving Alcala a fake number, stands out as one of the most pulse-pounding movie moments of the year. Kendrick’s sensibilities behind the camera are impressive and speak to a high level of skill and restraint. Make no mistake, this is a gripping thriller that belays her more bubbly acting persona.

Woman of the Hour. Kelley Jakle as Sarah in Woman of the Hour. Cr. Netflix © 2024.As Alcala, Zovatto brings a quiet intelligence to his sinister character. The understated menace makes the character more terrifying. Kendrick likewise gives a masterful performance, adding layers to Bradshaw’s gameshow persona. The performances from the rest of the ensemble illustrate the roles of the victims and the ineptitude or downright negligence of those with the power to help. Best stands out with a career-launching turn as Alcala’s final victim, and Tony Hale delights as the chauvinistic host of The Dating Game.

Woman of the Hour. Anna Kendrick as Sheryl in Woman of the Hour. Cr. Leah Gallo/Netflix © 2024.The film’s real success stems from the deeper meaning Kendrick pulls from McDonald’s screenplay. Alcala is not the film’s only villain. Every male character displays misogynistic tendencies that on first inspection may fail to register for most viewers. However, survivors of abuse will instantly recognize the traits and characteristics that have kept victims silent for so long. It is a biting condemnation of a culture that suppressed women for too long and a glaring wake-up call that such behaviors were not abandoned in the 1970s but continue today. Kendrick deftly interweaves these threads throughout the film in a subtle yet obvious way.

Woman of the Hour. (L-R) Tony Hale as Ed and Anna Kendrick as Sheryl in Woman of the Hour. Cr. Leah Gallo/Netflix © 2024.Woman of the Hour is about more than a contestant on a dating game show. It’s about a culture who gave women the illusion of choice by men that either manipulated or strong-armed them into complacency. Kendrick’s directorial debut shines with a strength and wit that transcends the model of a typical true-crime thriller. The film’s release is both timely and topical given the country’s current social climate. This game-show drama is a real winner.

Josh’s Rating: 8.5/10Watch Woman of the Hour on Netflix today. Netflix distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: WOMAN OF THE HOUR – Kendrick Does Not Pull Punches in Directorial Debut appeared first on Sunshine State Cineplex.

View Details

While Oz (Colin Farrell) sets up a new base of operations, his enemies have forged an alliance. Sofia (Christin Milioti) and Sal Maroni (Clancy Brown) have created a new power hellbent on destroying Cobblepot. The lines have been drawn in the sand, and now the two groups must take each other out by any means necessary. Kevin Bray directs “Gold Summit” – the sixth episode of The Penguin.

“Gold Summit” – The RecapOz and Victor (Rhenzy Feliz) continue to grow the Bliss business. Victor rides into their underground facility with a backpack full of money. Oz tells new dealers why they’ve made a good choice siding with him. He dismisses the newbies and goes over plans with Victor. The Triad might help Oz go international with his distribution of Bliss.

Victor relays a new fear to Oz – someone was following him, but he believes they lost him. Oz reminds him they need to stay hidden, but more importantly, they must keep paying their men. If they do, they’ll earn loyalty and be remembered.

After sleeping with Dr. Rush (Theo Rossi), Sofia goes upstairs to meet with Sal. He’s busy cooking a meal in the kitchen, and they drink a bottle of wine together. As they eat, Sofia tells Sal that Oz’s dealers lost a tail. Sofia wants to make it clear that working with Oswald Cobblepot will cost the Triads or any other gangs.

In his hidden apartment, Oz tries to listen to music, but the block loses power. Victor serves Francis and Oz dinner, but she remains upset with her living conditions. Francis has a dementia episode, and she mistakes Oz for one of his dead brothers. They begin to fight, and they’re interrupted by a phone call. News of Sofia’s plan gets back to him. They’ve killed three dealers, and sent a signal to the other families that they’ll do the same to anyone caught selling Bliss.

To counter it, Oz develops a plan to get everyone hooked on Bliss. They’ll give it away in every club and bar. Doing so will catch everyone’s attention and make every gang aware of Bliss’ power. It’ll force them to do business.

Outside the tunnels, Victor runs into his former acquaintance, Squid. The two did not get along before The Riddler’s bombs affected Crown Point, and even now, Victor seems nervous. Squid gives him a reason to feel unwell immediately. He demands to be cut in on Victor’s operation immediately. Victor eventually relents, and he agrees to go to Oz with Squid’s proposal.

Sofia and Sal arrive at Oz’s apartment. As they ransack the place, they look for evidence of someone he cares about. Sofia tells Sal about Oz’s family. She believes his brothers and mother are dead. However, she finds a lead on someone who matters to Oz. Near his bed, Sofia finds a picture of Eve.

Back in the Crown Point apartment, Oz finds his mother stuck in the tub. The water is freezing, and she’s been in the bath all night. He lifts her out, and she breaks down. Francis tells Oz about her hallucinations and that she cannot live if her mind goes. She asks Oz to kill her if her mind entirely goes. Oz eventually agrees.

Victor returns to the apartment, and they discuss the situation with Squid. He’s worried Squid is going to keep asking them about joining. However, Oz’s mind is on Francis. He asks Victor how he is supposed to protect his mother. He refocuses on the conversation and asks Victor if there’s anything he needs help finishing. Victor changes his tune, telling him no.

On the streets, Sofia asks around for Eve. Roxy sees her and agrees to give up information for the right price. Oswald watches a Councilman from the shadows, and when the Councilman reaches his car, Oswald confronts him. He tells the Councilman he must get the power back on in Crown Point by sun-up. Oz will release the blackmail he has on the official if it’s not done.

Victor meets with Squid, telling him they don’t have any jobs now. However, he gives Squid money. Despite the attempt to buy Squid off, the dealer becomes aggressive towards Victor. When he threatens to rat them out to Sofia and Sal, Victor shoots Squid in the neck. Victor yells at Squid’s corpse as he bleeds out.

Sofia arrives at Eve’s apartment. While Sofia expects a fight, Eve reveals that she told Roxy to send Sofia upstairs. They discuss Oz, with Sofia making fun of Eve’s notes to him. Sofia tries to probe into Eve and Oz’s relationship. Eve refuses to give up info to “The Hangman” until Sofia tells Eve the truth. The revelation is stunning to Eve. After a tense exchange, Eve gives up the Crown Point location.

Victor makes it back to the base, and Oz tells him that business is booming. Still shaken from the aftermath of killing Squid, Victor does not know how to relay the info. Oz realizes what Victor’s done and hugs him. He’s proud of Victor, and he sends the boy home for the night.

Oz arrives to meet with the heads of each of Gotham’s gangs. He refers to the meeting as “The Gold Summit” and reminds them about the power imbalance. Even if they’re mad at him, the Maronis and Gigantes rule with an iron fist. The lack of respect is humiliating for other gangs. When Zhou reminds everyone that Oz is untrustworthy, he reminds the group that they control more territory than the Maronis and Gigantes. He tells them he does have a code and that it’s better to work with those you hate than those who do not know your name. He admits to the rumors about him, and the gangs agree to his proposal.

Victor waits in the apartment, where there’s still no power. However, when the power returns, Francis is woken by the record player. Victor goes to turn it off, but she asks him to leave it on. They dance and talk about Oz. Down the hall, Sofia watches Victor and Francis dance. She holds a crowbar in her hand.

“Gold Summit” – The TakeawaysBy the end of “Gold Summit,” the stage is set for an epic brawl. It’s not surprising that Eve gave up Oz. She told him she would. It’s more surprising that he did not plan a failsafe or two. Keeping Francis a secret is smart, but considering her state earlier in the episode, leaving her solo is not a good idea at this stage.

The only reason Victor is even there to potentially sacrifice himself or try to save Francis is because Oz sees he is emotionally vulnerable. He needed his “Gold Summit” to go well, and while Victor’s actions helped strengthen his will, they did not buy more followers to their cause. It’s very likely Squid was always going to betray them. Before he could do that, Victor let personal feelings get in the way of business decisions in “Gold Summit.” It’s something to watch in the episodes ahead, and question about Victor in the final stretch.

“Gold Summit” is not a bad episode of television, but it does feel like a placeholder. Despite the death of Squid, not a lot happens here. Instead, the characters all make their moves to get closer to their targets. Oz needs the support of other gangs, and Sofia discovers where Oz is hiding. That’s the extent of “Gold Summit” on paper.

One would like a little more unique storytelling if the episode is that straightforward, and in a sense, “Gold Summit” does have some of that. There are a lot of quiet character conversations and pairings in this episode. Seeing Sal speak with Sofia was exciting. The same can also be said about Sofia and Eve. These character pairings in “Gold Summit” help the episode a lot. Otherwise, it’s a rather bland episode of television.

“Gold Summit” might function as a place-setting episode for the final two episodes of The Penguin, but that’s not a bad thing. This did not feel like an episode you use to reset the board. There are too many small character dynamics on display. At the same time, one does wonder if “Gold Summit” could have been spruced up. After all, the last two episodes were brilliant. Maybe “Gold Summit” needed another pass.

Alan’s Episode Rating: 7/10Watch The Penguin on Max. “Gold Summit” aired on HBO on October 27, 2024. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: “GOLD SUMMIT” – THE PENGUIN – Episode 6 Recap appeared first on Sunshine State Cineplex.

View Details

I invited Frida Kahlo to my home. Immediately, one could feel her transcendent nature exuding from her being. Mischievous energy fused with a creative and revolutionary spirit permeated throughout our time together. Frida recanted her life while I intently hung on to every word.

No one is better than Frida herself to narrate her biography. The famed Mexican artist left behind a treasure trove filled with memoirs, footage, and, of course, paintings that tell her story. Under the direction of Carla Gutierrez, these items are systematically organized and presented in a compelling documentary aptly named Frida. Borrowing Fernanda Echevarrías voice, Frida recalls her revolutionary life.

“Yo era feliz,” Frida explains. She recalls her upbringing, free from the tragedies that would later give shape to her life. Her mother was deeply religious, while her father was an atheist. I wanted to ask if this juxtaposition in any way influenced her worldviews, but Frida continued. Her father was a painting aficionado, always having the oil-based paintings ready to go whenever his busy schedule would allow time. How much Frida wanted to get her hands on those óleos!

Despite her early attraction to painting, medicine is the career Frida wanted to pursue. Both disciplines were unkind to women during that time. Nonetheless, Frida unapologetically pursued her dreams. She entered graduate school, where fellow faculty noticed she was somewhat unusual. Eventually, Frida would find her place among a group of students known as “Los Cachuchas” for the cloth hats they would wear as a symbol of subversion against strict dress codes. Frida recalls how the group of misfits banded together and how she implored them not to forget “Cachucha Número 9” after they went their separate ways. These early experiences would bear witness to Frida’s rebellious spirit, a trait that would help her fight through difficult times.

© 2024 Banco de México Diego Rivera & Frida Kahlo Museums Trust. Av. 5 de Mayo No. 20, col. Centro, alc. Cuauhtémoc, c.p. 06000, Mexico City.Frida continued telling her story, and as she progressed one could see how her passionate spirit would define the icon she is known for today. “Dos accidentes graves en mi vida…” would leave lasting repercussions on her life and her work. First, a trolley accident that would continue to impair her throughout her days. Second, a passionate and no less tumultuous relationship with artist Diego Rivera. Even though these “tragedias” would fill her cup of suffering to the brim, they would also provide Frida with the opportunity to discover new pieces of herself. In addition, they sparked the fire to feed her revolutionary ways, manifesting themselves internally and externally.

After her horrific accident, it was paramount for Frida to find purpose and dedicate herself to a cause. The Mexican workers revolt led by Emiliano Zapata offered the resistant spirit Frida would gravitate to. In fact, a young group of Mexican artists and luminaries were profoundly moved and influenced by this Zapatismo. As Frida continued to make her impact felt in the movement, her path crossed that of Rivera, one of the most influential Mexican artists of the time.

Frida goes on to detail their tempestuous relationship. Passion would best describe it, as Frida loved Rivera more than he did her. Frida mostly bears the cross of Rivera’s infidelities until one final transgression demerited penance. Along with her physical ailments, their time together would put Frida down a path of empowerment.

After the marriage was over, Frida finally took the entirety of her life into her own hands. No terms were valid except for her own. Her work took on a unique style characterized by violent yet vibrant imagery. Although described as surrealist by Andre Breton, Frida preferred to catalogize her work as follows: “yo pinto mi propia realidad.” Frida lived passionately during this period, effectively breaking the chains of her past. Every word and every work, every amorous relationship was a testament to the first wave of the feminist movement. Even when she reconciled with Diego, the new relationship was dictated solely by her terms.

“Me pinto a mi misma porque soy a quien mejor conozco”. Frida would repeat how painting would prove to be her outlet for her never-ending pain and suffering. Her self-portraits served as a surrealist window into her psyche. A deep story only capable of being told via paintings is contained within each. Frida relied on her art when words would not suffice, yet as I listened to her, it was evident the artist was more than capable of reliving her passion in more ways than one. One could only imagine what lay at the core of, according to Frida, her indescribable sensitivities.

Packaging Frida’s own words with her works allows for an intimate encounter with one of the 20th century’s most important artists. A poignant and nostalgic soundtrack adds to the magical journey as well. Although some artistic flourishes (adding animations to Frida’s work) are dubious at best, these are willingly forgiven as Gutierrez gleans the material into a reverent and personal experience.

“Enamórate de ti. De la vida. Y luego, de quien tú quieras.” Despite her persistent suffering, Frida never lost her capacity for fervent love – be it for others, for her art, for her Mexican roots, or, most importantly, herself. As one final parting message, Frida implores each to love themselves, life, and later, whoever they want. For what it’s worth Frida, I very much fell in love with your life story.

Borja’s Rating 9/10Watch Frida on Prime Video today. Amazon Studios distributes the documentary. Please check out other Sunshine State Cineplex reviews here!The post Review: FRIDA – Arte y Revolución Define Captivating Documentary appeared first on Sunshine State Cineplex.

View Details

Space Cadet exists as the kind of film that was prevalent in the mid90s. A hapless individual, possessing little more than sheer determination, achieves their greatest dream through sheer charm and luck. Countless films of the sort inspired my generation to believe that truly anything was possible.

As the cold, hard grips of reality now tether us to dead-end jobs and dreams discarded around us, it is refreshing to have a film come along that reminds us that it is okay to have speedbumps on the course to achieve our dreams. Or maybe Space Cadet actually just reminds us that it is okay to have some dumb fun once in a while because that’s what the film is: dumb fun, and that’s not bad.

Rex Simpson (Emma Roberts) is a proud Florida girl who slings drinks in a coastal bar that allows her views of various rocket launches. After her mother’s death forces her to put her dreams of space exploration on hold, Rex announces at a class reunion that she has wasted a decade of her life. She vows to follow the dream her mother had for her.

As her application to astronaut training camp attracts the attention of recruiters Logan (Tom Hopper) and Pam (Gabrielle Union), Rex doesn’t realize it was doctored by her best friend Nadine (Poppy Liu). Accepted under false pretenses boasting achievements she hasn’t earned, Rex must find a way to prove herself amongst her far more qualified fellow recruits (Kuhoo Verma, Desi Lydic, Andrew Call, Josephine Huang, Yasha Jackson).

Roberts eagerly throws herself into the high-energy role of Rex, clearly having more fun than any of her previous roles have allowed her to do. Her performance is infectious, and it is impossible not to smile at her character’s various exploits. She is surrounded by other actors just as a game to lean into the script’s lunacy. Hopper and Liu shine in their respective roles, and the ensemble portraying the recruits characterizes their stereotypes splendidly. As written the characters are so paint by numbers that they’d be instantly forgettable but under the direction of Liz W. Garcia, every member of the cast goes over the top to deliver funny moments throughout.

Space Cadet‘s script, also written by Garcia, is likewise full of witty dialogue and hilarious one-liners. The comedy is not high-brow, but Space Cadet is clever and elicits more than its fair share of honest laughs. Despite the film’s PG-13 rating, the comedy is clean, avoiding the kind of bathroom or sexual humor that has been more prevalent in most recent comedies. It is an odd choice but makes Space Cadet more endearing. The comedy is nothing new or groundbreaking, but it feels fresh in this context.

Space Cadet struggles, though, in scope. Facing budget limitations, Garcia is forced to settle for substandard visuals and costumes that ultimately proves distracting. The film’s climax specifically flounders under these restraints. White overalls with patches serve as space suits and a climatic space walk underwhelms due to the available visual effects. It’s a shame that the filmmakers’ ambition exceeded the means of the production, and the end product stumbles as a result. However, fortunately, the film never takes itself too seriously, and shoddy spacesuits land as a punchline to the incompetent program that accepted a degreeless bartender in the first place.

Space Cadet is not a film that can be viewed under the traditional gaze of a critic. Poor visuals, outlandish plotlines, and over-the-top stereotypical characters often serve as the mark of death for a film. But Garcia’s script and direction, coupled with a charming cast and old-school comedic simplicity, make for a fun experience. Honestly funny and equally earnest, Space Cadet is more of an astro-do than an astro-not.

Josh’s Rating: 7.5/10Watch Space Cadet on Prime Video. Amazon Studios distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: SPACE CADET – This Space Camp is Campy Fun appeared first on Sunshine State Cineplex.

View Details

Utilizing athletic filmmaking, including choreographed one-shot experiences, often promotes a style-over-substance approach. However, a movie can sing when the right filmmaker finds new angles on a technique. MadS, a new horror film from director David Morneau, thrives in its anxiety and darkness. A one-shot experience, MadS turns up the paranoia and fear to an eleven. It can feel like running a marathon at times, but that exhaustion is purposeful. It’s a unique horror movie, and MadS is destined for cult status.

Romain (Milton Ritchie) drives home after meeting up with his drug dealer. He pulls over for a second, and a strange woman jumps in his convertible when he does. As the night devolves into madness, Romain and his friends question whether they’re on a bad trip or something else is supremely wrong. His two love interests, Anais (Laurie Pavy) and Julia (Lucille Guillaume), discover dark truths about their relationships to Romaine. This conflict rises to the center of MadS, right when their the seemingly quiet suburb falls into chaos. No one’s life will ever be the same.

Tapping into the visceral confusion of a party night, MadS pulls off an amazing trick. After a night of hard drugs and intense partying, it’s not unusual to feel like you’re experiencing the end of the world. Morneau taps into this feeling and escalates the feeling at every opportunity. The anxiety and paranoia evolve quickly in MadS, and with good reason. It’s not often you come across a bleeding monster that seems physically compromised and mentally unstable. Yet things only get worse for Romain from there, showing Morneau’s endless creativity at torturing his leads. They’re treated to nightmarish sensory overload that will be hard to forget.

Even when MadS fully plants itself in the zombie-horror drama, Morneau never feels locked into a single influence. Moments of MadS owe as much to vampiric euphoria and drug-fueled benders as they do to Romero. The story features tension thanks to the messy drama of youth and inhibition. The group of young adults acts like you young adults (primarily resulting in screaming immature statements at each other). Their obsessions with incestuous relationships within their friend group do little to mask the intimate jealousies that drive the women and men apart. In terms of pure chaos between people in their late teens or early twenties, MadS touches many of the rails that make Euphoria so captivating.

At the same time, MadS features incredible craftwork. This starts with the cinematography, which expertly hides most of its cuts. This movie creates the same sensations as Rope or 1917, allowing the crushing weight of the expectations to work for and against its characters. Romaine never comes across as functional, and his father’s frustrations bleed through the phone. For both Julia and Anais, their worldview shatters time and time again. Being hung up on someone creates anxiety, and the paranoia they feel towards each other spreads like a disease.

Morneau is firing on all cylinders, making his zombie long-take feature into a gorgeous spectacle. Even outside the unique approach, the rest of the movie hums with creative vision. The individual sequences of blocking and the choice to shoot characters in silhouette harken to horror classics. Yet the way characters move through scenes feels wholly unlike anything you’ve seen in modern horror. Combined with the stunning sound work, which not only enhances the scares but builds dread for the soundscape outside the camera’s view, Morneau builds a dark and scary experience.

At one point, MadS leaves a woman soaked in blood and trapped in an elevator. The image alone is stunning, but the heightening horrors of a broken society creep into the frame despite the claustrophobia. Morneau knows how to craft a feature chock full of references but spun into a concoction that feels exceedingly fresh. MadS will be one of the most intense horror movies you’ll see all year, and it’s well worth the anxiety.

Alan’s Rating: 8/10Watch MadS on Shudder today. IFC and Shudder distribute. Check out our other Film Festival coverage here! Please check out other Sunshine State Cineplex reviews here!The post Review: MadS – A Euphoric and Disturbing Descent Into Madness appeared first on Sunshine State Cineplex.

View Details

How do you top the Billy Maximoff (Joe Locke) reveal if you’re Agatha All Along? Well, you tell an incredibly personal story that reveals another huge mystery for the series. “Death’s Hand in Mine” – directed by Jac Schaeffer – puts Lilia (Patti LuPone) at the center of the episode. The veteran actress gets a showcase, and Schaeffer delivers excellent visuals and emotional development. This helps “Death’s Hand in Mine” shine as an instant classic for the MCU TV era.

“Death’s Hand in Mine” – The RecapAfter being thrown into a mud pit by Billy Maximoff (Joe Locke), Lilia falls through darkness. Agatha (Kathryn Hahn) and Billy walk down the road, and the two chide each other with barbs. They discuss Wanda Maximoff and whether she’s actually dead. The truth remains ambiguous (“If you want straight answers, ask a straight lady.”) as they arrive at a castle for their next trial.

When they walk through the doors, Wanda emerges in a Wicked Witch of the West costume, with Billy dressed as Maleficent. They have to read a Tarot spread to pass the subsequent trial, and as Billy does, swords fall from the ceiling.

Agatha places cards quickly, nearly killing Billy with a falling blade. They argue, and the ceiling begins closing from above. Meanwhile, Jen (Sasheer Zamata) and Lilia walk through underground tunnels. Lilia continues to lose time, even after telling Jen important details to escape their new prison.

Soon, Lilia begins jumping through time, trying to relay messages that end up with the wrong people. Eventually, she returns to her childhood with Maestra. The teaching witch is not surprised when she returns from centuries later, and they discuss tea leaves. Maestra tells Lilia that she only believes she’s bad at tea leaves.

When she reads again, Lilia returns to the tunnels with Jen. She admits that her mind jumps her through time. As a child she experienced her entire life. Now, it’s returned, and it’s becoming more frequent. She’s scared it means her life is drawing to a close.

As Lilia mentions this, she jumps into the trial with Jen, Agatha, and Billy. She immediately confronts Billy and yells at him. She also realizes he can read minds. Jen pulls Lilia away, repeating the “time is an illusion” idea back to Lilia. Jen then tells Lilia that they’re collectively over the fight.

Billy leads Lilia back to the table. He asks her if she is the witch who cast the sigil on him. She admits that she was. Swords continue to fall, and she flashes through scenes from the past. Maestra gets her to focus and questions Lilia’s fear. Lilia needs to see, not control.

Lilia returns to the Road and the caverns with Jen. They discuss the upcoming trial and how Lilia bounces through these moments. Her power of foresight brought endless death. Jen and Lilia hear Agatha and Billy arguing on the other side of the shelving.

When Lilia sits at the table and explains the Tarot reading to the group. As she reads, additionally, swords fall. As Agatha jumps to save her, Lilia is blasted through her memories again. She asks Maestra what’s going on in her life. The Maestra reminds her that she’s scared of death, but she needs to prioritize what she can do with her remaining time.

Lilia falls on top of Jen and explains the situation. They also see an exit from The Road. Before Jen can take it, the Salem Seven pass. With fear re-stoked Lilia returns to the trial. As she does, she reads herself with the deck. As she does, moments from the show help her complete the reading. Just before she lays down the final card, she flashes through her interactions with Rio. However, the witch is something more than a member of their coven. She is Death.

Agatha reaches over the table and puts the final tarot card down. The Death card has been played, and the trial is complete. Lilia tells everyone that Rio (Aubrey Plaza) is Death – the literal first Green Witch. Agatha confirms Lilia’s pronouncement, but the Salem Seven have arrived. Lilia rushes her coven through the exit (an Iron Maiden), and confronts the pursuers. She inverts the tower card, and the Salem Seven fall on the swords from the ceiling, which have now flipped to the floor. Lilia holds onto the table for a minute and then falls. In the past, she meets the Maestra for the first time.

“Death’s Hand in Mine” – The TakeawaysWhile it’ll be easy to dive into the MCU stuff, let’s take a minute to appreciate how great Jac Schaeffer has been as a showrunner this season. “Death’s Hand in Mind” speaks to Schaeffer’s willingness to show the perspective of a show for one episode and make everything feel integral. If you did not know any better, “Death’s Hand in Mine” would be the final episode to reveal all the show’s tricks. Yet with two to go, Schaeffer successfully delivers answers to important puzzles while also highlighting the importance of the Lilia character. This is why we love TV as an art form.

Still keeping the very distinct episodic qualities of WandaVision, Agatha gets new costumes, locations, and trials. Even better, audiences can nail this one based on a few words. You can either call it the Wicked Witch episode, the Tarot episode, or the Patti LuPone episode. Any of these aspects stand out and will make it easy to revisit “Death’s Hand in Mine” for years to come.

Additionally, “Death’s Hand in Mine” gets some incredible one-liners. Some are saccharine – such as the “I loved being a witch” line. However, “If you wanted a straight answer, you should ask a straight person” will take over the internet this week. “Death’s Hand in Mine” screenwriters – Gia King and Cameron Squires craft a perfect embodiment of the show. It’s not only funny, quippy, and queer, but it’s rooted in character reactions. This helps transition sequences feel natural, unlike many other shows.

You love to see “Death’s Hand in Mine” feature Death (Plaza) herself. It was easy to see a big reveal like this was on the horizon. First, the episode is about to end. Second, Plaza has been out front for this show for weeks. It’s not her willingness to promote her project that speaks to a more significant role in the future of the MCU. It’s her willingness to return to Marvel after the Legion experience. She already proved everything she ever needed to in this subgenre, yet she jumped back in regardless. That tells us Plaza was ready for it.

Last but not least, the costumes add pop to “Death’s Hand in Mine.” Regardless of which character gets center stage, they’re always dressed well. It’s the only way you could get a Wicked Witch, Lilia’s crazy dresses, and a Maleficent all in one episode. “Death’s Hand in Mine” would be bland without these costumes, and this color repping is brilliant. Also, the cinematography and blocking to get the replicas of the Tarot deck will help “Death’s Hand in Mine” grow in popularity.

Alan’s Rating: 10/10Watch Agatha All Along on Disney+. “Death’s Hand in Mine” aired on October 23, 2024. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: “Death’s Hand in Mine” – Agatha All Along – Episode 7 Recap appeared first on Sunshine State Cineplex.

View Details

After the shocking end of “Cent’anni,” it’s time to return to the fight for mob supremacy. Oswald Cobblepot (Colin Farrell) seemingly has the upper hand on the remaining Falcone members, especially if some defect to his side. At the same time, the Maronis have experience and stability despite Sal Maroni (Clancy Brown) running the family from prison. Helen Shaver directs “Homecoming” – the fifth episode of The Penguin. It is written by Breannah Gibson & Shaye Ogbonna.

Sophia (Cristin Milioti) in “Homecoming” – Episode 5 of The Penguin.“Homecoming” – The RecapOswald Cobblepot tells Victor about Rex Calabrese, the mobster who ran his neighborhood. Unlike Alberto, Victor listens to the story, and they let bygones be bygones. Cobblepot lights his car on fire, and they leave the wreckage. His men arrive, and he tells them it’s time to take out the Maronis. They’re going to start with Taj Maroni, who literally posted where he would be on TikTok. Oz and his men arrive at the tattoo parlor and take Taj hostage.

In Blackgate, Oz meets with Sal and Nadia Maroni. He demands a return of the shrooms for Taj. While Nadia and Sal do not trust him, they have to move forward with Oz. As Cobblepot leaves Blackgate, he sees the news about the Falcone gas leak massacre.

Sophia (Cristin Milioti) in “Homecoming” – Episode 5 of The Penguin.At the Falcone compound, Sofia tells Police Chief Mackenzie Bock (Con O’Neill) about a fight between Johnny Viti and Luca. Gia leaves in a transport for a children’s home as the officer asks him questions. She admits she spent the night in the greenhouse with Gia and about the rumors about the affair. Bock admits it all sounds awfully convenient. However, he backs off when she asks if the cops will celebrate her family’s demise.

Sofia walks out to the family mausoleum, where she’s holding Johnny. She tells him to get her untraceable cash, or she’ll let him freeze to death. At first, he declines, but she pours water on him and leaves again. In Gotham, Eve chews out Oz while the crew watches the news. Taj Maroni is in her living room, and she’s worried for her girls. They’re fully involved in the mob war. She needs him to fix it now.

Sophia (Cristin Milioti) in “Homecoming” – Episode 5 of The Penguin.He steps into the living room and reminds the crew that Sofia helped them. Luca Falcone did not even know their names. It’s time to move Taj back to his family, and he asks Victor to watch his mother. Back in the crypt, Sofia hears Viti tell stories about Isabella Falcone. He reveals his cousin was going to leave Carmine, but she died first. Viti admits he couldn’t help her mother but could help her get the respect she needed to run the family.

Victor arrives at Francis’ home, where the stove is on and the TV is blaring. At first, he cannot find Francis, but he eventually finds her in the back room. She’s in the middle of an episode until Victor tells her he’s not one of her children. She immediately snaps back into it and asks about Oz. Victor tells her he pulled it off, and the Falcones are dead.

Oz (Colin Farrell) holds Taj Maroni (Aria Shahghasemi) hostage in “Homecoming” – Episode 5 of The Penguin.Oz moves against the Maronis, having someone knife Sal in prison. At the exchange with Nadia, Oz releases Taj. His man gets ready to jump in the truck full of mushrooms, but Maroni men open fire. Oz and his man kill the henchman, and then Oz drops a lighter on a trail of gasoline. Taj was covered in gas, causing him and Nadia to burst into flames. This sets off the fire suppression system, which immediately sprays the shrooms. Oz and his man drive away, but most of the batch is ruined.

Oz gets a phone call, and while he thought it would be Mikey, it’s actually Sal. He survived the assassination attempt and is coming after Oz. However, Cobblepot taunts him about the death of his family. He hangs up and calls Victor. He needs his mother protected.

Dr. Rush (Theo Rossi) stars in “Homecoming” – Episode 5 of The Penguin.At the Falcone compound, Sofia looks over her wardrobe. Dr. Rush arrives and tries to discuss what happened with her family. He wants to be part of the Falcone operation moving forward. Sofia arrives in the hall, and Johnny tells the crowd to quiet.

Sofia starts by telling the men that she killed her family, and they now have something to prove. Her father’s legacy is dead, but in her new organization, the Gigante family, they can rise up. When Johnny tries to tone it down, she shoots him in the head. Sofia then presents the bag of cash to the crew. She promises to give them more money than they’ve ever seen. The men agree and take the money she’s poured on the table.

Francis (Diedre O’Connell) looks through the destroyed house in Crown Point. She stars in “Homecoming” – episode 5 of The Penguin.Victor takes Francis into Crown Point, the last place anyone would look. Victor spots Squid and his men but tries to avoid them. While walking into Calvin’s old building, Squid notices them. Victor takes Valerie up, but the apartment has no power yet. It reminds Valerie of her old apartments with the boys, and she remembers how much the Eastside took from her.

Oz arrives at Eve’s apartment and tells her to pack her things. He wants her to join him in Crown Point, but she refuses. Eve tells him she’d only hold him back, and he grows angry, throwing stuff around the room. Meanwhile, Sal Maroni hides in a cabin. After a few gunshots outside, Sophia Gigante arrives. He stands up, but she already has a gun pointed at him. However, she puts it down, telling Sal she wants an ally. After they kill Cobblepot, they’ll take over the city.

Sal Maroni (Clancy Brown) and Sofia Falcone (Cristin Milioti) strike a truce in “Homecoming” – episode 5 of The Penguin.Oz arrives at the Crown Point apartment and looks over his mother. He hugs her and they talk about their past. She questions his manhood and whether he can take care of his mother. Oz leaves her and meets up with Vic in the living room.

Vic apologizes for falling asleep, but Oz tells him he did good. After looking through his mother’s boxes, Oz realizes there’s a place they can go. The coin jar contains a token for the old trolley lines. Oz takes Victor with him, and they explore an old station they can fix up. It’s a perfect place to grow their mushrooms and will be their new base for operations.

Oz (Colin Farrell) finds a new hideout in “Homecoming” – Episode 5 of THE PENGUIN.“Homecoming” – The Takeaways“Homecoming” is a classic one-step forward, two-steps back scenario. On one hand, Oz eliminated most of the Maroni crime family. On the other hand, Sal remains dangerous, but he empowers Sofia. Oz got the mushrooms and a place to grow them. However, he’s only got a few members of Carmine’s old crew, and they’re on the run.

That’s not to say that Oz can’t pull it off. He’s got a unique approach, and if he’s trying to look for people on the rise, a few key names are now on the board. Squid may not be Vic’s favorite, but he ran a drop ring. If Victor is smart, they can use Squid to move their product. Additionally, the new base feels hidden (and awfully close to Batman’s digs in Matt Reeves’ version). Still, it can function as the base of operations and provide drug-running lanes throughout the city. It’s a nontraditional Penguin hideaway, but it works.

“Homecoming” is another good episode for Milioti and Farrell. This one leans slightly towards Farrell, especially given the material around his mother and brothers. Farrell brings that heartbreak and ambition to the performance. It’s not quite to the level of a few others this season. Still, he’s tapping into something unique in portrayals of the character.

It’s also a character actor party in “Homecoming.” Kelly gets a couple of good moments before a grisly end. Brown gets to shine with his rage and frustration. He’s been behind bars for too long, and now that he’s back, he’s going to be a dangerous figure.

Sophia (Cristin Milioti) and Johnny Viti (Michael Kelly) in “Homecoming” – Episode 5 of The Penguin.Perhaps the most surprising cameo in “Homecoming” came from Mr. O’Neill, who has proven a perfect piece for any show over the last five years. It’s also the first time in a while we’ve seen another character from The Batman in the show. It’s a good but subtle pull. “Homecoming” does not require its viewer to watch The Batman to get the context. More shows need to execute at this level, and “Homecoming” wisely lets O’Neill walk away with the scene.

Finally, “Homecoming” features some pretty great deaths. It’s sad we’re losing Kelly, Shahghasemi, and Shoreh Aghdashloo, but it’s probably for the best. While they were good characters, with only a few episodes left, we need The Penguin to narrow the focus. It also opens up room for Brown to take center stage, and given the weight of his character on organized crime, this brings back a real big bad. “Homecoming,” even with all of its violence, feels like the calm before the storm.

Alan’s Rating: 8/10Watch The Penguin on HBO on Sundays at 9 PM. “Homecoming” aired on October 20, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘Homecoming’ – THE PENGUIN – Episode 5 Recap appeared first on Sunshine State Cineplex.

View Details

After last week’s reveal, it’s time to dig into the backstory of Teen (Joe Locke). The final frames and his costume hinted at the return of one Billy Maximoff, and it was all but confirmed during the week. Luckily, it did not take long for some other fun cameos to shine a light in “Familiar By Thy Side.” The sixth episode is directed by Gandja Monteiro and written by Jason Rostovsky.

“Familiar By Thy Side” – The RecapWilliam Kaplan (Locke) celebrates his Bar Mitzvah at a Jewish Temple. After completing his reading, he parties with his friends. Jeff (Paul Adelstein) and Rebecca (Maria Dizzia) tell William they’re proud of him. During his party, he enters a palm reading tent, where he meets Lilia (Patti LuPone). During the reading, she realizes his palm lines are broken in two. The lights flicker, and she has a memory lapse. When he leaves, she paints a small piece of wood with the sigil of The Road.

Lilia hands off William’s jacket with the sigil inside. When she does, the party is interrupted by the Anomaly in Westview suffering an event. William’s parents rush him out. On the way home, they run off the road and crash into a tree. In the crash, William seemingly dies. As his parents try to chase down the police, we hear Wanda tell Billy and Tommy to sleep. Seemingly, Billy Maximoff’s consciousness is put into William’s body. Alice (Ali Ahn) is with the officers who help William.

In the days after the accident, Billy has issues adjusting to life. He hears Jeff and Rebecca’s thoughts. While they worry and continue to fight, Billy gets overwhelmed. William excuses himself upstairs and tours his room. Once there, he commits to being William Kaplan.

Three years later, Billy dates Eddie (Miles Gutierrez-Riley). When Eddie thinks about telling Billy that he loves him, Billy becomes startled. He admits that William died, and he’s not wholly William Kaplan. Eddie still tells Billy that he loves him, and they go upstairs to look at Billy’s research. Among the clips are materials created by Jen (Sasheer Zamata). Billy believes his identity has something to do with the anomaly.

Later, Billy and Eddie meet a mysterious figure in a parking lot. They approach the figure, who turns out to be Ralph Boenner (Evan Peters). Billy asks about Ralph’s experience, and it’s clear that he has PTSD. During the conversation, Ralph reveals that Agatha remains in Westview and that Wanda’s twins disappeared. Billy seemingly puts together the pieces. After researching Wanda and Agatha, he decides to go after Harkness.

As Billy pulls into Westview, Eddie texts him to thank him for the crazy night. He tells Billy he loves him, this time with a black heart emoji. Billy breaks into Agatha’s house and tries to steal things – including a necklace – that might help him find The Witches Road. However, he breaks a lamp, and Agatha catches him. She interrogates him in her Agnes character. As they talk, he breaks the spell. When Agatha asks for his name, he tells her he’s Billy Maximoff.

On the road, Agatha crawls out of the muck. Billy plays with Lilia’s tile but eventually crushes it. Agatha walks up to him and tells him she knows his identity. Wanda and Billy have the same tell. She then speaks his name out loud. Finally, they can be open with who they are.

Agatha is impressed that he took care of Jen and Lilia. She also wants to know how Billy got into William Kaplan’s body. He does not know, but she applauds him for surviving like witches have for centuries. After an argument, Billy and Agatha come to an agreement. They’ll continue on the Road together so she can regain her powers and he can find Tommy. They begin walking down the road alone.

“Familiar By Thy Side” – The TakeawaysIt’s nice that “Familiar By Thy Side” wasted no time in confirming Billy Maximoff for the audience. The William Kaplan moments were already enough of a tell. However, the way that Billy jumped into William’s body was unique, and will likely continue to resonate through the MCU in future episodes.

The writing and directing are where “Familiar By Thy Side” gets a lot of credit. Locke brings the eccentricities of the Billy/William dynamic out in his performance, but the material he’s provided is excellent. Monteiro proves patient enough in “Familiar By Thy Side” to let the audience realize Billy’s past, with a lingering camera that extracts the emotion from the performance. Meanwhile, Rostovsky finds dual meanings in his dialogue. It would be tough enough to discover who one is as a teenager, regardless of your actual background. Realizing that you feel like you do not belong in your own body is a special dash that comes through in the excellent writing.

There needs to be another huge shoutout to Jac Schaeffer for finding unique twists in the story. While this narrative is not the exact Wiccan origin, it’s one that certainly earns its place in the MCU. Additionally, so many small moments and double entendres land in “Familiar By Thy Side” after weeks of speculation. The “Black Heart” is not Rio but has always been Billy Maximoff. Billy’s nervousness and what exactly he was stealing from Agatha comes into focus. Billy’s discomfort and cageyness about his experience are also interesting. Why does he have the curse over his head as well?

Billy/Teen has consistently shown more excitement than the others as they investigated trials, in part because he’s being invited into a culture. The push and pull between his life and the one he must have fantasized about has been on screen all season. We can see how Billy handles his friends and lovers in his element. There’s some question about whether Billy could go from a young teenager to an adult in minutes, but ultimately

The cameos from most of the cast are run, but at a certain point, it’s also fair to question why they’re needed at all. The first time we see Lalia, it feels shoe-horned into the story. Alice is the most natural one; even Jen’s feels out of place unless you’re actively stretching the story. The idea of fate comes through in “Familiar By Thy Side,” but conveying that aspect through seemingly meaningless TV moments, we lose some of the grandiosity of the story.

While the mystery box elements of Agatha All Along are seemingly closed off by “Familiar By Thy Side,” don’t worry, we’ve got a lot to go. What happened to Jen and Lilia? Do we honestly believe they died like that? The answer is probably a no, but it’s annoying we have to ask. The Rio aspect still looms, but otherwise, the big questions were checked off here.

Alan’s Rating: 8/10Watch Agatha All Along on Disney+. New episodes release every Wednesday night. “Familiar By Thy Side” aired on October 16, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: Familiar By Thy Side – Agatha All Along – Episode 6 Recap appeared first on Sunshine State Cineplex.

View Details

Alex Wolff will likely always be most closely associated with Hereditary in my mind. The Ari Aster horror film had a major impact on me, and Wolff’s performance was equally understated and terrifying. In The Line, which tells the story of a college fraternity, Wolff is allowed to take on the central role and showcase the full range of his talents. The end result is an authentic portrait of the highs and lows of fraternity life.

The Line plotTom (Alex Wolff) is a college student and member of a popular fraternity. He struggles with his academics while trying to balance the responsibilities to his brotherhood. When he meets Annabelle (Halle Bailey), an intelligent student with goals and ideals that clash with those of his fraternity, he begins to question his path.

“Frat Bro” realismThe Line works so well because it’s approached as an honest examination of the frat world. For the most part, the characters fit into the designated stereotype of a “frat bro.” They drink heavily, throw raging parties, and struggle with grades; however, nobody ever feels like a caricature written to fill a designated slot. Instead, the stereotypes are a result of young men trying to fit into a clique they desperately want to be accepted by.

Tom adopts a fake accent to fit in with those around him. He lies about his job and connections to appear more substantial and well-off than he actually is. The personification of self-importance and aspirations of grandeur are among the main themes associated with the fraternity. They repeatedly mention the fact that several United States presidents were allegedly former members, and they often choose which pledges will make the cut dependent upon who their parents are and what connections they may have.

John Malkovich and Denise Richards make a small appearance, but their roles (particularly Malkovich) are significant. As a 90’s kid, I loved seeing them onscreen again, even if only for a moment. They play the wealthy and powerful parents of Tom’s roommate, Mitch Miller (Bo Mitchell). Mitch’s character is the launching point for the downward spiral into darkness that the fraternity eventually faces. Mitch’s conflict with a new pledge divides the fraternity and sparks a divide within the group that tests loyalties.

Writer and director Ethan Berger has a knack for bringing this often unseen world to life. A significant portion of The Line could be described as “bros being bros.” A relaxed and meandering approach to the early moments lulls the audience into a false sense of safety and security. By the end, we see the cracks in the forced layers of machismo and masculinity. This is where Wolff is allowed to truly show off, bringing a vulnerability to the character that sells the film’s third act.

The Line tackles huge topics on a small scale. The story feels intimate and grounded. Thanks to the writing and the incredible cast, it’s a story that’s relatable, even to those who have never been in a fraternity. The urge to fit in and the pressure to change who we are is something that everybody has experienced in one manner or another; however, giving in to those pressures and temptations can have devastating consequences.

Joshua’s Rating: 8/10Watch The Line in select theaters on October 18th, 2024. Utopia Distribution will handle the release. Please check out other Sunshine State Cineplex reviews here!The post Review: THE LINE – A Raw and Authentic Look at Fraternity Life appeared first on Sunshine State Cineplex.

View Details

Based on Amy Liptrot’s critically acclaimed memoir of the same name, The Outrun is a compelling and oftentimes raw exploration of the complexities behind addiction. Director Nora Fingscheidt refines many of the elements touched on in her previous effort, The Unforgivable,and offers an emotional journey through acceptance and recovery.

Helming the lead performance and starring role is Saoirse Ronan. She is tasked with carefully transversing the turbulent waters of alcoholism. Ronan has long excelled when delivering on subtle emotions, yet The Outrun offers her the best opportunity to turn in her most layered performance yet.

From the onset, Ronan’s character Rona is shown having perhaps imbibed past the point of tolerance. The otherwise inoffensive jabs directed at her mates quickly become problematic as Rona finds herself thrown out of the bar onto the streets of London. Ronan wholly owns the scene as she seamlessly transforms from playful to violent. Along with Fingscheidt’s direction, both effectively sell audiences on how addiction can unnoticeably creep into one’s life.

Ronan keeps the momentum of that introduction going as Rona travels back to her home in the Orkney Islands to find the path to recovery. Hopefully, the answers lie in the wisdom and stories of her Scottish heritage, away from temptations amidst the crashing waves, the green plains, and the picturesque towns.

However, this path is far from straight and narrow, as arguments with friends, boredom, breakups, abuse, numerous rehab stints, and frequent relapses all define her voyage. Furthermore, a tumultuous relationship with her religious mother (Saskia Reeves in an effective outing) and a complicated relationship with her bipolar father (Stephen Dillane in a poignant turn) threatens to undo any progress.

As Rona accepts the challenge of sobriety, The Outrun takes the character on a trip down self-analysis. Rona revisits difficult moments in her life that perhaps led her to her issues. The Outrun jostles in and out between timelines, mimicking the unsteady and frenzied path toward recovery and providing a unique storytelling approach that ensures audience investment. Even though several plotlines could have benefited from some nipping and tucking in favor of pacing, the shifting timelines reflect Rona’s thoughts and emotions as she contemplates the causes of her illness. Throughout the entire process, Ronan is tasked with carrying The Outrun, which ultimately results in a mesmerizing performance that sits amongst her very best.

Yet plenty of supporting elements help bear the weight along the way. For one, the film’s shared setting between the Orkney Islands and London takes on a life of its own. The contrast between the busy city life and the calm seaside towns mirrors Rona’s state of mind as she travels from addiction to recovery. The hectic London nightlife is conducive to heavy partying and drinking, while the tranquility in the traditional Scottish countryside allows for introspection. Ronan effectively navigates both worlds, complementing explosive outbursts with passive meditations.

The film embellishes Rona’s soul searching with the history and mythology of her people. The parallels between Rona’s personal struggle and her people’s struggle for the preservation of their unique identity are subtle enough to avoid politics yet are proudly alluded to. From an aesthetic standpoint, the natural beauty of the Scottish landscape is beautifully shot by Yunus Roy Imer, while the hypnotic score from John Gürtler and Jan Miserre captures the oscillating moods.

The Outrun proves to be the perfect vehicle for Ronan to elevate her craft, and she does not disappoint. The subtle and quiet intensity that permeates throughout is jolted to life with every line Ronan delivers, helping the film push through its pacing issues. Ultimately, The Outrun succeeds in offering a moving look into addiction and recovery, with Ronan confidently leading the way.

Borja’s Rating 7.5/10Watch The Outrun in theaters today! Sony Pictures Classics distributes the indie drama. Please check out other Sunshine State Cineplex reviews here!The post Review: THE OUTRUN – Ronan Mesmerizes in Addiction Contemplation appeared first on Sunshine State Cineplex.

View Details

Remakes are a tricky business. A filmmaker may wish to resurrect a property because they feel they have a fresh or unique take on the original. Often, the result feels like a cop-out, a way to turn a profit based on recognition of someone else’s work. Rarely does a filmmaker produce a remake of their own film out of trepidation of stomping on their legacy. Yet John Woo‘s The Killer does precisely this.

John Woo’s The Killer stars Nathalie Emmanuel and Omar Sy. It is now streaming on Peacock.The Killer pulls a title from his filmography, genderbends it, and delivers a forgettable direct-to-streaming film. John Woo’s The Killer is not bad, but from the story to his signature high-octane penchant for sending motorcycles into the air, there is nothing audiences haven’t seen before. The entire project feels lazy, and with a runtime of over two hours, that’s not enough to hold an audience’s interest.

For those unfamiliar with the original, a contract killer, Zee (Nathalie Emmanuel), accidentally blinds a young singer (Diana Sellers) during a mission. When the singer becomes her next target, Zee faces guilt from her past and chooses to save the young woman instead. This makes her a threat to her handler (Sam Worthington) and a curiosity to a French detective (Omar Sy).

John Woo’s The Killer stars Nathalie Emmanuel and Omar Sy.The Killer undeniably bares Woo’s trademark flair, which, for better or worse, will feel familiar to those familiar with his movies. For The Killer, it means there are few new ideas to freshen things up. Instead, he treads old ground but with a new cast. Fortunately, the assembled team brings enough life to their characters to make things interesting. Emmanuel demonstrates that she has what it takes to be a leading lady and is believable as a stone-faced assassin. Sy keeps things light with an easy charm that makes his run-of-the-mill character compelling. However, Worthington struggles to exude menace, making it one of the film’s weaker elements.

Woo, known for his action set pieces, reaches into his old bag of tricks. We get numerous gunfights, motorcycle chases, and footraces, but nothing stands out as particularly groundbreaking. But even recycled action beats from someone as stylistically competent as Woo makes for entertaining sequences. We may have seen it all before, but it was good the first time, so it’s fine seeing it again. In some regards, it feels like Woo may be slightly poking fun at himself by not trying too hard to reinvent the wheel. It’s fun, and for many, that might be enough.

John Woo’s The Killer stars Nathalie Emmanuel.John Woo’s latest version of The Killer may be best enjoyed without knowledge of the original. It may not be a shot-for-shot remake, but the story will be more surprising for the uninitiated. Likewise, those unfamiliar with Woo’s filmmaking techniques may find more to enjoy. However, longtime fans will likely be underwhelmed because of the familiarity. It’s disappointing that a more compelling film could not exist with the talent assembled in front of and behind the camera. Ultimately, The Killer misses its mark.

Josh’s Rating: 5/10Watch The Killer on Peacock today! Peacock distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE KILLER – An Unnecessary Remake is Little More than Overkill appeared first on Sunshine State Cineplex.

View Details

We now know that Bliss comes from Arkham Asylum. The choice to pull the new hot drug on the street from the hospital meant to help people with mental health conditions is far from new. Yet “Cent’anni” looks to expand on the simple “where” questions around Bliss. Instead, it opens the door for why Sofia is sure of its effectiveness as a drug.

“Cent’anni” – The RecapWe overhear the conversation between Sofia and Oz at the end of “Bliss.” As he tells her to trust him, The Maronis arrive and threaten to kill them both. However, first Nadia reveals that Oz killed Alberto. Sofia processes what she’s heard as Oz tells Nadia he was setting up the operation to bring to the Maronis. Suddenly, Victor drives into the scene, causing a shootout and chaos. Sofia watches Oz tell Victor to leave her, and they speed away. Sofia calls Dr. Julian, and tells him she needs help.

A decade earlier, Sofia attends a public charity event in her mother’s name. After her speech, she steps away with Oz, who serves as her driver. As Oz gets the car, Summer Gleason approaches Sofia. Summer tells Sofia about a woman named Yolanda, who commits suicide by hanging. However, a worrying trend of women working at the Iceberg Lounge have done the same. Sofia tells Summer she does not speak with the press and leaves with Oz.

Sofia stares up at a portrait of her family. We see a flashback to when Sofia found her mother’s corpse after her suicide. Sofia sits down to eat with her father, Carmine (Mark Strong), and Alberto (Michael). While they’re trying to talk business, Alberto leaves to answer a phone call. After he goes, Carmine tells Sofia he wants her to take charge of the family.

She’s thankful, but Sofia pauses. Carmine realizes there’s something else going on, and he asks her to tell him what’s on her mind. Sofia reveals she’s been thinking about her mother’s death and asks whether her mother ever got help. Carmine dodges the question and asks her not to bring it up.

The next day, Alberto rides with Sofia and Oz. She asks him about their father, and if he dates women at the club. Alberto jokes about it and tells her to stop asking questions. Oz asks her where to drive, and Sofia looks at the card from Summer.

Sofia meets with summer that night in secret. After revealing the evidence she has, Summer asks Sofia to wear a wire. When Summer refuses, Summer asks for employee records. Sofia remembers the immediate aftermath of her mother’s death again, and her father whisking her away. Oz expresses his worries to Sofia, but she tells him off.

The next night, she jokes with Carla about Luca and his new wife. Oz comes up to Sofia and tells her that Carmine wants to see her. She walks back to speak with him, and he’s angry she met with a reporter. When he asks why she met with anyone from the press, she mentions his hands were cut up the day her mother died. Disappointed, Carmine tells her to go home.

Oz apologizes as he drives Sofia home. He tells her he was only looking out for her, but she’s furious with him. Before they leave the compound, the police arrive. They arrest Sofia for Summer’s murder and the murders of the other women. Oz tries to stop it, but the police hold him back.

The newspapers call Sofia “The Hangwoman.” Members of the family contributed sworn affidavits swearing to her mental health struggles. She asks Alberto to help. However, she’s pulled away after only a short discussion. She calls out for help, but it’s too late.

Sofia undergoes a physical examination and cleaning at Arkham. She meets her doctors, Dr. Ventris and Dr. Julian Rush. During the next six months before the trial, she will be held in isolation. She walks through Arkham, seeing other patients in isolation until she reaches her cell.

Once she arrives in the cell, the lights are shut down. The screams of other inmates reverberate off the walls, and a screw falls to the floor. Sofia’s neighboring cell contains an inmate named Magpie, who quickly strikes up a conversation about Sofia’s fame.

Sofia tries to block out the sounds, but the next day, she still hears the other inmates calling out her nickname. Sofia sits next to Magpie, who receives the drugs from the attendant. One of the other unchained inmates walks over to Sofia and proceeds to beat her until she passes out.

Sofia wakes up with bruises on her arms. She shudders as Dr. Rush arrives and asks her about the incident. She expresses her worries about the unchained inmate and does not think he believes any of her ideas. She believes it’s a waste of time because he’s already decided.

Sofia is brought into the mess hall and put opposite the woman who beat her. Dr. Ventris watches as the two women circle each other. Sofia refuses to hurt her, but the woman grabs a fork, stabbing herself repeatedly in the throat. Afterwards, the staff drag Sofia down o electroshock therapy.

Over the coming days, she goes back to additional electroshock sessions and begins peeling paint off the walls of her cell. Beneath the paint is a yellow Art Deco wallpaper. She reimagines her mother’s death, but this time, she’s the woman hanging in their house.

Alberto visits Sofia but brings bad news. Ventris has ruled her incompetent, and she cannot stand trial. Sofia cannot believe her brother will not fight for her, and she leaves the room. She returns to the mess hall, and Magpie tells Sofia they can finally be friends. Sofia proceeds to bash Magpie’s head into the table, killing her and breaking her neck. The doctors drug her, and she passes out.

Sofia wakes up on Dr. Rush’s couch in his current office. She’s no longer in Arkham, and we are now in the present. Rush tells her she can shower and he will bring her breakfast.

When Rush returns, he asks her how she’s feeling. Sofia is furious with herself for trusting Oz, and her family will kill her if she does not leave. Rush tells her to go, but she retorts that he’s the one who quit and left her Arkham. He tells her he cannot handle it any longer, but she thinks he misses the power he held in Arkham. She’s angry that men have taken her power for ten years. Sofia agrees, she deserves a fresh start.

At the Falcone compound, the family laughs and drinks at dinner. Sofia makes a grand entrance, but when Viti tries to get her to leave, she refuses. Luca tries to give a speech, but Sofia interrupts it, starting her own talk about her time in Arkham. Carla tries leaving with her daughter Gia, but Sofia tells Carla to stay. Carla sends her daughter to bed alone.

Sofia tells her family how much she loved them, but they were the reason she was in prison. Luca tries to downplay the fact that she’s “innocent,” but Sofia finishes the speech. She’s starting over the next day, and she bids them adieu (“To new beginnings, Cent’anni”). After everyone goes to bed, Sofia sneaks through the house with Gia. They go out to the greenhouse to eat cake, and Sofia tells Gia they will be there.

The next morning, Sofia walks back into the house with a backpack. Inside, she pulls a gas mask out and walks through the house. She turns off the carbon monoxide hose that she set up. She then wanders through the house, finding nearly everyone is dead. She finishes her tour in Johnny Viti’s room – the only survivor because he sleeps with an open window. Sofia wakes him, telling him it’s time to talk.

“Cent’anni” – The TakeawaysEasily the best episode of The Penguin so far, “Cent’anni” digs into the Sofia Falcone storyline. In previous iterations of the character, like Batman: Dark Victory, Sofia was a murdering psychopath. With that in play, hardcore comic book fans likely had that reputation coloring their interpretation of The Penguin. At the same time, the series gave us little reason to doubt the rumors.

Yet “Cent’anni” slowly reveals the truths about the Falcone crime family. The sycophant approach has always worked in this family, and the result has been years of power unchecked. With Carmine gone and Sofia out, the family still feels like they’re above reproach for serving him by eliminating a potential heir to the kingdom. However, instead, they created their own downfall, pushing her to the brink so that she would eventually kill them in the slowest and most vulnerable way possible.

It’s a darkly funny joke that Sofia only became a killer after they made her into one. She does not take her first life until Arkham. One could argue “Cent’anni” feels like a DC version of Making a Murderer. However, not only is the story less sensationalized, but the way these men stripped her of humanity, they deserve everything that happens to them. Sofia became something darker, and even when she tried to forgive them, they would not let her escape a fictional narrative they had created for her. What other choice did she have than to embrace that horrific story?

With “Cent’anni,” Milioti almost assuredly locked up her Emmy win. Four episodes into The Penguin, and there’s no doubt about her power in this role. She’s playing in every key she’s ever shown, but this time in a show that matches her greatness. Outside of Fargo, Milioti has rarely received material equivalent to her talent. Now, she’s hitting every key and soaring as a result. Simply put, she’s a superstar in this series, and she’s showing she’s among the most versatile performers working today. “Cent’anni” just packages it up with a nice bow.

Alan’s Rating: 9/10Watch The Penguin on HBO or Max today. “Cent’anni” aired on October 17, 2024. Read our recaps of The Penguin here.Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘Cent’anni’ – The Penguin – Episode 4 Recap appeared first on Sunshine State Cineplex.

View Details

Last week, Agatha (Kathryn Hahn) added a new witch to the coven, but whether she can trust Rio (Aubrey Plaza) remains a real question. As the relationships shift again, Agatha All Along has a chance to make some big waves. Will the coven find themselves divided? Or will Agatha prove as dangerous as some have made her out to be? “Darkest Hour/Wake They Power” returns with one of the best reveals of the season. While some aspects do not work, it’s still one of the more enjoyable episodes of the season.

Rio Vidal (Aubrey Plaza) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.“Darkest Hour/Wake Thy Power” – The RecapOn the road, creatures crawl through the summon portal Agatha and the witches made to conjure a green witch. Shortly after they arrive, they materialize into the Salem Seven that hunted Agatha in episode 2. Lilia (Patti LuPone) wakes from a nightmare and makes the coven aware. They run, but they’re already surrounded. To escape, Teen (Joe Locke) asks if they can use brooms. While the coven reacts negatively at first, they agree and get ready to ride. For them to fly, the brooms have to be crafted and then traded with another witch. Teen and Alice (Ali Ahn) perform the last trade as one of Seven arrives, and the coven takes flight.

As they fly, they pass a blood moon with the intention of flying away. However, the Road pulls them back with gravitational force, and they crash through another one of the Seven. It still provides them enough space to reach their third trial, which brings them to a literal cabin in the woods.

Teen (Joe Locke) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.After passing through the doors, the women have taken on an 80s slasher vibe. Agatha tells everyone they must complete the trial before the Seven can get them. When the other witches realize the trial is tied to the Blood Moon, it’s up to Agatha to get them through.

A spirit lifts an Ouija board, and they begin the ritual. Agatha leads the coven to a board, and they begin the seance. They are seemingly approached by Mrs. Hart from beyond the grave, but she’s quickly called out for it.

This time around, the spirit asks the group to punish Agatha. They cannot stop the Ouija from repeating, causing the group to listen to the board. They must punish Agatha to get through the trial. However, when the women approach her, Agatha disappears. The group finds her by looking up at the ceiling, where a clearly possessed Agatha hides in the rafters.

(Clockwise from top left): Rio Vidal (Aubrey Plaza), Teen (Joe Locke), Lilia Calderu (Patti LuPone), Alice Wu-Gulliver (Ali Ahn), Jennifer Kale (Sasheer Zamata), and Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.This Agatha attacks, trying to bite Teen and choke Jen (Sasheer Zamata). However, they eventually turn on a light and hide her, causing Evanora Harkness (Kate Forbes) – Agatha’s mother – to reveal herself in ghost form. Evanora hates her daughter, and to let the group advance, she offers to let them go if they leave Agatha with her. Rio and Teen will not do it. Agatha asks why her mother still hates her, and Evanora tells Agatha she was born evil. When Jen pushes for them to leave, Alice steps in and tries to banish Evanora. In the process, Agatha absorbs Alice’s power.

As Agatha steals Alice’s witchy powers, Teen runs to the Ouija board. He asks who is on the board. The answer: Nicholas Scratch. When he calls out Nicholas’ name, the trial ends, and Agatha stops absorbing the power. It’s too late – Alice has died on the Witches Road, drained of her life and energy.

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.Agatha steps out of the trial, and the other witches follow. Agatha sees her witch powers have returned. Outside, Teen yells at her for killing Alice and accuses Agatha of only walking the road so that she could steal the other witches’ powers. Jen agrees but also reveals that’s the only reason any of them are on the Road.

When Teen says he would not do the same to the others, Agatha’s demeanor changes. She tells him he is “like his mother” and hints that she knows he’s killed for his own gain. Teen’s powers ignite after she calls him a “pet,” and possessing Lilia and Jen, he throws Agatha into a bog off the Road. He then sends Lilia and Jen after her. When the camera returns to Teen, his powers are fully ignited, and a blue crown is present. He has embraced his persona as Wiccan – a.k.a. Billy Maximoff.

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.“Darkest Hour/Wake Thy Power” – The TakeawaysWhere to start? Well, first of all, quick apologies for the delay. A little hurricane named Milton hit Florida, and we lost power for the time this would have normally been completed. However, with a lot of time to sit on “Darkest Hour/Wake Thy Power,” we hope to give you something to chew on.

The first issue at hand, why does Wiccan choose this moment to reveal his identity? The chief might be the least exciting – he’s simply angry and unwilling to wait any longer. He’s on the Road to avenge his Mother, assuming that his mother has not ended up stuck here after the events of Doctor Strange and the Multiverse of Madness. Those two ideas do not have to be mutually exclusive either. Agatha could have been the witchy meal he was serving up to his mother to regain her powers, but instead, he’s grown impatient. The arrival of Rio also makes for a potential replacement – assuming, of course, that she is not Death.

That’s right, the cat is seemingly out of the bag here. Plaza’s been excellent, but the season makes far more sense if it turns out Rio is a pseudonym for Death – a character in Marvel Comics for which Thanos nearly destroyed the world. It’s been a minute since the character rumors around Death have surfaced, but it makes a lot of sense in Agatha All Along. Specifically, “Wake Thy Power” has her confirm Agatha’s role in talking to the dead (she would know, wouldn’t she?). It also explains why she wants Agatha to kill the others and why she knows that Teen is not Nicholas Scratch.

(L-R) Teen (Joe Locke), Rio Vidal (Aubrey Plaza), Lilia Calderu (Patti LuPone), Agatha Harkness (Kathryn Hahn), Alice Wu-Gulliver (Ali Ahn) and Jennifer Kale (Sasheer Zamata) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.This also keys us into an important piece of the Agatha puzzle. As soon as Teen says the name Nicholas Scratch, it confirms two things to her. First, her son is dead. Otherwise he could not communicate via Ouija. Second, it confirmed Teen can say the name. If he was cursed, he could not. “Wake They Power” needed both of these to push Agatha towards the clear conclusion, and thankfully, she bites.

Now here’s the other aspect that took time to parse out. Teen might have wanted to get rid of the other witches, but like any good Survivor, he began thinking of the end game. Who could he make it to the end of The Road with, while staying in the power position. He’d been working Alice since Day 1, so she was the obvious “take her to the end choice,” partly because she could heal and in part because she appeared weaker than the others.

Additionally, the wink from the last episode comes roaring back. With Sharon’s death, Agatha questioned who killed the woman. Teen/Wiccan might have thought she did not notice something of importance, but he forgets she’s spent time as Agnes O’Connor, the ace detective of Westview PD. She picks up the details and realizes that Teen is one to keep an eye on.

(L-R) Agatha Harkness (Kathryn Hahn), Jennifer Kale (Sasheer Zamata), Rio Vidal (Aubrey Plaza), Teen (Joe Locke) and Alice Wu-Gulliver in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.However, her hubris gets the better of her once again. After the fight, she flings two insults at Teen that he cannot ignore. He first compares the boy to his mother, and given Wanda’s status as a missing person, that hit incredibly close to Teen/Wiccan. However, perhaps even more damning, she calls him Pet once again. It proves to Teen that she’s fully known his identity for some time and instead refers to him like he’s a generic witch. In Agatha’s mind, she can take her revenge on Wanda by stealing her son’s powers.

However, the lack of respect causes Teen to attack her. Wisely, he does not do so directly but by using the other witches to touch her and throw her into the bog. Once the other witches become involved, Wiccan has to empty the cupboards.

The ending of “Darkest Hour/Wake Thy Power” provides an early season momentum boost for the series. As the witchy magic continues to evolve, Agatha has fully taken a spot on the roster as a required viewing. The series is too much fun, and “Wake Thy Power” shows the impeccable patience of the writing team. They’re willing to drop the big moments when it’s most advantageous, and revealing this halfway through Agatha All Along also brings viewers back. It’s an all-around win for Marvel, and the limited series turns in another killer episode.

Alan’s Rating: 8/10Watch Agatha All Along on Disney+. “Darkest Hour/Wake Thy Power” aired on October 9, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: Darkest Hour/Wake Thy Power – Agatha All Along – Episode 5 Recap appeared first on Sunshine State Cineplex.

View Details

The last decade has seen the rise of unusual horror franchises, and the return of the V/H/S series has been a boon to the genre. It’s been an easy way for emerging directors to earn credit and showcase their creativity within the confines of defined found footage. V/H/S/Beyond opens the franchise to subgenre-specific anthology storytelling. The results are immensely rewarding, with some incredible new names behind the camera (and some actors showcasing their multi-hyphenate talent). Cool effects, chilling stories, and an emotional hammer to close it out make this V/H/S entry one of the best.

Broken into five stories with a faux documentary stitching it together, V/H/S/Beyond asks the audience to imagine the world beyond our planet. A special police unit investigates a series of kidnappings related to babies. Tabloid reporters try to capture a pop star behind the scenes. A group of friends goes skydiving. An animal rights group investigates a woman who taxidermies her deceased pets. Finally, a woman hopes to capture proof of extraterrestrial activity in the Mojave. Below, we’re breaking down each of the science-fiction horror shorts.

V/H/S/Beyond – Storks – Directed by Jordan Downey, Written by Jordan Downey and Kevin Stewart“Stork” – Directed by Jordan DowneyUsing body and helmet cams, “Stork” might be the outright scariest short of V/H/S/Beyond. With some brilliant creature design and a horrifying array of unique zombie-like creations, this one feels like a Resident Evil game. The titular monster is a brilliant concept for a short feature and speaks to how Jordan Downey (director) & Kevin Stewart (co-writer) can expound on a simple premise.

There are unnerving emotional stakes within the characters as well, adding to the stakes of the story. Jumping between the cameras makes for an interesting choice and provides a good sense of the environment. We do knock it down a little for choosing the SWAT-esque approach, which we’ve seen a few too many times in the V/H/S series.

Alan’s Rating: 7/10V/H/S/Beyond – Dream Girl – Directed by Virat Pal, Written by Pal and Evan Dickson“Dream Girl” – Directed by Virat PalCombining the ideas of paparazzi and superstardom, “Dream Girl” gets off to a fast start. There are some fun dance sequences and some rich commentary, especially around the artificial lives celebrities live. However, as the story unfolds, it overstays its welcome. This is particularly true in the second half, which feels stretched far past its expiration. Cool effects and some good performances – especially from Namrata Sheth – keep this engaging. However, it’s the weakest of the set, but that’s not the insult it might be in other entries. It has one of the coolest ideas, and with some tweaks, it could have broken through to the heights others reached.

Alan’s Rating: 6/10V/H/S/Beyond – Live and Let Dive – Directed by Justin Martinez, Written by Ben Turner and Justin Martinez“Live and Let Dive” – Directed by Justin MartinezOne of the coolest uses of found footage in V/H/S/Beyond involves the already scary process of jumping out of a plane. However, tack on a dangerous extraterrestrial experience and some truly screwed-up creatures, and you’re cooking with gas. Martinez and co-writer Ben Turner had a clear jumping-off point, but it does not feel like a premise that sustains a film. The one great scene at the beginning is impossible to ignore.

Alan’s Rating: 7/10V/H/S/Beyond – “Fur Babies” written and directed by Christian and Justin Long.“Fur Babies” – Directed by Christian and Justin LongAn instant classic in the “Fucked up beyond all reason” class of V/H/S shorts, “Fur Babies” is a chilling exercise. It’s great that Christian and Justin Long chose to push the limits of their effects and premise. It’s difficult enough to come up with a fantastic idea, but very few shorts feel like they take cool ideas and push them to their limits.

If they ever think about expanding to feature length, it’ll be curious to see how they expand the story. The Longs clearly emptied the notebook and put as many ideas as they could into “Fur Babies.” This is a perfect mix of found footage and extracting every ounce of potential story in service of the darker side of sci-fi. Also, someone needs to build a horror film around Libby Letlow. Genuinely chilling.

Alan’s Rating: 10/10V/H/S/Beyond – Stowaway – Directed by Kate Siegel – Written by Mike Flanagan“Stowaway” – Directed by Kate SiegelSiegel jumps to the director’s chair with “Stowaway,” and it’s hard to imagine a more complete debut. What the Longs accomplish in terms of visceral horror, Siegel does in terms of anxiety and dread. It’s the most devoted segment to the VHS itself, as a young woman tries to capture footage of aliens in the desert. However, Siegel taps into the desperation and sadness of the situation. The writing, from longtime collaborator and partner Mike Flanagan, is on point, and Siegel squeezes every ounce of emotion out of the tragedy. She also creates brilliant tension and sublime body horror. It’s one of the strongest pieces of the V/H/S/Beyond and a brilliant debut.

Alan’s Rating: 10/10V/H/S/Beyond – “Abduction/Adduction” directed by Jay Cheel“Abduction/Adduction” – Directed by Jay CheelA brilliant way to wrap together the segments this time, the mockumentary “Abduction/Adduction” provides a breather between each segment. Cheel taps into his ability to documentary directing skills (Cursed Films) and brings some talent in to sell the segments. Niko Pueringer and Sam Gorski from Corridor come in and do their schtick. Cheel also gets Mitch Horowitz to appear, lending credibility to the sequences. The fact everyone plays the horror in these segments straight allows “Abduction/Adduction” to function as a brilliant threader while tapping into the realism that makes found footage effective.

Alan’s Rating: 8/10Watch V/H/S/Beyond on Shudder today. V/H/S/Beyond premiered at Fantastic Fest 2024. Alan’s Rating for the project: 8/10Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Review: V/H/S/BEYOND – Freaky New Heights for the Anthology Franchise appeared first on Sunshine State Cineplex.

View Details

The challenge of finding an authorial voice in horror can be too much for some directors. Yet Benjamin Barfoot, director of Daddy’s Head (which debuted on Shudder today), meets the challenge. A story of a young boy and young stepmother finding commonality through trauma manifests a deeply unsettling monster. The result is a stunningly polished sophomore feature and a monster that gets under your skin. Barfoot spoke with Sunshine State Cineplex about his approach.

The interview with director Benjamin Barfoot his interview has been edited for length and clarity.

Barfoot realized Daddy’s Head is partially derived from his parent’s divorce. We opened our discussion with a rather open-ended question: “Why is this movie so dark?” Daddy’s Head does not pull punches; instead, it creates imagery and emotional stakes that would announce the arrival of nihilistic or “cold” directors. However, Daddy’s Head proves shockingly hopeful despite grief throughout the story. “Maybe I’m always trying to oppose my personality,” Barfoot laughs. “I’m quite a sort of sunshine person.”

Ten years passed between Barfoot’s initial conception of the story and bringing it to light. “It sort of started from a shot I had years ago, probably in my early 20s. I had a boy looking at his father’s head that was smiling at him manically. I always thought there was something weird and horrific.” Barfoot continues, “At one point ten years ago, I developed it into a story. I wrote this story within a couple of days.”

However, it was not until just before production that the origins of the narrative clicked into place. “I realized, when I had a brief round of therapy around my parents’ divorce, that I was actually writing a story about elements of my childhood.”

Barfoot is far from cagey about it, instead proving open about the process. “I lived in a house in the countryside and was this artsy kid. When my parents divorced, I was very close to him. He sort of left and became a very distant parent. He remarried a stepmother who I didn’t get on with, and my Mum was drinking at the time. So now, I kind of look and go – all these ideas are dreamt up from experience.”

To create the distance between his stars, Barfoot separated his actors. The two actors at the center of Daddy’s Head are Rupert Turnbull as “Isaac” and Julia Brown as “Laura.” After the death of Isaac’s father, Laura finds herself trying to support a young boy and build a relationship. However, on set, Barfoot ensured the distance between the two performers felt real. “When it’s a 12-year-old boy and a 28-year-old woman, it’s hard to fake them as being incredibly close and loving. It’s a lot easier to create distance,” Barfoot says, “I tried to keep them apart anyway. I didn’t want them to get particularly close.”

Finding Turnbulla and Brown also helped facilitate another change. “Initially, the character was his mother. Through the casting process and writing on it for two or three years, it became a lot more interesting when you went from a woman who was a natural mother concerned for her child to a woman who is not. She is forced to care for a child.” This also adds the stepmother’s grief into the equation, forcing the woman to mourn someone she loves and struggle to bond with a piece of a man who is gone. Barfoot believes, “That’s so much richer to play with.”

Barfoot did not actively choose to go the folklore path. However, the creature evolved in production. The rise of Folk Horror continues to gain a footing within the creative community. After all, it forces the audience to explore a world outside of the conveniences of modernity. Daddy’s Head touches on these ideas, but Barfoot did not immediately set out to contribute to the genre. “

It’s really funny that people bring up folk horror. What is similar between my movie and folklore is the approach to nature and the woodlands,” Barfoot concedes. “However, when I built the structure in the woods, it’s more to do with what’s going on in the story. It’s fair that people have these theories, but I was never trying to reference a particular movie or genre. I was trying to make the story make sense in my head.”

To bring this horror to life, Barfoot crafted a creature that feels pulled from your nightmares. The combination of strange visuals and unnerving sounds makes Daddy’s Head a disturbing film at times. “I knew it was going to be this black kind of creature, and I knew it was going to have this face. The whole idea is you just see his face and not much more,” says Barfoot. ” I found this guy, Sadan Vague, this Ukranian artist. If you see Sadan’s work, I would call it surrealist horror.”

Barfoot explains that their process led to some back-and-forth instruction, but eventually, Sadan needed to explore his ideas. “He literally went away for like two days and then came back with what you see.” Barfoot realized small changes to their initial design went a long way. “By changing elements, rib cages, and aspects of the body, you could just suddenly see it.”

Once the design was in place, the effort to build the creature was moved to the production team. “We had the designers at Millennium build it into a suit that fits around the body of an actor.” There was also a push to use Chris Cunningham’s music videos to inspire the visuals of Daddy’s Head. Barfoot excitedly explains, “Cunningham is a bit of influence, especially ‘Come to Daddy’ and ‘Windowlicker.’ You can see it when you look up those music videos. One of the guys who worked on Cunningham’s did my film. I was super chuffed.”

Unreal Engine proved invaluable as a tool for Daddy’s Head. While many veteran directors tell newcomers never to make movies with kids or animals, Barfoot does both on Daddy’s Head. He shows me a video from a member of his crew, where he directs Turnball while the dog (named Bella in the movie) excitedly plays around them. I asked if it was easy to work with the dog, and Barfoot immediately praised his team. “Credit goes to the trainer to make the dog do what he’s told,” Barfoot laughs. “It’s all planning, making it easier on the actors and animals.”

Barfoot took the importance of planning to another level on Daddy’s Head. “I meticulously planned out the movie and built it in Unreal first. I had made, like, this little movie. For all the scenes with the dog, I knew how to shoot what I needed and what I could not do.” The preparation proved key to ensuring Daddy’s Head never got off the rails. “Movies inevitably fall apart, and if you’ve got a good plan, it can only fall apart so badly.”

We followed up about using Unreal as a tool for filmmakers. The graphics engine is commonly used in video games and visual effects. This also means that Barfoot could experiment with the visuals of Daddy’s Head before he stepped on set. “All the lighting was fully done in Unreal,” Barfoot explains. “It’s amazing what you can do, but it was straightforward.”

With the help of DP Miles Ridgway, they expanded the style on set. “He took a still shot of every single frame on an iPad with him.” Barfoot continues, “I gave him free license to make the right shot and give it the right feel. He was working with minimal resources but followed my intent very cleanly. He did such a brilliant job.”

Barfoot may not stay in horror, but he’s open to new opportunities.After some directors make a polished horror film, they stay in the genre. Barfoot is open to making more horror films but wants to try other genres. “I am a varied filmmaker and have a lot of different ideas. My tone will follow my work around, but Daddy’s Head has opened opportunities.” Some movies he cites as influences are exciting and make sense as a natural next step. “Psychological thrillers, slash horror, slash drama,” laughs Barfoot. “I made compromises on this film, but I would like the opportunity to dial a lot of that stuff up. I believe I can make something even stronger.”

Daddy’s Head is now streaming on Shudder.Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post Director Benjamin Barfoot Discusses Daddy’s Head, Unreal Engine, and Creating from Experience appeared first on Sunshine State Cineplex.

View Details

The rise of Art the Clown in pop culture has been swift. In many ways, he’s the most recent horror icon, rising to near-unanimous appeal among the horror hardcores. Terrifier 3 looks to cement Art (David Howard Thornton) and director Damien Leone in the horror Hall of Fame. On some level, the movie accomplishes that goal, somehow crafting even more disturbing images than the last two entries. However, while the effects are god-tier, the story misses the mark in nearly every way.

Picking up during the Christmas season, Art continues to hunt unsuspecting victims. With the help of Victoria Heyes (Samantha Scaffidi), this new reign of terror feels even more menacing. When Sienna (Lauren LaVera) and Jonathan (Elliott Fullam) realize the string of murders might be Art, they try to help the town.

Leone undeniably has “it” as a director. Leone creates grotesque imagery unlike any you’ve seen since Herschell Gordon Lewis. At one point, we hear a Christmas Carol, where the carolers belt a tune about Art needing to outdo himself with new creative kills and a higher body count. Leone owns the pressure he’s created for himself, living up to his own challenge to somehow outdo the already stunning makeup and gore effects that made Terrifier 2 a phenomenon. It should be no surprise that Leone’s twisted talents come out in full force, once again rising to the pinnacle of what is possible with practical effects in horror.

We will be far from the last site or publication to tell you how good these effects are. The gore remains impressive for those who love 80s practical effects. In most cases, Leone runs circles around his slasher predecessors, allowing Art to slice and dice to infinity. If it were simply relying on upping a body count, there have been plenty of slashers (e.g., Friday the 13th Part VI: Jason Lives) where the icon ups the body count on characters with zero purpose besides becoming meat bags.

This makes Terrifier 3 extremely frustrating in many other regards. The screenplay for this Terrifier is functional at best, but the exposition is boring at worst. Characters get bogged down in the story, explaining events to characters that will already know what happened (because, in several cases, the characters were also present when the event took place). Scenes stop dead in their tracks to let Art go to town on a body while pointing and laughing.

Art’s antics have been enjoyable in past entries. However, we’re now at a stage where the Terrifier movies suffer from extreme bloat. It’s one thing when you’re a horror movie from the 70s or 80s, barely slapping together eighty minutes to feel like a feature film. Terrifier 3 is over two hours, down from the nearly two-and-a-half-hour Terrifier 2, but still far too long for this gimmick. Midway through the scenes, the narrative thrust disappears. We do not need every moment to progress the plot, but the sheer number of scenes where the plot fully does not matter wears out the audience’s patience.

That’s not to say horror films need to be wholly focused on plot, either. Terrifier 3 is easily comparable to Scream 2 or Halloween IV: The Return of Michael Myers. Body counts are higher, the legacy of the violence still hangs over the family, and one of the teens even made it to college. It also returns us to characters still living with the traumatic effects of their shadowy hunter. Art is a demonic force sweeping through town, and Sienna’s struggles with mental illness cannot be cured with mere time.

Terrifier 3 wisely puts Sienna and Jonathan in positions to verbalize their frustrations with how the world treats them. However, the execution in these scenes is poor at best. Based on the conversations the young adults have, there’s nothing unique to either of our returning characters that makes their experience with Art the Clown unique. Instead, they speak in platitudes about their experience, as if they are any survivor of a tragedy. The lack of specificity in this aspect of the story makes Sienna and Jonathan less compelling characters.

Terrifier 3 has a more challenging time selling the goods in the execution of its storytelling. There’s no reason that Art is choosing to kill kids and adults around Christmas outside the mere shock of it. Some of his victims are unique to the ongoing story. Others have nothing to do with the narrative at all. In Terrifier 3, several are fan service cameos or create the impression of a one-off sketch. You’d love to see Leone capitalize on these sequences, but at times, Terrifier 3 has a “story” with less narrative cohesion than 90s rap albums.

It’s not Leone alone who has to sell these moments. The reason many will be able to survive the overstuffed sequences lies with the performer behind the makeup. Thornton’s impeccable performance as Art shines again. He’s cruel and funny in equal parts. During one sequence, his zany approach gives way to pure hatred. The shift is so fast it could create whiplash in the audience, but instead, Thornton sells it. There’s something incredible about his ability to convey pure, unyielding malice like few horror icons can. Thornton already entered the pantheon of horror iconography with the second entry. With Terrifier 3, one can easily put Thornton in conversation with Robert Englund and Kane Hodder in this regard.

Despite this, the story of Terrifier 3 will be the push and pull between its absurd violence. The cinematography and production design are acceptable. The acting is average for a slasher, and the screenplay is poorly structured. The mythology of Art seems more convoluted than ever. Terrifier 3 is not fun in the way that cult hits like Dream Warriors or Jason Lives have become. Instead, it’s a movie meant to gross you out. If you want to show up for the hardcore violence of the franchise, you’ll be more than thrilled with the result. Otherwise, it might be a good time to pass.

Alan’s Rating: 4/10Watch Terrifier 3 in theaters on October 11, 2024. Cineverse Entertainment distributes Terrifier 3.Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Review: TERRIFIER 3 – A Gory Gimmick with Bland Story appeared first on Sunshine State Cineplex.

View Details

Set primarily on a beautifully sprawling country estate, Daddy’s Head uses the unnerving solitude and the discomfort of the unknown to weave a familiar story about an unconventional family struggling with grief while battling unimaginable darkness. Despite some smart writing, exciting creature design, and genuinely eerie moments, Benjamin Barfoot‘s folk horror fable relies too heavily on generic horror conventions to feel like anything more than a recycled attempt. There are some frights to be had here, but anybody familiar with this style of horror will see all of them coming a mile away.

Matthew Allen as “The Creature” in Benjamin Barfoot’s Daddy’s Head. Courtesy of Rob Baker Ashton. A Stigma Films Production. A Shudder Release.Daddy’s Head PlotFollowing the sudden and tragic death of his father, Isaac (Rupert Turnbull) must adapt to a new life living with his stepmother, Laura (Julia Brown). Their relationship is strained from the beginning, and the additional stress of coping with the tragic loss adds additional layers for them to overcome. But when a terrifying creature resembling Isaac’s recently deceased father begins to visit him, the new family will have to rely on each other to survive.

Julia Brown as “Laura” in Benjamin Barfoot’s Daddy’s Head. Courtesy of Rob Baker Ashton. A Stigma Films Production. A Shudder Release.Bogged Down by an Unoriginal StoryThe use of grief as a plot device in horror is nothing new, but in recent years, it’s become somewhat of an overused crutch. Barfoot, who wrote the script and directed the film, utilizes this cliche as the launching pad for his tale of terror. A family in shambles and reeling from the death of a loved one makes for an easy target. The isolated setting and the overall tone of the film feel overtly reminiscent of countless films that have come before it.

The primary comparison I’ve seen is to the 2014 cult classic The Babadook. Like in The Babadook (and every other horror movie from the past two decades), the young child uses art and illustrations as a way of expressing the indescribable horrors he’s been subjected to. Drawings of a human face perched atop monstrous bodies serve the purpose of foreshadowing the horrors still to come, but it’s a trope that has worn out its welcome. It’s hard to feel impending dread when I’m so busy rolling my eyes.

Rupert Turnbull as “Isaac” and Julia Brown as “Laura” in Benjamin Barfoot’s Daddy’s Head. Courtesy of Rob Baker Ashton. A Stigma Films Production. A Shudder Release.An Original Vision and DesignDaddy’s Head succeeds in setting an eerie and unsettling tone. While its methods are contrived, its effectiveness is respectable. Much of the film’s horror comes from the design of its creature. Seemingly inspired by the legendary skin-walker from Navajo culture, the creature possesses the ability to shapeshift and take on different forms and voices to torment its unsuspecting victims. Skin-walkers make for an interesting villain. Much like John Carpenter’s The Thing, the inability to tell the truth from a lie makes for a tense and paranoid experience. I only wish it had been utilized in a story more deserving.

Both Turnbull and Brown’s performances are strong, conveying the shock and terror of their surroundings naturally. However, most of the weight rests on Turnbull’s shoulders. As the terrorized child, his delivery ultimately determines the effectiveness and believability of the story. Despite the cast’s strong efforts and innovative creature design, the film is bogged down by the recycled elements of its overly familiar script.

Joshua’s Rating: 5/10Watch Daddy’s Head on Shudder – beginning on October 11, 2024. Shudder distributes. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Review: DADDY’S HEAD – A Contrived and Familiar Folk Horror appeared first on Sunshine State Cineplex.

View Details

Now that Penguin and Sofia are on the same page, they are ready to go on the warpath. Both Sofia and Cobblepot want to rise from nothing. Yet “Bliss,” the third episode of The Penguin, focuses on the youngest character on the show. With Victor in the center of the frame, there’s some hope that The Penguin can fix its mistakes. However, that hope quickly fades, with “Bliss” featuring some incredible moments from its performers but some weak storytelling around Gotham’s trauma.

“Bliss” – The RecapThe night of Gotham’s mayoral election, Victor meets Graciela, his girlfriend, outside his apartment. He is excited to hang out, but he has to drop off food with his family. He heads upstairs and drops off the ingredients, telling his Dad he should get more money from his job. He does not think it’s wrong to be ambitious. Victor’s dad pushes back and tells his son that the crew he hangs out with is no good. However, Victor agreed to hang out and watch fireworks from a rooftop.

Victor leaves and joins his friend Calvin. They run into Squid, a small-time gangster and drug dealer his dad warned him about. Victor’s girlfriend dreams of more in the city. As they imagine their better life, The Riddler’s bombs go off all over the city. The levee breaks and the water goes straight to Victor’s family apartment. It floods instantly.

Days later, Victor now finds himself working for Oswald. Their partnership with Sofia is already paying dividends. Cobblepot tells Victor to stay in the moment and rewards him with $1000 a week for his salary. As Sofia arrives at Cobblepot’s apartment, Sal Maroni calls. Cobblepot needs Victor to distract Sofia until he’s done.

Victor opens the door for Sofia, and the two converse while Oz “gets dressed.” She asks Victor where he met Oz, but Victor struggles to answer. When Cobblepot returns, Sofia tells Oz they won’t need Victor tonight. The young kid stays behind, calling Graciela.

Oz and Sofia arrive at the site for the new drugs. The shipments are coming in from Arkham, which surprises Oz. Inside the facility, Sofia introduces Oz to Trey Bloom – a chemist who manufactures the drugs and grows the mushrooms. They use the mushrooms to grow a stimulant, creating a different high than one from the shrooms. Sofia needs Cobblepot to create a new distribution network.

At Penguin’s, Graciela arrives to hang out with Victor. They pop drinks, but Graciela tells him she’s leaving Gotham. She does not want to live in a FEMA camp, and her family died. Graciela is moving to California. Victor tries to play off his new life, but she asks him to come with her. He tells her about Oz, which raises red flags for Graciela. Victor tells her that she needs to go and that she should buy him a ticket to leave town. They kiss, and she leaves before Cobblepot returns.

Sofia arrives at the Falcone compound, and Viti immediately questions her. Viti tells her to leave the country and hands her a plane ticket. Sofia has two days to get her affairs in order before she leaves. The next day, Oz brings her to Chinatown so they can find new distributors. They meet with Link, a gangster who Oz owes money. Link knows Sofia from reputation, and the partners pitch their new drug. Oz names it “Bliss.”

Outside, Victor practices his “breakup” with Cobblepot. He’s interrupted when a cop pulls up and tries to push him around. The cop finds Victor’s extra money, but Victor uses it to bribe the cop. It works and the cop leaves.

Inside the club, Link struggles to see why he’d use his guys to back Oz and Sofia. The partners lie, telling Link they’ve got support from the family. Viti backs them and provides their support. Link tells them his boss, Zhao, needs to hear from Viti directly. Link agrees to get them to sit down. After Link walks away, Oz tells Sofia he’s got a plan to get Viti to back them.

Afterward, Victor recounts the story about the cop to Oz while they eat at a fancy restaurant. They talk about Victor earning respect and about his parents. Oz tells Victor his dad would be proud of him. After a woman leaves a neighboring table, Oz approaches the woman sitting alone. It’s Tina Falcone, and she knows him. Oz tells her she owes him a favor.

Later, Sofia approaches a hotel room where Oz is waiting. They enter the room where Viti and Tina are sleeping together. They lay out the plan for Viti, who cannot believe they’re going against Luca. Viti tries to get Sofia to turn on Oz, reminding her that Oz has turned on her before. Viti then berates Oz as a joke, telling him the only reason people keep him around is to laugh at “The Penguin.” Cobblepot grabs him and threatens to pull out his teeth. Viti relents and makes the call.

At the club, Oswald briefs Eve and the girls on how to sell the Bliss. Victor will be their bagman tonight and will watch the money. He catches a glimpse of Victor’s phone, which has a message from Graciela about leaving town. He reiterates his belief in Victor.

Oz and Sofia talk about the night ahead. She asks if betraying her ten years ago was worth it. He tells her Viti got in her head, and she tells him she already knew everything Viti said. She reiterates that Zhao is there to meet her. The girls and Victor move product immediately in large quantities.

Oz and Sofia tell Zhao how quickly they’ve raised the price. He agrees it’s looking good but still worries about doing business with them. Sofia pushes back, saying they have more in common than they realize. She waxes poetic about why Gotham needs a new drug. She tells Penguin to make the deal if they want it, but she leaves the club.

On the dance floor, Victor suffers a PTSD flashback. In the bathroom, Oz congratulates him on their successful night. As he does, Graciela continues to message him. Oz finally asks for his phone, and they fight. Cobblepot tells him to get out of the life if he does not want it. Victor leaves and drives to the bus depot to watch Graciela leave. He does not get out of the car.

At the club, Oz drinks alone. He leaves the bar and walks outside to meet with Sofia. Oz tells her the deal is done, but she still holds a grudge. It was his word that put her into Arkham. Cobblepot admits it was worth telling her father, even if he did not expect Carmine to send her to Arkham. He got the Ice Lounge and Drops operation because of the trust he built. He’s also sorry and knows he can never live it down. Despite this, Sofia doesn’t know how to trust him.

Suddenly, the Maronis arrive at the club and hold them at gunpoint. They force Sofia and Oz on their knees. They’re about to shoot when Victor arrives. He drives into the Maroni foot soldiers, killing one as he’s crushed against the car. Oz jumps in the car, telling Victor to leave Sofia. He knew Victor would come back and they drive away.

“Bliss” – The TakeawaysWe get a lot more backstory for everyone involved. Most of the consequential stuff comes from Sofia and Cobblepot. We now understand more of their frustration with each other, especially given that Oz’s word landed her in Arkham. It’s a betrayal that’ll be hard to mend but also puts them in a position to do business with someone they’ll never underestimate.

Millioti rules “Bliss,” dominating it despite another brilliant performance from Farrell. She’s chilling and hurt in ways few comic book characters have ever been shown on screen. Her dominating performance continues, and her monologue to Zhao is special stuff. Despite her limited screen time in “Bliss” (because it focuses on Victor), she provides more than enough power to steal the episode.

Farrell once again delivers a tour-de-force as well. His emotional needs are always on display, and he kills these subtle moments in “Bliss.” The scenes in the French restaurant, from the beautiful speech to the righteous anger towards the waiter, are something very few actors could pull off. How Farrell does it under layers of makeup is still incredible. Even with three episodes and a movie in the role, Farrell continues to uncover new layers about Cobblepot. It’s truly something special.

Unfortunately, the issues with the Victor storyline continue in “Bliss.” The background feels obvious, but it’s also frustratingly thin. The kid is a mess, but the PTSD is comically broad. It’s hard to fault an actor, especially when his dialogue feels so hackneyed. There’s not a single minute in “Bliss” where we would believe he’s going to leave, and that falls on direction and writing. It’s the lone piece of the puzzle that refuses to click into place.

“Bliss” is not a perfect episode, but with two brilliant performances at the top, it’s a very good one. The crime drama continues to evolve, and the fallout from “Bliss” has drawn the lines. Any hope for reconciliation between Sofia and Oz is gone. Now, each must find ways to maneuver within systems that do not want them to succeed. “Bliss” will serve as the line of demarcation, and it’ll be an all-out war from here.

Alan’s Episode Rating: 8/10Watch The Penguin on HBO and Max. “Bliss” aired on October 7, 2024. Read our recaps for The Penguin here. Check out our Reviews, Recaps, and Features on TV here! The post TV: “Bliss” – The Penguin – Episode 3 Recap appeared first on Sunshine State Cineplex.

View Details

The picturesque town of St. Helens, Oregon, is just 45 minutes from Portland. It served as the setting for the Disney original movie Halloweentown and is now the subject of a new documentary—The Spirit of Halloweentown—from the filmmaking pair Brett Whitcomb and Bradford Thomason. For a generation of people who grew up during the 90s and had The Disney Channel, there is a bit of familiarity with the town.

For Whitcomb and Thomason, forays into subjects that pique millennials’ interest are nothing new. The pair recently collaborated on the documentary Butterfly in the Sky, which detailed the impact of the acclaimed PBS show Reading Rainbow. With The Spirit of Halloweentown, the filmmakers are interested in exploring the impact Halloweentown had on St Helens. They also explore how that film defined and inspired the quaint town and its citizens. In the process, they offer a compelling character study of the town’s residents.

Before taking on that challenge, the aesthetic impact the cult classic film had on St. Helens is displayed in its full autumn glory amid an eerie and mysterious ambiance. Whitcomb and Thomason highlight familiar landmarks and streets from Halloweentown draped in seasonal decorations. The giant Jack-O-Lantern is given its proper time to “shine,” and residents’ finest Halloween regalia are displayed front and center. The St. Helens population has fully embraced the “Halloweentown” designation bestowed upon them by the film. Capitalizing on its fame, St. Helens throws one mean Halloween party every year where everyone is encouraged to participate.

Amid the celebrations is a web of characters. Each has its own particularities, and each experiences Halloween in St. Helens very differently. The film focuses on this eclectic group of residents with varied results.

Offering a perspective into the small-town American way of life that is very much alive in the United States are the locals who have lived their entire lives in St. Helens. Some have embraced the town’s growth and allowed these changes to bring purpose and meaning to their life. Others struggle with the towns’ booming popularity and are concerned with the potential threats this may incur. Furthermore, there is a younger generation with their own struggles, yet looking to fight adversity and leave a legacy of their own in the service of the town. These focal points end up being the most touching and interesting.

At odds with the small-town vibe are people who have taken residence in St. Helens looking to gain from the Halloween phenomenon. Although well-meaning, they struggle to understand the powers at play that keep St. Helens moving, which results in conflict with the locals. This “outsider” point of view is welcomed initially but becomes bogged down as it progresses.

Less interestingly, The Spirit of Halloweentown also follows paranormal investigators and a religious faction vehemently opposed to celebrating the “Devil’s birthday.” Including these (especially the ghost hunters, whose approach almost seems satirical) does little to add to the documentary’s foundation and is the culprit of most of its maladies. The high points are interrupted due to the amount of time dedicated to these storylines. Ultimately, their presence feels forced and disturbs the film’s balance.

For better or for worse, St. Helens will always be known as Halloweentown. The Spirit of Halloweentown shines when making these allusions yet becomes undone when taking on superfluous weight. As inspiring as it is a lull, as interesting as it is satirical, this unleveled focus results in a frustrating viewing experience.

Those looking for a documentary revisiting the making of Halloweentown will probably be disappointed. Yet The Spirit of Halloweentown does offer a nuanced look into how the movie managed to transcend its time and have an impact on an entire generation of people. The documentary clarifies that that impact is felt nowhere more than in St. Helens. For all its faults, The Spirit of Halloweentown does succeed overall in its mission of offering a solid, if not a frustrating, look into the forces that inspire, motivate, and define existence.

Borja’s Rating 6/10Follow The Spirit of Halloweentown here. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: THE SPIRIT OF HALLOWEENTOWN: A Mixed Bag of Tricks and Treats appeared first on Sunshine State Cineplex.

View Details

Relationships can be messy, but when a friend dates within their core friend group, the messiness can turn into infectious jealousy. If you’ve ever felt like a movie was aimed at your relationships with your friends, It’s What’s Inside is sure to scratch that itch. The darkly humorous thriller, written and directed by Greg Jardin, strikes at the nerves of a generation. Its visuals are incredibly polished, the dialogue is crackling, and the relationship drama is stunning. While other films have touched on similar topics in recent years, It’s What’s Inside makes for a fun erotic thriller that plays off the fears of millennial relationship angst.

It’s What’s Inside. (L-R) James Morosini as Cyrus, Nina Bloomgarden as Maya, Alycia Debnam-Carey as Nikki, David Thompson as Forbes, Gavin Leatherwood as Dennis, Brittany O’Grady as Shelby and Devon Currie as Reuben in It’s What’s Inside. Cr. Courtesy of NetflixWhen Reuben (Devon Terrell) gets engaged, his friend group decides to throw a party for themselves before the big day. While they represent stability in the group, Shelby (Brittany O’Grady) and Cyrus (James Morosini) struggle to keep their nine-year relationship fresh. Nikki (Alycia Debnam-Carey) became an influencer, Dennis (Gavin Leatherwood) is a stoner trust-fund kid, Maya (Nina Bloomgarden) embraced metaphysical ideas, and Brooke (Reina Hardesty) continues to long after Reuben. Everyone is surprised when Forbes (David Thompson) – a friend everyone fell out with – arrives with an unusual game. As they play, the secrets and lies of the group come out to disastrous results.

It’s What’s Inside. (L-R) Reina Hardesty as Brooke, Brittany O’Grady as Shelby and Nina Bloomgarden as Maya in It’s What’s Inside. Cr. Courtesy of NetflixJardin latches onto the distrust and paranoia that have become rampant in the digital age. With more information available to us every second, some can hide their unsavory behavior. Some of the friends conceal their true intentions behind online etiquette. Then, they gaslight others for calling out their unusual behavior. It’s an all-too-familiar experience that gets threaded through It’s What’s Inside, especially when characters openly lie when their friends already know the truth.

Jardin’s sci-fi premise also allows some taut dynamics to unfold. At times, it’s a little clunky, especially given the body swap premise. Yet Jardin pushes the characters to dig into long-standing feuds and lusts. The drama is not only real but feels driven by years of resentment. Every friend group has its troubles, and Jardin wisely draws characters with genuine issues relating to ordinary people, let alone their “friends.” The performative nature of their feelings and beliefs comes shining through – regardless of the bodies where the characters end up.

It’s What’s Inside. (L to R) Alycia Debnam-Carey as Nikki and Devon Terrell as Reuben in It’s What’s Inside. Cr. Courtesy of NetflixMuch of that credit has to go to the cast as well. It’s What’s Inside needs the relationships to feel real but guarded for the tension to feel real. The central performances from O’Grady and Morosini are excellent and key into millennial fears of partners. In an era of more social media exposure to partners’ online behaviors, we’ve also seen a rise in burner accounts to hide that activity from partners. While some relationships require that level of communication, it also speaks to a level of rampant paranoia and distrust in the digital era.

Wisely, Jardin frames much of It’s What’s Inside as gaslighting to the extreme. It’s not just Cyrus lying to Shelby; it’s the ways that other characters recreate and shift narratives for their own gain. Allowing Forbes to come in as a pseudo-outsider helps us gain insight into the relational dynamics. He was once their friend, but their actions also drove him away. As everyone catches up with each other, the gossip rages, and the half-truths quickly spiral out of control. A movie with young adult stars should always keep this in mind, and It’s What’s Inside features just enough Heathers energy that it feels in lockstep with other dark comedies with young stars.

It’s What’s Inside. (L to R) Brittany O’Grady as Shelby and James Morosini as Cyrus in It’s What’s Inside. Cr. Courtesy of NetflixJardin also proves adept as a visual filmmaker. To convey the body swaps, he baths the interior characters in red – which works as both a literal device and a way to enhance sequences through semiotics. Even when they’re not adding subtext through lighting and blocking, Jardin and DP Kevin Fletcher add polish and finesse to the images. While some have knocked Netflix for flat images, It’s What’s Inside provides impeccable depth and skill in its visual storytelling. This likely stems from its origins as an independent production, but it’s fair to give credit where it’s due. It’s What’s Inside is one of Netflix’s most visually appealing movies in 2024.

With enough drama, relational distrust, and twists, It’s What’s Inside is a brilliant time. It balances its dark comedy with some genuinely astounding moments. Its young cast is destined for stardom, and we’re watching their breakout roles leap off the screen. Despite some messy storytelling and too much similarity to a few other indie hits, It’s What’s Inside is an easy recommendation.

Alan’s Rating: 7/10Watch It’s What’s Inside on Netflix today! Netflix streams and distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: IT’S WHAT’S INSIDE – Millennial Angst as a Comedic Thriller appeared first on Sunshine State Cineplex.

View Details

As food entertainment reached new heights, it was only a matter of time before chef stories penetrated genre filmmaking. When The Menu crashed the party in 2022, it dug deep into class and opportunity. Yet there’s much more to pull from blue-collar jobs and their relevance in horror. It’s why House of Spoils instantly landed on our radar. With the Oscar-winning Ariana DeBose, there was plenty to grow our excitement. Unfortunately, House of Spoils lands with a thud.

After years of working her way up the chain of command in a successful kitchen, “Chef” (DeBose) is opening her own restaurant. With money coming from restauranteur Andres (Arian Moayed), her dream comes to fruition in a small country manor. However, Chef soon discovers the manor is not up to snuff and the staff forced on her (Barbie Ferreira and Gabriel Drake) do not know anything about the business. As her frustrations bubble to the surface, Chef slowly finds greater flaws in the house. Local legends hint at witchy activity. Soon Chef finds herself surrounded by bugs, rotting food, and strange visions.

Directed by Blow the Man Down alums Bridget Savage Cole and Danielle Krudy, House of Spoils steps into a precarious position. There’s a lot of talent on screen and some very cool ideas at play. However, House of Spoils also comes at an inopportune time to release. Audiences are familiar with stories featuring haute dining experiences and opening visionary kitchens. This might be why Blumhouse signed on to produce, but it also puts House of Spoils at a disadvantage. We’ve now seen these ideas ferment with stronger writing and performances, and it’s difficult to separate that from the story onscreen.

Simply put, the story feels derivative. The movie seemingly foresees this issue by introducing a critic to actively tell Chef about her lack of vision. However clever this might be, House of Spoils never breaks from that mold. It would be one thing if the movie opened with bland ideas and then pushed in new viewpoints. Not only does it not do that, but it rolls out horror tricks and flat visuals that have come to embody the “Blumhouse Style.” We want to go to bat for a movie with some of these ideas – particularly about hypermasculinity in the workforce being enforced by women against new women in the workplace – but the film cannot escape its shortcomings.

However, when one can get past the visual blandness, House of Spoils still comes with issues. The tonal management quickly frustrates. It’s not clear if House of Spoils wants to be a thriller, a horror experience, or taken entirely as camp. Horror has often gotten away with a high-energy comedy that closely resembles slapstick humor. However, where House of Spoils missteps is the gritty and dark horror that surrounds its characters.

DeBose, in particular, struggles to convey this in her performance. This especially comes through in one sequence when she’s looking through the garden for fresh food. As she tastes the food, we think she’s discovered something special – only to literally find herself at a toilet with food poisoning in the very next sequence. That kind of silly comedy is juxtaposed against poor CG bugs crawling out of food, meant as a metaphor to highlight Chef’s feelings of inadequacy and self-doubt. The push and pull between earnest character beats and over-the-top parody makes for a jarring experience.

House of Spoils feels like a made-for-streaming film, and while that’s where it ended up, the talent involved should have helped this overcome the designation. Whether you lay the tonal issues on Blumhouse, the directors, or the performers does not matter. House of Spoils does not work by the ideas it’s trying to convey. It’s a poor entry in the recent run of food-based movies and shows, and it’s not scary enough to work as a horror film. Without fully working on either aspect, it just feels like a meal worth skipping.

Alan’s Rating: 4/10Watch House of Spoils on Prime Video today. Amazon studios distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: HOUSE OF SPOILS – A Weak Chef’s Table appeared first on Sunshine State Cineplex.

View Details

Christopher Lee is known for dying. With over 60 onscreen deaths, his mortality rate is as prolific as many actors’ entire filmography. Aptly named then is the documentary The Life and Deaths of Christopher Lee, with death being pluralized. But more relevant is how the title alludes to Lee’s chameleonic nature and his ability to redefine himself, as opposed to his frequent demises.

Few public lives are as interesting as Christopher Lee’s, so there is plenty of material to focus on. However, with a brief runtime of 90 minutes, director and writer Jon Spira opts instead for a straightforward biopic approach, even if sometimes it feels overwhelming keeping up with all the highlights. Spira does manage to maintain a comfortable pace, even if some moments of Lee’s storied life are rushed over. His courtship and family life, for example, are only briefly mentioned in passing.

The Life and Deaths of Christopher Lee.The Life and Deaths of Christopher Lee shines in maintaining a delicate balance when retracing Lee’s life and career. Spira begins his documentary by looking into Lee’s early years. Experiences such as a career in espionage or having witnessed the last execution by guillotine would leave a lasting impact on his life and career. Furthermore, Lee would struggle with his lineage of nobility. Having been a descendant of Charlemagne weighed heavy, causing Lee to be conflicted as to how to live up to his title. The Life and Deaths of Christopher Lee also alludes to his time as a tax exile and how this would further affect his career.

That symbiosis between life and career is also explored as The Life and Deaths of Christopher Lee delves into Lee’s early acting career on the way to becoming a horror icon (a distinction he tried to separate himself from later). As Dracula, Lee would offer one of the character’s most iconic portrayals. His friendships with fellow macabre specialists Vincent Price and Peter Cushing, along with his efforts to bring to life horror stories on film all contributed to the horror essence that would define him. Yet Lee’s dedication and tireless approach towards pursuing his craft would allow him on occasion to evade his horror typecast.

A Poster for the bio-doc The Life and Deaths of Christopher Lee.It would be a consistent struggle for Lee, even having to plea to a reporter after having received his knighthood to refrain from such designations. As The Life and Deaths of Christopher Lee progresses, Lee becomes increasingly relatable through his humanity. The documentary paints the actor as a man with an unquenchable thirst for new experiences, always looking to fulfill a bevy of lifelong passions, even if the result is not what he initially envisioned. It’s a lesson in the acceptance of a life not panning out quite as planned but remarkable, nonetheless.

Lee would continue searching for new experiences throughout his life. Modern audiences would be introduced to the icon via Count Dooku in Star Wars and Saruman (wanting to play Gandalf but would have to settle) in The Lord of the Rings trilogy. Late into his life, Lee would discover his love for metal music and its likeness to the music of Richard Wagner. Of course, Lee recorded albums and starred in a handful of amazingly epic music videos. (Seriously, check them out on YouTube).

Christopher Lee in Dracula, The Life and Deaths of Christopher Lee.Such an extraordinary life deserves, if not likewise exceptional, a thorough and unique approach to presenting the story. To ensure thoroughness, Spira endows the privilege of offering insightful anecdotes to friends, family, and coworkers of Lee. Actress and niece Harriet Walker offers a familial perspective on Lee’s successes and struggles. Filmmakers Joe Dante, Peter Jackson, and John Landis present stories from when they collaborated with Lee. More importantly, through their shared experiences, all three considered Lee a dear friend, which allowed for some heartfelt and loving introspections. A myriad of archival footage is lent to bear witness to Lee’s journey. Blank spaces, such as when Lee meets with the likes of J.R.R. Tolkien, are filled in with traditional animation.

As Lee’s friends and families recant their experiences, the onus of narrating The Life and Deaths of Christopher Lee falls on none other than Lee himself, albeit in marionette form. With Peter Serafinowicz boldly attempting to recreate Lee’s distinctive voice, Spira’s unique style of presenting Lee’s life makes sense, as Lee had a penchant for narrating features. Serafinowicz mostly succeeds in mimicking Lee’s eloquent tones, and the marionette, although lacking in resemblance, offers an unorthodox approach apropos to its subject while infusing the narrative with humor.

As Lee the marionette refers to it, this “exhumation” of Lee the person is well founded. Where it lacks depth, The Life and Deaths of Christopher Lee delivers a worthy introduction to one of the most iconic personalities in entertainment history. With Spira’s efforts, a spark has been ignited, allowing Lee to cheat “deaths” and live on forever by inspiring future generations of passion seekers.

Borja’s Rating: 8/10Keep up with The Life and Deaths of Christopher Lee here. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: THE LIFE AND DEATHS OF CHRISTOPHER LEE – An Exhumation of a Remarkable Life appeared first on Sunshine State Cineplex.

View Details

For non-French speakers, the phrase folie à deux means “Madness for two.” It fits with Joker: Folie à Deux – which features two Oscar winners, Joaquin Phoenix and Lady Gaga. While craziness is on the screen, Joker: Folie à Deux is nothing but a mix of dull, sleepy, lazy, unfunny, and stupid things that are just blended with New York sludge (I mean, NYC in the 70s was filthy).

Todd Phillips, who must have been feeling very good after seeing his first Joker make a billion dollars and get eleven Oscar nominations, had to try to top it. There is swinging and missing, and then there is Javy Baez whiffing on a breaking ball five feet off the plate. In other words, Joker: Folie à Deux is nowhere close to where Warner Brothers thought this wasted sequel would be.

Picking up from where the first film left off, Arthur Fleck (Phoenix) is in jail awaiting trial and being tested for his competency. It’s a sad life with the rest of his fellow crazy convicts overseen by Brendan Gleeson in a character that did not require him to shed his Irish accent. He’s a guard working in Gotham’s version of Riker’s Island, and he talks as if he’s in The Banshees of Inisherin.

Because Fleck’s Joker persona is famous, Fleck is jabbed with comments about having a joke every day, as he is not much of a smiler while he’s there. His lawyer (Catherine Keener) does what she can to show he is not mentally sound, but the District Attorney, Harvey Dent (Harry Lawtey), wants to make an example of him and give Fleck the death penalty.

One day, he catches the eye of Harleen “Lee” Quinzel (Lady Gaga), a fellow patient in the psych ward, and the two fall in love. Quinzel believes in the Joker and wants to escape, free Joker, and “build a mountain” for them to live on. After starting a fire for them to escape from jail which fails, Quinzel leaves because she is considered a bad influence on Arthur. She is the bad influence, a woman who tried to burn down an apartment building with zero deaths rather than a man who killed five people. Right, then. So, from outside the jail, Quinzel encourages Fleck/Joker to fight for his rights and be free from the rotten establishment.

Joker: Folie à Deux**‘s musical element – which tributes to Warner Brothers’ musicals of the 40s and 50s and songs of the 1970s – is a bad karaoke session. There are two original songs as well. Karen Carpenter must be rolling her grave over the rendition of “Close to You.”

Gaga, a musical diva, doesn’t belt out a ballad to show her range. What a waste of talent because her going out on a Linda Rondstadt song was right there. I get the musical is part of the fantasy in their minds, but it did nothing to move the story. It was as dull as the courtroom scenes, which serve up zero drama. Even the first five minutes of the movie – which is an ode to cartoons of the 1950s – creates a sense of foreboding for how awful this was going to be.

When Joker: Folie à Deux ends, it’s a merciful conclusion to the 138 minutes I am not getting back. Joker: Folie à Deux is nothing but a money grab and trying to roll the dice for something different in the 10,000 edition about the legendary Joker. If I were Todd Phillips, I would’ve just cashed my chips. This wasted everyone’s time.

Brian’s Grade: 1/10Follow me on Twitter: @brian_cine (Cine-A-Man)Watch Joker: Folie à Deux in theaters on October 4, 2024. Warner Brothers distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: JOKER: FOLIE À DEUX – An Untennible Sequel appeared first on Sunshine State Cineplex.

View Details

The mid-nineties were undoubtedly the cresting wave of Disney animation’s renaissance era. During this time, films were created that would spawn their own brands, helping extend Disney’s business far beyond the movie theater. Clothes, toys, sequels, live-action remakes, and even Broadway shows would be some areas where the entertainment conglomerate would enjoy continued success from these films.

However, Disney first had to survive the 1980s when a handful of clunkers threatened to put an end to Disney’s animation division. In 1989, Disney found its voice with The Little Mermaid. Employing a Broadway-style method of storytelling rife with catchy musical numbers and refined animation proved to be a formula for success.

With this newfound style, Disney rode the momentum towards an unprecedented string of financial and critical successes. Beauty and the Beast would earn an Academy Award nomination for Best Picture back when a maximum of five films would receive nominations. Aladdin would offer the best voice acting performance of all time, with Robin Williams taking over as the Genie. Both took The Little Mermaid’s handbook and expanded its scope and ambition.

However, thirty-plus years allows for retrospection, and it is obvious that some of the themes and ideas in these classics have not aged well. The same can be said for the 1994 Disney animated release The Lion King. Yet, when compared to its predecessors, The Lion King has also become the most relevant. Its message speaks volumes to the crowd that has aged its way from childhood to adulthood along with the film.

From the opening sequence, it is clear Disney has decided to usher in a new era. The stories of Hans Christian Andersen, Gabrielle-Suzanne Barbot, and the fictional Scheherazade make way for Shakespeare. Hamlet would serve as inspiration for the writers, signifying a darker tale than those that immediately preceded it. The rising sun, accompanied by a single voice announcing the arrival of a lion, a king: “Nants ingoyama bagithi baba,” introduces this new vision. Few animation sequences before or after hold so much power in its simplicity. “The Circle of Life,” whose verses contain a transcendent wealth of knowledge, plays throughout as the royal heir is triumphantly presented to the animal kingdom.

With its majestic opening sequence, The Lion King cements itself as one of the all-time greats. With its use of stunning visuals and inspiring music, it lays the groundwork for its core message early on. “More to do than can ever be done” and the chorus’ final line, “to find our place on the path unwinding…” are verses with a resounding quality that echoes throughout. Do yourself a favor and search the lyrics to “The Circle of Life.” Has any animated film song hit the existential nail on the head quite like this one?

What follows is scene after scene of near perfection. Co-directors Rob Minkoff and Roger Allers have assembled an unparalleled group of talented individuals to create their African savannah. Everyone, from the animators to the composers, musicians, and voice actors, was more than ready to fully bring this majestic vision to life.

The animation is superb even by Disney standards, with every brush stroke, pencil outline, and CGI sequence (the wildebeest scene is still impressive) being crafted with painstaking detail. The world created by Allers and Minkoff is meant to excite, terrorize, make laugh and cry, and ultimately uplift. The animators understood this and employed every ounce of talent available to imbue the characters with soul and the world they live in with life.

Employing traditional African sounds and chants into the score was meticulously and beautifully done by film composer Hans Zimmer. Joining him in creating the savanna’s sounds were a plethora of uber-talented songwriters such as Elton John, Tim Rice, and Lebo M. It would not be an exaggeration to suggest that The Lion King’s soundtrack is among the best created for an animated film or otherwise. The combination of detailed animation and the inspiring music would lead to impressive musical sequences. Of note, “I Just Can’t Wait to Be King” holds its place with “Be Our Guest” as two of the most entertaining and visually original sequences Disney has ever done.

Complementing these elements is a cast of who’s who lending their voices to a rich collection of characters. Jonathan Taylor Thomas, Matthew Broderick, and Jason Weaver would all voice Simba, with Thomas and Broderick voicing the reluctant king as a child and as an adult, respectively, and Weaver providing Simba’s singing voice (in a still under-appreciated role). Jeremy Irons impressed as the scheming Scar, while Whoopi Golberg, Cheech Marin, and Jim Cummings comically portrayed miscreant hyenas Shenzi, Banzai, and Ed.

Simba’s worry-less buddies Timon and Pumbaa are voiced by Nathan Lane and Ernie Sabella, as their inclusion helps keep The Lion King from becoming too serious for the kiddies. Simba’s provider of much-needed perspective and childhood friend Nala is voiced by both Niketa Calame Harris and Moira Kelly. Rowan Atkinson and Robert Guillaume round out the outstanding cast as the loyal Zazu and the wise Rafiki, respectively.

However, in a sea of voices, the thunderous tones of James Earl Jones carry the most weight. Joined by his Coming to America queen Madge Sinclair as Sarabi, Jones offers another all-time great performance as Simba’s father, Mufasa. His words of wisdom and guidance perpetually reverberate and establish the foundation for the message The Lion King is built on.

There are not enough superlatives exist to adequately sum up The Lion King’s stunning achievement. And on its 30th anniversary, the more adult themes push past childish humor to speak to its now adult audience in different ways. The central idea of the circle of life and ultimately finding one’s place in it are deep philosophical musings throughout human history. For a generation, The Lion King provided that first foray into existentialism. Combined with its superior technical and performative qualities and impact on pop culture since its release, The Lion King’s place on the animated movie throne is still unchallenged, as is its place among the greatest films ever made.

Watch The Lion King on Disney+. The Lion King released in 1994. Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. The post Get Busy Living: THE LION KING “Soars to the Stars” as One of the All-Time Greats appeared first on Sunshine State Cineplex.

View Details

After a surprising death closed out the last episode, The Coven must reckon with the loss. How they proceed from here may determine their future on The Road. Not only are they without a Green Witch, but they’ve killed another member of the group. If the trend continues, the coven will not survive. With “Next Week on” Agatha All Along hinting at Alice’s increased role in “If I Can’t Reach You / Let My Song Teach You,” let’s get ready to boogie down.

(L-R) Jennifer Kale (Sasheer Zamata), Teen (Joe Locke), Agatha Harkness (Kathryn Hahn), Alice Wu-Gulliver (Ali Ahn), and Lilia Calderu (Patti LuPone) in “If I Can’t Reach You / Let My Song Teach You” – Photo by Chuck Zlotnick. © 2024 MARVEL.“If I Can’t Reach You / Let My Song Teach You” – The RecapThe Coven tries to regroup after Sharon’s death. The Teen digs a hole, while Jen and Lilia tell Alice they could still find her mother on The Road. However, Alice tells them her mother died in a fire while on tour.

Agatha tries to move them along, but everyone tells her she’s being too insensitive. Jen also raises the fact that they have an incomplete coven. Agatha tells them they only needed a full coven to access the Road. However, Agatha realizes they can summon a backup Green Witch. Using The Teen’s spell book, they complete the spell, and (to Agatha’s dismay) Rio (Aubrey Plaza) emerges from the soil.

At first, Agatha tries to strangle Rio, but the rest of The Coven hold her back. Rio meets the other members, telling them she is “The Green Witch.” Alice, Jen, and Lilia discuss whether they can trust Rio. The group comes to a 60s-style house in the woods, and while Alice tries to walk away, all roads lead to the House. When they walk inside, their style changes again to Hippie-core.

(L-R): Teen (Joe Locke), Jennifer Kale (Sasheer Zamata), Alice Wu-Gulliver (Ali Ahn), Lilia Calderu (Patti LuPone), Agatha Harkness (Kathryn Hahn), and Rio Vidal (Aubrey Plaza) in “If I Can’t Reach You / Let My Song Teach You” exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.The group searches the house for a riddle. Rio follows Agatha through the house, actively trying to get her to join her side. Alice sees pictures of her mother and reminisces about her mother’s struggles. Again, Lilia has a momentary lapse of sanity and is confused when she returns.

When Rio pushes Agatha to join her and kill the other witches, Agatha turns on the loudspeaker in the recording room. The other characters listen in on Rio’s plan – realizing that she wants to kill them. They instantly respond angrily, and Agatha reveals to Rio that she’d been letting everyone else listen in on their conversation. Rio sighs, and Agatha walks away.

The Teen accidentally hits play on a record, which plays backward. By the time they stop it, they realize they’ve been cursed. Alice feels lighter for a moment, but then something attacks Lilia. Alice performs a protection spell to free her, and they quickly grow scared. When they realize they have to face the curse, Jen is attacked. She’s freed, and they recognize their curse leaves marks on their shoulders.

Rio Vidal (Aubrey Plaza) in”If I Can’t Reach You / Let My Song Teach You” – Photo by Chuck Zlotnick. © 2024 MARVEL.Agatha realizes that there’s a curse on Alice. At first, she resists telling the group but then admits she’s got the same shoulder scars. She thought it was a birthmark, but it was a generational curse. The curse attacks The Teen, and they regroup once again. Agatha realizes the Ballad recorded by Lorna was a protection spell for Alice. If they play the song, they can stop the monster.

The group jumps on instruments and begins playing the song. The curse attacks Agatha, but she sings. Despite having glass in his side, The Teen keeps playing too. As they play the song, the creature that grabs everyone’s shoulders and burns them tries to get Alice again, but the song defeats him.

The piano opens with the exit from the trial. However, The Teen collapses from blood loss. They get out of the house and back to The Road. There, Agatha begs Jen to perform a spell to help him. Jen figures out a potion that might help, and she tries to save him. As she pours water on his wound, it instantly heals.

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.Agatha watches over The Teen while the others talk next to a fire. Jen reveals that she was tricked into the situation that led to her becoming bound. Alice also reveals her frustration. As they bond, The Teen awakens. He asks Agatha about the sigil, but she reveals that even if she had been the one to cast it, she would not know. The sigil also affects those who cast it. The Teen asks point blank what happened to her son. She leaves to join the others.

When she does, she asks in on the women comparing scars. They ask Agatha for one, and she makes a joke about a knitting needle. Rio then tells a story about her scar – that there was a woman who walks around as her scar. Rio had to do something she didn’t want to do, but it hurt someone she cared about.

Agatha walks away. Rio goes to follow but is stopped by Lilia. She tells Rio that she will not forget what Rio said in the sound booth. Rio continues on to join Agatha. They embrace and almost kiss. However, Rio stops her. She tells Agatha that The Teen is not her son. Agatha, frustrated and hurt, walks away from her.

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.“If I Can’t Reach You / Let My Song Teach You” – The TakewaysOh boy, it’s going to be a very sapphic Thursday on the internet. Aubrey Plaza, hot off the disastrous Megalopolis, continues to showcase her talent. Regardless of where the discourse is on her movie, Plaza shines once again in “Let My Song Teach You.” With some big rumors spreading about her character (because of a Pop Funko! leaked image no less!) Plaza continues to dominate the screen. Plaza pops, even where she’s taken a backseat to the other witches. Frankly, her chemistry with Hahn is outrageous.

However, that last scene forces us to question their relationship. Obviously Agatha and Rio have feelings for each other. Shockingly, it’s Rio who proves more mature in the moment that needs it. Even the choice – telling Agatha that The Teen is not Agatha’s son, speaks volumes. Their history opens a door that Agatha does not want to walk down in “If I Can’t Reach You / Let My Song Teach You.” Rio’s ability to force Agatha to confront facts may help the coven in future episodes.

(L-R) Lilia Calderu (Patti LuiPone), Agatha Harkness (Kathryn Hahn), Jennifer Kale (Sasheer Zamata) and Teen (Joe Locke) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.Alice’s storyline is shockingly beautiful, especially once Agatha lays it out. The idea that Alice’s mother loved her so much that she wrote the pop ballad of the century is a little funny. However, in a world of witches and monsters, it’s an easier pill to swallow. Ahn plays the scenes in the trial extremely well, and one cannot help but grow excited for which witch is on the hot seat next.

Finally, questions about The Teen cannot help but surface. Could he be one of Wanda’s sons? Could he be something darker? Mephisto rumors have started up again, and while I would love to say we won’t fall for it again, it seems like history is doomed to repeat itself. Luckily, Agatha All Along and “If I Can’t Reach You / Let My Song Teach You” continue to deliver the goods. Marvel TV has rarely felt this positive. What a difference an engaged fanbase makes.

“If I Can’t Reach You / Let My Song Teach You” Rating: 9/10Watch Agatha All Along on Disney+. “If I Can’t Reach You / Let My Song Teach You” aired on October 2, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: “IF I CAN’T REACH YOU / LET MY SONG TEACH YOU” – Agatha All Along – Season 1, Episode 4 – Recap appeared first on Sunshine State Cineplex.

View Details

The use of makeup to create sympathetic characters goes back to the 1920s. As Lon Cheney developed unique looks for The Phantom of the Opera and Hunchback, he trafficked in recreating looks that were seen as outside the norm. What makes A Different Man such an inversion of these tropes stems from director Aaron Schimberg‘s unique storytelling. Yes, he utilizes makeup to truly transform lead actor Sebastian Stan, but it’s the casting and brilliance of Adam Pearson that brings the film together.

Schimberg not only crafts a brilliant inversion of the All About Eve phenomenon but also provides a platform for Pearson and others to showcase their talent. The dark truth about the world is that many would abandon their old life at the drop of a hat, especially if they believed in a different path for the future. Schimberg gets his point across with one of the darkest films of the year. With Stan’s committed performance and Pearson’s energy-shifting arrival, A Different Man sticks in your mind from the moment you walk out of the theater.

Edward (Stan) struggles with neurofibromatosis, causing many to look at him with extreme sympathy and pity. He wants to be a working actor but can only get roles for PSAs. After connecting with the next-door neighbor and playwright Ingrid (Renate Reinsve), Edward believes things are turning around. However, an awkward moment causes Edward to sign up for a clinical trial. The drug in question changes his face. When people do not recognize him, he lies and tells others Edward is dead.

Years later, Edward realizes Ingrid wrote a play about their relationship. He arrives and sweeps the producers off their feet – that is until they meet Oswald (Pearson). Oswald also has neurofibromatosis but approaches life with a happy-go-lucky attitude. Slowly, Ingrid shifts the play to focus on Oswald, and he becomes the talk of the town. Suddenly, Edward goes from performing in a role he was literally born to play to stalking Oswald.

Schimberg’s writing helps set up A Different Man as a brilliant and unique experience. Having us live with the struggles Edward faces could easily have dipped into disability porn. There are plenty of stories, like Mask, that use this set-up as a way to overcome obstacles. Unfortunately, history is full of stories framing disability as a horrible life that one can never recover from. It would be easy for A Different Man to follow the easy path ahead.

Not only does Schimberg ignore that route, but he actively turns Oswald and Edward into wild dichotomies of each other. Edward lives with a woe-is-me attitude, and when he becomes “cured” of his condition, he immediately leaves that world behind. Not only does he not provide data to the doctors who helped him, but he becomes arrogant and untrustworthy. His lies continue to spiral, and Schimberg leaves no doubt in our minds: Edward is a bad dude.

Meanwhile, Pearson breathes incredible life into Oswald. His arrival is seismic for A Different Man. It not only adds incredible comedy, but it never frames him as someone to be pitied. If anything, he actively highlights his incredible life. Pearson brings subtlety into the performance, and while Oswald is successful, you can hear an underlying self-doubt. Yet as he continues to push for more, living out the fake-it-until-you-make-it attitude, he draws people into his orbit. Pearson so thoroughly dominates the screen, both on camera and in the dialogue, one cannot help but fall in love with the performance.

The first half of A Different Man goes a little too slow, and the back half of the movie feels like it ends three times. While Schimberg wants you to sit in the awkwardness of the story, there could have been a middle ground. A few edits would go a long way to making A Different Man one of the best of the year, and it’s rather close regardless. The performances are too special to ignore, and Schimberg’s willingness to engage with the darkness of humanity is truly exciting.

Alan’s Rating: 9/10Watch A Different Man at Fantastic Fest 2024. It releases in theaters on October 4, 2024. A24 distributes. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: A DIFFERENT MAN Soars Behind Adam Pearson and Sebastian Stan appeared first on Sunshine State Cineplex.

View Details

Comedy filmmaking has all but disappeared in the modern film landscape. It’s fallen on extreme indie filmmakers and comedians to revive the genre to a place of respectability. However, movies like AJ Goes to the Dog Park rarely get the platform they deserve. The absurdist, micro-budget comedy highlights that the best ideas often rise to the top. With a committed cast willing to perform some very odd bits, AJ Goes to the Dog Park makes for a fun afternoon watch – especially if you get on its wavelength early.

For AJ (AJ Thompson), life is great. He works for his father (Greg Carlson) at the family business but has no aspirations of taking over the company. He has dinner with his friends and takes his dogs to the local park. However, when AJ has a terrible day, losing everything from butter to his YouTube access, his life pulls apart at the seams. The final straw comes when he discovers the Mayor turned the dog park into a Blog Park. This puts AJ on a path that even Odysseus would balk at competing.

Audiences who are unaware of modern cartoon shows may find AJ Goes to the Dog Park to be a bit absurd. However, that’s the point of the movie from its opening frames. Director Toby Jones hails from the cartoon world, working as a writer and storyboard artist on hits like Regular Show, OK K.O.! Let’s Be Heroes, and Jellystone. While AJ Goes to the Dog Park is slightly more adult, it’s not by much. Jones might be making a movie for an audience of one, but at the same time, it’s infectious fun. Perhaps the most amazing aspect is that Jones found collaborators for his ridiculous comedy.

Traditionally, a character like AJ needs to be likable enough, if not play the outright straight man, to make this tone work. However, Jones pushes him to be the weirdest character of all, playing a modern-day Peter Pan while also loving his incredible dogs. The story may be framed as AJ trying to protect his family, but it’s very much an act of self-preservation. If AJ’s life does not change, he maintains his perceived perfect world.

However, as AJ Goes to the Dog Park explains, time will always creep on, and things will change. The efforts made by some to maintain a status quo lead to a reality where one misses life in the process. In a way, it makes AJ Goes to the Dog Park a bizarro, if not outright cartoonish Click set in Fargo, North Dakota. Jones never lets a gag slide by, and the performers do their best to sell every laugh on the way.

At the same time, AJ Goes to the Dog Park needs to five audiences that will vibe with its tone. It’s such a specific tone that there are times the movie feels too random for its own good. At other moments, the out-of-left-field sentimentality feels unearned. A late-night programming run on Adult Swim would be ideal, where the ultra-low-budget nature would fit into a programming block with ease.

There’s a lot to love about alt-comedy and lo-fi gags. Yet, having the skill set to bring a Looney Tune sensibility to a movie is far more complicated than one might expect. Jones does it well throughout AJ Goes to the Dog Park, proving he can excel at tonal management with the right amount of freedom. While some gags become too broad for the movie’s own good, there’s a gemlike quality to the quaint comedy. Simply hop on board. It’ll win you over with its silliness if you let it.

Alan’s Rating: 6/10Follow news on AJ Goes to the Dog Park here. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: AJ GOES TO THE DOG PARK – An Irreverent Comedy with a Side of Goofiness appeared first on Sunshine State Cineplex.

View Details

The old parental comeback – “If your friends jumped off a bridge, would you?” – has very little sway in the BASE jumping community. Armed with parachutes and flight suits, the athletes in this arena put their lives on the line with every jump. It’s no surprise that directors would find their way into this community at some point. Fly – directed by Christina Clusiau and Shaul Schwarz – not only takes us into the history of the sport but into the high-stakes world of its icons. I was lucky enough to speak with Shaul Schwarz to discuss the incredible feat of making Fly.

Scotty Bob Morgan and Espen Fadnes before making a wingsuit BASE jump in Chamonix, France. (Credit: Reel Peak Films)Fly captures seven years of footage from the BASE community.It’s exciting when a documentary filmmaker uncovers a treasure trove of material. Sure enough, Fly was one of those lucky situations for Schwarz and Clusiau. “I have a climber friend call me about seven years ago. He told me that Dean Potter and a crew of his people are climbing, but instead of walking down, they’re flying. They’re falling in love with this new sport, and – I remember this so clearly – they’re dying like flies. That caught my attention.”

This proved sadly prophetic, as Potter perished in a 2015 wingsuit accident. “We never met him, but we did go down there. Pretty quickly, we got recommended to Jimmy Pouchert and Marta Empinotti, who are a big part of our movie.”

Even going into filming, Schwarz knows how the uninitiated would see his subjects. “It looked like these crazy adrenaline junkie thrill seekers. Someone told us they’re a death cult.” Schwarz shakes his head in frustration. “There’s so much more to that. I remember the first days we shot, Christina – who never wants to jump – said they could not be further from a death cult. In fact, I think they’re a life cult. We used to say, what if the thing you love the most can kill you?”

What started as shooting Jimmy and Marta soon evolved. In the subsequent years, Schwarz and Clusiau opened their focus to two additional couples. “It kind of happened organically. We started with documenting one couple (Jimmy and Marta) and two single guys (Espen Fadnes and Scotty Bob). But then it became three couples (Espen with Amber Forte and Scotty with Julia Botelho).” Schwarz remembers that after two to three years, they realized they had a movie, not just a short. “At that same point, the thing you love the most could kill you took on a whole new meaning. That’s when we really found the film.”

Fly had to overcome audience members who dismissed the subjects. Schwarz and Clusiau understood where the mindset was towards BASE jumpers. In fact, they came to the community from a very different angle. “We’re not extreme sport or even mainstream sport directors. We come from a social-political doc feature. I’ve been a war photographer most of my life.” This degree of separation did not cloud their judgment when shooting but allowed Schwarz and Clusiau to dig deeper into the subjects’ psyche.

“We wanted to make a film that is in this world and celebrates the beauty of flight and all. But the more we got to know them, the more it might not make sense for you or me, but we saw how complete they are.” Too often, extreme sports athletes do not get the credit they deserve despite their death-defying feats. “They’re not just idiots doing this in a vacuum. They understand the consequences better than all of us.”

Espen Fadnes wingsuits by Amber Forte in Norway. (Credit: Reel Peak Films)The line between a documentarian and the role of a compassionate human being could get blurry. During one scene, the BASE jumpers stress the importance of group photos because, inevitably, someone will not be with them for the next gathering. It strikes home the stakes of BASE and made Schwarz and Clusiau examine their role in the shoot. “In a lot of the other docs, we don’t necessarily fall in love with our subjects. I’d say here, to some degree, we did.” It presented a challenge, especially given the proximity the jumpers would have to the filmmakers. “They could die literally in front of my camera.”

At this point, Schwarz takes a beat and considers his words. “I think the job is to, on the one hand, be a fly on the wall. Watch and stay open-minded. Understand their dream. It was our job to ask hard questions and edit the movie in a way that pulls and pushes at this dilemma.”

This is part of why Fly took seven years to film. “The reason we stayed so long is to A) get it right and B) get these people. BASE jumpers, they’ll let you take pictures, but they’re very guarded. They feel judged by society and feel misunderstood.” Schwarz laughs. “Some people will come away from this film and decide BASE jumpers are nuts. Others will want to jump. And good, our job is not to push too hard in either direction.”

Amber Forte and Espen Fadnes train for an acro wingsuiting competition in Alvor, Portugal. (Credit: Reel Peak Films)Some footage of the jumpers is quite harrowing. It took Amber a year to recover from her accident. Schwarz acknowledges some of the footage they’ve collected is undeniably scary. “I’ve seen things turn quickly. BASE jumping turns from the funniest thing to a nightmare in a split second.” This comes into focus when Amber falls dozens of feet and suffers a severe injury. One second, she’s floating through the sky, and the next, she tumbles toward the Earth. When she lands, we hear her labored breathing; for most of the film, she spends time in physical therapy. “There’s so much pain, like anything just made her scream.”

“Amber’s recovery is edited to whatever minutes in the film. It was a year of pain for her.” Schwarz and Clusiau realized that Amber could become their best cinematographer during this time. “She did a lot of the filming herself, partially because it was COVID-19, partially because we understood that it was therapeutic for her.” If the fall was not enough, Amber chose to be vulnerable in front of the camera. “We were actually getting more intimate stuff than when we were filming. Literally, she would ask, ‘When am I going to be back? Amber is a very strong-willed individual.”

Ultimately, Amber’s recovery was not just about healing broken bones. Schwarz explains “the second half (of her footage), became way harder.” He gestures to his head, saying, “It was more up here. Is my relationship going to last? What is life without this? Why can’t I be happy?” Schwarz shakes his head. “Most BASE jumpers are pretty quiet. I think a lot is going on in their head, but they don’t express many things. Amber is like sitting at a shrink. She loves looking at everything.” After her first jump back, you can see Amber loosen up. The fear and the struggle melt away with a good jump. It’s a joyous moment when we see her celebrate.

Scotty Bob Morgan and Espen Fadnes at the top of a mountain in Chamonix, France. (Photo credit: Reel Peak Films)Fly becomes a living history of the BASE jumping sceneAn incredible advantage of Fly comes to life as the archival footage makes its way into the movie. While BASE jumping has existed for years, the footage from Jimmy, Marta, Espen, and Scotty Bob presents a tapestry of the culture. “Scotty and Esper have been in the sport for a long time, predominantly pushing wingsuit flight.” Most often regarded as the “Flying Squirrel” suits by those outside of the community, the wingsuit technology changed rapidly. “There was great footage of crazy wingsuits. If you’re really into wingsuits, you could see the technology evolve.”

Sadly, the most complete collection came from Jimmy, who passed away during the making of Fly. “The most unique stuff was Jimmy. Jimmy loved shooting, and his father was a photographer. He had cameras dating way back to his first jumps, so 25 years.” The finds were miraculous, and sorting it all forced Clusiau and Schwarz to become archivists.

Schwarz laughs about Jimmy dropping off some of the footage. “One day, he kind of came in with multiple boxes.” Schwarz does a Jimmy impression, “He was like, ‘Dude, I collected all the tapes that I’ve ever shot.’ We took it, and we digitized the whole thing. It was huge because they were on different formats and whatnot.” After he notes this, Schwarz takes a beat to himself. “It’s kind of a bummer. I always imagined I would sit with him and show him some of the stuff. There was a lot of personal stuff. We never got to do that.”

Espen Fadnes and Julia Botelho fly their wingsuits in Chamonix, France. (Credit: Reel Peak Films)The archival footage used in Fly might spawn other projects The job of collecting all the footage paid off. “There was a lot of history of how this community changes in that footage. It was a great privilege to have all this treasure.” If things go the way Schwarz and Clusiau hope, Fly might not be the last time they return to the footage. “There’s a talk of maybe doing a show or continuing the work in this community. I think it’d be a great show. Honestly, we’d be pretty pumped to do that.”

Read Alan’s review of Fly here! Watch Fly on Disney+ or Hulu today! Fly is distributed by National Geographic. Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post INTERVIEW: Director Shaul Schwarz on FLY, Creating an Archive, and Dispelling Rumors About BASE Jumpers appeared first on Sunshine State Cineplex.

View Details

When a family discovers an unknown medical condition, it can often cause extreme denial. It’s easy to question why these diseases, conditions, or fears manifest, but learning to maximize one’s life can be an important salve. Blink, from National Geographic and directors Daniel Roher and Edmund Stenson** finds a family on the precipice of a different life. When three children in the Pelletier family discover they will go blind in the years ahead, the parents respond with the tour of a lifetime. Navigating the fears of the future while grieving a life they once thought possible, the Pelletiers take action to provide their children an opportunity few will ever experience.

Leo, Laurent, Edith, Colin, Mia, and Sebastien look out at the mountains in the Annapurna range. (Credit: MRC/Jean-Sébastien Francoeur)Blink begins on a snowy hike to see the Northern Lights but very quickly establishes something is holding the family back. Of the four Pelletier children, three are diagnosed with retinitis pigmentosa, a rare and incurable disease that causes blindness. At first, the diagnosis feels overwhelming, but Édith – the family matriarch – springs into action. After a discussion with a doctor, Édith realized that rather than filling their children’s visual memory with pictures, they could take them to the beautiful sights in person. Édith and Séb quickly figure out the financials and travel around the globe on a strict budget of only $200 per day.

Roher and Stenson follow the Pelletiers on their journey, with cameramen and sound teams recording as much as possible. The story about their travels would shine in a straightforward, flat examination of the experience. However, Blink is far from that; instead, it allows the audience to pick through the ideas that each of the parents leave over their circumnavigational journey.

Leo, Colin, Laurent, Mia, Sebastien Pelletier, a local sherpa, and Edith Lemay take a brief rest while trekking to the Poon Hill viewpoint in Nepal. (Credit: MRC/Jean-Sébastien Francoeur)The footage brings out the verite style early, and the best moments of Blink lean into that aspect. The kids at the story’s center drive the chaos and emotion. Whether we see them beating on each other with sticks or coming to harsh realization that they may never see the deserts or mountains again, there’s a pulsing energy stemming from their storylines. There’s playfulness in these sequences, even as the camera crew and the parents are aware of the struggles the children will face in the future. That dichotomy makes the footage they’ve collected feel hopeful yet tinged with melancholy.

However, the aspect that helps Blink is the examination of Édith and Séb. While their children will be affected by retinitis pigmentosa, on more than one occasion, the parents show just how frustrated they’ve become over something out of their control. As a parent, the one thing you want is a way to protect your children. Édith and Séb not only lost that aspect. They want to freeze this moment and give them a life of safety, but time marches on regardless of their wants. Blink makes this struggle incredibly relatable in several sequences.

(Clockwise from left) Mia, Colin, Laurent, and Leo Pelletier lay in the snow and look up to the sky in Kuujjuaq, Canada. (Credit: National Geographic/Katie Orlinsky)The most shocking montage features the family in a gondola and the slow breakdown of fear that creeps over the family. The loss of light and eventual claustrophobic darkness feels all too real for the Pelletiers. The encroachment of the darkness strikes too close to home, and the unsettling scene cannot fully explain how horrifying the process of slowly going blind will feel for these children.

The powerful storytelling throughout Blink helps make up for its straightforward structure. While Blink sometimes feels like a unique travelogue, it also crafts brilliant images around the natural world. Providing these gorgeous shots is bittersweet, keying in on the fact that for most of the Pelletier family, this will be the only time they will see these sites. While some of the footage is not as integral as other moments, Blink features enough solid storytelling to keep us engaged.

Alan’s Rating: 7/10Watch Blink in theaters October 4, 2024. National Geographic distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: BLINK – A Family’s Beautiful Journey Before A New Phase of Life appeared first on Sunshine State Cineplex.

View Details

The summer beach (or pool) movie was a long-held stable of the cineplex. For teens everywhere, summer marked a time of freedom, discovery, debauchery, and growth. For filmmakers, that meant opportunities for screwball comedy, hedonistic vice, skimpy swimsuits, and the chance to showcase young up-and-comers. Films of the genre tended to be lighter, less interested in plot dynamics, and more inclined to capture a fleeting period of time. Snack Shack yearns to return to a bygone era but fails to capture the magic of summers past or the films that inspired it.

A.J. (Connor Sherry) and Moose (Gabriel LaBelle) serve a small crowd of customers. Snack Shack is now available on streaming.Best friends A.J. (Conor Sherry) and Moose (Gabriel LaBelle) land the dream summer gig, running the local pool’s snack stand. The wannabe entrepreneurs hock hot dogs and candy to eager kids while pounding beers and smoking like it’s going out of style, having the time of their lives. Tensions rise when out-of-towner Brooke (Mika Abdalla) catches the eye of both friends. A.J., unfamiliar with the feelings he has towards Brooke, receives guidance from Shane (Nick Robinson), an older friend and army vet. While the trials of growing up strain their friendship, the bonds they share lead to an unforgettable summer.

Written and directed by Adam Rehmeier, Snack Shack chronicles the semi-autobiographical exploits of his own childhood running the community pool snack stand in his Nebraskan hometown. An underlying nostalgia permeates throughout the film. The trials of youth, for every failed money-making scheme and parental disciplinary session there is a first kiss or campfire epiphany, all get thrown on the screen.

A.J. (Connor Sherry) and Moose (Gabriel LaBelle) eat food. Snack Shack is now available on streaming.It’s clear that Rehmeier approaches the subject with reverence; however, everything comes in excess. It’s too loud, too profane, too long, too heavy, too much. As a filmmaker, Rehmeier is not without talent. Snack Shack‘s quiet moments provide a glimpse at the skill he can bring to bear. It’s just that over the film’s nearly two-hour runtime, those moments are few and far between. Perhaps if the film were funnier, it wouldn’t seem like such a slog, but unfortunately, the comedy mostly fails to land.

A fine cast of young talent has been assembled, and each leans into their role with aplomb, but like the film itself, they show little restraint. Sherry and Robinson hit their stride in the Snack Shack‘s lighter moments, but LaBelle approaches every scene like a challenge to see how loud and over the top he can be, a massive departure from his role in The Fabelmans. Abdalla does a fine job and elevates Brooke to more than a simple object of affection in spite of a script that seems to want just that.

Moose (Gabriel LaBelle) and A.J. (Connor Sherry) run through the doors of their store. Snack Shack is now available on streaming.Snack Shack ultimately disappoints by failing to stand out amongst so many classic coming-of-age summer comedies. Its loud and boisterous shenanigans deafen the fewer lighter moments that provide a hint of how magically transportive Snack Shack could have been. Rehmeier displays a reverence for the material but cannot find the restraint to reign in all the ideas and experiences he puts on the page. His young cast gamely tackles the material, but their zealousness becomes overbearing instead of endearing. It’s not unwatchable, but your time might be better spent by the pool.

Josh’s Rating: 5/10Watch Snack Shack on VOD and Streaming today. Republic Pictures distributed in theaters. Please check out other Sunshine State Cineplex reviews here!The post Review: SNACK SHACK – A Summer Comedy that Lacks Warmth or Laugh appeared first on Sunshine State Cineplex.

View Details

It’s impossible to write about the history of wrestling without discussing Vince McMahon. His figure looms over wrestling at every level, even for someone who does not follow the sport like many diehards. However, Mr. McMahon– a new six-part documentary about the infamous figure – tries to reckon with his legacy. The past five years have seen sexual assault allegations and trafficking investigations against the man.

All of this occurred while the documentary was in progress. Wisely, director Chris Smith does not let him off the hook. Capturing some shocking interviews from McMahon and those from his inner circle, Mr. McMahon crafts a portrait of a man of contradictions and hypocrisy. Smith also reminds us that legacies are often built on these foundations.

After meeting his real father in the 1960s, Vince McMahon wanted to take over wrestling. Smith details McMahon’s unexpected rise within the company and his purchase of the World Wide Wrestling Federation in 1982. From then on, McMahon pushed for control over the industry in ways few others had. As WWF – eventually renamed the WWE – took on the biggest talent from their local territories. Over the next three decades, McMahon became synonymous with the sport. He battled feuds with WCW (backed by Ted Turner), created new stars in the Attitude Era, and eventually crafted the Mr. McMahon character that made him a fixture of the sport.

For anyone with knowledge about the world of wrestling over the past three decades, much of Mr. McMahon will feel like a quick hits history lesson. For all the memes and iconic moments of the sport, Vince McMahon remained a planet at the center of the WWE. Every moment of greatness and tragedy seemingly revolved around his actions or lack thereof. Smith wisely captures this dynamic, clearly conveying the gravitational hold the man crafted over the sport and its stars.

Mr. McMahon tells its story while touching both sides of his legacy. On one hand, he created an empire that has transcended sports. The WWE thread itself into pop culture for decades, with many of its stars crossing over into film, music, and comedy. As it grew, and the Attitude Era connected the sport to millennial viewers and Vince McMahon became one of the most recognizable figures in sports. For that fact alone, McMahon’s sheer act of creation resonates and informed many who grew up watching his product. The characters, the moments, the emotion ferment and become integral building blocks of our memories. As that nostalgia builds, it’s easy to want to ignore the darker stories around McMahon.

But there lies the conundrum. It’s not just that McMahon has unsavory business practices or has been a difficult man to work for. Lawsuits and settlements point to a darker truth – that McMahon has been a serial abuser. As these alleged incidents pile up, the antics of the Mr. McMahon character become harder to sort through.

Yes, his arrogance and anger are easy to laugh at in a hyperreal melodrama. But knowing that he pulled his stories from real events and controversies undeniably hurts the product. It not only ages those skits poorly, but it highlights just how untouchable McMahon was for many years. Mr. McMahon makes the point clear – the lines between truth and fiction were intentionally blurred by the WWE and its leader to provide a safety net. If you play on the public mindset – that wrestling is fake – perhaps the stories can be disregarded as such.

Smith and his team craft a dynamic breakdown of these aspects through the edit. Not only do they highlight the treasure trove of WWE archival footage, but they mix and match the footage to elevate their talking head interviews. It helps that many of the talking heads are wrestlers. The last forty years of wrestlers show up, including Hulk Hogan (Terry Bollea), Triple H (Paul Levesque), Dwayne “The Rock” Johnson, John Cena, Bret Hart, Tony Atlas, and more populate the screen. It’s stunning how many icons sit for interviews, and it’s unlikely we’ll see a collection this incredible anytime in the future.

Few films or documentaries accomplish this with such precision, and Mr. McMahon easily enters the upper echelon of the post The Last Dance documentaries series. Like Diego Maradona, it speaks to the brilliance of its subject but does so through the words of those affected by him the most and showcasing the real-world effect through the visual proof. This also allows Smith to fact-check McMahon – and more than once, he does not get away with his self-mythologizing. In today’s age of safe, down-the-middle bio-docs, Mr. McMahon stands out for its willingness to take on its subject, with its subject’s own participation.

While Mr. McMahon could have been more critical of the CEO for his actions away from the ring – especially in the first three episodes – this series is what we need to expect from multi-part storytelling. Too many shows overstay their welcome. Too many shows sensationalize without providing context. In many ways, Mr. McMahon represents the pinnacle of the sports documentary field – allowing us to watch the breakdown between myths and truth. Mr. McMahon stuns as a piece of wrestling history, and with the final episode quickly entering the “filmed in real time” hall of fame, it’s one we will lovingly revisit ahead of the next WrestleMania.

Alan’s Rating: 9/10Watch Mr. McMahon on Netflix today. Netflix distributes. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: MR. MCMAHON – An Electric Crash Course In WWE’s History and Darkness appeared first on Sunshine State Cineplex.

View Details

Jumping out of an airplane remains one of the scariest activities imaginable. Yet BASE jumping, especially jumping with a flight suit, takes the risk up to another level. Fly – a new documentary from directors Christina Clusiau and Shaul Schwarz explores this world through three couples – all of whom BASE jump. Shot over seven years, Clusiau and Schwarz capture incredible images, with their subjects upping the ante to even grander stunts. Fly allows the audience to experience this footage in ways many could not imagine, delivering gorgeous sequences with the cameras. While Fly spends a little too much time on some subjects, it remains a stunning introduction to a world unlike any you’ve seen on camera.

Espen Fadnes and Julia Botelho fly their wingsuits in Chamonix, France. (Credit: Reel Peak Films)Early in Fly, Schwarz asks the jumpers an honest question: what do you want to say if you do not live to make the movie’s premiere? It’s a simple question that speaks to the consequences of a bad jump in the BASE world. Establishing these stakes strikes a chord and forces the audience to understand Clusiau and Schwarz’s subjects in a new light. We strike a difficult bargain – to know that someone may not survive the seven-year journey of the film.

As two of the preeminent jumpers and teachers in the world, Marta and Jimmy are affectionately known as the “Mom and Pop” of the BASE subculture. Scotty establishes himself as one of the most dangerous jumpers in the world and meets Julia in the process. Espen – first brought on-board as a cinematographer for Fly – proves equally compelling in front of the camera. His relationship with Amber becomes an integral part of the story in Fly.

Amber Forte and Espen Fadnes at the top of a mountain in Chamonix, France. (Photo credit: Reel Peak Films)Using the Go-Pros and cameras at the top of the mountains, Fly captures some profoundly terrifying images. Full disclosure – this critic has a genuine fear of heights. On more than one occasion, Fly forced me to look away from the screen. The images are brilliant beyond belief, but the speed at which a flight suit carries you through dangerous terrain is heart-stopping. These jumpers quickly become Fly‘s greatest asset. The beauty of the images, juxtaposed with the realization that everything could go wrong in a second, creates conflict within the audience. It’s what we expect our movies to do at their best, and Fly makes it impossible to ignore the complex emotions coursing through you.

However, while these aspects are brilliant, the lack of propulsion in the story behind Fly causes its biggest issue. Other extreme sports films, like Free Solo, 100 Foot Wave, or The Alpinist, follow a specific journey or goal. Fly takes a more amorphous approach. Instead, it wants to let the audience spend time with the characters they’ve assembled. This certainly makes us care about the top six people with the cameras pointed at them, but it also makes aspects of Fly feel shaggy.

Scotty Bob Morgan makes a wingsuit BASE jump at Dragon’s Nest in Moab, Utah. (Credit: Reel Peak Films)Despite this, the storytelling works. Clusiau and Schwarz bring a deft hand to the footage, allowing us to see the relationships grow and develop. Watching Amber crash to Earth and the year of rehab afterward strikes fear deep into your soul. Other big moments occur on screen, and more than once, the footage reveals another flyer coming to grips with the tragedy. The fear and worry in their voice are unmistakable, and in these moments, Fly is unnerving.

Yet that is what makes Fly stick in your mind. We do not wish for tragedy. However, watching this film makes it impossible to ignore the sudden loss of those we love. During a sequence in Vegas, someone tells the camera that group pictures are a necessity in this community. The number of losses is simply too high, and these pictures need to capture the quiet moments of togetherness.

There’s an honesty and tragedy in that idea that zeroes in on the power of a community like those who BASE jump. Yes, there’s an adrenaline junkie mentality that some embody. However, there’s also community and care that some daredevils never find elsewhere. In this case, the divers have found commitment and love. It’s only within this community they may find someone who understands how to tie their passion for each other into their passion for the sport.

Amber Forte and Espen Fadnes train for an acro wingsuiting competition in Alvor, Portugal. (Credit: Reel Peak Films)Finally, beyond the cinematography, we must discuss the brilliant sound work. Whether the audio was captured on location or if it was recreated in Foley rooms, the soundscapes are incredible. They not only showcase some of the best work of the year for documentaries, but feature among the great showcases in film as a whole. The roar of the wind is one thing, but setting up a mic to capture the sonic burst of a flyer takes incredible patience and precision. These moments further showcase the power Fly has as a cinematic experience.

Fly might not reach the consistency of some extreme sports documentaries, but the highs are undeniable. With plenty of excellent storytelling moments and impeccable craft, it’s a documentary you’ll never forget. We cannot wait to see which sport National Geographic has next on their docket or what Clusiau and Schwarz make next. Fly is an excellent story and showcase of human fragility.

Alan’s Rating: 7/10Watch Fly on Hulu or Disney+ today. National Geographic distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: FLY – A Stunning Picture of Conquered Fear But Deadly Consquences appeared first on Sunshine State Cineplex.

View Details

Now that our witches start down the road, we have to deal with the trials. Agatha should have an advantage in this situation, but the coven does not trust her. It probably does not help that she brought Sharon – aka Mrs. Hart along for the journey. With fear about the dangers presented on The Road, let’s dive into episode 3 – “Through Many Miles, Of Tricks and Trials” – directed by Rachel Goldberg.

(L-R): Lilia Calderu (Patti LuPone) and Jennifer Kale ( Sasheer Zamata) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.“Through Many Miles, Of Tricks and Trials” – The RecapThe Witches begin down the path, and Mrs. Hart tries to call the authorities. The other members of the coven realize she is not a Witch and grow frustrated with Agatha. She’s put them in harm’s way to walk the Road without a real Green Witch. To walk the Road, they’ll have to complete trails about their knowledge of Witchcraft.

The Teen tries to praise them, causing Jen to ask him for his name. This time, the “sigil” on The Teen is seen by all of the Coven. They seem frustrated that Agatha kept another secret from them, but she dismisses it. They need to reach the end of the road, and they all have a reason to complete the journey. They suddenly realize that Mrs. Hart has disappeared, and they run to find her.

(L-R): Jennifer Kale (Sasheer Zamata), Teen (Joe Locke), Agatha Harkness (Kathryn Hahn), Lilia Calderu (Patti LuPone), Mrs. Hart/Sharon Davis (Debra Jo Rupp), and Alice Wu-Gulliver (Ali Ahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.Mrs. Hart wanders off the path and finds herself pulled into quicksand-like mud. Alice runs over and saves her. Agatha reminds the Coven they cannot leave the path and must follow the Ballad. When Mrs. Hart asks where they’re walking to, a beachside house suddenly appears on the horizon. The coven walks the sandy road to the house.

Once the coven walks inside, their style, hair, and outfits change. They find they are trapped in the house and soon find a card on the mantelpiece. As they try to figure out the riddle, a bottle of wine appears behind them. Agatha reveals they must drink the wine to make it through the trial. The Teen and Jen look for a corkscrew to open the wine. When they do, Jen tells The Teen about a rumor circulating about Agatha. She traded her own baby for The Book of the Damned – The Darkhold. He challenges her, but then Jen finds the corkscrew.

(L-R): Lilia Calderu (Patti LuPone), Alice Wu-Gulliver (Ali Ahn), Agatha Harkness (Kathryn Hahn), Jennifer Kale (Sasheer Zamata) and Teen (Joe Locke) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.Once together, they all begin to drink the wine. Mrs. Hart drinks a glass whole before anyone else drinks theirs. Everyone but The Teen gets a glass, with Mrs. Hart getting a second. Alice tells The Teen about her mother’s fears that she was cursed. The witches drink, but Agatha pours out her glass into a plant.

Mrs. Hart stands up to ask how to become a witch, and suddenly, everyone notices her face has swelled. The witches realize they’ve been poisoned. When the swelling decreases, Jen realizes it was Ale Wife poison. Because she has no symptoms, Agatha is exposed by The Teen. When he offers to drink on her behalf, she drinks her glass.

When Mrs. Hart has a hallucination, the witches quickly go to work. Jen splits up the group into teams to find the ingredients while she preps the cauldron (a sink). However, as they collect their items, they are also affected by the hallucinations. Lilia sees a Tudor-era woman, Alice sees her mother, and Jen sees an old-timey surgeon. Alice’s mother grows insecure about being able to protect her daughter. Lilia realizes all the people she once loved have died. Jen’s perpetrator tries to drown her. All three escape their hallucinations.

(L-R): Lilia Calderu (Patti LuPone), Jennifer Kale (Sasheer Zamata), Teen ( Joe Locke), and Alice Wu-Gulliver (Ali Ahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.They reconvene in the living room and realize the timer references the rising water. It’s overtaken a window in the living room, and if they do not hurry, they will drown (even if they survive the poison). In the kitchen, They combine the ingredients and use a sous vide to heat the “cauldron.”

As they go to add a single hair each, Agatha hears a baby crying. In her hallucination, she approaches a crib and sees the Darkhold in place of the child. She awakens from her hallucination and helps finish the potion. Jen realizes she forgot something and has an anxiety attack. Agatha gives Jen a pep talk, which helps her remember that their missing ingredient is blood. They cut The Boy’s hand and add it to the concoction.

They all drink the antidote, but the timer keeps going. They finally realize they need to give it to a passed-out Mrs. Hart. Once they do, the oven door opens as an escape. At first, they’re hesitant to go on, but then the windows of the house burst. They quickly make their way through the oven, and everyone arrives back on The Road. However, Sharon (Mrs. Hart) is dead.

(L-R): Jennifer Kale (Sasheer Zamata), Lilia Calderu (Patti LuPone), Alice Wu-Gulliver (Ali Ahn), Teen (Joe Locke), and Mrs. Hart/Sharon Davis (Debra Jo Rupp) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.“Through Many Miles, Of Tricks and Trials” – The TakeawaysRight out of the gate, Agatha All Along proves why an adjusted version of the WandaVision formula will make for great television. “Through Many Miles, Of Tricks and Trials” grows dark as the tale unfolds. It also proves creative in the kinds of stories it’s going to tell, using homage to its benefit. Why else would this episode be so Nancy Meyers-coded? The style and genre fit with Mrs. Hart as a character – a woman who appreciated the normalcy of upper-class life. While the women stand out in this setting, Mrs. Hart fits right into this environment.

Anytime you can allow your show to have the “middle-aged divorcee, second shot at life” aesthetic, you’ve got to go for it. The theme applies wonderfully to this group of characters. Each woman is looking for their next opportunity to change their fate. Their stories are very much unwritten, providing them with a new lease on life. Even the episode’s name, “Through Many Miles,” hints at past difficulties. Only through sisterhood and overcoming these trials together can they find peace.

“Through Many Miles” also gives us integral storytelling elements around Agatha. Whether the rumor is true or not, the Darkhold clearly had some role to play with her son. If Jen is correct, Agatha’s lust for power proves even more dangerous than previously thought. On the flip side, it also makes her story even more tragic. If Agatha had found a partner to love and create life with, what events would lead her down this path?

We say goodbye to Debra Jo Rupp in “Through Many Miles” as well. It’s a shame because she’s been excellent. The veteran sitcom actress had a killer run in the MCU, and she brought a lot to this episode in particular. When Marvel trusts character actors and actresses to deliver at a high level, the shows and movies always seem to benefit.

Finally, “Through Many Miles” was one of the best episodes for us to watch character growth. Everyone gets a moment of fun and excitement. Agatha All Along gets scarier as well, which is a huge win. The scary makeup on Lilia’s monster, the fire effects on Alice’s mother, and the evil doctor for Jen were terrifying. Yet the thing to remember is Wanda remains integral in the tale, especially for Sharon. Whether intentional or not, when she broke bad, she still ruined the lives of many. Those actions play into the events of “Through Many Miles,” and we’re willing to bet it will continue throughout the season.

Alan’s Rating: 9/10Watch “Through Many Miles, Of Tricks and Trials” on Disney+ now. Watch Agatha All Along exclusively on Disney+.Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘Through Many Miles, Of Tricks and Trials’ – Agatha All Along – Episode 3 Recap appeared first on Sunshine State Cineplex.

View Details

Undeniably, Chris Sanders knows how to tell a story. Back in the 90s, Sanders contributed to the Disney Renaissance movement by writing some of the most beloved stories in animated film history, including The Lion King. In it, a lion cub looks to find its place in the world while being guided by his father’s teachings. Similar themes find their way into Sanders’s latest directorial project, The Wild *Robot*.

(from left) Fink (Pedro Pascal), Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.Beautiful extends well beyond The Wild Robot’s themes. Based on Peter Brown’s children’s book of the same name, the film’s visuals hold a unique animation style worthy of that designation as well. Brown was inspired to write his story from a sketch he made of a robot sitting in a tree, so it is proper that special attention was brought to the artwork. Every frame is meant to invoke a feeling of awe and wonder; a sense of discovery permeates throughout.

Roz, the titular wild robot (voiced with nuance amid the beeps and bops by Lupita Nyong’o), is animated with an emotionally demonstrative yet mostly featureless face. Expression is captured through the eyes, with every shutter flicking away to reveal a bevy of sentimentality.

(from left) Roz (Lupita N’yongo), and Brightbill (Kit Connor) in DreamWorks Animation’s Wild Robot, directed by Chris Sanders.The forest Roz accidentally crashes in purposely lacks the photorealistic qualities of CGI animation, with Sanders opting for an organic feel reminiscent of hand painted art instead. Animal furs are seemingly applied with soft brush strokes rather than mouse clicks. The backgrounds exist in a two-dimensional plane, serving as a gorgeous palette for its three-dimensional characters. The result is an impressionist style that invokes the very best of a Disney or Studio Ghibli classics. Yet The Wild Robot proudly carves its own place in the present pantheon of novel techniques.

Beautiful, too, is the story of a robot and her duckling Brightbill (Kit Connor). Roz is a helper droid programmed for one objective: to complement human life. However, the forest where she crashed landed is uninhabited. The opening scene offers much of the hyperactivity Dreamworks is known for, as Roz frantically tries to find someone to give her an objective, all while learning of the wonders and dangers of this new world. After a series of circumstances, Roz finds herself caring for the duckling. With the help of Fink (Pedro Pascal), a sly fox, Roz unwittingly embarks on the journey of motherhood.

Motherhood is the central theme here as Roz navigates the tumultuous and scary realm of raising a child. No amount of programming can save her. She realizes, with the help of her feral companions, there is no blueprint to help with these undertakings. As the mother of 7 (maybe 6?), the opossum Pinktail (Catherine O’Hara) declares, you make it up as you go and hope for the best.

Other challenges await Roz throughout her journey as she discovers the world and her purpose alongside Brightbill. Luckily, a band of furry critters warm up to the strange robot and lend their help. Along with Fink and Pinktail, Paddler the beaver (Matt Berry), Thunderbolt the falcon (Ving Rhames), Thorn the bear (Mark Hamill), and Longneck the goose (Bill Nighy) lend their expertise and skills in the development of Brightbill.

Further adding to the emotional experience, this moves the cast of characters to form an extended chosen family. The wild setting allows The Wild Robot to touch on the nature and frailty of life and on the importance of becoming “more than you were programmed to be” to survive. Blending all these aspects is no easy task, yet The Wild Robot meets the endeavor with the same bright flying colors it paints its world with.

Complex themes form the core of an otherwise simple and straightforward story. But as with great children’s movies, the themes are impactful and meaningful for the adults who take their children to the theater. The Wild Robot takes on these ideas with a tactful and heartfelt approach, but also infuses it with some well-placed humor to keep things light for the little ones. In other instances, the comedic tone shifts for more mature minds, guaranteeing shocked reactions. Overall, the result is a highly enjoyable, wondrous, and tearjerking affair.

All greats stand on the shoulders of giants, and with The Wild Robot, there’s no exception. Clear are the influences of films like Wall-E or The Iron Giant. Even Sanders’ former directorial feature How to Train Your Dragon lends some of its subject matter here. The Wild Robot perches itself proudly on these broad shoulders and races towards new and exciting directions, eventually flying on its own beautiful path.

Borja’s Rating 9-10Watch The Wild Robot in theaters on September 27, 2024. Universal Studios Pictures and Dreamworks Animation distribute.Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: THE WILD ROBOT – The Beautiful Film Flies High as One of the Years Best appeared first on Sunshine State Cineplex.

View Details

“Utopias turn into dystopias” becomes a notable line in Megalopolis, as it becomes a very fitting way to describe the movie. The great Francis Ford Coppola made his long-awaited project, a $120 million budget self-funded feature that very much feels like a real-life Synecdoche, New York. The set was full of stories about constantly changing crews, radical filming techniques, and improvised ideas (plus the side of allegations of inappropriate behavior).

Like the stories from Apocalypse Now, there is undoubtedly a method to Coppola’s madness written into his lead protagonist, Cesar Catilina (Adam Driver). What comes out is a beautiful collision of art, beauty, creation, love, hate, power, greed, the displaced, et cetera. No wonder the reviews were all over the place from its debut at Cannes.

Shia LaBeouf as Clodio Pulcher in Megalopolis. Photo Credit: Courtesy of LionsgatePlot-wise, it is simple. Cesar is the Robert Moses of New Rome, the new name of New York City in the future. Cesar’s office is the top of the Chrysler Building with a much more bustling skyline over Manhattan. Its fellow boroughs have fallen into disrepair, including what was the Statue of Liberty. Born into a powerful, ultra-wealthy family led by his uncle (Jon Voight), Cesar has the unique power to stop time. He plans to rebuild New Rome using his Nobel Prize-winning invention, Megalon, a cutting-edge substance stronger than concrete or steel.

He does this in opposition to Mayor Franklyn Cicero (Giancarlo Esposito) and his corrupt political machine. Cicero stays with the status quo and is untouchable despite a noticeable decline in his popularity. Neither can be removed by the people but are acquainted by Cicero’s daughter, Julia (Nathalie Emmanuel), who falls in love with Cesar.

Involved in the power struggle are the underlings who want their share of power. Cesar’s cousin, Clodio (Shia LaBeouf), who lusts for Julia and his father’s position as CEO of the national bank. Wow Platinum (Aubrey Plaza), a financial reporter, is Cesar’s lover and wants all of the news scoops. Clodio is envious of Cesar and wants to ruin him, while Wow desires to marry into the family for a piece of the bank – just like Clodio. The Mayor’s fixer (Dustin Hoffman) and Cesar’s assistant (Laurence Fishburne) take care of their respective bosses when trouble seems to come. They come to blows when a deepfake allegedly shows Cesar and a “virgin” teen pop star (Grace VanderWaal) having sex.

The script is all over the place, with strong scenes and plain stupid ones. Yet the themes still resonate. Dialogue is a mix of modern and Shakespearean, but Coppola could’ve done without the latter – especially with some saucy lines by the lustful Wow and Clodio. Never again will you hear one scene reenacting “To be or not to be,” and another scene featuring lines like “You’re anal as hell, Cesar. I, on the other hand, am oral as hell.”

Megalopolis. Photo Credit: Courtesy of LionsgateScenes shift and time jumps where something was once filmed but left on the cutting room floor. This adds to the mess, especially in the second half of the film. Then again, Coppola allowed actors to improvise and write their own lines, which may explain the distinct tones of dialogue between scenes. Regardless, the hyperbolic nature of its storytelling gets out of hand.

The visuals are awe-inspiring, partly from Mihai Mălaimare Jr.’s gorgeous cinematography. This also applies to the vision Coppola settled for after firing the original VFX crew. After part of the city is destroyed, Cesar builds his dream with the architecture made from Megalon. This looks beautiful yet feels Disney-ish. This is the future, yet much of the city’s architecture reverts to the 1950s.

Aubrey Plaza as Wow Platinum in Megalopolis. Photo Credit: Courtesy of LionsgateFor those who mourned the demise of classical buildings destroyed by the pen of Robert Moses, some of it is revived. Maybe it is not all bad for New York City/New Rome. A Coliseum-type arena, Cesar’s office, and buildings suffering from urban decay become part of the eye-popping production design, even with some CGI deficiencies.

Megalopolis is a tale that is part-Succession, Caligula (minus explicit sex), The Fountainhead, and –Metropolis. It’s also mixed with current-day warnings about the dangers of populist politics and dictatorships. The character names, based on “Catilinarian Conspiracy,” highlight a failed coup from the Roman Empire. This makes sense, especially with the Roman Empire-inspired titles popping up during the movie.

Grace Vanderwaal as Vesta Sweetwater in Megalopolis. Photo Credit: Courtesy of LionsgateCoppola’s extremely bold story is one to be applauded for having the full audacity to go all-in – even with various aspects not clicking into place. It is the American Dream that suddenly becomes the American Nightmare. Megalopolis is full of ideas and demands to be rewatched several times. Coppola’s mantra is summed up in another quote, “When we leap into the unknown, we prove that we are free.”

Grade: 7.5/10Follow me on Twitter: @Brian_cine (Cine-A-Man)Follow me on BluSky: @briansusbielles.bsky.social Watch Megalopolis in theaters September 27, 2024. Lionsgate distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: MEGALOPOLIS – Coppola Presents Mega-Stuffed Story To Be Loved And Hated appeared first on Sunshine State Cineplex.

View Details

There is something profoundly meta about reviewing a film about a man who is himself a reviewer of the arts. In such an example, the filmmakers must be aware of the mirror that critics will hold up to the narrative’s own critiques. It then falls on the film’s actors to deliver performances that transcend the shortcomings of their characters’ own performances. Fortunately, The Critic accomplishes this task by placing front and center the immeasurably talented Ian McKellen.

Serving as The Critic‘s anchor, without him the entire production would be swept to sea by melodramatic writing and a handful of flawed and unlikeable characters. His inclusion, however, casts all others in a more favorable light by comparison and elevates The Critic to a higher level.

Set in 1930s London, McKellen plays Jimmy Erskine, an acerbic drama critic writing for The Daily Chronicle. The mark of his ire, a working actress Nina Land (Gemma Arterton) grapples with the harshness of the man that inspired her to act as a young girl. When his role at the paper is threatened by new owner David Brooke (Mark Strong), Jimmy contrives a plot as wilding as any of the countless plays he regularly consumes. His secretary, Tom Turner (Alfred Enoch), realizes too late the kind of monster he works for but not before aiding him in his endeavor to achieve immortality through his continued writing.

From a technical perspective, The Critic is gorgeous. Haunting lighting and beautiful period sets coupled with David Higgs’ signature brooding London cinematography engage the viewer. McKellen’s features instantly shift from friendly to sinister with no more than a lighting change and the effect astounds. A stringy score from Craig Armstrong likewise strikes the right chords. Jimmy himself would be unable to find fault in the film’s technical performance.

The screenplay, adapted from the novel Curtain Call by Anthony Quinn, comes from Patrick Marber. His dialogue runs the gamut of cuttingly acidic and flowery sophistication. McKellen isn’t the only player to get great lines but his will be the ones remembered after viewing. The challenge, though, is the story that has been drafted is both heavy-handed and melodramatic.

As a character drama, many details are withheld for the twisty third act but the front half of The Critic suffers for it. Characters are frustratingly underdeveloped until the reveal, which comes too little too late to achieve the necessary sympathies. The fact that Jimmy headlines from the start comes at the expense of the other characters, though of no fault to the actors portraying them. Arterton and Strong both deliver but remain in McKellen’s diabolically enjoyable shadow.

Director Anand Tucker weaves a massively tangled web but manages to condense it into a surprisingly short runtime. It is a rare instance when a looser hand in the editing room may have brought forth additional scenes or moments that would have better established the side characters to stand up against Jimmy’s tour de force personality. Given the production design and caliber of performances and with the potential to develop too-brief commentary on fascism, art, and the relationship between performer and critic, the film could easily have been expanded to fill a two-hour time block without diminishing the enjoyment and enhancing the filmmaker’s message.

If, as Jimmy muses, it’s the critic’s “responsibility to discourage our readers from wasting their wages on tripe” audiences may rest assured that to engage their time and money into viewing The Critic would not be a wasted effort. Despite some heavy-handedness and a flair for the melodramatic, McKellen alone demands attention. It is a gorgeous noir thriller full of compelling performances and an exemplary score. This critic’s main critique is simply that he wanted more time in this world Tucker and Marber created.

Josh’s Rating: 8.5/10Watch The Critic in theaters on September 13, 2024. Falco Ink and Greenwich Entertainment distribute.Please check out other Sunshine State Cineplex reviews here!The post Review – THE CRITIC – A Dastardly Turn by McKellen Satisfies this Critic appeared first on Sunshine State Cineplex.

View Details

The rise of internet culture continues to spawn unusual and strange trends. In its early days, it resulted in creepypasta urban legends, while Gen Alpha engages with YouTube and TikTok creators. Amid these changing times, creator Kati Kelli crafted a unique channel. Documented through Girl Internet Show: A Kati Kelli Mixtape, the young comedian and performer showcased eccentric taste. Yet, in between sketches and characters built from fashionista tropes, deep anxiety and body dysmorphia pushed into her creation. The resulting movie assembles her works into a portrait of her creativity. It’s not only a brilliant love letter to a creative life and the power of the internet to create connections in the darkest moments.

Girl Internet Show utilizes over a decade of footage to walk us through Kelli’s life. Her site slowly grew, and over the years, she found more unique angles to explore her characters. After Kelli’s tragic passing in 2019, her widower, Jordan Whipple, began crafting the mixtape. With the assistance of Jane Schoenbrun, they built an incredible showcase of Kelli’s digital life. Without telling the story in a straight line, they build in the nervousness and

As Whipple and Schoenbrun build out their depiction of Kati Kelli, the vast library of archival footage proves more than effective at drawing in the audience. Many clips are extremely humorous, allowing Whipple to showcase her talent as a performer and comedian. Her timing is excellent, and she proves exceedingly charismatic throughout the clips.

Navigating the YouTube creator space has always been difficult, but you can feel Kelli working through her bits and timing across the videos. The growth we see would be impressive regardless, but when she begins mixing in questions about body dysmorphia and actively engaging with self-critique, she elevates her channel’s quality. There’s something about being raised in an environment where YouTube is normal. Those denizens of early internet life cannot fully understand what it means to show vulnerability and expose oneself to the world. When she strikes that balance between enigmatic artist, digital native, and brilliant comedian, it’s impossible to hold back the laughter.

It’s impossible to ignore the sadness on the fringes of Girl Internet Show. Whipple and Schoenbrun do an excellent job at creating Kelli’s life via internet clips, but awareness of her loss haunts the movie. That does not make the footage less effective at getting laughs or making points. It just means that we feel the loss even more.

Additionally, Whipple and Schoenbrun turn Kelli’s story into one of internet legend. The Girl Internet Show did not necessarily spread into the mainstream. However, its power for those who found the show should not be underestimated. In many ways, Girl Internet Show perfectly explains the digital world, even five years later. Creators push boundaries, and authenticity speaks to those who find similarities. Ultimately, those who feel the same will find that content, even if it’s not at the time of creation. This means that Kelli can continue to help address the issues in her videos for years.

It’s a perfect story of how the internet, for all its ills, can positively impact the world. It allowed Whipple and Schoebrun to traverse through years of footage. They could track arcs in her performance, bring characters to life, and get inside Kelli’s mind. Girl Internet Show resonates because it’s not just the story of one creator. Many see their loved ones online when birthdays hit when we’re reminded of a picture, or when we visit their pages. For all the negativity we associate with the internet, people like Kelli used it for positive expressions of art and self. Like her, we should take that lesson to heart.

Girl Internet Show: A Kati Kelli Mixtape has little in common with traditional biographical documentaries. Yet, at the same time, it proves wildly effective at relaying the humor, subversiveness, and vigor with which Kati Kelli lived her life. It’s difficult to imagine recording one’s most intimate moments for the world to see. Yet that’s a core tenet of art, and Kelli proved herself an artist time and time again.

Alan’s Rating: 9/10Girl Internet Show: A Kati Kelli Mixtape is playing at Fantastic Fest 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: GIRL INTERNET SHOW – A KATI KELLI MIXTAPE – An Exquisite Generational Diary appeared first on Sunshine State Cineplex.

View Details

In 2020, P.G.: Psycho Gorman felt like a well-constructed throwback to an era of TV and filmmaking. Even a few years later, the practical effects and wild approach to the movie have maintained its cult status. That made Frankie Freako, the feature follow-up from director Steven Kostanski, a must-watch experience. This time, Kostanski combines the 1980s latex creature design with a demented Cat in the Hat story. This creates a fun comedy built to spoof late 80s culture and satisfy fans of creature features.

Conor (Conor Sweeney) struggles to connect with people at work and his girlfriend, Kristina (Kristy Wordsworth). People tell him to start changing things in his life so they’re less dull. When Kristina calls him a square, Conor makes a strange phone call when she’s out of town. Late at night, he’s seen ads to speak with Frankie Freako (Matthew Kennedy) – a party-focused creature. After placing the call, Conor wakes up and finds his house trashed by Frankie, Dottie Dunko (Meredith Sweeney), and Boink Bardo (Adam Brooks). In a madcap afternoon, Conor tries to contain the creatures while getting caught in an unexpected adventure.

The beauty of a movie like Frankie Freako comes in its willingness to turn everything into a joke. It does not take long for Kostanski to lean entirely into the Gremlins and Ghoulies sphere. It’s not just small plastic creatures running through the house that call back to this. Instead, Kostanski embraces the monsters’ loud, chaotic, overwhelming nature. With silly catchphrases and ridiculous special effects coming into the story, Frankie Freako works as a comedic antidote to the overly serious direction horror continues to take.

There are few “scares” to speak of, but Frankie Freako still features masterful character design. Not only are Frankie, Dottie, and Boink very different, but they employ different gags for the movie. Frankie becomes the party animal, unleashing an uncontainable amount of energy a la Animal in The Muppets. Boink becomes the one-liner machine, repeating “Shabadoo” at every opportunity. Do we know what that means? No – but that would take away from the fun. Last, Dottie is pitched as a sexy cowgirl. We know this because Mr. Buechler (also Brooks), actively hits on her. With two six-shooters, she becomes a nice change of pace for the story.

The trio brings plenty of laughs, but Kostanski’s vision of how to execute their antics gives us the biggest boost. The framing of each scene helps the puppets hide wires and hands. It’s obvious that CG was used to cut some of this out of the movie, but the camerawork still accentuates the practicality of the creatures. There would be no reason to make a film like Frankie Freako if Kostanski could not pull this off. However, he’s proven to be among the very best directors at this exact style of filmmaking.

To help sell Frankie Freako, the movie needs Sweeney to fully commit. His “square” persona is perfect fodder for a rockstar gremlin to screw with. He both generates the laughs and stands in as the audience surrogate. Yet Sweeney also sells incredible comedic moments, including a perfect 80s freeze frame. His arrogance and naivete are perfect for the clueless guy the movie needs.

Comedies like Frankie Freako have become hard to find in the modern landscape. Yet Kostanski continues to show versatility as a storyteller and creator. His stellar 2024 (he also was on the makeup team for In a Violent Nature) should remind audiences why indie filmmaking is so precious. Frankie Freako is one we’ll surely rewatch for years to come. It’s just that much fun.

Alan’s Rating: 8/10Watch Frankie Freako at Fantastic Fest 2024.Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: FRANKIE FREAKO – A Throwback Showcase to Practical Effects and Puppetry appeared first on Sunshine State Cineplex.

View Details

An interest in Dutch films has overtaken this year’s Fantastic Fest. Playing in tandem with fellow Netherlands production Witte Wieven, Binary also shines a light on the challenges women face in society. In this case, the setting is moved from a highly religious medieval Dutch village to the modern world. However, the human propensity for judgment and chastisement is still alive and well.

Nisha (Inaya Zarakhel) is a Pakistani transgender woman who works as an exotic dancer. As she prepares her body to undergo gender-affirming surgery, doubt and fear begin to cloud her mind. Nisha is unsure if she wants to go through with the operation that would change her life and the lives of those around her forever. As a result of her incertitude, odd occurrences increasingly happen. Mysterious figures lurk while strange organisms lodge themselves in her body. As Binary navigates Nisha’s situation, her experience becomes increasingly uncomfortable.

Further complicating the situation is Nisha’s line of work. To make some extra money, Nisha explores potentially dangerous alternatives away from the typical stages she performs on. However, in the underworlds where these opportunities exist, Nisha is in lethal danger if her secret were to be known. As Nisha reaches a breaking point, these dark forces are unleashed and wreak bloody havoc.

At a svelte 45-minute runtime, director David-Jan Bronsgeest and writer Tim Koomen scratch the surface of the complex and tumultuous world Nisha lives in. Being a short film, Binary leaves room for added commentary and further exploration of its themes. However, the film does succeed in making an adequate compendium.

From a stylistic standpoint, there are moments where Binary resorts to body horror and fails to reach its full potential for shock due to its brevity. However, Binary’s violent ending employs flashing lights amid darkness and rapid shots reminiscent of Malignant (minus the gore) to successful effect. The film’s bookends also provide brief, nightmarish sequences. Even though they are tonally at odds with the rest of Binary, they do manage to come to full circle with their placement.

Forty-five minutes is hardly enough to properly layer and explore the complex situation Nisha is in, yet Zarakhel more than meets the challenge. Zarakhel demonstrates an array of emotions not limited to disappointment, confusion, and frustration during one scene where Nisha speaks to her mother over the phone. Her mother still refers to Nisha as “son” and refers to her by her birth name. In that brief yet poignant instant, Zarakhel manages to fully communicate Nisha’s struggles toward self-acceptance.

Despite its short runtime, Binary ultimately communicates the importance of accepting one’s true self. Whether it be because of old-fashioned social norms or an unaccepting family, inner demons manifest in Nisha’s life, threatening to take over. Friends and family range from supportive to dismissive, while her clients are straight-up abusive towards her. This conflict slowly eats away at Nisha, forcing her down the path of difficult introspection. Until Nisha faces those demons and accepts who she is, they will continue to rear their ugly head.

Except for Paul Verhoeven, the Netherlands has mostly failed to produce filmmakers that have found footing in the western hemisphere. However, with Fantastic Fest dedicating part of the spotlight to Bronsgeest’s Binary and Konings Witte Wieven, it stands to reason it won’t be long before Dutch filmmakers gain widespread recognition. Short forms are adequate for grazing the dense landscape Binary operates. Hopefully, the Dutch filmmaker’s stock will rise, affording them the opportunity to give Nisha’s story the full-length treatment.

Borja’s Rating: 7/10Watch Binary at Fantastic Fest 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: BINARY – Dutch Short Tackles the Importance of Facing Inner Demons appeared first on Sunshine State Cineplex.

View Details

Reconnecting with friends can feel like a chore. After all, as life goes on, many grow apart and change. Yet for Will & Harper, the journey to reconnect turns into something very special. The crowd-pleasing doc, directed by Josh Greenbaum, delivers a positive message about a changing world and reminds us of the power of interpersonal discussion. It’s not a visually or narratively innovative piece, but its heart is certainly in the right place.

For Harper Steele, the decision to come out as a Trans woman was a long process. While she traveled across the country wearing dresses and embracing her identity, she did so in secret. The feeling that she was a woman did not go away. During and after COVID-19, she decided to reveal the truth. After a long-time collaboration and closeness with actor Will Ferrell, Steele wondered how her friend would receive the information. Ferrell proved supportive, and the two planned a coast-to-coast road trip to connect further. Will & Harper follows them on this seventeen-day journey and explores the reactions they get along the road.

Perhaps the most interesting aspect of Will & Harper stems from footage showcasing how strangers react to them separately. Sometimes, it seems much easier to accept when Harper is actively with Will. At others, the spotlight opens the duo up for transphobic and homophobic slurs from the internet. The dichotomy of both examples forces us to question how people act. Does the in-person interaction force some to engage in ways the anonymity of a keyboard does not? Or are these ignorant feelings suppressed in public, only to create room for ridicule when the cameras are away?

Will & Harper. (L to R) Will Ferrell and Harper Steele in Will & Harper. Cr. Courtesy of Netflix © 2024Perhaps the most telling moment comes during a dive bar visit. Harper asks Will to hold back, allowing her to enter the bar alone. As she does, she connects and meets fellow patrons who discuss the local area and her job. The people she speaks with are warm and inviting, and only after Harper feels comfortable does she tell Will to join. This interaction proves key because Harper has not only found a community without the help of a celebrity. She choose to share the experience of spending time with Will Ferrell with the others at the bar.

Ferrell does a great job providing introspection as well. On the road, Ferrell makes mistakes, not realizing the power he holds in a given situation. After attending an Indiana Pacers game, Will grows angry with himself. He missed an opportunity to question Eric Holcomb – the governor of Indiana – about anti-Trans legislation and laws he’s signed but posed for a photo-op. While having Will actively bring Harper into a very heteronormative environment was a positive step in terms of allyship, he realizes that he can do more with his power as a celebrity.

Their emotional and philosophical conversations are powerful enough for Will & Harper to shine. It’s easy to imagine we would all support our friends in a difficult moment in their lives. To see Will Ferrell do it is fun and heartwarming. Having open and honest conversations also pushes Will & Harper to engage those who might be struggling to connect with people in their lives who make this choice. This goes in both ways, as Will proves to be a positive friend to Harper, and Harper helps Will realize his blind spots. Together, they make each other better people and open themselves up to the world, and that’s only something that comes with spending time together.

However, it’s also fair to note that Will Ferrell walks into the environments with far more privilege. That does not make Will & Harper a vanity project, but it does change the dynamic. Would some of the people they encounter be as positive for those of us who are not celebrities? Do we think our friends feel as comfortable as Harper does with Will? After all, no one will attack someone with Will Ferrell, even if they are hateful. Can the same be said for me or you? It’s a fair question that Will & Harper tries to address but never fully explores.

Finally, while Will & Harper is a fun time, it’s not a formalistic experiment in filmmaking. It’s got some brilliant shots because the American countryside is gorgeous. However, visually, it’s relatively safe and basic in its approach. This does not hurt Will & Harper. If anything, it raises the floor. However, it’s also not a particularly challenging storytelling doc, which causes it to feel more center of the road than other audacious documentaries. By playing it this way, which the film should do, it cannot quite reach the heights of some of the year’s great documentaries.

Regardless, Will & Harper should earn a spot on your watchlist in the weeks ahead. It’s not only very funny but also heartfelt. That passion comes through in filmmaking, and that’s rare to see in celebrity-focused films. While many other versions of this story would feel like a paint-by-the-numbers experience, Will & Harper invites you to embrace their longtime friendship. That helps it feel like a fun time at the movie and one that should help open discourse about its importance.

Alan’s Rating: 7/10Watch Will & Harper on Netflix starting September 27, 2024. Netflix distributes. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: WILL & HARPER – A Fun and Heartfelt Comedic Roadtrip appeared first on Sunshine State Cineplex.

View Details

The Venn Diagram for those interested in horror films and those in the darkness around serial killers is nearly a complete circle. Sure, some do not partake in one genre or the other. However, as Strange Harvest: Occult Murder in Inland Empire showcases, the subject matter of each genre blends exceptionally well. Director Stuart Ortiz (Grave Encounters & Extraterrestrial) plays upon his knowledge, working in each medium to craft a startlingly upsetting mashup. Strange Harvest does not just feel real. It feels like its villain can come through the screen at you. While some pacing issues linger, the film still chills.

Set in 2010, a series of grisly murders reopens a question about serial killers in Inland Empire. With ritualistic sacrifices and families being executed in cold blood, the police seem baffled by the deaths on their hands. A seemingly random pattern of murders freezes the community, but something far darker lurks beyond. Rather than simply finding a monster, elements of the occult, monsters from beyond, and unknown entities rear their heads.

Ortiz puts the audience in an upsetting position. At times, the “recreations” simply look too good. The visceral nature of the kills and violence seeps through the screen. Facing something so horrifying and so tactile chills to the bone. Most importantly, Ortiz makes Strange Harvest feel sterile. It simply drops images on the audience, asking us to interpret what we’re seeing. This becomes one of the film’s secret weapons, as it strays towards the hyper-realism that made The Blair Witch Project so effective.

That said, Strange Harvest does not attempt to scare us like other found footage films. Instead, it wants us to feel the banality of being a victim or investigator in these cases. Every small detail gets blown up and explored, but more often than not, they end with dead ends. Others are so upsetting to look at in their sterility that you wonder why someone would take the picture. Full disclosure: some images provided by the PR firms for this review were too upsetting to include in this piece. That’s how real some of these images look.

Ortiz understands the ins and outs of the true crime genre so well that Strange Harvest feels it will be easily mistaken for one of those features. He’s building on the success of other recent films, like Something in the Dirt and Lake Mungo, as movies that effectively tell a story within the genre while fictionalizing the narrative. It’s a different kind of world-building than we’re used to in most horror films, but the process remains extremely difficult.

It’s easy to write off true crime, but there’s something effective about its storytelling that remains relevant today. For all the ways that audiences view it as tragedy porn, good true crime hits a nerve with the audience. No, we do not think we’re about to get killed by a serial killer.

However, it is key to something that feels wrong about the world in an age of technology. If we are constantly under observation, then why can we not be saved from horrific violence like the ones in these stories? It’s an unnerving dichotomy we live with and one that feels especially relevant in Strange Harvest. Combined with an unsettling mask and motive, the killer gets under your skin quickly.

Despite some slower pacing in the middle and perhaps slightly too much exposition, Strange Harvest succeeds as a found footage experience. Pulling from the true crime playbook, Ortiz crafts some memorable images. In other moments, it’s a scary experience, allowing us to feel the gravity of the violence on screen. Many horror films do not succeed at this aspect, but Strange Harvest seemingly starts every scene with this idea. It’s better for that approach, but it’s also scarier as a result.

Alan’s Rating: 8/10Watch Strange Harvest: Occult Murder in Inland Empire at Fantastic Fest 2024. It will play at the festival again on September 26, 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: STRANGE HARVEST – An Unnerving Blend of Found Footage Horror and True Crime Mockumentary appeared first on Sunshine State Cineplex.

View Details

Since its release in 1973, The Wicker Man has blossomed into one of the 1970s’ iconic horror features. Yet upon its initial release, the now-classic tale of folk horror did not have the confidence of the studio to push itself into the mainstream. While it earned acclaim in some circles, there was not enough to make an immediate mainstream impression. Children of the Wicker Man provides a unique perspective on the delayed success of the film. It’s a picture of a movie in disarray, the misguided attempts to control film marketing, and questions about art in the face of familial destruction.

Through the eyes of Justin Hardy and Dominic Hardy, the pain of Robin Hardy‘s life comes into focus. Robin not only struggled as a creative on The Wicker Man. He struggled to command the respect of the crew or provide logical directions to the performers. After a quiet release and no studio support, The Wicker Man could easily have faded into oblivion. However, with critical support and Christopher Lee‘s continued remarks, The Wicker Man broke into cult circles.

Despite the newfound acclaim, the previous decades had already done their damage. Rather than being celebrated by the horror community, Robin’s life had fallen into disrepair. Justin and Dominic’s journey to retrace their father’s footsteps, creating a travelogue through small English towns. Children of the Wicker Man makes for a fascinating document, even if the lack of polish hurts the storytelling.

Both Justin and Dominic approach the story with the purest intentions. For Justin, he simply wants to understand what happened to his father, and in turn understand why it so thoroughly destroyed his family. For Dominic, the experience becomes an exercise in hunting through facts and figures to recreate history. Together, they offer moments of incredible heart, sadness, and grief. Their passion pushes through the screen, and instantly becomes Children of the Wicker Man‘s most valuable asset.

However, Children of the Wicker Man does not have the highest budget at its disposal. The videos that collect archival footage from television shows and interviews with Lee seem to prove the issue with the movie. They often look more polished and complete than the original footage collected. The quality of many of Justin and Dominic’s scenes appears slightly above a traditional home video. This speaks to the DIY nature of the project, but it also distracts.

The interviews with cast and crew do little to help Children of the Wicker Man either. In most sequences, the crew talks about Hardy’s inexperience, but do so in very broad ways. Yes, they occasionally point out a moment of two, but it does little to help us understand why The Wicker Man was a chaotic set. If Children of the Wicker Man had pulled in a couple of bigger names on the project, they might have found more concrete timelines. Then again, many of the cast and crew have passed in the fifty years since its release.

The other aspect that’s hard to watch is the lack of impact The Wicker Man had on the director’s as a statement of art. Yes, it’s fair to understand their pain regarding their father’s financial and personal decisions. However, it also is unfair to act as if what he made was not of value. Instead, The Wicker Man has become a seminal piece of British art for decades. The power of a movie like this far extends beyond the life of the creator. Having the discussion about whether that is worth abandoning your family is a conversation that should be held.

Yet the lack of acknowledgement about the movie’s quality from the people involved is at best, a lack of curiosity from the filmmakers. At worst, it’s a bitterness that ignores the work that their father put his heart and soul into. Acknowledging the greatness of The Wicker Man and showing the real pain is caused is something that Children of the Wicker Man can uniquely achieve. However, instead, the men tell the camera they are unwilling to experience it again. That feels cynical, if only because the film is positioned to draw us into the tale.

It’s fair to say the Hardys can make any movie they want, but with the lack of polish and a narrative aspect seemingly missing from the movie, there are too many mistakes to fully embrace Children of the Wicker Man. It’s still a powerful exploration of two brothers understanding their father after his death. Those aspects remain emotionally and visually powerful, and when they’re center screen, The Children of the Wicker Man soars. Sadly, the movie is too uneven to stay in that mode.

Alan’s Rating: 6/10Watch Children of the Wicker Man at Fantastic Fest 2024. A second screening will run on September 24, 2024.Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: CHILDREN OF THE WICKER MAN – A Heartfelt Tale of Brotherhood appeared first on Sunshine State Cineplex.

View Details

Incredibly, it has been four years since the COVID-19 pandemic halted the world with devastating effects. Today, the continually mutating virus has ingrained itself into our daily lives. Thanks to scientific and medical breakthroughs, the virus no longer carries the threats of its first few months of existence. However, in Párvulos, director Isaac Ezban dares to envision a world ravaged by an uncontainable virus that only became more devastating after a botched vaccine. With co-writer Ricardo Aguado-Fentanes, the two have created a horrifying experience.

The filmmakers do not specifically mention the COVID-19 pandemic, opting instead for the Omega designation. But the parallels are evident given the proximity of the film’s release to those events. Ezban stages his version of post-apocalyptic worlds in the woods, allowing Párvulos to be budget-friendly. Yet, Ezban makes sure to create a defining style.

Along with cinematographer Rodrigo Sanzobal, the two opt for muting the colors and painting the scenes with a sepia-like tone. Occasional hits of bold colors break through, allowing for a discernable contrast during critical moments. It creates a unique look that helps Párvulos stand apart aesthetically from similar offerings.

Another aspect that adds to the sense of novelty is that Párvulos is told via the perspective of three young brothers fighting for survival. By relying on each other and using limited skills to be as resourceful as possible, the siblings have managed the worst of the Omega pandemic so far.

The Spanish word párvulos translates to little ones, especially when referring to those just starting their school education. For the three brothers at the film’s center, their preschool education consists of planting crops, hunting, and finding abandoned supplies, all while warding off the threat of the infected ones or fanatical cults.

Salvador (Farid Escalante Correa) is the eldest of the three. The teenager takes it upon himself to ensure his younger brothers are cared for. Adding to his challenging responsibilities, is his careful approach surrounding some difficult decisions to ensure he protects the innocence of the younger two. As the situation progressively worsens, Salvador’s options for managing become increasingly limited.

Being a middle child is rarely easy, and for Oliver (Leonardo Cervantes), the challenges are compounded due to the unique circumstances. His arc contains moments where he must grow up on the spot as situations worsen. Yet ultimately, audiences are reminded to heartbreaking effect that he is very much still a child.

Benjamín’s (Mateo Ortega Casillas) two older brothers try at all costs to protect their brother’s innocence, yet amid ensuing complications, more than his childhood becomes at risk. Accompanied by his (very dead) lizard, Pink, Benjamin is a breath of fresh air in a disparaged world.

Párvulos has many elements akin to a horror film. Those infected by the virus take on a zombie-like appearance. Moments of tension and fright are created sporadically, and although not pervasive, when gory scenes occur, they do so with a visceral quality. Excellent makeup and prosthetics work help lend a sense of dreadful realism. However, at its core Párvulos is a film about family, specifically brotherhood, and the lengths people will go to protect their loved ones.

As such, Párvulos is surprisingly endearing and heartfelt. Along with their tasks necessary for survival, the brothers share sincere moments. Storytelling, movie time (although it’s only one movie), and a Christmas dinner to remember are among the activities they share. A not-so-unpredictable twist only adds to the earnestness, elevating Párvulos to a heartwarming, albeit unconventional, family drama.

Unfortunately, Párvulos struggles to keep that high as the story progresses. Salvador, Oliver, and Benjamín are now faced with choosing between their humanity or their loved ones. It’s an intriguing premise Ezban presents. However, its inclusion allows a recurring subplot to take center stage during the film’s final act. This ultimately provides a conclusion that borders on camp and that curiously fails to resonate emotionally.

It is a shame Párvulos could not keep its positive momentum throughout. The lackluster resolution is not its only issue, as the idea that the cinematic pandemic is due to a rushed vaccine inherently adds fuel to the current anti-vaccine rhetoric going on today. However, Párvulos has the right formula to be an emotional family drama, even though one too many additives brings the film dangerously close to being botched. Nonetheless, the film offers just enough of the goods, allowing it to merit attention.

Borja’s Rating: 6/10Watch Párvulos at Fantastic Fest 2024. It plays again on September 24, 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: PÁRVULOS – Poignant Brotherhood Tale Struggles to Keep Momentum appeared first on Sunshine State Cineplex.

View Details

The Ryan Murphy experience can be a mixed bag. Murphy undeniably elevates stories that rarely get the focus they deserve. However, Monsters: The Lyle and Erik Menendez Story story shook the country’s morality. The murders of their parents and their eventual arrests became tabloid fodder. At the same time, the story touched on taboo topics around rape, incest, and justified responses to violence. Murphy’s Monsters: The Lyle and Erik Menendez Story creates some genuinely shocking moments while allowing for directorial flourishes. However, the series struggles to articulate its perspective on the events until the final episode, making for a clunky experience that accelerates whiplash for the audience.

Monsters: The Story of Lyle and Erik Menendez opens with the infamous pair riding to their parents’ funeral. Lyle (Nicholas Alexander Chavez) appears cocky and arrogant. Erik (Cooper Koch) struggles to withhold his emotions but pulls them together in public. However, two months after the killings of José (Javier Bardem) and Kitty (Chloë Sevigny), Erik tells the truth to his therapist. Erik and Lyle murdered their parents. The fallout from this decision results in one of the early controversial trials of the 1990s, especially as the motivations the boys explained to various sources changed.

Monsters: The Lyle And Erik Menendez Story. (L to R) Cooper Koch as Erik Menendez, Nicholas Chavez as Lyle Menendez in episode 202 of Monsters: The Lyle And Erik Menendez Story. Cr. Miles Crist/Netflix © 2024No matter where you sit on the Menendez brothers’ guilt or innocence, Monsters has you covered. The Lyle and Erik Menendez Story presents each side of the discourse in full view. At first, the series keys in the arrogance and problematic behaviors they engaged in after their parent’s death. The show then dives into the alleged sexual abuse they suffered at the hands of their parents.

After revealing some of the most disturbing testimony about the horrors they faced, The Lyle and The Erik Menendez Story flips back to highlight their ineptitudes. The whiplash of the story unfolds like it had in the public sphere, but in a television series, it feels like a lack of perspective. This approach by the creators dooms the series to feel unfocused.

Monsters: The Lyle And Erik Menendez Story. (L to R) Chloë Sevigny as Kitty Menendez, Javier Bardem as Jose Menendez in episode 204 of Monsters: The Lyle And Erik Menendez Story. Cr. Miles Crist/Netflix © 2024The length does the series few favors. Despite being nine episodes long, the series does not feel like it covers much ground. Instead, it languishes on some details and becomes repetitive. Even its most formally audacious episode, a thirty-plus minute one-shot, repeats a story we heard one episode earlier. Due to its visual choices, we do not see the responses of the other characters in the frame, making for an awkward experience and sometimes a nonsensical soundscape for the conversation.

Most importantly, it delays the story from moving forward and does not inform us of anything new about the characters. Instead, it feels like The Lyle and Erik Menendez Story wants to flex its muscles and instead lands with a whimper. The episode feels so out of place in terms of progressing character or plot, it feels tacked on to the nine-episode order.

Monsters: The Lyle And Erik Menendez Story. (L to R) Nicholas Chavez as Lyle Menendez, Cooper Koch as Erik Menendez in episode 201 of Monsters: The Lyle And Erik Menendez Story. Cr. Miles Crist/Netflix © 2024The performances fit into the Murphy approach as well. Most of the actors play to the rafters, with Bardem and Sevigney effectively delivering to match the tone. Both Chavez and Koch play the titular characters well. Chavez gets the showier of the two roles, expertly shifting between a schemer and showing intense vulnerability. Meanwhile, Koch brings a melancholy and emptiness to Erik that makes him more sympathetic. His showcase episode, “The Hurt Man,” shows his ability to gradually raise the tension as a performer.

Monsters: The Lyle And Erik Menendez Story. (L to R) Jess Weixler as Jill Lansing, Ari Graynor as Leslie Abramson in episode 204 of Monsters: The Lyle And Erik Menendez Story. Cr. Courtesy Of Netflix © 2024The turns from Ari Graynor and Nathan Lane quickly emerge as the standouts from the series. Graynor’s frustrated role as a lawyer, who slowly realizes her best efforts will not be enough to save the boys, brings to light the inherent sexism of the era. Additionally, Lane’s powerful performance as Dominick Dunne once again highlights his power as a dramatic actor. He’s stunning, delivering several of the best monologues of the season despite limited screentime. Both elevate their material and, in the process, help usher in the high points of The Lyle and Erik Menendez Story.

The problem with Murphy’s melodramatic approach to real life events also rears its head. Unfortunately, this makes moments of extreme distress appear comedic in tone and often fall into unintentional comedy. We should not be laughing at the characters who found themselves involved in this horrible tale. Make no mistake, The Lyle and Erik Menendez story is a tragedy. Yet at inappropriate times, the series illicits laughs when it should not.

Alan’s Rating: 5/10Watch Monsters: The Lyle and Erik Menendez Story on Netflix. Review is based on all 9 episodes of the series. Check out our Reviews, Recaps, and Features on TV here! The post TV: MONSTERS: The Lyle and Erik Menendez Story – An Uneven But Harrowing Series appeared first on Sunshine State Cineplex.

View Details

Even for a children’s game, hide and seek carries with it a fair amount of tension. Hiders select dark corners to keep their presence elusive, while seekers quietly roam around, ready to pounce on those squirreled away.

However, in the hands of director and writer Danny Villanueva Jr., the innocent tension behind the game is multiplied into terrifying proportions. His directorial feature, What Happened to Dorothy Bell? begins with an otherwise innocuous game of hide-and-seek. Young Ozzie Gray (Eva Williams and Arya Wahington during different periods) records the experience with her handheld camera as she searches for her grandma Dorothy Bell (Arlene Arnone Bibbs). This first-person point of view gazes around dark corners and behind doors in a dimly lit house.

The grainy images chosen to accompany the scene add to the eerie atmosphere. Every peek in a closet or every time the camera swings around creates nerve-wracking tension. After the ambiance has been set, Ozzy finds Grandma, who doesn’t seem to be doing well. When it’s time for Ozzy to hide and Grandma to seek, Grandma’s unstable state is clear.

What Happened to Dorothy Bell is set for its World Premiere at Fantastic Fest 2024. The grainy pictures make way for a cleaner more modern look, as Ozzy (Asya Meadows) is now grown and partaking in a mental health therapy session via teleconference. Ozzy suffers from debilitating depression that has its roots in a trauma suffered at the hands of her grandmother. Grandma Bell has since passed away, and Ozzy is hellbent on continuing her search for Grandma despite the horrifying results that might be found. In this case, finding out what caused Grandma Bell’s sudden mental decline that led her to commit several atrocities is her goal.

From the onset, Villanueva’s style mimics the found footage genre and borrows from recent cult classics such as Skinamarink. Ozzy has a penchant for creating video journals and, in the present day, does so as she searches for clues about her grandmother’s situation. This allows Villanueva to frame large portions in a first-person point of view. Even though the gimmick borders on being overused by the end, overall, it allows Villanueva to present a narrow focus, effectively creating restlessness by the anticipation of what lurks outside of the frame.

Most of What Happened to Dorothy Bell? is viewed from the perspective of watching camera footage. This includes Ozzy’s videos, surveillance footage (where nefarious acts take place in dark corners), or Zoom meetings (you’ll never sit through one the same way again). Villanueva takes otherwise mundane situations and infuses them with palpable suspense. Scenes where the camera lingers on one shot, challenges audiences to not look away and observe intently for any paranormal occurrences. The film absorbs audiences, eventually releasing them back via piercing sounds, subtle background movements, or sudden horrifying moments.

Eventually, What Happened to Dorothy Bell? does reveal the cause of Bell’s mental decay. Even though the extra-natural explanations in the third act land with mixed results, the film’s fantasy elements are a stand-in for issues relating to mental health. What Happened to Dorothy Bell? establishes the importance of eliminating the stigma associated with mental health but also delves deeper into how it can affect those dealing with the trauma from the outside.

Ozzy faces her own demons, but a huge battle she must win for her to truly begin the healing process for herself is coming to terms with her grandmother’s condition. Her reluctance to accept this has dire consequences for those who help her through her grief. What Happened to Dorothy Bell? admirably touches on those concerns, never shying away from showcasing the horror behind it.

The small cast of characters mainly revolves around Bell and Ozzy. Bibbs, as the titular Bell, manages to make the most of her limited screen time. Here, she comes across as a caring grandmother during her better days but as an equally sinister presence during her final moments. As adult Ozzy, Meadows carries the bulk of What Happened to Dorothy Bell?’s weight as she surveys the horrifying and uncertain landscape mental health issues flourish in. This results in an affecting outing where Meadows leads Ozzy down her increasingly preordained path. Michael Hargrove and Sargon Odicho, as Ozzy’s concerned father Darren and paranormal investigator Amir Kashif, respectively, also play key roles.

Villanueva ultimately succeeds in communicating his vision. The reluctance to face reality, no matter how tragic, can lead to dangerous self-destruction. The answers one seeks are sometimes hidden in the dark shadows of disbelief. With Meadows leading the way in essentially a one-person show, What Happened to Dorothy Bell? manages to become an intimate portrait of a very human condition. Add in the horror fantasy elements that give the film its disturbing ambiance, and What Happened to Dorothy Bell? results in a truly terrifying and tragic experience.

Borja’s Rating 7.5/10Check out What Happened to Dorothy Bell? at Fantastic Fest 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: WHAT HAPPENED TO DOROTHY BELL? A Chilling Examination on Mental Health appeared first on Sunshine State Cineplex.

View Details

The “from hell” genre became a mainstay of the late 1980s and early 1990s at the box office. Movies like Fatal Attraction and Single White Female touched the zeitgeist with “girlfriend from hell” stories and other villains led to spinoffs of the formula. From director Mercedes Bryce Morgan, Bone Lake looks to revive tricks from that genre in a sensual, upsetting thriller. Modernizing the subgenre, she approaches the film with an unflinching eye toward violence and sex. Morgan crafts a gorgeous piece about desire, relationships, and the darkest thoughts we harbor. Bone Lake immediately tells you it’s one of the year’s best thrillers and never takes its foot off the gas.

Sage (Maddie Hasson) and Diego (Marco Pigossi) book a series of Airbnbs in remote locations to rekindle their relationship. Diego recently quit his job to write a novel, and Sage takes a job to support them while he’s finding his footing. This trip should give them a breather before the hard work ahead, but instead, their tranquility is interrupted. Another couple, Will (Alex Roe) and Cin (Andra Nechita), arrive at the house expecting to have it to themselves. Having double-booked the massive mansion, the couples decide to share the space for the weekend. However, as Will and Cin push the boundaries of what is acceptable around another couple, Diego and Sage become caught in their sexual web.

Morgan opens Bone Lake with a brash crescendo of violence and depravity. The tone lands immediately, and the sexual text of the film is set in stone. As she unfolds the layers of each relationship, it’s clear that Morgan has no problem showing explicit sexual content. That makes her ambiguity and restraint all the more captivating. It’s clear she only reveals sequences and emotions on her terms, forcing the audience to sit through the uncomfortable questions one faces in a relationship.

The script is extremely tight, with particularly great dialogue to create a lustful atmosphere. One drawback comes with some handholding, which provides scenes to further explain the relationships between the couples. This footage feels unnecessary, given how effectively the story works without these somewhat deflating reveals. In both cases, the small moments feel like a hat on a hat and do little to make Bone Lake a better movie.

Despite this flaw, Morgan’s screenplay is explosive when it pits the characters against each other. The characters pick at small insecurities and turn them into gaping wounds. The undercurrent of broken trust and lies remains throughout the story, and the characters in Bone Lake come to blows over these issues. What makes these triggers so effective is just how common these issues are.

Questions over the use of sex toys, the financial burdens on partners, and honesty about one’s work are often at the forefront of modern relationships. In Bone Lake, these questions become magnified by a thousand, especially when supercharged by distrust and potential infidelity. Morgan uses a lack of communication as a weapon, cutting far deeper than many blades ever could.

The performances from the small ensemble complement the experience. Hasson’s fruitful collaboration with Morgan continues after Fixation was a low-key gem at TIFF in 2022. The two tap into each other’s best instincts and should continue this journey. Hasson channels incredible emotion into her role, but most importantly, to its success, she makes it clear Sage will say anything to survive. As a primary perspective, she discovers truths about those around her.

Pigossi plays into the unbalanced dude trope, who seems aware of his shortcomings as a partner but unwilling to admit his flaws. There’s a facade of alpha-male energy that the character believes he holds, but Pigossi makes it clear that it is an act. Pigossi displays the raw vulnerability of a guy struggling with his self-worth who somehow makes it his partner’s problem. It’s not the showiest of the four performances, but it’s the one Bone Lake needed to nail to land its bigger punches.

Roe and Nechita are perfect as the overly aggressive couple who see no fault in their actions. They play their characters as if there is no line and nail their portrayals of shameless public displays of lust. They play well with Hasson and Pigossi, as all actors get extended time with each other. The mixing and matching benefits the ensemble, and each performer brings something special to each pairing. Morgan’s screenplay already rules, and Bone Lake gets another boost from its awesome actors.

With twists and turns, Bone Lakes makes a strong claim to be one of the best thrillers of 2024. While it shares common ideas with Speak No Evil and The Strangers, it’s far better than those movies. With Morgan’s incredible vision, she proves two for two with explicit and compelling thrillers. Any studio looking for original and well-executed ideas should be knocking on her door. She’s a talent to behold in the horror space. Bone Lake should easily find its fans and, with any luck, crash the zeitgeist with its excellent execution.

Alan’s Rating: 8/10Catch Bone Lake at Fantastic Fest 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: BONE LAKE – A Shocking and Frightening Erotic Thriller For the Ages appeared first on Sunshine State Cineplex.

View Details

During medieval times, the idea that society could function in any way that was not patriarchal had not yet been conceived, let alone put in practice. Villages’ existences were fueled by God-centric laws, as interpreted by clergy members. Any word, action, or belief contrary to these principles was considered heresy, with forgiveness being extended only to god’s sons.

The primary purpose of women was to bear children. Being barren was considered a curse and left little use for those suffering from it. Witte Wieven (Heresy) sets its story right in the middle of this epoch, with its main character, Frieda, at the center of this belief.

Frieda (Anneke Sluiter) wants nothing more than to be a mother. She is deeply devout and turns to God time and time again to heal her of her barren state. With the help and intercession of Father Bartolomeus (Reinout Bussemaker), she pleads with God to heal her one last time.

The remote Dutch village eventually begins to turn on her. Matters are made worse when the village butcher, Gelo (Leon Van Waas), attempts to assault her. She runs into the woods, trying to flee from her attacker. A mysterious figure helps Frieda escape. When she returns to the village, Frieda is ostracized even further, as the townspeople believe she made a deal with the devil to escape the woods that had claimed the lives of every other woman who had ventured in.

In this patriarchal society, there is no chance of redemption for Frieda. She must suffer as Jesus suffered on the cross, according to Pater. Self-flagellation (which is picked up by her husband Hikko (Len Leo Vincent) to ensure proper conviction), being spurned by her friends, and being locked up in a punishment cage are some of the retributions Frieda must endure.

Far be it for anyone to consider Frieda survived by an act of God or that the inability to bear children may also be due to an infertile husband. Thus, it isn’t long before Frieda begins to reject the society she lives in and welcomes the “dark” forces that offer protection and a sense of purpose.

Similar archaic thoughts exist in current times. Look no further than a football kicker’s commencement speech or the doctrines that fuel Christian nationalism. Director Didier Konings is of this time and undoubtedly recognizes the parallels. Such subjects require deep conversation, so astonishingly, Konings and writer Marc S. Nollkaemper can present their medieval tale in about one hour.

Given its short length, Heresy wastes no time in getting the momentum going. However, it pushes forward at a controlled pace, being as slow-burn as possible considering its brevity. Therefore, nothing is superfluous, as Konings and Nollkaemper construct an airtight narrative that owes much of its themes and aesthetics to Robert Eggers’ recent classic, The VVitch.

The technical qualities are brilliant as well. For Konings, it might be his directorial debut, but it’s not his first time on a movie set. Konings has worked as a concept artist for nearly ten years, and his experience in that area is showcased in Heresy. With films that include Pirates of the Caribbean: Dead Men Tell No Tales and this year’s Kingdom of the Planet of the Apes, Konings is comfortable with epic scopes.

The quaint, primeval village allows Koning to create a more intimate environment. Along with cinematographer Luuk de Kok, the most is made of small, dark spaces where evil lurks. Fire and lightning’s luminescent properties are used for revealing effects as a nighttime setting is prevalent. All this results in a world where superstitions and judgment feel at home.

The other major set piece is the woods that surround the village. Tall, dark trees add to the eeriness as giant monsters claim the lives of the unwanted. These creatures see kindly to Frieda and submit her to a transfiguration. This allows Konings to flex his creative muscles, delivering an exquisitely trippy sequence.

Frieda Anneke Sluiters’ performance makes it easy to root for the medieval time heroine. Sluiters admirably invokes a sense of guilt as her thoughts are invaded by darkness but then subtly switches to anger and conviction as Frieda takes the reins of her life. In a short time, Sluiters manages to complete Frieda’s complex arc, making her an unforgettable character.

Despite its medieval setting, Heresy speaks volumes to current affairs today. Ultimately, after pain and suffering have been endured, Witte Wieven (Heresy) ends on a hopeful note. The right to bodily autonomy wins, with a patriarchal society powerless against natural laws. Furthermore, even when society seems helplessly archaic, one person’s decision to act can inspire others to break free from oppression.

Borja’s Rating: 8/10Watch Witte Wieven (Heresy) at Fantastic Fest 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: WITTE WIEVEN (HERESY) Holds a Message to “Reprove with Equity for the Meek of the Earth” appeared first on Sunshine State Cineplex.

View Details

Director Alexandre O. Philippe assembles film essays better than nearly anyone in the business. His last few features, like The Taking and Lynch/Oz, showed his ability to attract incredible commentators to his projects. To celebrate the fiftieth anniversary of The Texas Chainsaw Massacre, Philippe’s Chain Reactions rises toward the top of his work. Featuring commentaries from Karyn Kusama, Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, and Stephen King, Chain Reactions sets a new standard for Philippe to reach.

The five commentators place The Texas Chainsaw Massacre within the context of their lives. For Oswalt, this means comparing it to Nosferatu, while Miike tells us he saw it instead of seeing City Lights that night. Philippe builds out interstitial sequences based on the sets of the original film. Most importantly, he builds impeccable montages to properly frame Texas Chainsaw within the context of film history.

Very few features inspire as much love as The Texas Chainsaw Massacre, and for good reason. The 16mm cameras crafted an iconic look that defined a genre. Tobe Hooper pushed the limits of what was acceptable in American cinema, but as Heller-Nicholas explains, it very much played on the changing world of blue-collar workers. As the world changed around Middle America, a way of life slowly died.

At the same time, Hooper channeled something dark in the American psyche. King compares Texas Chainsaw Massacre to Cormac McCarthy novels, and it’s hard to disagree. The slaughterhouse aesthetic, the dying Western town, and the frustrations of those left behind become a central theme of Chain Reactions. It’s easy to see how movies like Texas Chainsaw were popular, but it became a generational phenomenon in Hooper’s hands.

Chain Reactions also allows Miike to highlight the role of the film internationally. For all the ways The Texas Chainsaw Massacre broke American sensibilities, it did so ten times over in Japan. The violence showcased was so intense that many thought Texas was a dangerous place to live.

Chain Reactions also reminds us that Hooper’s framing feels impossible to replicate. Like hanging an actress on a hook, the in-camera visual effects feel impossible. The darkness we’re confronted with is only matched by the grotesque makeup. Oswalt praises unique and darkly comic production design as

Finally, Oswalt, Kusama, and the others highlight the visual brilliance of The Texas Chainsaw Massacre. Building upon the smaller film stock, Hooper utilized terrific blocking and vibrant colors to drive us toward the nightmare. The dark reds feel like they’re pulled out of hell. At one point, a commentator explains Leatherface’s iconic final shot as if he’s trying to kill the sun. The use of color, like the vivid red clothing against a blue skyline, makes Texas Chainsaw one of the most visually evocative films ever.

As Philippe assembles the commentaries and essays together, he once again reminds us of the importance of film history. Few filmmakers are as adept at channeling these kinds of visual experiments and essays as Philippe. He’s not only very good at assembling talent to speak about movies, but in ensuring an institutional legacy is created. Not every movie needs the Philippe touch, but more filmmakers of his ilk could never be a bad thing.

A love letter to an all-time classic, Chain Reactions shines as one of Philippe’s most entertaining works. The Texas Chainsaw Massacre remains an integral piece of American cinema. As it turns fifty, there’s no doubt it’s earned its place in the sun. When creators like these come to prop up a movie’s importance, you listen. Chain Reactions only furthers that legacy.

Alan’s Rating: 7/10Watch Chain Reactions at Fantastic Fest 2024. There is a future screenings on September 24, 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest: CHAIN REACTIONS – A Texas Chainsaw Celebration appeared first on Sunshine State Cineplex.

View Details

For the first time, Fantastic Fest features an extended event for gamers. From September 20 to September 22, interested players can check out some exciting horror games. With a Triple A series like Five Nights at Freddy’s and an adaptation of Killer Klowns From Outer Space there’s a lot for movie and video game fans to check out. Below we’ve included images and quick hits about many of the games we’ve watched gameplay footage of (if they did not include gameplay footage, we note it with a **).

Fantastic Games 2024 – Channel: DeathChannel: Death – Created by Night City & Big Sir GamesA digital escape room, Channel: Death sets the players in a world where a serial killer holds the city hostage. What makes Channel: Death pretty cool is its reliance on old-school visuals – namely 80s and 90s televisions. The resulting images will remind moviegoers of Skinamarink in the best ways, while crafting its own aesthetic in the process.

Fantastic Games 2024 –
darkwebSTREAMERdarkwebSTREAMER by We Have Always Lived in the ForestAn RPG about becoming the greatest streamer in the world mixes with the occult. It’s a perfect game for those who love Everybody’s Going to the World’s Fair, especially given its intense Creepypasta energy. Within the game, you supposedly jump around the web, perform occult rituals, and create a procedural story. Fingers crossed that we get a chance to play this down the line. It seems terrifying.

Fantastic Games 2024 – Fear the SpotlightFear the Spotlight by Cozy Game Pals and Blumhouse Games A Blumhouse Game is an exciting sentence to hear for most moviegoers. Fear the Spotlight keys in on the modern PSX nostalgia that’s created a handful of successful indie games. A young girl joins a new friend in the local school, but l her friend is taken by a creature roaming the school. Now you must find your way through the school to rescue your friend, all while avoiding the spotlight from the creature.

Five Nights at Freddy’s: Secret of the Mimic**Not much to know about this game. No gameplay footage has been released at this time. Unfortunately we are not on the ground to pull anything else, but if we hear of news over the weekend, we will surely add it here.

Fantastic Games 2024 – GrunnGrunn by Sokpop CollectiveA horror game mixed with a gardening sim makes for a lynchian nightmare. We’re extremely intrigued by the town you travel through, and the uncomfortable people (creatures?) you encounter. It’s pretty eerie and the vibe it cultivates is somewhere between paranoia and cozy.

Hollowbody by Headware GamesPulling from Silent Hill, this survival game looks very upsetting. Long armed creatures roam the nights in a post-apocalyptic cityscape. Full reviews for Hollowbody are out, with the game officially going live on the 12th. If you want to check those out, there are many playthroughs on YouTube highlighting its awesome gameplay.

Holstin by SonkaUsing a 2DX visual style, Holstin feels unique in its uses of shadow and lighting. The pixel art further demonstrates the importance of visual compositions, because this game would not look this good in the hands of other developers. Holstin plays up the paychological horror elements. The choice to voice in English and Polish will undoubtedly shake non-speaking audiences of either language. While the game provides subtitles, it still makes for a shocking audio contrast.

HorsesThis game looks nuts. Frankly, unsettling is an understatement. Horses brings the black and white cinematography of an avante garde film, and pushes the boundaries of what you’ve seen in games before. Some will be disturbed immediately, but with live action cut scenes and unique gameplay, there’s a lot to appreciate as a piece of art. As a crazy farmer tells you to follow his rules, it’s pretty clear this is a cult favorite in the making.

Fantastic Games 2024 – Karma: The Dark WorldKarma: The Dark World from by Pollard Studio, Wired Productions and Gamera GamesIt’s dystopian world feels ripped from the pages of Orwell and Bradbury. Playing with the ideas of media control through the lens of a surrealist horror game is quite the swings. The environments could easily be used in Loki at the TVA. There’s a lot of interesting design work throughout, so we’re excited to get into the story with time.

Killer Klowns From Outer Space: The Game by IllFonicKiller Klowns From Outer Space: The Game from IllFonicA perfect blend of the Fantastic Fest aesthetic with an anticipated horror game, Killer Klowns From Outer Space is a very fun one to watch. With the release about a month away, the survival game allows for big PvP plays. It’s an asymmetrical horror game, so your 10 person group will get split between humans and three Klowns. Its also very funny, so we’re excited they kept the original vibes in place. With simple objectives and great weapons, this one should make your rotation ahead of Halloween.

Fantastic Games 2024 – Post TraumaPost Trauma from Red Soul Games and Raw FuryA third person explorer game puts you into a nightmarish environment. In the gameplay clip we watched, the older man walked through a train while trying to solve a puzzle. The entire vibe was unsettling in its own right, but it got downright scary for chunks of the footage. There’s a lot of first person problem solving, and the world encourages exploration. movie fans will find plenty to love, with unique camera angles and storytelling choices early. Curious to see if this can live up to how scary it looks. With creatures out of a Carpenter movie and nightmare fuel around every corner, it might be.

Fantastic Games 2024 – Skate StorySkate Story from Sam Eng and Devolver DigitalThis game looks gorgeous, with some very cool effects. You’re a demon skating through a minimalist underworld, and appear to be made of crystal and glass. The environments appear to be combinations of major cities and ethereal electric lighting. Cannot wait to play this one, and if it’s as chill as the trailer, this is sure to be a hit on the indie circuit.

Fantastic Games 2024 – Tom the PostgirlTom the Postgirl from Oopsie DaisiesWith an aesthetic that appears hand drawn, you this one looks very fun. The ability to do your job or engage in chaotic choices should help this one find some fans. The brought red versus a series of grays, blacks, and whites is also a brilliant touch. Everything pops, and feels like a flash cartoon come to life.

Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Games 2024: The Inagural Event Combines Indie and Blockbuster Games appeared first on Sunshine State Cineplex.

View Details

I’m a sucker for satanic horror. I love seeing witches and cults at the center of an ominous plot. Throw in an evil or murderous child, and I’m all in. That’s probably why Roman Polanski’s Rosemary’s Baby is one of my all-time favorite films. In many ways, Apartment 7A was a movie explicitly designed to cater to my interests. It’s a bold move to revisit such a revered classic over five decades later, but the new film, directed by Natalie Erika James, mostly succeeds as a stand-alone entry.

Julia Garner as Terry Gionoffrio in Apartment 7A, streaming on Paramount+ 2024. Photo Credit: Gareth Gatrell/Paramount+.Apartment 7A‘s storyTerry Gionoffrio (Julia Garner) is a dancer battling addiction. While struggling to find work following an injury she sustained during a live performance, she begins to abuse prescription medication. One night, while under the influence of prescription narcotics, an older couple, Roman and Minnie Castevet (Kevin McNally and Dianne Wiest), find Terry lying helpless in the street and take her in. They offer her a luxurious apartment and whatever assistance she may need. It seems like the perfect fresh start, but the kindly neighbors hide dark secrets beneath the surface.

L-R Julia Garner as Terry Gionoffrio and Jim Sturgess as Alan Marchand in Apartment 7A, streaming on Paramount+ 2024. Photo Credit: Gareth Gatrell/Paramount+.The Art of the PrequelLegacy sequels are one thing, but legacy prequels are relatively rare. So, it’s surprising that in 2024, we’ve gotten two of them. Both The First Omen and Apartment 7A tackle a similar subject matter, telling the story of a cult determined to bring the offspring of Satan into the world. Toss in the similarly themed Immaculate, and it’s been a busy year for religious horror. The uphill battle that any prequel faces is the battle of predictability. Audiences already know the film’s outcome as long as they’re familiar with the original movie that inspired it.

I rewatched Rosemary’s Baby just before settling in to view Apartment 7A. While it’s technically a prequel, the two stories overlap a great deal. Fans will catch small nods and connections between the two, cementing the connection and validating that these stories take place in the same universe. The most prominent connection is the Castevets themselves, and they’re also the film’s highlight.

L-R Dianne Wiest as Minnie Castavet and Julia Garner as Terry Gionoffrio in Apartment 7A, streaming on Paramount+ 2024. Photo Credit: Gareth Gatrell/Paramount+.Dianne Wiest is a master, effortlessly recreating Minnie and her distinct voice. Minnie and Roman are pivotal elements of Rosemary’s Baby, and they are even more so here. Terry is a small but essential part of the original film. She has minimal screen time, but through her, we gain a better understanding of the Castevets and begin to suspect that they may not be as innocent as they first appear. Although her screen time is limited, she leaves a strong impression.

The Terry we get in Apartment 7A never feels like the same one we saw in the ’68 original. Her demeanor, delivery, and backstory feel like two completely different individuals. That’s not necessarily bad, but it strains the believability of this being a directly linked prequel. In fact, Apartment 7A works quite well as a standalone horror film. It’s only when compared directly to Polanski’s film that the cracks begin to show.

Julia Garner as Terry Gionoffrio in Apartment 7A, streaming on Paramount+ 2024. Photo Credit: Gareth Gatrell/Paramount+.A House of DreadThe world of Apartment 7A is built on dread—the dread of an approaching evil that feels inescapable. The dread of a slow realization that something dark has entered your life. Director Natalie Erika James, who also contributed to the screenplay, excels in this department. Her debut film, Relic, was equally a display of well-crafted tension and suspense. Also, like with Relic, the characters are fleshed-out, defined, and believable.

As Terry spirals into darkness, the audience feels the grip of the demonic presence. To the film’s credit, it’s also a lot more fun than you’d expect a movie of this subject matter to be. While it’s not entirely successful as a prequel, it’s a solid effort in the realm of demonic pregnancy.

Joshua’s Rating: 7/10Watch Apartment 7A at Fantastic Fest 2024. Apartment 7A is slated for a Paramount+ release on September 27, 2024. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!Please check out other Sunshine State Cineplex reviews here!The post Fantastic Fest 2024: APARTMENT 7A – A World Built on Dread appeared first on Sunshine State Cineplex.

View Details

The burgeoning success of Indonesian cinema has opened the doors for new filmmakers. With Joko Anwar, Kimo Stamboel, and Timo Tjahjanto breaking onto the radar of global cinephile communities, it’s opened the doors for others to have their voices heard. The Draft! is the kind of film that breaks through when a film scene surpasses initial success. Now, filmmakers can craft meta-narratives and comedic foils for popular films from around the globe and do so with style. Director Yusron Fuadi builds a unique showcase based on this idea, allowing The Draft! to enter the conversation with the directors above.

When a group of young adults go into the woods, they’re excited for a fun weekend at a remote cabin. It should be a great weekend for Budi (Ibrahim Allami), his girlfriend Ani (Putri Anggi Waluyo), tagalong Wati (Anastasia Herzigova), the bro-ish Iwan (Adhin Abdul Hakim) and film nerd Amir (Winner Wijaya). However, once they arrive, things are immediately wrong. When someone ends up dead, the young adults realize they’re in a horror movie that’s in the process of being written. To survive, they’ll need to use all their horror movie knowledge to their advantage.

It’s incredibly fun to see a filmmaker tackle such a self-referential concept early in their career. The Draft! is Fuadi’s second feature, and despite that, he approaches the movie with incredible confidence. The screenplay is biting and extremely funny. From the end of the first act, he begins playing with the art form as a whole, forcing the audience and characters to feel the random twists and turns one makes when outlining their story.

In one scene, a car may sit outside the house. The next, it disappears. Finally, the car returns, but this time with flat tires. Characters die and revive. It’s a blue-sky idea for the writer of the film within the film, and the characters of The Draft! are the ones suffering from the whiplash.

Fuadi throws in stylistic shifts and environmental changes from sequence to sequence to add to the madness. The living room might change its entire design, and the exterior turns to nighttime. To further innovate, the characters become aware of their predicament and slowly realize they can use it to their advantage. Few writers have the stomach to critique themselves as a hack, but Fuadi turns his omniscient writer into one. It’s a brilliant stroke of awareness on Fuadi’s part, and when The Draft! showcases that level of self-awareness, which is very easy to root for.

The horror is well executed, with some brilliant shots bringing upsetting creatures to life. We do mean creatures, as the monsters facing the cast change from scene to scene. Fuadi adjusted the shooting style to match the monster he’s unleashed on the young adults, including references to popular Western films and tropes.

The real aesthetic highlight comes from Fuadi’s willingness to change entire mediums. There are pieces of found footage, cell phone footage, a flip phone, and traditional roving cameras. The music also adapts, with some very sorrowful Indonesian folk music used to relay the horrible situation they’ve found themselves facing. Yet we’re treated to upbeat pop when they discover a treasure trove of absurd weapons. When the visual effects appear subpar, a character literally notes that CG is too expensive.

The ensemble plays the comedic beats well, and you have to admire their willingness to commit to the absurdity. Few movies get a cast in this game to play the rafters in one scene and play the deeply emotional horror of their situation. While some moments could be executed with more precision, the cast is one of the highlights. We’d also like to shout out a scene with dozens of extras, which feels like an incredible feat for a movie of this size.

The Draft! is an excellent case study of talent and ideas winning out. Yes, it lampoons traditional horror tropes in the genre, but its degree of creativity remains breathtaking. It’s not far from being Indonesia’s Kung-Fu Hustle for horror, and because of its visionary pitch, it should be celebrated. Believe us, Fuadi has the talent to build something unique in the future. With Anwar, Stamboel, Tjahjanto, and now Fuadi, the future of Indonesia’s film scene remains exceptionally bright.

Alan’s Rating: 8/10Watch The Draft! at Fantastic Fest 2024. It plays again on September 25, 2024. Check out Yusron Fuadi’s other movies here. Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest: THE DRAFT! – Fuadi Crafts Hilarious Self-Aware Horror Comedy For an Exciting Scene appeared first on Sunshine State Cineplex.

View Details

After the success of Matt Reeves‘ The Batman in 2022, there were rumors of a spin-off featuring Colin Farrell as The Penguin. It took a couple of years, but that dream came true. “After Hours” – the premiere episode of the limited series – follows Farrell as he moves to rule over the streets of Gotham. Oswald Cobblepot makes his first big movies as the iconic villain. Craig Zobel directs “After Hours” with Lauren LeFranc writing the teleplay.

“After Hours” – The RecapWGOT 7 News relays a series of new stories about Batman, The Riddler, and the death of Carmine Falcone. Alberto Falcone (Michael Zegen) seems willing to take power while Oswald Cobblepot (Colin Farrell) surveys Gotham. Later, he enters the remnants of the Iceberg Lounge, where Carmine directed his empire. Once in Carmine’s private quarters, Cobblepot picks up a sledgehammer and bangs open a false wall behind the bar. Inside, dozens of files and pictures will give Cobblepot blackmail over those in power.

Suddenly, Alberto sneaks up behind Cobblepot. Alberto pulls a gun on him, but Cobblepot tells him that the jewels in the box are for Alberto. At first, the young Falcone does not believe him, but instead threatens him again. Cobblepot offers to get Alberto some drops and some drugs, but Alberto refuses. There’s too much riding on him as the new head of the family, and he’s got a new deal working to ensure he stays at the top.

Cobblepot tells him they should celebrate, and he begins pouring drinks. As they drink, Cobblepot needles him about what his new deal. Alberto implies he’s helped formulate a new drug, even more powerful than the drops. He thanks Cobblepot for being a good soldier, revealing that Carmine knew Cobblepot skimmed money. Alberto then starts to brag about his father taking out Salvatore Maroni. Alberto wears Sal’s old ring as he tells the story.

Cobblepot tells Alberto about a gangster who helped his community growing up. Even though he was sometimes on the wrong side of the law, the people loved him. Cobblepot wonders what that might be like to be a legacy like that, but Alberto makes fun of him for it. When he pushes too far, Cobblepot pulls a gun and shoots him several times in the chest. At first he’s proud of himself, but then he realizes he’s made a mistake killing Alberto.

Cobblepot puts Alberto’s body in a bag and hauls it out of the club. Outside, a group of teens stealing the wheels off his car. He shoots at them, cornering a kid named Victor Aguilar (Rhenzy Feliz). Victor studders and Cobblepot takes pity on the kid. Using Victor as extra muscle, they dump Alberto’s body in the trunk. Cobblepot tells Victor they work together now, and Victor will drive.

Cobblepot and Victor drive through the city as Cobblepot tells stories about his youth. They pull up to an apartment building, where Cobblepot greets the women walking the street. Victor notices Cobblepot’s brace on his leg as they walk upstairs. He knocks on the door and talks with a woman named Eve (Carmen Ejogo) about being his alibi. After she agrees, Cobblepot takes Victor out for takeout.

They eat their food while they burn a bag of items Cobblepot recovered from the club. Cobblepot points out the place they’re eating has dozens of untouched rims in the corner. He reminds Victor that he’ll need ambition to get ahead. They leave and pull up to a junkyard, where they dispose of Alberto’s body. Before they leave him in a new car, Cobblepot pulls Maroni’s ring off the body. He tells Victor that it’s Alberto’s body, and the smart move is to kill the boy. However, when Victor begs and offers to help, Cobblepot agrees to let him live.

The next day, Victor drives Cobblepot into the city. They stop at Cobblepot’s apartment, where Cobblepot changes clothes. He goes into his room to stash the ring and stretch his mangled foot. Later, Victor drives Cobblepot through the flooded Gotham to Cobblepot’s drug warehouse. He calls over Nick (David H. Holmes), handing him one of the blackmail photos, and tells his courier to drop it off with the councilmen. He handles routine business, including getting drops back on the street, and fears that other smaller operations are making moves.

Cobblepot receives a call to visit the family, and Victor worries about what it means for them. Cobblepot shrugs it off and walks into the home. Inside, Milos Grapa (James Madio) and Johnny Vitti (Michael Kelly) tell Cobblepot they’re shutting down the operation. The police are circling and they do not want the heat. Cobblepot tries to reason with them, telling them about a new product coming into the business.

Sofia Falcone (Cristin Milioti) walks up behind them as he speaks. Cobblepot is surprised because Sofia was in Arkham, and she asks him point-blank if he’s seen her brother. Vitti tells Cobblepot to shut it down and that he has 48 hours. Sofia follows him out, asking him more questions about her brother. She notices the bullethole in his car and asks him about it. He deflects, and Sofia tells Cobblepot they’re going out for food now.

Sofia gorges while they talk about her family and comments on the other patrons staring at them. Sofia was called The Hangman by the papers after committing a series of murders. Carmine sent Sofia away after hearing of her acts, and it was Cobblepot who told him. She tells him bygones be bygones but then confronts Cobblepot. She was in on the drug plan with Alberto, and the fact that Cobblepot is trying to pass it off as his own tells her something is wrong.

Cobblepot apologizes for his brashness. He tells Sofia he has not seen Alberto, and they (Cobblepot and Alberto) have also been discussing a plan. In fact, he thought it was weird when he saw Sofia because Alberto had not told him she was back. He reminds her that her brother is an addict, and Cobblepot tells her he was with Eve. Sofia tells him they should just enjoy the lunch, but when it’s over, she whispers that she does not underestimate him.

Cobblepot hurries out of the restaurant with Victor, and they take a subway to a car in the suburbs. He pulls up to a suburban house and tells Victor to mind his manners. The house belongs to Cobblepot’s mother, Francis (Deirdre O’Connell). She suffers from dementia, but Cobblepot cares for her by telling her Victor is here to help. He gives his mother a necklace, and at first, everything seems okay.

However, Francis knows the necklace means something is wrong when he gives her gifts. He admits to killing Alberto, and she berates him for being weak. Cobblepot worries about Francis, but she’s proud of him. She thinks killing Alberto is an instinctual sign of his strength. They stay for dinner and watch Gilda in her living room.

When they leave, Cobblepot asks Victor if he wants more for himself. He knows Victor’s house was destroyed in the bombings. Cobblepot tells Victor they’ve got to take what is theirs. Victor tells Cobblepot he’s with him.

Cobblepot then heads to prison, where he meets with Salvatore Maroni (Clancy Brown). He tells Maroni he’s willing to work for him, and when Maroni makes a joke, Cobblepot reminds him he’s in no position to turn him down. He reveals the Falcones are shutting down their drops operation. Because he’s in charge of the operation, Cobblepot will set up Maroni’s men to steal the whole operation. If Cobblepot can play double agent well enough, they can destroy the Falcone Crime Family. Maroni tells Cobblepot he does not trust him and to get out. Cobblepot tells him to think about it and then puts Maroni’s ring on the table.

When Cobblepot returns to his apartment in the city, Sofia is waiting with her men. He drives into the city and hides beside a disaster relief camp. Sofia’s men find the car and go into the camp. However, Cobblepot hid in the trunk of the car. When he jumps out, he’s stopped by one of her men. While he fights that soldier off, the other gangsters knock him out.

Cobblepot wakes up to Sofia, telling him how she was treated in Arkham. Her men continue to work over Cobblepot, beating him and stripping him naked. She tells him the club was clean, but people recognized his car. Her henchmen (Hunter Emery) pull one of Victor’s friends from the corner, who told Sofia that they tried to steal his car on the night Alberto went missing. She asks him if the kid’s a liar, and when Cobblepot tells her the kid is lying, she shoots the teen.

Sofia will not let him manipulate her. She has her man use piano wire to slice open his arm and shoulder. Sofia threatens to kill Cobblepot, but she needs to hear her brother is still alive. Outside, we hear a car slam into the Falcone mansion. Sofia goes outside and sees a red car has collided with one of their fountains. As the horn blares, she approaches, finding her brother’s body in the trunk. The word “Payback” is scratched into the trunk, and his little finger is missing. As Sofia screams, Cobblepot laughs.

Afterwards, Cobblepot and Victor grab coffee. He’s proud of the kid for pulling off his part of their plan. Victor admits he overthought the theatrical aspects by not cutting off the head, but Cobblepot tells him it’s okay. He did not let the Maronis know, but they’ll take credit for the hit. Cobblepot tells Vic it’s their time to take the city, and he wants Vic there with him.

“After Hours” – The TakeawaysWhat a performance out the gate from Farrell. The actor finally started to get overdue acclaim in the last few years, and “After Hours” is a masterclass. He was excellent in Reeves’ The Batman movie for a thousand reasons. Here, he plays the Saul Goodman role, shifting from comedic relief to a full-blown superstar performance. It’s not only layered in how he approaches his life, but a sweetness behind his eyes tells us his life could have gone another way. Instead, he chose this life because no other route was possible. Farrell crushes the performance and adds so much depth to the nonverbals it’s stunning.

He gets come great scene partners along the way too. Milioti, Brown, and O’Connell all get showcase scenes early. Milioti continues to break any question about her talent. She’s long been overlooked, but in “After Hours,” she crafts a violent and unsettling performance worthy of awards attention. Brown gets a small but juicy part, playing into his physical power as a performer. Perhaps most surprising was O’Connell, who could win a guest actress Emmy if the show runs in the Drama Series categories. It’s a great start for a show that also features Kelly and Madio on the periphery.

While he has little to do, Feliz gets some great moments. He’s a younger actor, and “After Hours” wisely plays into it. He cannot be someone who immediately proves overambitious. As much as Cobblepot would respect that, he would see it as competition. Yet Feliz imbues Victor with a sense of pride despite his fearful nature. This bodes well for him to grow over the course of the season, and his time with Farrell is genuinely excellent.

The vibe of The Penguin is excellent, and “After Hours” recaptures one of the film’s setpieces to perfection. Even better, it’s filling in the gaps in the world. This is how a show should examine the world around its main characters, and The Penguin clearly has a vision. With a premiere as strong as “After Hours,” one can only hope it can get even better from here.

The only real drawback came from the cheesy music queues. They do not feel tonally right with the humor of the rest of the show. It’s a frustrating nitpick because they do not need to be there. It feels out of place for Reeves’ Batman universe solely to add some levity. However, it’s possible that the studio misunderstood that “After Hours” – and especially Farrell – was already very funny. Sometimes, you overwork the material.

Alan’s Rating: 9/10Watch The Penguin on Max today. “After Hours” debuted on September 19, 2024.Check out our Reviews, Recaps, and Features on TV here! The post TV: ‘After Hours’ – THE PENGUIN – Episode 1 Recap appeared first on Sunshine State Cineplex.

View Details

The power of activism remains essential for countries to function and reach new heights. However, those who need to work for those breakthroughs do so at great peril to themselves. Seven Days – from director Ali Samadi Ahadi – frames its story through a sadly relatable tale. An activist and woman finds herself in an unenviable position of having to justify her choices in life to those she loves most. However, at what point does public service and the effort to change life for millions become too great a cost? Ahadi brilliantly directs Mohammad Rasoulof‘s excellent screenplay, forcing us to question our own choices in life.

When news spreads that Women’s Rights activist Maryam (Vishka Asayesh) found herself in mortal peril in prison, the Iranian government gives her a unique release. For seven days, she will be released back to the general public, but she will be forced to return. Unbeknownst to Maryam, her husband (Majid Bakhtiari) and brother (Sina Parvaneh) organize a way for her to escape the country. Despite their plans, as Maryam travels across the mountains she questions the correct path forward.

Ahadi pushes Seven Days forward with its ethical and moral quandaries front and center. At no point do Ahadi or Rasoulof ever dampen Maryam’s difficult choice ahead of her. It becomes the all-consuming question of the film and, as a result, forces the audience to hear every argument on both sides. This makes Seven Days an important movie, but also one that should open up debate. After all, life on either side of the line is not easy. There are victims that we leave behind, including our own family. The two creators craft a sharp dialogue, allowing the characters and actors to showcase just how emotionally draining this experience would be for all involved.

Rasoulof, who also wrote and directed the celebrated The Seed of the Fig Tree in 2024, proves highly talented with the pen. The quick asides, the sharp barbs, and the issue dissection cannot be ignored. Framing the tale in such stark and direct terms makes the real-world consequences extremely tangible. It’s also impossible to ignore the similarities to Narges Mohammadi, the recent Nobel Peace Prize winner who continues to fight for Women’s Rights in Iran. In fact, Ahadi actively invokes her in the closing of the film. The pairing is so in control of the tone and purpose of Seven Days, they make it impossible to miss.

When you tell a story this emotional, the characters’ anxiety creeps into the audience. It’s hard to watch children and parents cry, and it’s even harder to imagine how difficult the choice must be. On one hand, Maryam must sacrifice everything she’s worked for in life. On the other, she tries to create change, potentially at the expense of her life.

There is a selfish nature to Maryam’s experience that Seven Days does not fully reckon with in its runtime. While Maryam may want to return and serve out her sentence as a form of protest, dozens of other people are intricately involved in smuggling her out of the country. Seven Days touches on their sacrifices and nerves, but not to the extent that feels justified.

Instead, characters lecture at Maryam about how they’re putting themselves in danger, but it feels Iike a chastising, not a genuine plea for understanding. This does make some aspects feel repetitive as well. It’s a difficult idea to fully flesh out, and unfortunately, Seven Days cannot fully get its arms around the problems Maryam’s choices create.

Faced with changing your path in life is difficult. Yet doing so at the expense of your family feels impossible to understand unless you’ve made the decision. Ahadi makes Seven Days a difficult experience to watch, but one that begs for empathy. The resulting power of the tale sticks with you, even if Seven Days occasionally feels repetitive. Despite this, Ahadi’s film is a powerful, necessary tale to understand the Iranian people.

Alan’s Rating: 8/10Watch Seven Days at the 2024 Toronto Film Festival.Check out our other Film Festival coverage here! The post TIFF: SEVEN DAYS – Activism and Family Tragically Clash appeared first on Sunshine State Cineplex.

View Details

After a witch blew down her front door and left her a Teen, Agatha has to ready herself for the Salem Seven. Just how bad could they be? “Circle Sewn with Fate/Unlock Thy Hidden Gate” follows Agatha’s recruitment of a new Coven. Throughout “Circle Sewn with Fate,” Agatha realizes she is in real danger, and this group will have to come together. However, she continues to drag her feet in some areas, putting everyone in peril. Jac Schaeffer directs “Circle Sewn with Fate/Unlock Thy Hidden Gate” and Laura Donney writes the teleplay.

(L-R): Teen (Joe Locke) and Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo by Chuck Zlotnick. © 2024 MARVEL.“Circle Sewn with Fate/Unlock Thy Hidden Gate” – The RecapAgatha (Kathryn Hahn) quickly gets ready to leave the house, but Teen (Joe Locke) asks Agatha to take him to Witches Road. She tells him it does not exist, but he pushes back. He will make it to the end of the road if she helps him. She admits it exists but tells him it will kill him. He admits he’s been following her “career” for years. It’s why he helped break Wana’s spell.

Agatha thanks him, but this causes her to ask him why he needs the road. He admits he has no power. When she goes to leave, he reminds her that the enemies showing up on her doorstep will be powerful. She reconsiders and asks for his name. When he tells her, his lips are covered by a spell, which also muffles the sound. She grows interested and they leave Westview.

On the road, Agatha explains that covens can be created by circumstances out of their control. She also notes they are able to join together and become far more powerful. She then tells him to stop the car as they pass a medium’s storefront. They go inside and pretend to ask for a reading. The medium Lilia (Patti LuPone) gives them a reading, and she reveals the specifics about Agatha’s imprisonment by Wanda.

Lilia walks out of the room, but Agatha follows to recruit Lilia. She needs a divination witch to complete the Road. Lilia knows about Agatha but does not want to walk the Witches’ Road, especially with Agatha. However, Agatha reveals that she cannot steal a witch’s power unless she’s blasted by the witch in question. If Lilia shows restraint, she’ll retain any power she gains. Lilia again says no but has a vision. Her prophecy causes her to write down the names of the other witches on a piece of paper, which she hands to Agatha. While Lilia says no, her name is on the list.

Agatha and Teen leave Lilia’s shop. As they leave, Agatha sees a Crow watching them. They visit a candle shop run by Jen (Sasheer Zamata). She’s hocking candles to privileged white women because she has no powers. She’s been bound, which causes her to be cut off from her powers. Teen reminds Jen that she’s got legal action against her. Walking the road will help fix her issues.

They go to find the last witch, a Blood Witch – the child of another famous witch. The witch they’re searching for is the child of Lorna Wu, a witch who wrote a famous version of “The Ballad,” which is used to summon The Road. Before they leave the Food Court, Agatha sees a rat watching her. She hurries Teen along, and they walk into a Hot Topic. Agatha tricks Teen to run out of the store after making it look like he’s stealing stuff. The security guard stops him, which gives Agatha a chance to pitch to Alice Wu (Ali Ahn) about joining them as their protection witch. She declines, even after she’s fired from her job at the Mall.

On the way home, Agatha asks Teen to explain his origins. When he does, the sound drops out when he speaks, but the music from the car grows louder. They reach Agatha’s house. Outside, a wolf watches Agatha’s house. Unnerved, she heads inside. The witches arrive, and while Agatha tries to start the Walk, they do not have a Green Witch. Lilia did not write down a name, just a black heart. Agatha knows who it was supposed to reference but tells them she does not. Instead, she recruits “Mrs. Hart” (Sharon/Debra Jo Rupp) from next door – who is not a witch.

The witches go to the basement ready to sing The Ballad. Agatha asks Teen to go upstairs and lock up the house. As they sing The Ballad, Teen sees hooded figures descending on the house. He closes up the doors but the Dark Witches converge on the house. The door does not appear, and Agatha tries to get the witches to blast her with their powers (which would make her more powerful).

However, as they fight, the Door to The Road appears below their feet. They open the door as the Witches break into the house. Teen leads the other witches down onto the Path, and Agatha closes the doors. The wall seals shut behind them, forcing Agatha and her new Coven to walk The Road. As they ready to depart, they take off their shoes and begin to walk the path.

(L-R): Lilia Calderu (Patti LuPone), Jennifer Kale (Sasheer Zamata), Agatha Harkness (Kathryn Hahn), Mrs. Hart/Sharon Davis (Debra Jo Rupp), and Ali Ahn (Alice Wu-Gulliver) in “Circle Sewn with Fate”.“Circle Sewn with Fate/Unlock Thy Hidden Gate” – The TakeawaysMost of “Circle Sewn with Fate/Unlock Thy Hidden Gate” balances mystery with a “getting the team together” approach. This allows us to rampantly speculate about the identity of Teen, while simultaneously wondering why each of the other witches were so unwilling to help. We also find out that for all her bluster, Agatha seems genuinely upset at letting in the “black-hearted” character – Rio (Aubrey Plaza). While she does not arrive here, her actions stretch over “Circle Sewn with Fate.”

Let’s start with Teen. It might be too obvious to guess that Teen is actually a grown-up version of one of Wanda’s children. The most obvious would be Wiccan – aka Billy Maximoff. It could be too obvious, but at the same time, it draws emotional setups between Agatha and her past. Let’s put a pin in that idea, and open up “Circle Sewn with Fate” to questions about the silence. For whatever reason, Agatha cannot hear his name. When he discusses the backstory, she cannot hear him. Something is very obviously off in this relationship, and it opens the door to the mystery-box dynamic that helped WandaVision land as a grand success.

Meanwhile, Rio and Agatha clearly extends beyond the mere idea of killing each other. Otherwise, Rio would have done it regardless. Instead, she sends other witches after Agatha, seemingly in a plan to force her to take the Witches’ Road once more. The way that Agatha reacts to her name on Lilia’s list alone tells us Plaza’s character is bad news. However, “Circle Sewn with Fate” also opens Agatha up to a new team. Can this coven help her in ways the previous one could not?

Jennifer Kale (Sasheer Zamata) in Marvel Television’s AGATHA ALL ALONG – “Circle Sewn with Fate.”The relationship between Agatha and Jennifer is another one to watch. Jen clearly hates Agatha for something, but “Circle Sewn with Fate” does not get into the details. Surely we’ll get this in the episodes to come, but in the meantime the show needs Jen to develop. Considering this was a “getting the band back together” vibe, even to the point of recruiting a blood witch child of a musician, these intros will have to do for now. Zamata is awesome as Jen in limited screentime. The SNL alum is a perfect fit for the tone of the character and story.

LuPone was always a curious choice for a Marvel project, but “Circle Sewn with Fate” gives her immediate control over a scene. The legendary actress and broadway star plays Lilia very big, complete with the random asides and screams. There’s a lot on the page to pull from, and with her playing a divination witch, we cannot help be feel like the scream will play into the show to come.

“Circle Sewn with Fate” provides some nice horror elements as well. The witches descending on the house works well as a tension builder. The fog lifting off the floor and creatures bursting through the walls works too. The CG could certainly be better, and this remains a down mark for Agatha All Along. Fingers crossed that getting on The Road will help this aspect in the future. With the stage set, we now get to dive into the chaos of a witchy life. Color us excited.

Alan’s Episode Rating: 9/10Watch Agatha All Along on Disney+. “Circle Sewn with Fate/Unlock Thy Hidden Gate” premiered on September 18, 2024, at 9 PM. Episodes release every Wednesday until October 30, 2024.Check out our Reviews, Recaps, and Features on TV here!The post TV: Agatha All Along – Episode 2 – “Circle Sewn with Fate/Unlock Thy Hidden Gate” – Recap appeared first on Sunshine State Cineplex.

View Details

The return of Agatha Harkness (Kathryn Hahn) to the MCU caps off an era of Marvel TV. With the launch of WandaVision in 2021, Agatha helped build the hope for a series of future shows that actually expanded the Marvel lore. It took some time, but the premiere “Seekest Thou The Road” finally makes it’s debut. Agatha finds herself trapped in Wanda’s spell. How will she get out? Jac Schaeffer directs and writes, “Seekest Thou the Road.”

The RecapAgatha Harkness drives out to a crime scene, where it’s revealed she’s a cop on leave. Herb (David A Payton) fills her in on the body and hands her a library card found near the body. When she arrives, Agatha struggles to look at the corpse. She steps away and finds a locket in a puddle but hides the evidence from Herb. She then returns to look over the body, wondering what happened to her. Herb asks her if she’s okay, but Agatha snaps at him. We then get an intro video for Agnes of Westview, parodying True Detective and Mare of Easttown.

Agatha goes to the library with the card and asks Dottie (Emma Caulfield Ford) to check who took the book. The book tied to that card had been stolen, but she directs Agnes to the other editions in the library. Agnes goes to the books, but that section of the bookshelf has been burned. A man whispers that all of the books were burned in a fire.

At the station, Chief Jones (David Lengel) tells Agatha the soil samples do not match the location of the body. Instead, they match an Eastern European location. He’s called in Agent Rio Vidal (Aubrey Plaza) from the FBI. The two have a history, and Agatha worries Rio will take her investigation. Rio realizes Agatha is still under Wanda’s spell, so she plays along. She jokes about Agatha living in Westview her whole life and how she sees herself as a cop. Agatha kicks her out of the office.

To continue the investigation, Agatha goes to a pawn shop owned by Norm (Asif Ali). He realizes the “broach” is actually a locket. Inside, there’s a strand of hair. Agatha leaves and looks over her notes on the case. She pulls apart a code, which seemingly spells “Darkhold,” but Chief Jones tells her to go home before she completes it.

At home, Agatha looks into the bedroom of a young boy. It’s implied her son is Nicholas Scratch. A knock at the door reveals Rio is waiting on the porch with a pizza. They drink, eat, and tell jokes. Agatha believes she’s found a lead, but Rio prods her about their life outside of Wanda’s spell.

Agatha hears a sound upstairs and finds a young man rummaging through her personal belongings. She chases him until he’s struck by a car driven by Mrs. Hart/Susan (Debra Jo Rupp). She brings him into the station and tells Rio she’s ready to question him.

In the interrogation room, the Teen reveals he knows about Agatha. He gives her lip, causing her to kick him out of the chair. She plays the bad cop role and demands he tell her what he’s looking for. He finally tells her – “The Road.” Agatha does not know what he’s talking about. She notices his fingers still have ink all over them from the finger-printing.

She ups the intensity of her questioning and throws the pictures of the body down on the table. The Teen tells her she’s only showing him pictures of flowers. We see the flowers, too, and when Agatha looks for Rio, the Teen tells her she’s looking at a painting. She’s losing her grip on reality when the Teen begins speaking a spell. Agatha grabs him and pushes him into “the tank” for the night.

Agatha walks into the Morgue and finds the body. It’s got scarlet hair, and the toe tag reads “W. Maximoff.” Rio arrives and asks Agatha if she’s closed the case. She also tells Agatha that Maximoff is gone, and her copies of the Darkhold are also gone. She can finally escape. Agatha sheds her clothes, and as she continues to take off layers, she sheds various costumes from WandaVision (eventually turning black and white). Rio asks Agatha to remember her real name. When she does, the spell is broken.

Agatha awakens in her house and is completely nude. She (still naked) walks over to Herb, who is pruning his bushes. He tells her she’s been a good neighbor, but she’s been very into the true crime vibe the last few days. It’s revealed that everyone, including the Chief, Dottie, and Norm, were trying to help. She walks back into her house and tries to conjure magic. Unfortunately for her, Wanda’s spells still leave Agatha without her magic.

Agatha hears a bang upstairs, and the newly robed witch investigates. The Teen boy is locked in a closet. She realizes that if he is real, then Rio is real, too. At that moment, Rio blows the front door off the hinges and attacks Agatha. For the first time, Agatha is vulnerable, and they fight using a knife.

When Agatha gets ahold of her knife, Rio uses magic to throw her against a wall. Agatha tells Rio that it’s undignified to fight Agatha Harkness without power. Rio tells Agatha to take her power, but she knows that will kill Agatha. Instead, Rio says she will tell the Salem Seven about Agatha’s whereabouts. Agatha tells Rio she has no heart. Rio retorts that her black heart belongs to Agatha. She then leaves Agatha with the tied-up Teen in the closet.

“Seekest Thou The Road” – The TakeawaysAgatha All Along knows its core audience will dig its Wandavision roots. Continuing the trend of changing up the style of each episode to correspond with the TV show of the era feels right. After all, one of the last episodes of WandaVision focuses on the 2000s mockumentary sitcoms. This makes a series like True Detective and Mare of Easttown the natural progression for “Seekest Thou The Road.” This has been the dominant style of show, both in the history of TV and the last ten years of pop culture.

This is both positive and negative for this “Seekest Thou The Road.” For one, it slows down the pace considerably, which makes aspects of “Seekest Thou the Road” feel like homework. On the other hand, it fits with Agatha’s darker mood. Yes, Wanda was recovering from grief, but doing so allowed her to live happily. This was not a prison of Agatha’s making; furthermore, she approaches life more cynically. How you feel about these shows will affect the audience’s reaction to “Seekest Thou The Road.”

The bigger questions that loom over Agatha All Along revolve around the three characters we’ve met. Agatha has enemies beyond Westview. Rio seems to be telling half-truths, and once Agatha realizes she’s real, her demeanor toward the witch changes. While we find out little in “Seekest Thou The Road,” the amount of attention the marketing has placed on Plaza promises much more of her. Finally, crediting a character as “The Teen” is a choice. What is Locke’s purpose in the story, and will he be Nicholas or fill that role as the pseudo-child that Agatha always wanted?

Agatha Harkness (Kathryn Hahn) in Marvel Television’s AGATHA ALL ALONG, exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.“Seekest Thou The Road” also gets held back from the visuals of the true-crime dramas. They are grimy and darkly lit, but not always to the series’ advantage. Considering this eats up so much time in the show, it overstays its welcome. The fight sequence between Agatha and Rio is fun but does not rise to “must-watch” status. While Agatha is based on a comic book character, I doubt we see much action in the series regardless.

It’s a solid start for Agatha All Along, but it’s mostly made by Hahn’s stellar performance. It’s an excellent parody of the genre that speaks to her talents as a performer. After all, it’s not ridiculous to think she could lead one of these shows in the future. Even so, the unevenness of “Seekest Thou The Road” puts a dent in the proceedings. The ending certainly intrigues.

Alan’s Episode Rating: 8/10Watch Agatha All Along on Disney+. “Seekest Thou The Road” premiered on September 18, 2024, at 9 PM. Episodes release every Wednesday until October 30, 2024.Check out our Reviews, Recaps, and Features on TV here!The post TV: AGATHA ALL ALONG – “Seekest Thou the Road” – Series Premiere – Recap appeared first on Sunshine State Cineplex.

View Details

The Marvel TV universe has been on skates in recent years. Some shows spin out of control. A few others pushed the MCU forward at the expense of their characters. Some others felt underbaked and cold by the time they were released. This negativity toward the brand puts incredible pressure on Agatha All Along, a pseudo-sequel to 2021’s WandaVision. Following the antagonist of that series could go very wrong. Yet the vision of showrunner Jac Schaeffer (who also directs two episodes) sells the unique tone.

After the events of WandaVision, Agatha Harkness (Kathryn Hahn) remains imprisoned in Westview. Still, under Wanda’s spell, she believes she’s in a Peak TV True-Crime show. However, when the spell is broken by a sixteen-year-old known as Teen (Joe Locke) and Rio Vadal (Aubrey Plaza), Agatha finds herself in peril. With dark forces closing in, the Teen asks Agatha to walk The Witches’ Road to regain her power. To complete their task, they assemble a coven. With the help of a divinity witch, Lilia (Patti LuPone), a potion witch named Jennifer Kale (Sasheer Zamata), and a protector witch named Alice Wu-Gulliver (Ali Ahn), the coven grows more powerful on The Road.

Much of Agatha All Along requires its audience to vibe with its tone. This critic had no issue on this front. It’s not only very witchy, pulling from the religion and sapphic stories that dominate paperback markets. At the same time, it’s firmly planted its feet in camp. They toss out the idea of subtlety, instead embracing a communal atmosphere present in modern witch reclamation with a strong suggestion of sexuality. Several characters are openly attracted to the other women in the coven, making this the most queer-coded project under the MCU banner.

Beyond that aspect, Agatha All Along adds subtle references to generations of witches in pop culture. Everything from Bewitched to The Craft feeds into the story. One can easily enjoy Agatha All Along without these touchpoints, but the Easter eggs are plentiful. Schaeffer and the writer’s room wrote an unabashed love letter to remind sisterhood while ensuring the characters maintain the cattiness and interpersonal frustrations from this bonding. After all, the witches of her coven know what Agatha did to her last coven. How could they possibly trust her without reserve?

Once again, Hahn steps into the role with her magnetic persona and a depth of emotion. There’s a lot going on for Agatha, both on the surface and below. As Hahn unravels the character, she quickly gets the same brilliant treatment that moved Scarlet Witch from a D-tier Aveneger to a generational icon. Hahn’s superpower as an actress that wrings incredible emotion out of a few sequences remains in tact. It’s one of her most varied performances to date, and once again, she ranks among the most complicated characters in the MCU.

Additionally, she delivers a blistering takedown of the “tough women cops” that have taken over prestige TV in the last two decades. When Hahn needs to carry Agatha All Along, she does, but her ability to facilitate jokes and emotional scenes for the other actresses is top-tier work. Furthermore, Hahn’s willingness to engage with the silliness of the role and its darkness helps Agatha All Along thread a needle that few series could pull off.

Additionally, the supporting cast comes to play, adding considerable laughs and power to the teleplays. It’s no surprise that Plaza remains sparkling get for any series. In Agatha All Along, Plaza plays big, channeling a psychotic energy that feels very different than the other performances. Yet she infuses what could have been a middle-of-the-road performance with emotion, which mainly comes to light in episode 4.

LuPone and Zamata shine as comedic relief while also getting moments to let their anxieties get the best of them. LuPone plays upon her persona, while Zamata queues up comedic beats repeatedly through her reactions. Locke will likely be the breakout performer, but Ahn gets one of her best roles to date. The two bring less baggage than the rest of the cast, and both take advantage of the moment. Ahn gets two showcase moments in her first few episodes of Agatha All Along, allowing her to expand on her character’s emotional turmoil. Debra Jo Rupp gives a scene-stealing turn, helping further tie the series to WandaVIsion while also adding to the comedy.

The only real issue at play occurs in the first episode, which languishes in the Mare of Easttown aesthetic for too long. Once you’re through that episode, the pacing and the following episodes remain more frenetic. To Agatha All Along‘s credit, it’s also one of the few MCU shows to actually have A and B plots with easily differentiated episodes. Over the first four episodes, one can easily refer to them with a one-sentence description, and the audience will know what you mean. In other words, it’s a TV show, not a five-hour movie in ten parts.

There’s no doubt that some will find the show’s tone offputting. Yet there’s also no doubt that many will make watching Agatha All Along an annual tradition. When actresses as good as Hahn, Plaza, and LuPone showcase their talent, it’s hard to imagine a show more geared toward an underserved witch-curious audience. It’s a win for those expecting a new Practical Magic or The Craft, providing light scares with the sisterhood vibe to ease you into the spooky season.

Alan’s Rating: 10/10Watch Agatha All Along on Disney+. Episodes 1 and 2 premieres on September 18, 2024, at 9 PM. Episodes release every Wednesday until October 30, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: AGATHA ALL ALONG – Big Witch Energy Arrives In Time For Spooky Season appeared first on Sunshine State Cineplex.

View Details

Framing a story through the lens of an athlete can often clarify themes in our modern world. Of course, there will be differences, but the cyclical nature of society makes many stories timeless. The Swedish Torpedo, from Director Frida Kempff, tells the unknown story of Sally Bauer – a young woman who made history as she became the first Scandinavian to swim the English Channel.

The Swedish Torpedo builds on the growing trend of women breaking athletic barriers in long-distance swimming. However, unlike Nyad or The Young Woman and the Sea, The Swedish Torpedo sets its story in a framework that is impossible to shake. Seemingly trapped by societal expectations of motherhood, sexism, and an impending war, Bauer seeks to take control of her life.

The film picks up the story as Bauer (Josefin Neldén) trains as a distance swimmer. Just a few years before Germany invaded Poland, Bauer sought her own independence. With friends and family looking down on her ambition, she felt out of place. However, when she finds support in Henry (Mikkel Boe Følsgaard), Sally pushes herself to the limit. However, her monomaniacal pursuits may endanger her parental rights.

The push/pull dynamic between motherhood and achieving one’s own dreams has plagued women for years. For some women, life as a mother and caregiver gives them satisfaction. For others, their justified ambition allows them to achieve far beyond the limits of societal structures meant to limit a woman’s power. Rather than essentialize Bauer as a single kind of woman, Kempff forces The Swedish Torpedo to consider the complete context of her protagonist’s life.

It’s undeniable that Kempff wants us to view Bauer as a woman who broke the limits placed on her to great success. However, rather than simply putting Bauer against those who do not believe in her, the most contentious discourse comes from inside relationships she trusts. This juxtaposition becomes an integral component in helping The Swedish Torepedo prove it’s not only cultural ideologies that need to change. Sometimes, it’s familial and community perceptions.

To further these ideas, Kempff has to rely on Neldén as a performer. She must show her passion and explore how her family’s lack of support could shift her priorities. Neldén brings these emotions out, providing a passionate defender of women’s choices when questioned by both men and other women in her community. It’s most clear when she’s forced to fight back against people she cares about, who seem unwilling to admit that she wants to succeed in this way. However, it’s often how she processes information that makes her most effective. The Swedish Torpedo could easily be an overwrought drama with too many dramatic monologues to count. Instead, it’s a masterclass in subtlety.

The water-based shooting is incredibly complicated and highlights the danger in this era. It is not as pretty to look at as even Nyad was. Instead, the ocean looks vicious and takes a toll on Neldén. Considering that Neldén spent ninety percent of her shooting time in the Ocean, that violence feels all the more tactile. It’s scary to watch these sequences unfold in the best of circumstance, and the endless ocean set against the pitch-black night is a shockingly effective visual.

Still there are times that The Swedish Torpedo devolves into some tropes about historical dramas. A few of the actors in opposition to Bauer are too intense in their hatred. There’s honesty in these moments, but it contrasts the more subtle aspects of the story that unfold in other moments. Additionally, the role of Bauer’s mother feels a little too convienant in its execution. We needed one more scene to showcase the shifting ideas in The Swedish Torpedo, and the way it ends feels like an “all is forgiven” moment.

The Swedish Torpedo makes a strong case as a sports film and acting showcase. Kempff navigates the shifting genres, proving effective at creating imagery outside of her success in documentary and horror. However, a few missteps stop this from reaching the upper echelon of sports films. That said, it’s a very good film about a woman history has erased. These are the kinds of sports films we need in 2024.

Alan’s Rating: 7/10Check out our review of The Swedish Torpedo here. Keep up with the film here.Please check out other Sunshine State Cineplex reviews here!The post TIFF: The Swedish Torpedo – A Grounded Story of Strong Women Overcoming Bias appeared first on Sunshine State Cineplex.

View Details

One of the crowdpleasing features of the 2024 Toronto International Film Festival surprised many who saw it. The Swedish Torpedo follows the story of Sally Bauer, a woman who swam the English Channel mere weeks before World War II broke out. Despite her accomplishments, her swim has been buried in the history books of athletic achievement. Director Frida Kempff – whose 2021 film Knocking surprised horror audiences – tackled the ambitious historical tale. Kempff sat down with Sunshine State Cineplex to discuss the process of making The Swedish Torpedo and the importance of its story to her life.

The following interview has been edited for length and clarity.

Frida Kempff does not want to be defined by genre.While Kempff certainly gained acclaim for Knocking, she did not want to become known as a horror director exclusively. “I once said that I want to do one movie in each genre, so I think I’m on my way to do that.” Luckily, you can often touch on many of the same themes regardless of the genre. Kempff explains, “I’m still dealing with topics like liberation for women, claustrophobia versus freedom, and voices that do not get heard. It’s more for me as a filmmaker to never make the same movie and challenge myself.”

For The Swedish Torpedo, she was able to key into something outside of the genre to tell the story effectively. “I think all my movies are different stages in my life. For me, it’s like trying to make a movie.” She laughs and notes, “I wouldn’t try to compare it to swimming across the English Channel, but I do anyway. It’s hard, especially as a mother, because you get these questions. Why am I on set? Why am I not home? For me, I wonder why can’t I do both. It was a bit of my story in another woman’s story.”

Frida Kempff took Eight Years to Develop The Swedish Torpedo.Before she engaged with the story of Sally Bauer, even Kempff had not heard of her. “I didn’t know about Sally eight years ago. I read a Swedish novel where she was mentioned. I was so surprised and a bit angry.” This provided the push for Kempff to develop the movie. “I wanted to rewrite history, but also felt very connected as a mother.”

The process took a full eight years and became a passion project for Kempff. “It was really important for me from the beginning that it was not a biopic. It wasn’t a museum for Sally. I never met her, and she passed away in 2001, so I could never make that story true.”

To help breathe life into The Swedish Torpedo while also relating her story to a modern audience, Kempff relied on her own experience. “It needed to be my voice and the experiences my girlfriends and I have felt. It’s kind of a straightforward story, but it was also about motherhood from different angles. It’s a family drama, but it also takes place in the ocean. We wanted it to be all of these things.”

The difficulties of shooting on the water. Most directors will tell you that shooting on the Ocean is a mistake. Yet Frida Kempff and her team pull it off throughout The Swedish Torpedo. “It worked out well. We did 90% on location and 10% in the tank.” It’s a shocking split, but one that you can feel watching the movie.

Kempff explains that they shot in Estonia to maximize the shots and time in the water. “It’s almost like the Swedish landscape and had those similarities. It’s not a big budget, but we wanted to shoot a lot on location.” She laughs, “We were lucky with the Weather Gods. That was really my big concern. I actually do not know what would have happened if there had been a storm. It would have broken the budget.”

To ensure the tank footage would match the extensive ocean footage, Kempff shot the ocean first. “She [Josefin Neldén] was aware of the feeling and the rawness of the ocean. Once she did, she could use that in the tank.” It also required assistance from the VFX and production teams to ensure it felt authentic. “We could try to make the same feeling, but we did not have the big money. So it was like a truck creating waves in this little pool, but we managed.”

Frida Kempff remembered Josefin Neldén from a previous audition. Over 12 years ago, Kempff met Neldén on an audition for another project. While they did not work together then, she came to mind during The Swedish Torpedo. “I started quite early with the casting while I was writing. As a filmmaker, it’s always interesting to bring in actors and see their take on the role.” It was not an immediate connection for Kempff. “We did auditions for 50 different Sallys. In the end, I brought Josefin in, and after watching the scene, I just looked at my casting director. We didn’t have to say anything.”

It was not a simple “plug and play” kind of role, and Neldén showed her commitment. “She had one and half years of practice strokes. She never did swimming strokes before, so it was really something new for her.” While swimming at least three days a week for that long (conservatively 200 sessions), she spent a lot of time developing Sally the character.

“We spent a lot of time talking and bringing in our own experience. I’m very open as a director to improvise – that’s a plus.” This freedom helped develop trust between Kempff and her performers. “I trust them to play the feelings and how they would react. It gives them freedom, as long as they’re sure of their choice.”

Kempff tried to limit dialogue where she could. Often, historical films get bogged down in the exposition. For The Sweedish Torepdo, the goal was to slash that aspect out of the film if possible. “That’s what I’m aiming for all the time as a director. How can I limit the dialog?” This allows Kempff to maximize the use of negative space on screen and draw the audience into the emotional devastation. “I think that’s when it’s the most beautiful. To be in a silence like that. It takes a lot of drafts to find that, cut this, but it is what is necessary.”

To complete this effecton The Sweedish Torpedo, Kempff wrote some of these moments into the screenplay. “I tried to do it in the draft,” Kempff explains. “Usually, it comes with the rehearsal and with the DP.” This allows the director to find unique moments in the footage and shine a light on the power of communication in all forms. “If it’s in the line, the visual, or the sound – we all help to understand her journey.”

Kempff’s ultimate hope is that the audience takes something away from The Swedish Torpedo. “I hope they feel empowered. If you believe in yourself, anything is possible. Don’t let anyone tell you what is not possible.”

Check out our review of The Swedish Torpedo here. Keep up with Frida Kempff’s career here. Please check out other Sunshine State Cineplex reviews here!Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post Interview: Frida Kempff Discusses THE SWEDISH TORPEDO, Women Breaking Barriers, and Filming in the Ocean appeared first on Sunshine State Cineplex.

View Details

As he settles into college football life, Aaron Hernandez faces immediate issues. While being talked up as a big new recruit, he did not know how to break through as a key figure on the team. This led to off-the-field issues, including run-ins with the police. Carl Franklin directs “Consequences with Extreme Prejudice” – the second episode of American Sports Story: Aaron Hernandez. The episode details the legal issues Urban Meyer’s teams faced in Gainesville and how Hernandez contributed to those problems. It also highlights the price for hosting talent for the biggest programs in college football.

“Consequences with Extreme Prejudice” – The RecapAaron Hernandez (Josh Rivera) is questioned for a shooting. We immediately jump back to 2006, when Urban Meyer (Tony Yazbeck) holds a National Championship photo shoot. When the photographer says his new recruiting class, which includes Aaron, is the best incoming class of the year, Urban retorts that it’s the best in college football history.

At the University of Florida, Aaron Hernandez walks into the locker room. As they prep for practice, he meets Maurice “Mo” Pouncy (Edgar Sebastian Martinez) and Cam Newton (Warren Egypt Franklin). After the introductions, a player shows off his genitalia while working towards another player. A veteran player seemingly walks towards Aaron while using a homophobic slur but attacks the player behind him.

During practice, Hernandez struggles. He gets crushed on a pair of Oklahoma Drills and then misses his assignment on a play. When Meyer chews him out, Aaron makes a joke back. Meyer forces him to run.

In his dorm, Hernandez smokes weed and calls his brother DJ (Ean Castellanos). When he complains about the practice, DJ tries to get him to come to UCONN. Aaron feels frustrated, but when Pouncy and Newton show up, he goes out to drink with them. They party at a local bar and see Tim Tebow (Patrick Schwarzenegger) out in the bar. When the players guess who in the bar might be gay (again using slurs), Hernandez points out the bartender. Because of the remark, the bartender does not comp his drinks. This leads to an altercation, and Hernandez punches him in the face. Tebow jumps in to help break up the fight and calls for a lawyer to help Aaron.

The lawyer, Huntley Johnson (Jeffrey Nordling), brings Aaron back to his office. Huntley admits he’s a fan of the team, and says he can be of service from time to time. He also tells Aaron that all eyes are on him. Aaron needs to be prepared for these moments. Huntley gets a call from the lawyers and he offers sideline seats to those on the other side of the phone. Before he leaves, he asks if coach is aware.

Later, Aaron joins Urban Meyer for a meal with Meyer’s family. After the meal, Urban reminds Aaron that his father would not be happy with him. He expects Aaron to put his all into dominating not only college but the NFL as well. While Aaron works out, Meyer gets pulled into a meeting with boosters. Too many players are getting arrested, with team captain Tony Joiner becoming the latest involved with the law. Meyer tells them the team will be so good, no one will worry about the off-the-field issues.

After a dominate first game, the Aaron and other players go out to a frat party. When a woman spills beer all over herself, he pushes everyone to take off their shirts. During the party, he ends up sleeping with a woman. However, he focuses on the bodies of the other guys, who are actively having sex with other women in the room. He eventually joins a sex chatroom, but he closes his laptop when the cyber partner wants to meet in person.

The next practice Cornelius Ingram, the number one tight end on the depth chart, goes down with a knee injury. This allows Aaron to start. While he wanted to earn it, Pouncy and Cam tell him to appreciate the opportunity. The cops come to the door, and Cam throws the laptop he’s using out the window. However, they still arrest him, forcing Aaron to call Huntley for Cam.

The Gators lose back-to-back games against Auburn and LSU. After driving down from Bristol, Bo (Catfish Jean) and Chris (Alex Meraz) show up at the dorm. They immediately start a fight in a bar, which draws ire from Aaron’s teammates. After the incident, Meyer receives a phone call in bed. Aaron is being questioned in a shooting, but he does not give any names.

The next day, the University calls Meyer into the office. They demand he take action and stop some players from acting out of control. When he returns home, his wife tells him to cut the bad apples. At first, Meyer pushes back, knowing that he needs the talent on the field. However, he clearly has a panic attack as the discussion goes on.

Meyer starts by cutting Cam Newton. While Cam tries to defend himself, he calls UF a whack program and tells Meyer to fuck off. The next player in the office is Aaron. Meyer suspends Aaron, but only for one game in the following season. He tells him there are consequences for his actions.

Aaron leaves and celebrates outside the office. He looks down at his phone and receives a sext from an anonymous guy. That night, Aaron and the guy meet up. However, Aaron gets nervous when he sees another car pull up. Afraid that he’s been spotted, he jumps out of the car and speeds away on his motorcycle.

FX’s American Sports Story: Aaron Hernandez — “Consequences, with Extreme Prejudice” — Episode 2 “Consequences with Extreme Prejudice” – The TakeawaysAfter “If It’s To Be” laid the groundwork for Hernandez’s youth antics, then “Consequences with Extreme Prejudice” highlights his lawlessness. Despite the episode’s name, the lack of discipline indicates how Hernandez felt empowered. When enough figures tell you that you’re special and the regular rules no longer apply to you, it’s no wonder some people feel untouchable. Hernandez was starting to feel this way in Gainesville.

“Consequences with Extreme Prejudice” features a standout performance from Yazbeck. He perfectly captures Urban Meyer’s holier-than-thou attitude. The coach became known for his insufferable demeanor, and at Florida, that was on full display despite the mounting pressures. Yet even at the time (as a Gator fan during this era), many of these stories were swept under the rug because the team kept winning. The talent was undeniable from top to bottom, and “Consequences with Extreme Prejudice” allows us a peek into this world. The closed-door meetings and covert discussions with Boosters are among the best aspects of the series so far.

Unlike the last episode, Rivera has something to play in “Consequences with Extreme Prejudice.” The chaos of the game was well showcased, especially in highlighting the difficulty change. “Consequences with Extreme Prejudice” excels here, as moving to college meant Hernandez faced off with bigger and stronger players. The other talented players did not just let him take their playing time; Franklin captured that. At the same time, Rivera brings sadness to the role during these sequences. It certainly works to humanize Hernandez. His celebration at the end of “Consequences with Extreme Prejudice” also indicates that he knew he got away with his bad behavior because of his talent.

The questions about Hernandez’s repressed homosexuality come out here. Again, Franklin may push it a little too far with the sex scenes showing him focusing on his teammates. However, his actions “on the down low” certainly provide insight into how scared he was about this aspect of his life. It does not excuse his future behavior, as Rivera plays it like an 18-year-old just now having the freedom to explore his new freedom. Wisely, “Consequences with Extreme Prejudice” puts a lid on the apparent freedom. When the lawyer Huntley tells him the truth, Hernandez’s paranoia rises. It’s clear the show understands that we need to feel this pressure at all times.

Alan’s Episode Rating: 8/10Watch American Sports Story: Aaron Hernandez on FX on Tuesday nights at 9 PM. It will be available to stream on Hulu on Wednesdays. “Consequences with Extreme Prejudice” is now available to stream. Check out our Reviews, Recaps, and Features on TV here! The post TV: “Consequences with Extreme Prejudice” – American Sports Story: Aaron Hernandez – Episode 2 Recap appeared first on Sunshine State Cineplex.

View Details

One of the most notorious murder cases in American history started back in 2013. Yet the tale of Aaron Hernandez was a multidecade struggle, resulting in the deaths of several rivals and eventual friends. Hernandez’s violence upset many, and the story of how he got to that point is one about a man left unchecked to commit violent acts. Starring Josh Rivera as Hernandez, Ryan Murphy‘s latest series – American Sports Story – adapts the podcast Gladiator: Aaron Hernandez and Football Inc. Carl Franklin directs the premiere episode “If It’s To Be.”

“If It’s To Be” – The RecapIn 2013, Aaron Hernandez hangs out with his friend Alexander Bradley (Adam Lindo) at the strip club in Belle Glade. Soon, Hernandez grows paranoid about men at the bar, who he believes are cops. He leaves, forcing Bradley to come with him. Bradley tells him to relax and chill out in the car. After all, Bradley’s been with him for years and knows what makes Hernandez tick. When Bradley passes out, Hernandez pulls into an empty lot and shoots him in the head.

Later that week, Hernandez attends a ceremony for Pop Warner football, where he receives a reward for his upstanding example. Afterward, an interview with the media is interrupted by a phone call from Bradley. Hernandez is shocked at the call, and Bradley tells Hernandez he’s going to kill him.

In 2001, Aaron, brother DJ (Ean Castellanos), and his father Dennis (Vincent Laresca) go for a run. When Aaron loosens his stance, his father calls him a homophobic slur. At home, Aaron’s mom Terri (Tammy Blanchard) tells her son that a Notre Dame scout is talking to his father. However, Dennis does not want him to go anywhere but UCONN. Dennis rants about the importance of getting out of their community through football until Terri jokes about Notre Dame being a better school. Dennis throws a dish, and it shatters against the wall.

Aaron takes the field in a high school game, showcasing his skill and talent over his rival players. After the game, his cousin Tanya Singleton (Lindsay Mendez) wants him to hang out, but Dennis shuts it down. Instead, Aaron goes out with his friends, including the quarterback Dennis SanSoucie (Kalama Epstein). They hang out throughout the night and end up in a car alone. They smoke weed, and his friend gives Aaron a handjob.

That night, Dennis waits for Aaron at the house and interrogates him for being a fool at the diner. He tells Aaron that his talent, size, and ethnicity make him stand out in Bristol. Dennis admits that becoming a father made him a better person and reminds Aaron that he’s special. Dennis appears in pain, complaining of a hernia, and the two go to bed.

At school, Aaron flirts with a girl but is soon pulled out of class. His Dad died while having surgery, and Aaron attends the funeral with his friends and family. Later, Aaron and SanSoucie talk about his grief. While SanSoucie tries to escalate their relationship, Aaron freaks out and leaves the car.

Back at home, Aaron arrives but finds Terri is with another man. He pretends not to notice but instead shows off his new tattoo to celebrate his Dad. Terri tells him he needs to be his own man. Aaron then flirts with Shayanna Jenkins (Jaylen Barron), asking her to a dance and his basketball game. At the game, Terri’s affair comes to light. It was not just any man she was sleeping with. It was Aaron’s cousin Tanya’s husband. The entire game stops while Aaron tries to stop his mom, embarrassing him.

The next day, Aaron is walking home when a car pulls up. It’s Steve Addazio (Scot Ruggles), a coach for the University of Florida. He pitches Aaron on UF, telling him he’s a special player and reminding him that Urban Meyer is an exceptional coach. He visits the Gators’ locker room and attends a practice. During the practice, he meets Urban Meyer (Tony Yazbeck) and Tim Tebow (Patrick Schwarzenegger).

DJ Hernandez finds out over the internet that Aaron committed to Florida. The UCONN coach threatens DJ’s starting position if he does not flip his brother’s commitment back to UCONN. Aaron dances with Shayanna, who tells him he should escape from everything. He watches the SanSoucie leave, and when Aaron tries to meet him in the bathroom, DJ catches up with him. DJ tells Aaron his decision is going to make him look stupid. They fight about what their Dad would say, and Aaron leaves when DJ makes it clear he only wants him to stay so he can keep his starting spot.

Aaron plays video games at his cousin’s house. Two drug dealers show up, Charlie Boy and Bo Wallace (Catfish Jean), who introduce themselves to the football star. They knew his Dad, and Aaron asks to play with a gun after he sees Charlie Boy’s unique tattoo that he created with a gun muzzle.

On the field, Aaron suffers a concussion. In the hospital, Terri fights with Tanya, and Aaron pushes Terri away from him. Aaron gets tattoos while Charlie and Bo tell him the doctors do not know anything about his future. Urban Meyer visits the Hernandez household and works to convince the family to let Aaron graduate early. Aaron could become a superstar if he can join the team before spring practice. Terri has faith in Meyer and promises to take care of her son.

Aaron packs up and says goodbye to SanSoucie. When Aaron visits, he finds out SanSoucie enlisted in the Marines. Aaron invites him down to Gainesville, but SanSoucie tells him he needs to hide his true sexuality. Aaron sees his father in the car’s rear-view mirror as he drives away. “If it’s to be, it’s up to me.”

FX’s American Sports Story: Aaron Hernandez — “If It’s To Be” — Episode 1 (Airs Tuesday, September 17) Pictured: Josh Rivera as Aaron Hernandez. CR: Eric Liebowitz/FX“If It’s To Be” – TakeawaysFrom the jump, creator Stuart Zicherman dives into the more controversial aspects of Hernandez’s life. Yes, Aaron Hernandez did not have the best life growing up. At the same time, “If It’s To Be” gets dangerously close to stripping him of agency. When his dad runs his life, it’s seen as abusive. After his dad’s death, his mother makes the call to send him to Gainesville early despite the school telling her it’s a bad idea. Yet this all ignores the fact that Hernandez was an active participant in his story. It’s a questionable take for episode one and should shift in the future.

Franklin does an excellent job directing “If It’s to Be.” For a show like American Sports Story to work, we need to feel the cultural pressures on an athlete. In this case, the constant pressure from the family, friends, and on his sexuality feels apparent from frame one. Franklin expertly paces the episode, and allows the teleplay from Zicherman and Dominique Foxworth to shine. It’ll be curious if the episodes ahead can deliver the same gravitas and depth.

Ultimately, it’s a relatively straightforward start for the series. “If It’s To Be” forces Rivera to mostly take a step back while Castellanos, Yazbeck, and Laresca all shine. We expect this to sway in the future, but in terms of pure setup, the cast is not asked to push their limits. Instead, “If It’s To Be” allows the critical plot threads and warning signs around Hernandez to develop, helping the series start on the right foot.

Alan’s Episode Rating: 7/10Watch American Sports Story: Aaron Hernandez on FX on Tuesday nights at 9 PM. It will be available to stream on Hulu on Wednesdays. Check out our Reviews, Recaps, and Features on TV here! The post TV: “IF IT’S TO BE” – American Sports Story: Aaron Hernandez – Episode 1 Recap appeared first on Sunshine State Cineplex.

View Details

Known for its genre movies, Fantastic Fest 2024 kicks off the horror season with a bang. It’s got world premieres from several major studios, the return of Terrifier 3 to the big leagues, and a bevy of international hits on its hands. With so many exciting films to check out, we’re previewing some of the flicks that caught our attention. First, let’s run through 15 of the biggest horror films at the festival.

Apartment 7A – Directed by Natalie Erika JamesApartment 7A is set to premiere at Fantastic Fest 2024. The year of horror prequels and demonic babies continues. Apartment 7A enters a year full of excellent horror entries, and with Julia Garner as the lead, it’s easy to get excited. We do not expect it to live up to Rosemary’s Baby, but this is quite fun. The trailer looks excellent, and Dianne Wiest takes on a role that won Ruth Gordon an Oscar.

Bone Lake – Directed by Mercedes Bryce MorganBone Lake makes it World Premiere at Fantastic Fest 2024. When two couples find themselves booked at the same vacation house, they agree to share the space. However, over the course of the lie time together, things begin to spiral out of control. Mercedes Bryce Morgan showed real talent with Fixation, and we’re excited to see what she pulls out this time.

Cloud – Directed by Kiyoshi KurosawaCloud makes its US premiere at Fantastic Fest 2024. Kiyoshi Kurosawa continues to define himself as one of the premiere voices in Japanese cinema. After the success of The Wife of a Spy, Kurosawa’s return to horror is extremely exciting. As long as Kurosawa approaches making movies, we will be thrilled to watch his immense talent.

Dead Talents Society – Directed by John Hsu Dead Talents Society makes its US debut at Fantastic Fest 2024. There’s a fair amount of horror comedy in this premise. Ghosts compete to be the scariest, so they do not disintegrate into oblivion. This could easily be an imperfect comedy, but by forcing the ghosts to haunt, Dead Talents Society emphasizes actually being scary. That is often missing from movies in this space, and if John Hsu does not lose that in his direction, this could be a cult hit on our hands.

The Draft! – Directed by Yusron FuadiThe Draft! makes its International Debut at Fantastic Fest 2024. Another horror comedy, this one from Indonesia. Five teens go on a weekend trip into the woods, and things spin out of control. Director Yusron Fuadi knows the setup of The Draft! is not unique. That awareness allows him to play with the form of horror movies, pushing us into new directions in the process. Fantastic Fest programmers are comparing this to Kurt Vonnegut meets Cabin in the Woods. It sounds like it’s up our alley.

House of Spoils – Directed by Bridget Savage Cole & Danielle KrudyHouse of Spoils makes it World Premiere at 2024 Fantastic Fest. Watching The Menu and The Bear take off has forced us to imagine horrifying meals of all kinds. House of Spoils takes the idea more literally than those two. Starring Arianna DeBose, Barbie Ferreira, and Arian Moayed, this one certainly has the cast to excite. It’ll be curious

Ick – Directed by Joseph KahnIck makes its US debut at Fantastic Fest 2024. After receiving mixed reviews at TIFF, Ick hopes to find its audience at Fantastic Fest. It’s the kind of movie that works well in a genre festival. It’s pulling from horror, comedy, and alien movies. It’s got heart and a cool premise. Fingers crossed, the execution helps it find some fans to go to bat for it.

Mr. Crocket – Directed by Brandon Espy Mr. Crocket makes its world premiere at Fantastic Fest 2024.We all feel nostalgic for the children’s entertainment and TV shows that raised us. However, they very rarely resulted in murderous demons coming through the TV to kidnap kids and kill their parents. Mr. Crocket—adapted from Brandon Espy’s own short—should pack a punch. It’s going to get that 90s nostalgia going, but we’d love to see Jerrika Hinton (Grey’s Anatomy) get a long overdue starring role.

Never Let Go – Directed by Alexandre AjaAnthony B. Jenkins as Samuel, Halle Berry as Momma and Percy Daggs IV as Nolan in Never Let Go. Photo Credit: Liane HentscherHe certainly does not need our help, but Alexandre Aja deserves more praise. After all, few filmmakers craft movies as ridiculous as Crawl or Piranha 3D, but few are as visually ambitious with a low budget. Aja has found a way to make schlock breakthrough in pop culture. However, Never Let Go looks scary as hell. With Halle Berry in the lead, it has the star power and the vision to land on this list.

Párvulos – Directed by Isaac EzbanPárvulos is set for a US premiere at Fantastic Fest 2024. In the aftermath of a pandemic, a young teenager must fight to keep his family alive. Salvador, the oldest brother of three, has the skills to hunt and gather. He simply wants to keep a level of normalcy for all involved. However, on Christmas Eve, a young woman approaches the house. Without realizing what she’s done, their safety may unravel. The poster seems to give away some of the story, but needless to say, the plot grabbed our attention.

The Rule of Jenny Pen – Directed James AshcroftThe Rule of Jenny Pen makes it World Premiere at Fantastic Fest 2024. The opening afternoon film of the festival, The Rule of Jenny Pen has considerable buzz heading into the weekend. Shudder just picked up the horror film. It stars John Lithgow and Geoffrey Rush as a caretaker (Lithgow) and a patient (Rush) who form a contentious relationship. With Lithgow getting comparisons to his performances in Raising Cain and Richochet, we could not be more excited.

The Severed Sun – Directed by Dean PuckettSevered Sun makes its world premiere at Fantastic Fest 2024. British folk horror has a long and storied history. The Severed Sun seems to lean into that concept, while also bringing out elements of a creature feature. When the daughter of the town pastor is pushed to the limits by her abusive husband, she accidentally summons a literal monster that feasts on blood. You have to admit, that sounds cool as hell.

Teacup – Directed by Chloe Okuno, E.L. Katz, Kevin Tacharoen, and John HyamsTEACUP — “Think About the Bubbles” Episode 101 — Pictured: (l-r) Caleb Dolden as Arlo Chenoweth, Yvonne Strahovski as Maggie Chenoweth— (Photo by: Daniel McFadden/PEACOCK)The TV series follows an all-star cast, including Yvonne Strahovski, Scott Speedman, and Rob Morgan as a community fights back against something evil. Inspired by the novel Stinger by Robert McCammon, James Wan serves as executive producer on Teacup and Chloe Okuno, E.L. Katz, and Kevin Tacharoen direct episodes. With two of the eight episodes premiering at the festival, we will find out just how good it is. Halloween Horror Nights fans have already seen the ads, so we know our readers will be pumped.

V/H/S/Beyond – Several DirectorsV/H/S/Beyond is set to premiere at Fantastic Fest 2024. Six more stories in the V/H/S series is always a good thing. With films from Kate Siegel, Christian & Justin Long, and Jordan Downey, we’re excited to see where we go this time. Certainly a reliable franchise, V/H/S continues to highlight directors who become breakout names in the genre. While this one features a couple new names, the highs and lows within each film remain a huge piece of the festival experience.

What Happened to Dorothy Bell? – Directed by Danny Villanueva Jr.What Happened to Dorothy Bell is set for its World Premiere at Fantastic Fest 2024. Found footage horror can be quite the mixed bag. However, What Happened to Dorothy Bell? feels like one that breaks through in horror circles. A woman journeys back to a haunted library in her hometown, coming face-to-face with her past in the process. With a cast that includes Aysa Meadows, Lisa Wilcox, and Michael Hargrove, there’s some promise on paper. Given the subject matter, one hopes this trends towards the Hell House LLC and Lake Mungo style.

Check out the full Fantastic Fest 2024 lineup here! Read our coverage – reviews, lists, and interviews – here!The post Fantastic Fest 2024 – 15 Horror Films To Check Out appeared first on Sunshine State Cineplex.

View Details

Congratulations, Speak No Evil. You have been effectively Americanized. From the confines of Blumhouse Productions comes the latest anglicized version of an international feature. This time, the 2022 Danish film Speak No Evil has been stripped of its subtitles and transformed into a version intelligible to those who speak no evil other than English.

One can compare and debate which is better until blue in the face, but to what point and purpose? Hold your breath and debate, if you will. One thing that is certain is that the original does not have a whole lot of James McAvoy.

L to R: (from left) Paddy (James McAvoy) and Ciara (Aisling Franciosi) in Speak No Evil, directed by James Watkins.McAvoy is in top form here, figuratively and literally. His hulking frame and frantic energy dominate scene after scene. His performance contains the same freneticism that harkens back to his outings in films like Split or Filth. McAvoy infuses his character, Paddy, with a sinister essence. Something is not quite right with Paddy, and McAvoy employs all the charm, humor, and vigor tinged with subtle disturbing inflections to effectively deliver a terrifying performance.

As such, promotional material for Speak No Evil prominently features the Scottish actor. Undoubtedly, McAvoy’s turn more than merits a ticket and helps the remake stand apart from the original. However, Speak No Evil offers more than a one-man show. Director James Watkins, along with writers Christian and Mads Tafdrup (director of the original film), have meticulously crafted an elaborate psychological thriller.

Two families meet during a vacation getaway in Italy and immediately become friendly. Paddy and his wife Ciara (Aisling Franciosi), along with their son Ant (Dan Hough), are more carefree and vivacious than their new friends Ben (Scoot McNairy), Louise (Mackenzie Davis) and their daughter Agnes Dalton (Alix West Lefler). It is a typical case of opposites attract that Watkins uses to delve into the complex and varied psychology behind couples and parenting.

L to R: Agnes Dalton (Alix West Lefler), Ben Dalton (Scoot McNairy), and Louise Dalton (Mackenzie Davis) in Speak No Evil, directed by James Watkins.Ben and Louise don’t share the same parenting philosophy when it comes to handling Agnes’ anxiety. Louise comes across as overprotective, while Ben has a more nonchalant attitude. As the story progresses, details of their relationship are slowly revealed, which ultimately helps Speak No Evil get away with a somewhat ridiculous turn of events halfway through.

Paddy and Ciara also have to deal with a child who has medical issues. In Ant’s case, a prenatal condition makes it difficult for him to communicate. Their parenting style is at odds with the Daltons, opting to be more carefree and refusing to make excuses for themselves. However, the writers also reveal details about them that end up satisfyingly paying off.

As a result, Speak No Evil plays as multiple movies in one. The psychological breakdown permeates until the end, with Watkins adding moments of tension, horror, and a surprising amount of humor. The vast and open landscape of the introductory Italian setting progressively gets smaller as the Daltons visit their new friends in their English countryside home, eventually seeing themselves trapped inside a house. Watkins increasingly tacks on the claustrophobia until the Daltons are forced to look inside the smallest spaces within themselves for survival.

L to R: Ant (Dan Hough) and Agnes Dalton (Alix West Lefler) in Speak No Evil, directed by James Watkins.Along with the electrifying McAvoy, the rest of the cast is superb. Franciosi does an excellent job playing in the gray areas defined by enabler and victim without letting on where she stands. Scoot McNairy’s perfect personification of ineptitude proves extremely important, as it helps justify some otherwise eye-rolling moments. Mackenzie Davis is tasked with giving the most chameleonic performance as her character swerves and sways within the facade she tries to uphold for her family’s sake.

The children are given a refreshing amount of ownership. Agnes is better than her parents at following her gut instinct, and Ant finds ways to be resourceful despite his communication setbacks. At a young age, Lefler already has vast experience playing heavy roles, and here she proves her ability to display anguish and fear is more than effective. For Hough, it is his first movie role. That makes his performance mostly void of any words that much more astonishing.

L to R: Ant (Dan Hough) and Agnes Dalton (Alix West Lefler) in Speak No Evil, directed by James Watkins.Some tonal inconsistencies open the door to interpretation. However, the film manages to justify this once it arrives at its borderline satirical conclusion. Even as it touches on some heavy-handed subjects, Speak No Evil never takes itself too seriously. In the process, it communicates that to its English-speaking audiences, ensuring the message is not lost in translation.

Borja’s Rating 7.5/10Watch Speak No Evil in theaters today. Universal Pictures distributes. Blumhouse produces. Please check out other Sunshine State Cineplex reviews here!The post Review: SPEAK NO EVIL: McAvoy’s Tour de Force Leads Psychological Thriller appeared first on Sunshine State Cineplex.

View Details

Awe. That’s the word that best describes the emotion I felt when Optimus Prime first transformed in front of Sam Witwicky and Mikaela Banes back in 2007. It was a stunning CGI achievement that would stand out for its technical prowess for over a decade’s worth of Transformers movies.

As impressive as that scene was, no one was pretending that Transformers was any good overall. But expectations were managed considering the source material was a toy line from the 1980’s. Despite this, several sequels later the franchise would move from awe inspiring to offensive and everything in between. Transformers had lost its spark, with every sequel proving repetitive, cumbersome, and borderline idiotic.

Some moments did hold their own (Anthony Hopkins going absolutely ham in The Last Knight is one example), but the franchise desperately needed a facelift. Bumblebee skirted around The Iron Giant‘s influence to deliver the franchise’s most substantive film to date. However, Rise of the Beasts threatened to divert the franchise back to its ridiculous direction.

One year after its beastly attempt, Paramount has wiped the slate clean. Josh Cooley has been brought on to direct this new vision that has abandoned live action in favor of animation. Writers Andrew Barrer, Gabriel Ferrari, and Eric Pearson have been tasked with exploring the origins of Optimus Prime and Megatron’s relationship. While a brand-new cast of actors have been employed to give everyone’s rock ‘em sock’ em robots their voice. The result is a visually striking, heartfelt, and exhilarating entry that quickly places itself as the franchise’s best.

After more than 40 years of existence, the toys and movies did little to add any emotional depth to the characters. In fairness, alien-transforming robots are not exactly the subject that merits deep psychological exploration. Yet Transformers One ensures there is emotion at the center of all the raucous action.

Years before arriving on Earth as sworn enemies, Optimus Prime and Megatron, then known as Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry), were coworkers and buddies at an Energon mining facility on planet Cybertron. Cybertron used to be a prosperous place where energon would flow freely, providing the planet with its life source. However, after a war against the Quintessons, the Energon supply would be severely depleted, leaving Cybertron struggling to survive.

Orion Pax is tired of the status quo that keeps him and his friends perpetually mining day and night for the precious element. His exasperation leads him to delve further into the planet’s history, eventually leading him and D-16 on a mission to save Cybertron and prove themselves as more than simple miners.

Along with their friends Elita-1 (Scarlett Johansson) and B-127 (Keegan-Michael Key), the robot quartet set out to retrieve The Matrix of Leadership (an ancient artifact of great power once wielded by the ancient primes) and deliver it to their leader, Sentinel Prime (Jon Hamm). Doing so would prove that there is “more than meets the eye” to the robots while saving Cybertron.

This trek allows Cooley to delve into Pax and D-16’s friendship and what eventually brings them apart. It is a more layered and in-depth approach than any Transformers film has offered to date. Cooley plays with the idea of how similar situations can drive different beings to vastly different conclusions. Pax and D-16’s struggle is parallel, yet their approach becomes increasingly at odds.

Transformers One does an excellent job charting D-16’s arc by carefully and methodically laying out the circumstances that would eventually pivot him toward becoming Megatron. Orion Pax’s nobility is unwavering throughout, yet the more powerful he becomes, the more he struggles to make the right yet difficult decisions to ensure Cybertron’s preservation. The results are surprisingly emotionally resonant, something that was severely lacking from the franchise.

Along with this breakdown, Transformers One offers commentary on class warfare and social injustice. In a not-so-subtle manner, the film also delivers dialogue directed in response to current sociopolitical affairs. Gone are the days of problematic stereotypes and robot balls. Thank goodness. Transformers One proves to be surprisingly thought-provoking for older audiences and provides ample teaching moments for little ones, too. But to ensure those first exposed to the robots don’t get bored, there is plenty of metal clanking action.

Animators went out of their way to make sure every action sequence looks unabashedly cool. Even though the furious pace sometimes makes it challenging to keep up and make out what’s happening, it’s just a great excuse to go back and watch Transformers One a second time. Minus the cartoony faces (needed to effectively portray emotion), the details on the robots are astounding. Every piece comprising the robots’ metal frames – including their withered and scratched qualities – is tactile. When they acquire new powers, they appropriately look like exciting, shiny new toys. Furthermore, animation allows for a convincing Cybertron to be created, making the case that animation is the best vehicle for the franchise going forward.

The new voices also bring their unique sound to the characters. Peter Cullen and Frank Welker hand the All Spark to Hemsworth and Henry. The duo brings affable chemistry to the Pax and D-16 kinship, making the result of their partnership more devastating. Hamm and his well-known charm make Sentinel Prime a convincing leader. Johannson injects the straightforward Elita with resolve while Key hilariously nails every beat as B-127.

A conversation was had between friends and me after having watched Transformers: Age of Extinction. Disappointment was the sentiment as an idea was discussed. What if the Transformers franchise abandoned Earth and focused on a story about their struggle on Cybertron? Would it be more emotionally resonant? Would it delve deeper into the lore of the characters? And if so, what would be the result? Will there ever be a Transformers movie to tackle those subjects? As I left the Transformers One screening, I pulled out my phone and texted those friends: this is the result, and it is exceptional. Transformers One is the one we’ve been waiting for.

Borja’s rating 8.5/10Watch Transformers One in theaters on September 20, 2024. Paramount Animation distributes the Hasbro property. Please check out other Sunshine State Cineplex reviews here!The post Review: TRANSFORMERS ONE – The Energon is Finally Flowing appeared first on Sunshine State Cineplex.

View Details

Tubi, best known as the free streaming service with a vast and expansive library of titles, has begun venturing into the realm of original content over the past few years. The Thicket, adapted from the novel by Joe R. Lansdale**, is its most recent venture. It’s the understandable next step for the service that’s grown exponentially in popularity.

Still, “Tubi Original Movie” isn’t a phrase that inspires confidence ahead of a viewing. But when you put Peter Dinklage as the lead in anything, I’m bound to give it my attention, and I’m glad I did. The Thicket is, at times, masterful in its depictions of the old West’s signature brutality. Even when it wavers under the weight of unnecessary plotlines and a messy pace, the performances elevate the material, ensuring it stands out as an above-average Western for modern audiences.

Juliette Lewis is PhenomenalWhile it was Peter Dinklage’s name and face on the poster that initially drew me in, it was Juliette Lewis as Cutthroat Bill that stood out as the surprise performance of The Thicket. She transforms into the grimy villain, all but disappearing into the role in a way that reminded me of Jennifer Jason Leigh in Tarantino’s The Hateful Eight. She speaks with a voice that sounds like she’s made a habit gargling gravel and gasoline. She brings a callousness and violence to the role that matches her surroundings.

The Western genre, by nature, is one that’s built on a stereotypical ideology of masculinity. So it’s interesting that the villain of The Thicket is a woman, and the protagonist is a little person exploring the world through lenses that go against the norm for this type of film. The inciting incident in the story occurs when Cutthroat Bill abducts Lula, Jack’s sister, played by Levon Hawke (son of Ethan Hawke and Uma Thurman). Jack then hires Reginald (Peter Dinklage), and his grave digging partner Eustace (Gbenga Akinnagbe), to help get her back.

It’s a familiar plot with fantastic performances and a perfect score. Dinklage is the star of the film, but the world and its inhabitants are crafted and believable before he ever appears on screen. Like in most of his films, Dinklage’s character is underestimated and brushed off due to his size and appearance. The manner in which he is perceived has forced him to adapt to a harsh world. His seemingly heroic actions aren’t driven by nobility or conscience but by the ten-thousand-dollar bounty on Cutthroat Bill’s head.

Not every character belongs.The movie constantly asks, “Are the good guys really all that good?” Again, this isn’t necessarily an original concept for the Western genre, but director Elliott Lester handles the idea with grace and delicacy that make the question feel genuine. With a relatively brisk runtime of 108 minutes (anything under two hours seems brisk these days), The Thicket feels too long.

This is primarily caused by the inclusion of unnecessary subplots and characters that do little to progress the central story. One such storyline centers around Jimmy Sue, a prostitute on the run, played by Leslie Grace. The introduction of her character and how she’s forced into the plot aren’t only unnecessary but are detrimental to the pacing and flow of the film.

The Thicket is worth watching for its two leads alone. Dinklage and Lewis each give fantastic performances, and the few moments they share on screen together are overflowing with palpable tension. It’s not a masterpiece dissection of Westerns like Unforgiven, but it’s in the same rodeo. If this is the caliber of film that Tubi is capable of putting out, then I’m interested to see what else they have in store.

Joshua’s Rating: 7/10Watch The Thicket in theaters today! Tubi distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE THICKET – A Compelling, yet Uneven Western appeared first on Sunshine State Cineplex.

View Details

This is the original story for anyone who has never been into Transformers yet wondered where it all started. Hence, Transformers One is a story that could only be in animation and the first theatrical animated feature in the franchise since 1986. On the planet Cybertron and far, far away from intercrossing with the human race, two miners of Energon get into some shenanigans. Transformers One turns into an adventure that unravels the story of the whole universe that encompasses the battle between Autobots and Decepticons.

Those two miners are Orion Pax (voiced by Chris Hemsworth), later to become Optimus Prime, and D-16 (voiced by Brian Tyree Henry), who becomes Megatron. There’s not much of a spoiler alert when you recognize them immediately on screen. Orion, the adventurer, against D-16, the conformer, creates havoc by taking part in the race miners should not have been in.

They show themselves as more than simple miners to impress the leader, Sentinel Prime (voiced by Jon Hamm). Thrown down to the bottom of the trash heap, almost literally, the duo encounters B-127 (voiced by Keegan-Michael Key), who is childlike and very talkative. There, they make the accidental discovery of an S.O.S message from Alpha Trion (voiced by Laurence Fishburne) from the surface of a battle that happened fifty cycles (or 3 billion years) ago.

The journey of Orion, D-16, B-127, and Elita-1 (voiced by Scarlett Johansson) moves forward towards finding the truth and thus establishing the battle between the Autobots and the Decepticons. Director Josh Cooley (Toy Story 4) creates an action-packed, roller coaster of a movie that thrills all – even for those who aren’t into the franchise. The effects from Industrial Light & Magic give an awe-inspiring look to the world of Cybertron and the epic feel of this story. Inspirations from the likes of Ben-Hur and The Matrix are felt in the very human storyline of two friends who become archenemies and the discovery of the real world rather than one that was made up.

Whatever issues with the script are, the action and the humor makes up for it. For Transformers One, it’s an excellent start in turning the franchise to an animated style in exploring their origins. The live-action films of recent years have been dry and this is a refresher which makes the franchise more interesting. It is only the beginning and with the a strong voice cast to bring youth to these characters, including Hemsworth as Optimus Prime to start the maturity leading up to what would be the great Peter Cullen’s time as the voice of Prime.

Brian’s Rating: 8/10Follow me on Twitter: @brian_cine (Cine-A-Man)Watch Transformers One in theaters September 20, 2024. Buy your tickets for Transformers One today! Please check out other Sunshine State Cineplex reviews here!The post Review: TRANSFORMERS ONE – The Ultimate Beginnings Of The Saga appeared first on Sunshine State Cineplex.

View Details

The romantic dramedy about men hitting their mid-twenties and early thirties can feel stale. However, every once in a while, a movie feels unique enough to justify playing in this sandbox. Shook, from director Amar Wala, explores the struggles of a young man finding his way as a writer. Its basic idea is simple, but that allows Wala to let his character development shape the film. At times, Shook seems too tied to its straightforward romance. Yet by the conclusion, we’ve Wala threads the needle to make Shook a more complicated tale than one might assume.

For Ashish (Saamer Usmani) – who goes by Ash – cynicism is easy to embrace. After their divorce, he’s grown angry at his parents, Vijay (Bernard White) and Nisha (Pamela Sinha). He does not believe in love, and despite meeting a young barista – Claire (Amy Forsyth) – Ash does not trust her intentions. When his father reveals a medical condition, Ash realizes he needs to change priorities. However, his core trust issues continue to stick in his mind, causing him to lash out at those who care about him.

Shook could be written off as a low-energy dramedy with a manic pixie dream girl, but Wala and co-writer Adnan Khan pull unique moments out of the story. Shook never treats Ash with kid gloves. Instead, the dramedy lets its supporting characters actively push back on Ash’s choices. His unwillingness to empathize or listen to reason puts him in direct conflict with his family and friends. They all hope for happiness, and instead, Ash often chooses the path of most resistance.

In these smaller moments, Wala and Khan explore the microaggressions those of South Asian descent often experience. This includes many jokes by white characters around recreational marijuana use and a boldness to crack jokes about South Asian culture. When Ash and his father walk into a dispensary, they’re greeted by a white man telling them about “Hindu Kush” and uttering “Namaste.” These aspects help justify the overall approach to the story and provide examples for audiences to side with Ash’s cynicism.

While Shook puts Claire in a position to empathize with Ash, it ultimately falls back on tropes essential to the “Manic Pixie Dream Girl” stereotype. She’s quirky but also cool. She can do no wrong, even if she stalks the lead because she’s genuine around him. Claire gets lit and shot in ways that evoke desire in the audience. Forsyth does her best with the role, but the foundation on the page is difficult to overcome.

However, Shook soars when we enter her more personal life. When she’s not actively on a date with Ash, the negative energy from her friend group points to some uncouth ideologies among her inner circle. This feels authentic, especially when her friends laugh about the suburb where Ash lives and disregard Claire’s interest in him as a meaningless sexual experiment. It’s a devastating moment that many in multiracial and multicultural relationships hear. Those elements soar, making the pieces of the standard relationship drama feel out of touch.

Usmani shows some charisma but is not always the best fit for the role’s comedy. Then again, Shook wants us to know Ash is too self-serious. That comes through when he’s involved in more comedic beats. Instead, Sammy Azero, Faizan Khan, and Izad Etemadi pick up the slack. Usmani excels when the dramatic beats need to hit, including a visit to the doctor with his father. It’s an imperfect performance, but the Three Body Problem and Inventing Anna actor proves capable of ensuring the emotional beats hit hard.

Additionally, there’s a lot of excellent material for White and Sinha. The veteran actors bring gravitas and frustration to their roles, even when asked to handle Ash’s arrogance. White plays into the humor. Sinha shines as the heart of the film, bringing incredible poise to a role that requires empathy. It’s an excellent performance that helps the rest of Shook feel grounded.

While some of the writing leaves Shook vulnerable, the movie’s heart and passion push through. Add some excellent shots and editing, and Wala adds more artistic flourishes to the film than many of its ilk can dream up. One hopes there’s more risk in Wala and Khan’s next collaboration, but on the whole, you can feel the personal aspects working well.

Alan’s Rating: 6/10Check out Shook at the 2024 Toronto International Film Festival. Check out our other Film Festival coverage here! Please check out other Sunshine State Cineplex reviews here!The post TIFF: SHOOK – A Portrait of a Man in Arrested Development appeared first on Sunshine State Cineplex.

View Details

During the George Floyd protests of 2020, an open discussion was held on police corruption and abuse of power. Yet moviegoers have long seen these stories play out in earnest, as they return to theaters during times of distrust in the police state apparatus. It’s no surprise that Rebel Ridge tells a story about corruption as bluntly as it does. It’s actually a huge step forward for Jeremy Saulnier, who puts his influences and the issues he wants to address in the center of his latest thriller. With a throwback feel to post-Vietnam cinema, Saulnier mints Aaron Pierre as a star.

Rebel Ridge. Aaron Pierre as Terry Richmond on the set of Rebel Ridge. Cr. Patti Perret/Netflix © 2024.Rebel Ridge wastes no time getting into it’s subject matter, with the opening of film depicting an abuse of power. Terry Richmond (Pierre) rides a bike to a small Louisiana parish. However, officers Steve Lann (Emory Cohen) and Evan Marston (David Denman) knock him off his bike using their patrol vehicle. Upon searching him, they find $30,000 dollars in cash – money meant to bail his cousin out of jail. However, when they seize the money (under “Civil Forfeiture” laws), Terry pushes back against the unjust action. This brings him an ally in law student Summer (AnnaSophia Robb) and a powerful enemy in local Chief Sandy (Don Johnson).

From the jump, Saulnier never hides the ties to 1973’s Walking Tall – a revenge action thriller about a Marine who returns home to find the sheriff ruling with an iron fist. In many ways, Rebel Ridge is a soft remake, with Pierre proving the ideal leading man for the action. However, casting Pierre alone helps update the tale for a modern era. With police overreach already taking a prominent role in the story, framing it through the lens of a black male protagonist invites in discussions around the George Floyd protests. The violence against Pierre becomes racially tinged from the very first sequence, and Rebel Ridge embraces the chance to tell the story.

Rebel Ridge. Aaron Pierre as Terry Richmond on the set of Rebel Ridge. Cr. Patti Perret/Netflix © 2024.Whether Saulnier is the ideal person to tell this story is a fair question. The racism is blunt and obvious. At times, Johnson channels the same energy from his Django Unchained performance, which only further highlights this aspect of the story. Saulnier is well equipped as a purveyor of dark stories and films, but some of the racial justice questions might be out of his reach. Then again, Rebel Ridge never leans into subtlety. It’s a brash and surface-level story that is elevated by small directorial flourishes and Pierre’s brilliant performance.

Pierre, an actor who received considerable acclaim during The Underground Railroad, finally gets the starring role he’s deserved. He not only carries his character with incredible poise, but the dignity of a soldier who does not want to partake in combat. However, Pierre does not play the man like a noble warrior. Instead, he’s incredibly aware of the violence that awaits him and his cousin. Pierre’s open fears make him a relatable and honest character we rarely get in action filmmaking. This also allows his character to shine from the beginning of the film until its conclusion.

Rebel Ridge. Aaron Pierre as Terry Richmond in Rebel Ridge. Cr. Netflix © 2024.Where Rebel Ridge loses some points is in its non-stop exposition. When it allows Pierre to pair off with Johnson or Robb, the chemistry between the actors lifts everything. Even Cohen, Denman, and Zsane Jhe bring nuance to their roles in quiet moments. It makes the blabber about police budgets, vast conspiracies, and nearly justified seizures of cash to have a morality behind them. It feels like unnecessary distractions for Rebel Ridge, in part because everything that needs to be said comes across in Saulnier’s visual approach. The tension Saulnier builds, both in heists and action set pieces, far exceed anything we get in the extra dialogue.

Rebel Ridge. (L-R) Aaron Pierre as Terry Richmond and AnnaSophia Robb as Summer McBride in Rebel Ridge. Cr. Allyson Riggs/Netflix © 2024.If you’re looking for a thriller with some panache, Rebel Ridge should satisfy that itch. It’s deeper than most crime thrillers of its ilk, and showcases Pierre as a force to be reckoned with in the future. Saulnier delivers his best film since Green Room, and reminds us why he’s one of the best genre filmmakers today. With a killer cast and plenty of twists, there’s a lot to like about Rebel Ridge.

Alan’s Rating: 8/10Watch Rebel Ridge on streaming today. Netflix distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: REBEL RIDGE – A Tale of Heinous Corruption and Unyielding Power appeared first on Sunshine State Cineplex.

View Details

Some crimes shape a nation. In the 1990s, the story of Marc Dutroux became that for Belgium, as the serial child abuser and killer shook up the justice system as they knew it. Director Fabrice Du Welz uses the horrific tale to inspire Maldoror – a new crime thriller that premiered at the Venice Film Festival. Diving into the horrors of the crimes opens one avenue for exploration. However, Du Welz opens questions about the role of the police and government in these dialogues. The result is a harrowing experience that makes highlights the erosion of public belief in a system.

Beginning in the early and mid-1990s, a young gendarmerie named Paul (Anthony Bajon) joins the local force. Early, he seems out of sorts with the local policing customs. His fiery approach lands him in hot water with his boss (Laurent Lucas) but also makes him an ideal candidate for a task force. He must observe a suspected criminal and convicted pedophile (Sergi López) after the disappearance of two young girls. The secret task force, known as “Maldoror,” becomes a dangerous obsession for Paul. At the same time, he must balance his marriage (Alba Gaïa Bellugi) and the birth of their first child.

Du Welz never pulls punches in his exploration of the human darkness. Maldoror leans directly into the corruption and self-preservation of career bureaucrats, who believe their future success has been promised to them if they do not step out of line. However, in the process of following straight protocols, some things and people slip through the cracks. Maldoror walks a contentious line between honest frustrations with the judicial system and vigilante justice being the only logical choice. However, cases like the Dutroux case should not be treated as the norm. They are outliers that make for excellent boogeymen for the arguments against bureaucratic institutions.

Instead, Maldoror makes a strong case for vigilante justice. Whether one agrees with this approach, it’s an ideology that prioritizes action to save lives. Du Welz indicates Paul wants to take action because he is confident he’s found their man. However, the real world has too many cases where a cop’s intuition resulted in false arrests or imprisonment. In this case, Paul had his man, but why about the dozens of others beaten and imprisoned for something they did not do? Wisely, Du Welz lays the blame on the corruption of police agencies rather than continuing to navigate this tricky balance.

While the two-and-a-half-hour movie burns out at times, Du Welz re-engages the audience through shocking visuals. Du Welz makes the violence impossible to shake. He channels Fincher’s Zodiac into the story, and Bajon wholly commits to his investigative mania. It’s hard to separate from other obsessive performances in recent years, and his descent into madness feels honest.

With the stakes of saving young girls and stopping a child sex trafficking ring, it’s easy to see how his work would keep him up at night. Bajon’s simmering rage makes his righteous anger feel honest. Where other characters snap at the drop of a hat, Bajon makes it clear he’s ready to lash out at a moment’s notice. His frustration with the process, and his anger for those who prioritize inaction, is palpable.

The visual palette adds to the dystopian feeling, as the concrete and plain world hides unimaginable horrors. It’s a statement about the upsetting underbelly of Western culture. It’s not a problem unique to Belgium, and the use of child trafficking rings proves there are grander conspiracies unfolding in a seemingly small-town environment.

It’s impossible to state how effective López is in the role. He shakes you to your core as you watch him approach simple situations. It’s clear there’s something off about this man, but without proof, you question what it is. Yet there’s one sequence involving popsicles and a creepy friend that will never leave my mind. López’s career of playing villains and monsters (most notably Pan’s Labyrinth) did not prepare me for the unsettling turn he delivers. He steals the movie and adds to the frustration of watching the events.

Maldoror asks big questions about policing and why we feel so powerless. It’s essential to question institutions when they fall into traps of inaction and corruption. Yet the line between bureaucracy working as it’s meant to and the active inaction of a commander is a thin line to walk. The fear of conspiracy theorists attacking homes and businesses on a mere hunch is not uncommon in America (see Pizzagate). Maldoror does not always communicate where the line is, and frankly, it should not. It’s an ongoing dialogue between who we believe to be and the honest anger towards the world around us.

Alan’s Rating: 8/10Watch Maldoror at the Venice Film Festival. Check out our other Film Festival coverage here! The post Venice: MALDOROR – An Upsetting and Visceral Police Story appeared first on Sunshine State Cineplex.

View Details

Falling through the sky feels like a nightmare for most. Yet for skydiver Joe Jennings, it’s a Tuesday afternoon. Space Cowboy – directed by Marah Strauch and Bryce Leavitt – follows Jennings on his latest project. The famed cinematographer does not want to simply jump out of planes: he wants to film a car, with people riding in it, as it plummets to the earth. The risky bet provides some extraordinary photography and opens the door for Jennings to evaluate his life.

Before choosing to launch cars out of planes, Jennings became a famed skydiver on his own. As a young man, he worked at one of the diving locations, earning money to get in as many jumps as possible. He soon met Rob Harris, a driven young diver with grand ambitions. As they became diving partners, Harris became a promising sky surfer and Jennings an expert sky cinematographer.

Their aerial routines caught the attention of the sky surfing world, netting them two world champions and minting them as breakout stars of the first X-Games (still known as the Extreme Games). Even at their peak, Jennings suffered from depression, finding himself struggling to enjoy anything other than skydiving. However, later that year, Harris passed away in a tragic accident. Working through his depression and grief, Jennings examined his life to find a way forward.

Strauch and Leavitt provide two tracks for the story. As Jennings continues to work on the car project, Space Cowboy jumps into his past. The documentary takes a somewhat formulaic route in that regard. We’ve seen the rise of extreme sports yield incredible results with this approach. Free Solo, The Dawn Wall, and Man on Wire approach their subjects through this style.

However, like Free Solo, Strauch and Levitt introduce a world rarely covered by traditional media. While Jennings received considerable attention early on, his story allows the sport’s early history to receive proper documentation. The treasure trove of footage and imagery is rarely matched by

The death of Harris became a powerful event that changed perceptions about the sport. It also stopped a pioneer from continuing to innovate and popularize the sport. Yet rather than focus on that aspect, Space Cowboy grounds this loss in unfathomable depression from Jennings. Making an abstract moment extremely personal highlights the power of this story today.

The archival footage helps frame the history of the sport and Jennings’ role in its development. These sequences highlight Jennings’ own evolution, and you can see the growth he experiences as a cinematographer as the timeline progresses. Even if you had no history of his current work, the growth is evident.

Additionally, the new footage stuns. Watching a car hit the ground at terminal velocity is a site to behold, and it also clarifies the danger of Jennings’ project. Yet while you’re in the sky, you cannot help but grow fascination with his approach. By carving the art pieces into convertibles, there’s an instant iconography at work. Using smaller cameras on the car provides unique perspectives in the instances where the footage survives the crash. The images captured in free fall are beautiful to behold, and one can imagine why Jennings spent his life devoted to such a dangerous activity.

Space Cowboy hits a few bumps in its pacing. While the format is essential to understanding Jennings’ career and approach to the Car drop project, it also means we realize a formula at work. This hurts the pacing, especially if audiences prefer one half of the story.

Space Cowboy is a fun watch, and while it stumbles, there’s plenty to latch onto. Jennings story and struggles are relatable. The visuals are stunning. One can only imagine that, in the right hands, Space Cowboy could inspire a new wave of sky diving enthusiasts and sky surfing athletes.

Alan’s Rating: 7/10Watch Space Cowboy at the Toronto Film Festival. Check out showtimes at the link and additional information about the film. Check out our other Film Festival coverage here! The post TIFF: SPACE COWBOY – Gorgeous Visual Lift a Brilliant Bio-Doc appeared first on Sunshine State Cineplex.

View Details

How we make our family has long been a question for filmmakers. Whether we join together and create life or find the people we’re meant to spend time with, the question rattles through our brains. The Ties That Bind Us (or L’Attachement) examines a tragic origin that evolves into something unique. As a family deals with its loss, it also welcomes life and new experiences into their complicated world. Director Carine Tardieu examines how tragedy can spark new ideas of what’s possible in life. The Ties That Bind Us crafts a thrilling interpersonal drama with brilliant performances throughout.

After neighbor Alex (Pio Marmaï) finds himself a widower, librarian Sandra (Valeria Bruni Tedeschi) becomes entwined with the family across the hall. Not only does Alex’s six-year-old stepson need structure, but Alex has never raised an infant. At times, Alex misplaces his feelings for Sandra as love. She rebuffs him, telling him that she does not want a family. When Alex sparks a relationship with a local doctor (Vimala Pons), Sandra must find her new place in the shifting family dynamic.

Tardieu crafts immaculate tension out of the interpersonal struggles between characters. It would be cliche for the pursuits between characters to be easy after loss, and while The Ties That Bind Us does feel saccharine at times, it maintains a healthy dose of emotional honesty. Alex is not someone to be pitied, and if anything, he often comes across as a brat. Meanwhile, Sandra must fight against what she’s told herself through life, as her empathy transforms her into something of a caregiver. The Ties That Bind Us has no easy answers for its characters, and while there are hints at the end for how things resolve, it’s ambiguous. Like life, the narrative is never as straightforward as one might hope.

The standout performance of The Ties That Bind Us comes from Tedeschi. She imbues Sandra with a strong ethos, which feels fully formed when she first appears on screen. Doing so makes her shifts throughout the movie feel earned. This is not someone simply changing their mind overnight. Instead, it’s clear that the events impact her psychology and perspective on the grander world around her. As she grows, The Ties That Bind Us grows with her.

Tedeschi also makes Sandra’s emotional reticence feel important in her journey. The screenplay provides her with many options on how to play the character, and still, Tedeschi builds a performance that jumps off the page. The subtle anger within the role pairs well with her uncertainty. She never makes Sandra one-dimensional, and how her character’s world is upended is present in every frame. If you live your life in the pursuit of a vision, only to see those priorities change overnight, you would find a person every bit as conflicted as Sandra. Tedeschi never loses control of the emotional performance, and The Ties That Bind Us needs her to succeed.

On the flip side, it became difficult to get on board with Marmaï’s performance. It’s not that he’s lacking for standout scenes. He’s the unofficial second lead of The Ties That Bind Us, but there are too many moments where he defaults to the same performance choice. He gets put through the emotional wringer arrogant but aggressive man. His emotional catharsis does not feel as integral to our enjoyment of the movie as the other actors and actresses. Given the sheer amount of screen time, the lack of charm from the role hurts the final product.

The Ties That Bind Us is thought-provoking, but some aspects of the execution do not live up to the concepts. There are a lot of ideas about how we evolve as humans, but it rarely provides a wide enough vision to process how we might feel. Instead, The Ties That Bind Us relays too much of its perspective on the audience and assumes we’ll join the ride. It’s a bit imperfect, but it still provides a solid foundation for a dramatic exercise.

Alan’s Rating: 6/10Watch The Ties That Bind Us (L’Attachement) at the Venice Fillm Festival. Check out our other Film Festival coverage here! The post Venice: THE TIES THAT BIND US – An Inquisitive Familial Relationship Drama appeared first on Sunshine State Cineplex.

View Details

In 2024, there are few more pressing issues than the separation of government officials and freedom of the press. Despite some candidates openly railing against the press and even threatening them with violence, the need for an open and accessible media environment is stronger than ever before. Bad Press – from directors Rebecca Landsberry-Baker and Joe Peeler – exposes one of the movements to silence those who question authority. In the Muscogee Nation, some pushed to strip the right to a free press from the tribe’s constitution. The resulting documentary examines why these institutions are essential to the communities they serve, now more than ever.

Throughout Bad Press, Landsberry-Baker and Peeler follow journalists Angel Ellis, Jerrad Moore, and Jason Salsman. Ellis serves as the primary figure for the camera. She serves as the primary writer for the Mvskoke Media – the only paper covering the tribe in any real capacity. There was a fight to pass The Free Press Act, which codified the importance of the press for the 100,000-member tribe. However, in 2018, the Muscogee government repealed the safety precaution. As Ellis fights to ensure her freedoms are restored, issues about bribery, corruption, and bureaucratic statis seep into the corners of the frame.

The best stories and documentaries take a small-town issue and highlight its importance on a national scale. Landsberry-Baker and Peeler do this throughout Bad Press, ensuring that no one can question the film’s relevance to their lives. Not only do they make an impassioned plea to protect the rights of the citizens within the Muscogee nation, but it’s clear that this operation stems from brash authoritarian tendencies that permeate the culture.

To this day, many fall for strawman arguments against the vague concept of “the press.” When you frame the world in such broad ways, then narratives about corruption and despicable behavior become easy to shape. However, that’s why movies like Bad Press quickly turn the tide. Throughout the documentary, Ellis pushes to expose the truth about the people running the government. Bad Press does not have to speak in vague insinuations about the role of Mvskoke Media. It can show us its impact firsthand.

Simply wanting to hold them accountable proves controversial to these officials, but watching her struggle leaves no gray area. You do not need to take Landsberry-Baker and Peeler’s word for it. A camera tells a thousand words, and their incredible footage tells us the truth. These are corrupt officials looking to maintain power for themselves instead of the greater community.

Where Bad Press might find some questions is who it is for. What seems like a clear position to take by many has clearly fallen out of favor with some people in America. This becomes a question of a situation by situation basis, as some seem unwilling to believe the press in any form.

However, at the same time, Bad Press could help make the fight for these organizations more personal. It highlights that being a journalist does not mean living a cushy life in a major city, but instead, it is often members of your own community who wish to simply inform the culture at large. One would hope this changes minds, but at the same time, some audiences might be unwilling to shift their mindset.

Ultimately, movies like Bad Press are how we ensure American values are upheld. The efforts from Mvskoke Media showcase that civic duty goes far beyond voting. Sometimes, our passions and values must meet with activism. The story of Mvskoke Media should be a warning sign to all, especially in the current political atmosphere. Without people looking out for our civil liberties, we stand a chance to lose far more in than just a free press in the years to come.

Alan’s Rating: 8/10Watch Bad Press on the Criterion Channel today. The Criterion Channel distributes the film. Please check out other Sunshine State Cineplex reviews here!Check out our full coverage of the 2023 Sundance Film Festival By Visiting Our Festival Hub! The post Review: BAD PRESS – An Integral Case Study Exposes a Media Silencing Campaign appeared first on Sunshine State Cineplex.

View Details

A few days have passed since watching Beetlejuice Beetlejuice. For better or for worse, the film’s eerie and mischievous theme is still stuck in my head. Does this speak to the undeniable staying power of an iconic franchise? Or is it a devious apparition making their presence felt once again after first being summoned 36 years ago? In any case, the Juice is loose once more and looks to replicate the success and cult status of the 1988 film Beetlejuice.

There is something uncanny about sitting in a theater, hearing Danny Elfman‘s score, and having the camera pan around a familiar setting. Displayed on the screen are familiar and new names assembled to recreate the odd yet fascinating world. The time for such summonings is now. It is an era replete with remakes, rehashes, and sequels that dominate the movie calendar.

Thirty-six years after Beetlejuice, the dastardly poltergeist is resurrected from his not-so-peaceful rest. The question is whether it is merited. Beetlejuice Beetlejuice allows for many good things to be brought back, especially Tim Burton‘s return to form. The director’s particular vision is well known. Even when dabbling in topics unconcerned with the macabre, his work is tinged with his trademark Burton-esque oddities. With Beetlejuice Beetlejuice, Burton is afforded the canvas to paint a surreal painting worthy of Dalí’s envy.

The director flirts with what’s acceptable in a PG-13 rating, challenging audiences not to be repelled by the gross-out shenanigans. Burton’s glee is evident as he formulates scene after scene filled with gothic aesthetics. From a visual standpoint, it is his most Burton-like film in years.

Gleeful, too, is Michael Keaton returning as the titular Beetlejuice. This time his foes need his help again, but of course The Ghost with The Most also has his own agenda. Revisiting the character proves to be no challenge as Keaton seamlessly fits back into the wig and makeup, making one wonder if Beetlejuice has been playing Keaton all along. The actor’s impeccable comedic timing, coupled with the ability to contort his body to fully capture every one of Beetlejuice’s herky-jerky mannerisms, continues to captivate. Keaton plays the part with confidence and swag, reminding audiences why they fell in love with the antihero in the first place.

Many returning elements of Beetlejuice Beetlejuice are met with welcome arms. Along with Burton’s vision and Keaton’s swagger, Catherine O’Hara’s returns as Delia Deetz in a hilarious supporting effort. From a technical standpoint, practical effects and make up are appreciated and the production design at the hands of Mark Scruton artfully recreates the otherworld. Elfman’s iconic score swells with adventure throughout, and as stated, will burrow into your mind. However, holding up Burton’s work is a wobbly easel, supported by too many disposable elements. Beetlejuice Beetlejuice piece de resistance is a wedding scene where all plot points converge into one phantasmagorical finale. Yet the buildup to this is strained.

Burton along with writers Seth Grahame-Smith, Alfred Gough, and Miles Millar have crafted way too many throwaway subplots in support of its main storyline. The strained relationship between Lydia Deetz (Winona Ryder) and her daughter Astrid (Jenna Ortega) as they handle grief should be the main focal point here. Yet the writers fail to properly offer any real emotional returns, opting for a haphazard resolution, not only to this but to all other semi-ideas as well.

Making matters worse, present-day Lydia Deetz is so far removed from her teenage counterpart, that she feels like a totally new character. Not properly working out the relationship details also negates Ortega the opportunity to take over the story. Her casting is welcomed and will undoubtedly bring a new set of eyes to the franchise, which makes it more surprising Astrid isn’t Beetlejuice Beetlejuice‘s focus.

Other newcomers include Monica Bellucci as Beetlejuice’s ex-lover Delores looking to exact revenge on her former beau. Other than an introduction worthy of prime Burton consideration, her arc is superfluous. Willem Dafoe joins in as an unlucky actor who thinks he is a cop. Defoe tries his darnedest to meet the quirky requirements, but the efforts mostly fall flat.

Arthur Conti as Jeremy joins the ghastly fest as a potential love interest for Astrid, while Justin Theroux wraps up the list of prominent rookies as scheming television producer, Rory. Conti’s involvement seems to be included for young audiences to relate to while Theroux mostly provides laughs, but Rory’s and Jeremy’s routes also ultimately land in the hellscape for the unnecessary.

Beetlejuice Beetlejuice offers plenty for diehard fans to be excited for. Early box office predictions for the film’s opening weekend indicate that audiences are indeed eager to experience the new Beetlejuice adventure. This undoubtedly speaks to the characters’ everlasting appeal. Unfortunately, despite Burton and Keaton’s efforts to make this a vivacious experience, the hollow story makes this sequel dead on arrival. What is merited is a moment of silence for a dearly departed franchise. That is only until Beetlejuice is resurrected once more for the inevitable sequel: Beetlejuice Beetlejuice Beetleju…

Borja’s Rating: 5.5/10Watch Beetlejuice Beetlejuice in theaters September 6, 2024. Warner Bros. distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: BEETLEJUICE BEETLEJUICE – Burton and Keaton’s Revival End Up Flatlining appeared first on Sunshine State Cineplex.

View Details

Few directors were instantly iconic to a generation of Gen X and Millennials like Tim Burton. He introduced a generation to goth couture and the color black. Yet Burton’s eccentricities became a blessing and a curse. He takes criticism hard. He trusts fewer, resulting in long-running collaborations spanning decades. He loves diverse genres but does not always understand their nuances. It’s a challenging and long filmography, but we’re here to do our best to rank his impressive resume. Before we get to that, let’s quickly highlight the highs and lows of Beetlejuice Beetlejuice.

Beetlejuice Beetlejuice ReviewWhen nostalgia plays into the text of a sequel, there are many ways that storytelling can go sideways. Changes around the story, the perception of actors, or even the reputation of the directors can all change overnight. In the case of Beetlejuice Beetlejuice, issues surrounding the cast of the original were undeniably on Burton’s mind. The result is something of a hodgepodge experience. Exorbitant cameos and nods to the original movie test the audience’s patience. At the same time, it takes big risks worthy of celebration.

Beetlejuice Beetlejuice brings Lydia Deetz (Winona Ryder) back to Winter River after her father’s death. A celebrity medium, Lydia feels disenchanted with the world and still sees ghosts. She’s joined by stepmother Deelia (Catherine O’Hara), partner Rory (Justin Theroux), and her estranged daughter Astrid (Jenna Ortega). Upon her return, all eyes shift to Lydia, including those of her former foe Betelgeuse/Beetlejuice (Michael Keaton). When Astrid finds herself in trouble, Lydia must join forces with Beetlejuice to save her daughter.

When Beetlejuice Beetlejuice jumps into the afterlife, Burton showcases his visual talents in ways we have not seen since Frankenweenie. It looks far better than Wednesday, highlighting why so many fell in love with his craft. Burton thrives at the visual storytelling with practical effects, but obvious CG effects look galling compared to the tactile world.

At the same time, Burton seems lost at sea in the real world. Beetlejuice Beetlejuice looks flat. There’s almost no dynamic framing or storytelling during these scenes. Unless a ghost is actively haunting Lydia, the movie becomes fairly dull. The split between real-world and afterlife is thankfully 30/70, but for a movie that’s barely over 100 minutes, these sequences are rough.

Additionally, the story is shockingly thin. It’s the Keaton show and he dominates the film once again with his charisma. The cartoonish prop-comedy of his larger-than-life persona is still fully engaged, and he’s undeniably showcasing his superstardom. While too many gags have been given away by trailers, Keaton still has a few tricks up his sleeve. Willem Dafoe and O’Hara also shine, both of whom seem set to simply add humor.

Meanwhile, Burton dropped the ball on Lydia and Astrid. Both are shockingly thin characters, a far cry from Winona’s iconic performance in the first film. It’s perhaps the most frustrating aspect of the movie as a whole, given the response to her was so big that they launched an animated series with her as a key character.

One could argue that Burton sees himself as the Lydia figure – a former cool creative who lost their way in the corporatization of life. However, that’s where the similarities seem to end, and there’s not enough heft given to that plot element. Instead, we must wrestle with Lydia and Astrid’s relationship with Lydia’s deceased husband (who died before the movie begins, causing their estrangement).

Finally, the antagonists feel inconsequential to the plot, serving as mere plot beats so that Beetlejuice does not always occupy the villain role. However, we’ve all seen Beetlejuice, making this an odd attempt at hiding the ball. We know that he’s going to try some poltergeist antics, and rather than let us live in that aspect (which made the first movie so good), Beetlejuice Beetlejuice tries to soften his villainy.

For many, Beetlejuice Beetlejuice will serve as an enjoyable experience. However, its mid-tier Tim Burton rarely rises to the heights of good franchise filmmaking. Like other nostalgia plays, this will find its audience, but it’s unlikely to maintain its fans after a few years. It makes Burton’s return feel far less impactful than we hoped.

Alan’s Rating: 5/10The Tim Burton RankingAs we will undeniably hear, there might be some confusion as to why Tim Burton’s The Nightmare Before Christmas is not on the list. The answer is simple—it was not directed by Burton but by Henry Selick (Coraline, James and the Giant Peach, Wendell & Wild). Although Burton produced and came up with the story, Nightmare was directed by Henry Sellick. As a result, it is not included on this list.

20. Alice in Wonderland (2010)One of Burton’s most disastrous outings was also his most profitable. Before Disney had run “the live-action remake” bit into the ground, the idea to hand a franchise to an established director made sense. Sadly, Alice in Wonderland looks atrocious; its performances are almost unintelligible, and it cannot decide what’s wrong with The Mad Hatter (Johnny Depp). Like many before me, I cannot excuse the Futterwacken. Also, Depp vacillates between a lonely boy trope he’d explored in far greater depth and a vengeful monster. Not the best look for him in 2024.

Rating: 1/1019. Planet of the Apes (2001)An empty void of the movie, but Rick Baker’s incredible makeup effects lift it above Wonderland. Like Alice, it has almost no vision in its direction or interpretation of beloved source material beyond aesthetics. That’s simply not enough. For whatever reason, Burton cast Wahlberg, and the movie unravels from there. Enough good performances in the supporting ranks lift this slightly above Alice, especially Tim Roth and Paul Giamatti. However, this is still a very bad movie.

Rating: 1/1018. Dark Shadows (2012)There’s little reason to hate Dark Shadows. It’s just kind of empty. It’s clearly a passion project for Depp, who dives into the role. However, Burton’s direction is listless, and his lack of passion comes through the screen. We dropped it below Burton’s more personal movies, especially when a significant piece of Dark Shadows is Johnny Depp beating a woman as its comedy.

Rating: 2/1017. Miss Peregrine’s Home for Peculiar Children (2016)It actually feels like a parody that he made this movie. Unfortunately, Miss Peregrine’s Home for Peculiar Children still feels like Burton is attempting to recapture the acclaim of his early career. However, he’s run out of ways to examine his outsider status. Burton’s long trafficked in exploring his oddities from normal society, but here, it comes across as repetitive. The cast is fine, and Eva Green does her Eva Green thing (a compliment, to be clear). However, poor storytelling and too many predictable beats make this a frustrating miss.

Rating: 3/1016. Charlie and the Chocolate Factory (2005)Especially in the aftermath of Wonka, Charlie and the Chocolate Factory feels like an inferior approach. Depp was on top of the world, and his take – playing Wonka like a Michael Jackson figure – feels like a time capsule. However, it also caused Burton to treat this more like an acting exercise than a cohesive film. The bad CG has only aged worse, but at least Deep Roy got paid. Great for him.

Rating: 3/1015. Corpse Bride (2005)Burton’s long-awaited follow-up to The Nightmare Before Christmas resulted in a surprisingly flat stop-motion flick. The Depp character works here, and Helena Bonham Carter’s titular character is quite good. However, the music is rough, if not outright bad. Additionally, the animation feels like a step down after Nightmare*. This would improve significantly with Frankenweenie. There are certainly Corpse Bride* defenders out there. It’s just very clearly in third place among the stop-motion movies Burton would help create.

Rating: 4/1014. Big Eyes (2014)A surprisingly great turn from Christoph Waltzgives Big Eyes the energy you’d want from a Burton biopic. Written by Scott Alexander and Larry Kareszewski, Big Eyes hopes lightning will strike twice. However, it comes up short, mostly because of pacing. The film’s structure is fine, but too many scenes go on for too long. Big Eyes also misallocates how to spend its time on other plot points. It feels like Amy Adams gets the short shrift in most of the movie, but her passivity feels like a burden on the movie.

Rating: 5/1013. Beetlejuice Beetlejuice (2024)As mentioned above, Burton’s return to practical effects brings enough joy to help many overcome many frustrations. Keaton’s performance leads the way, but some frustrating choices for Ryder and Ortega drag it down a bit. This one had to lie on Burton because there’s enough here to make it a top-half movie. Unfortunately, poor story management ends its rise up the charts.

Rating: 5/1012. Frankenweenie (2012)A story about a boy bringing his dog back from the dead is shockingly poor at delivering emotion. This mostly comes from poor ADR and character development for Victor (Charlie Tahan). Aside from the early action to bring back Sparky, the screenplay makes him shockingly passive. The other issue facing Frankenweenie (2012) is how good Frankenweenie (1984) remains. The short allows Burton to showcase his feelings and establish a voice. The new one does not, and the thin story becomes frustrating. At the same time, visually, Frankenweenie (2012) is a masterclass in homage. It’s absolutely gorgeous and looks better than most animated films a decade later.

Rating: 6/1011. Sweeney Todd: The Demon Barber of Fleet Street (2007)A few changes, including the bizarre choice to drop “The Ballad of Sweeney Todd,” puts the 2007 movie in an odd place. It’s undeniably one of Burton’s most intricate visual displays. The production design, makeup, and costumes are all top-notch. Depp is in his element. Bonham-Carter? Not quite as much. Unfortunately, there’s a lackluster energy in his musical, which again may stem from cutting the first important song of the show. Sweeney Todd is a serviceable movie, but it’s easy to imagine a remake in the years ahead.

Rating: 6/1010. Dumbo (2019)Say what you will about the Alice in Wonderland live-action remake. Burton brought his all on Dumbo. Reuniting with DeVito, Keaton, and Green makes this a family affair. However, Keaton very much feels like an evil Walt Disney. His constant push to destroy smaller creative acts to further a literal theme park might be the most subversive movie about Disney, put out by Disney, since Who Framed Roger Rabbit. I’d be lying if I said Dumbo’s first flight didn’t bring a tear to my eye. It’s truly magical storytelling from Burton with an edge he’s sorely missed.

Rating: 7/109. Mars Attacks (1996)A wild experience with more humor than it even realized at the time. Mars Attacks aged incredibly, despite the massive amount of CGI. It’s not only a love letter to 1950s Sci-Fi, but it’s excellent as parody. With the proliferation of news outlets and governments assuming that bad actors are acting in good faith, Mars Attacks feels like a prophetic tale. The ensemble is also great and Jim Brown rules.

Rating: 7/108. Big Fish (2003)My sensitive side wants to put Big Fish higher. However, we’re entering the masterworks of his career, leaving this just below the threshold. This should have been Burton’s date with the Oscars, and to this day, it’s a marvelous movie about the stories we tell ourselves. It’s about imperfect men coming to grips with the imperfections of society. It’s a love story, yes, but it’s also about finding a way to stand on your own two feet. Albert Finney astonishes, and McGreggor is captivating. An underappreciated gem that only loses itself because the modern-day son (Billy Crudup) is kind of a tool.

Rating: 8/107. Sleep Hollow (1999)One of Burton’s most effective ghost stories, Sleepy Hollow, came around at the perfect time. One part steam punk, one part New England folktale, and one part mystery, this is a masterclass in style. However, Burton is also in total control of tone and pacing. It’s not shaggy at all. Getting Depp to clip-clop around a hall-of-fame class of British thespian actors is quite humorous. Burton also nails Icabod Crane’s fear and self-loathing. It’s a special picture and might have the best cinematography of any movie in his career (thanks to Emmanuel Lubeski).

Rating: 8/106. Pee Wee’s Big Adventure (1985)It’s easy to forget that Burton came out of the gate with a comedic masterpiece. Yes, a lot of credit has to go to Paul Reubens, who, of course, continued to collaborate in years to follow. However, Burton adds a screwball comedy visual palette, providing perfect blocking for hundreds of visual gags. It’s a perfect road-trip comedy, a perfect character comedy, and absurdly subversive for a character that would later host a kid’s TV show. It’s simply too good to ignore. Pee Wee’s Big Adventure easily earns a place in the funniest movies of the 1980s.

Rating: 9/105. Batman (1989)This is where the rubber hits the road. Burton soars into mainstream culture on the back of Batman. Keaton establishes himself as a generational superstar. Kim Basinger is excellent, and Jack Nicholson steals the movie as The Joker. It’s a beautiful Gotham, but Burton would show more visual panache in Returns. The real weak link of Batman comes in the form of Robert Wuhl, who gets way too much screen time and stops the movie dead in its tracks. When you’re trying to justify why a masterpiece doesn’t reach number 1, it comes down to the small things.

Rating: 9/104. Edward Scissorhands (1991)Burton never felt more like an outsider than when he lived in suburbia. Taking to Florida’s suburbs, Burton crafted an incredible vision of Americana gone wrong. A brilliant performance from Depp lifts Edward Scissorhands as one of his most emotional films. Dianne Wiest, Alan Arkin, Winona Ryder, Anthony Michael Hall, and Vincent Price are all astounding. The fairy tale ultimately becomes its pinnacle aspiration, where the three to come get just enough juice to outlast Edward Scissorhands.

Rating: 9/103. Batman Returns (1992)The downright horniest movie in Burton’s filmography is one of the best comic book movies ever made. It’s dripping with visual style in every frame. Walken’s sociopathic quest for domination is brilliantly positioned next to DeVito and Michelle Pfeiffer. Keaton bides his time as his villains take center stage for most of the movie. DeVito was a bold choice in the early 1990s, and it paid off in spades. Pfeiffer delivers one of the greatest comic book performances ever. Burton rails against corporations, money, and greed, all while creating a lush-inspiring tale. It’s a showcase of visual, emotional, and storytelling while clearly showing Burton’s auteurist approach. We wish superhero movies were this strange in 2024.

Rating: 9/102. Beetlejuice (1988)What more can be said about the greatest horror-comedy outside the Evil Dead movies? Keaton should have been Oscar-nominated. Geena Davis and Alec Baldwin are phenomenal as a couple who die and are forced to live with the Deetz family moving into their house. The visuals are revolutionary. The dark humor, including bloody corpses and suicide, recalls the bet of Harold & Maude. The makeup astounds, rightly leading to an Oscar win there. It’s a nearly perfect film in every way, and Beetlejuice only misses the top spot because of Burton’s opus.

Rating: 10/101. Ed Wood (1994)Other than Edward Scissorhands, Burton has yet to make a more a more personal film. However, Ed Wood gets just enough out of the style and comedy to surpass the rest of his field, including an all-time great performance. A perfect biopic, Ed Wood follows titular director – known as the worst director of all-time – as he makes a series of films through the 1950s. It culminates in the release of Plan 9 From Outer Space, widely regarded as the worst film ever made.

This seems like futile ground for a comedy. Yet Burton imbues the story with passion and heart. Friendships break and reform. Ed Wood proves extremely progressive for its era, diving into Wood’s penchant for cross-dressing and trans narratives. The movie is about found family and the joy that it brings despite the horrors they would endure. At the same time, Wood makes a legacy in Hollywood. Burton questions how his unique perspectives and outsider status allowed him to be famous while Wood struggled. Burton puts his soul into delivering a facsimile of Wood’s own films, and the movie soars. Add in Landau’s towering performance as Bela Lugosi, and Ed Wood becomes Burton’s true masterpiece.

Rating: 10/10Watch Beetlejuice Beetlejuice in theaters September 6, 2024. Warner Brothers distributes. Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post A Tim Burton Ranking and BEETLEJUICE BEETLEJUICE Review appeared first on Sunshine State Cineplex.

View Details

Few moments in pop culture history were as seismic as The Beatles’ coming to Shea Stadium. However, August 1965 was also a time of change throughout the massive city. New York City was very much involved in the Civil Rights movement and spawned new ideas about the ongoing sexual revolution. TWST, a new documentary about that fateful day, hopes to shed light on ideas and change brewing on that fateful day. Director Andrei Ujica creates a stunning work of art, combining archival footage, personal diaries, animation, and narration to provide a broader sense of the moment. TWST shines as a result, despite a frustrating final act.

Twst hopes to reframe August 15, 1965, with additional context. Using almost no narration for the first half of TWST, providing a patient portrait of New York. Named after the McCartney/Lennon song “Things We Said Today” on A Hard Day’s Night, TWST quickly adds new layers to the tale. As it expands away from The Beatles, it includes footage of The Watts Riots and the tail end of the 1964 World’s Fair in Queens. These events get some narration, provided primarily through the lens of the excited teens who would come to embody “Beatlesmania” in pop culture history.

Ujica combines more than 100 hours of news footage to provide the majority of the context. The reports set the tone and the context, especially while interviewing those in New York about the Watts Riots. The famed events occurred in Los Angeles, not New York, but interviews with Black and African-American people of New York show the tension was still very much top of mind. This footage is cleaned up and appears almost modern, which is stunning to behold. It also makes the brutality clear and forces the audience to live in the horrifying images of Civil Rights while others live in bliss.

Additionally, color photography is introduced with 8 mm home videos. Like The Wizard of Oz, it instantly makes the world feel larger and more grandiose than the hour before. It also forces you to confront the socioeconomic differences in New York. The Watts Riots were only told through black and white footage. The white-dominated suburbs get to see the colorful world in ways that the inner city cannot.

There are two key narratives in Twst weave their way through the story. While both work to expand the scope of the documentary, the narration appears fictionalized. The first is Geoffrey O’Brien – whose real career spanned more than four decades for many of New York’s biggest publications. He helps introduce the Watts riots into the story and focuses on issues plaguing America. The second narrator is another writer – Judith Kristen – who attended the concert as a teen. Kristen would eventually go on and write a novel My Date with a Beatle (about her real-life date with George Harrison).

While these perspectives help ground us, they also break the spell TWST crafts over the first forty minutes. I found it an intoxicating and experiential film throughout, but without the narration, it casts quite a spell. When the narration comes through, it creates an impression that Ujica does not fully trust the audience to follow the direction he leans. The animation, partly because it’s limited and partly because it resembles sketches, is far more effective than the narration.

TWST – Things We Said Today provides a beautiful portrait of a city changing before our very eyes. Few cities or cultures could sustain Ujica’s approach toward his subject, but if he pushed a little further, it might be a transformative film. TWST more than delivers a powerful examination of the moment, and it’s an excellent use of experimental filmmaking.

Alan’s Rating: 7/10Watch TWST – Things We Said Today at the Venice Film Festival. Keep up with its release at IMDB. Check out our other Film Festival coverage here! The post Venice: TWST – Things We Said Today — A Pulsing Portrait of an Evolving City (and Beatlemania) appeared first on Sunshine State Cineplex.

View Details

The rise of far-right extremism across the world has not been quiet. Social media has amplified their voices as they become open with their disdain. While they were once in the shadows, stories like Familia have become common. Director Francesco Costabile follows the story of a young man pulled into the life of extremism. The ways his actions reverberate through his love and family life pave the way for stunning emotional honesty.

As a child, Luigi – known as Gi (Francesco Gheghi) – and Alessandro (Marco Cicalese) live in an abusive home. Their feather, Franco (Francesco Di Leva), hurts their mother, Licia (Barbara Ronchi). Franco pushes his toxic mindset on his children until Licia has the police step in. However, doing so causes their family to be separated from the Italian foster system. Years later, Gi falls in with far-right extremists and finds himself in prison. Franco returns to rekindle a relationship. When Gi comes home, Franco comes back into the family picture.

Costabile approaches the material with open eyes. At no point does she lean into forgiveness for his characters that initiate and further violence. This includes Gi, who actively harms people he loves in ways that are just as troubling as those he hates. Despite this, Costabile creates moments of empathy for Familia’s most upsetting individuals. This allows Familia to address the issues of toxic masculinity in culture but also ensures characters do not get a pass for how they’re shaped by it. Personal responsibility for violence and the ability to stop its cyclical nature is placed on those characters.

Costabile allows her far-right fascists to be more than just an ideology. At one point, one of Gi’s friends laments that dads are seemingly invented to traumatize their loved ones. It’s a sympathetic portrait that is quickly broken when said fascist leads a gang-related act of violence. Costabile creates this recurring formula throughout Familia, eventually degrading its value. At the same time, it’s an effective way to ensure we have no questions who has been morally corrupted. It’s one thing to grow frustrated by those events in our lives. It’s another to continue the hatred and violence.

The performance from Gheghi stands out. It’s not only an incredible portrait of rage, but he’s scary to watch. During a scene at a carnival, his piercing eyes cut through the night and intimidate the hell out of the audience. Gheghi shows a side of malice that seeps into people harmed by domestic violence. The performance brings a live-wire energy that’s nearly impossible to duplicate.

Additionally, Ronchi’s turn is a harrowing portrait of self-doubt. When abuse occurs, it’s easy to think poorly of oneself. However, her performance embodies the emotional and physical destruction of one’s soul. As a broken woman looking to guide her son to a better life, she mistakenly believes that bringing Franco back into their life will provide him guidance. Familia relies on Ronchi’s performance to make us believe in Franco’s change of heart. However, by the time she realizes Franco has simply hidden his violence, it’s too late. In Familia, Ronchi brings unique shades of hope, fear, and anger to a woman hoping to find peace.

A complicated human drama of a family navigating the aftermath of abuse, Famlia proves an emotional challenge. With an exploration of how we turn towards extremism, Costabile pulls apart difficult family dynamics in the process. There’s a grace and sadness across Familia that makes it an important story in 2024, and a strong adaptation of the novel.

Alan’s Rating: 7/10Watch Famlia at the 2024 Venice Film Festival. Please check out other Sunshine State Cineplex reviews here!Check out our other Film Festival coverage here! The post Venice: FAMILIA – The Horrors of Extremism Become Tangible appeared first on Sunshine State Cineplex.

View Details

While there’s a slight missed opportunity to introduce some Epic Universe characters, we’re more than thrilled to bring The Bride. She soared at Halloween Horror Nights 2021, and now she’s got some people to join the team. Universal Monsters: Eternal Bloodlines can just as easily become another fan favorite from the franchise. It gets to christen a new pop tent to boot.

With some new lore and more awesome monsters, we’ve loved how HHN has made them a mainstay. The real question with the house this year is the same that haunts Goblin’s Feast: is the walk going to kill us? I mean we’ll be fine, but get ready for the talking point.

This iteration of the Universal Bride of Frankenstein first appeared at HHN 30 in 2020/2021.Universal Monsters: Eternal Bloodlines House Description Get caught in an epic battle as Saskia Van Helsing and the Bride of Frankenstein go up against Dracula’s daughter and her monstrous mavens.

Expected Wait Times – (Peaks after Nightmare Fuel)Weekdays

35-80 minutes

Weekends

50-100 minutes

Location: Between Men in Black: Alien Attack and Nightmare Fuel stage.

We won’t see Abigail from the 2024 vampire hit, but a different version of Dracula’s Daughter will be the primary antagonist of Eternal Bloodlines. Characters and Scenes We Want to SeeCharactersSasika Van Helsing – The leading lady of this year’s monsters is actually a monster hunter. Seems legit as heck, and the character design is rad as hell. If she can live up to the family legacy and forge bonds with The Bride, we’re in for a treat.

The Bride of Frankenstein – Her return to Halloween Horror Nights is not unexpected. She’s not only a fan favorite, but her redesign is still one of the best choices they’ve made in recent years. Armed to the teeth, she’s set to take down some baddies and put the vamps back in their place.

Dracula’s Daughter – It seems the rumors of an Abigail house were a little premature, but I guess her unofficial sister is ready to wreak havoc. If she populates a nice little hoard, it’ll be even tougher for Sasika and Bride to end her coven.

Invisible Woman – One of the best sequels of the horror icons is the slapstick comedy about an invisible woman. Not gonna lie, it’s not even remotely scary. Still, this concept would be really fun in the house, especially after the phenomenal Invisible Man last year.

A Wolf Woman – We do not often see women werewolves, but they have definitely been great in the past. Ginger Snaps and Trick ‘r Treat just scratch the surface. There’s a lot to like about the idea, but we’ve got to see the character design. Really important to see how they adapt with the non-traditional Bride and Van Helsing. Also, the full moon on the poster feels pretty intentional.

Lady Creature – I’ll be honest, I’m not really sure how you’d make this different. However, Creature turned 75 this year, so it’s already a frustrating mistake that they didn’t invite him to the party. Maybe giving his lady friend some time in the spotlight would make up for it.

A True Mummy – Okay, we own this is a terrible pun. That said, the titular Mummy in the Tom Cruise version was Ahmanet – played by Sofia Boutella. I doubt they return this exact character, but a new Mummy for this universe would be nice.

LocationsA Castle – Honestly I know this is boring, but it seems like we rolling up to Transylvania. Details have been pretty light on the house itself, and with the characters taking center stage, that’s a good thing. Most of Bride of Frankenstein Lives was based in a castle, so this is more about how they use the transition room and effects. Again, very character-focused.

Specialty Food and DrinksFoodIn the Fog Fish ‘n Chip – crispy beer battered cod nuggets, malt vinegar aioli and pub fries – $16.99

Forbidden Falafel – crispy falafel with tomato cucumber salad and tzatziki, inside a warm pita – $10.99

The Bride’s Cake – chocolate coated three-tier vanilla cake with raspberry jam – $6.99

DrinksSarcophagus Spiced Cider – Cuervo® Tradicional® Blanco tequila, New Amsterdam®vodka, Liquid Alchemist® Tamarindo syrup, lime and orange juices

20 oz. Souvenir Cup $17.50

12 oz. Single Serve $13.50

Refill $13.50

Sofia Boutella starred as as The Mummy in 2017. Considering they still show clips in Horror Make-up Show, it would be weird if a woman Mummy missed out on Eternal Bloodlines. Hype/Projection Rankings:* Scares – 4/10 * Character Variation – 7/10 * Comedy – 3/10 * Set Design – 7/10 * Wait Time vs. Value – 6/10

UNIVERSAL MONSTERS: ETERNAL BLOODLINES Ranking Projection – 5th place (out of 10)

Watch some Universal Monster adjacent movies on Peacock! Hats off to Abigail and Lisa Frankenstein. We will update with additional monsters that appear in Eternal Bloodlines.

Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN 2024 Prep: UNIVERSAL MONSTERS: ETERNAL BLOODLINES – It’s a Fearinomenon appeared first on Sunshine State Cineplex.

View Details

In 2023, I was lucky enough to attend Halloween Horror Nights in Hollywood. After years of hearing it was an inferior event, my expectations were low. However, after a few houses, it was clear the East Coast bias was real. Nothing made this more obvious than Monstruos: The Monsters of Latin America. The terrifying experience rattled me to my core. It was so good that we immediately jumped back in line (it helped that it was literally a 5-minute wait early in the night).

From creature design to aesthetics, Monstruos became an instant favorite. When it was announced it would make its way to Orlando, my hype grew. Out of the French Courtyard house setting, Orlando could reach even greater heights. This house will benefit from the shared experience of both coasts, and we get an excellent chance to show just how great West Coast houses can be adapted for our parks.

Monstruos: The Monsters of Latin America House Description¡Ten cuidado! With La Muerte as your guide, try to survive the night with three terrifying legends: Tlahuelpuchi, La Lechuza and El Silbón.

Characters La Muerte – The “host” is used to lure guests into the house, La Muerte is a relatively standard depiction of Death. That said, the scareactors in Cali were willing to make it uncomfortable with his sickle. There’s a lot the guide can do to unnerve you. Fingers crossed that it’s not just a mask character this year.

Tlahuelpuchi – The first creature in Hollywood’s house. There’s a lot of folklore about shapeshifters who often took the form of birds to sneak into houses. Then Tlahuelpuchi eats the children it can find. Yeah, we’ll say that’s unnerving and we know Halloween Horror Nights is not above killing children (because we saw it last year). An early scary character with some brilliant design for Monstruos to get off on the right foot.

La Lechuza – When you think of La Laechuza, imagine an owl. This witch often appears as a hybrid between traditional witch lore and a giant screaming terror. Legends told of a seven-foot tall owl with wingspans at least twice that. There were some excellent scares from La Lechuza last year, and we expect the same this time out.

El Silbón – A real bone daddy, El Silbón literally carries the remains of his victims across the countryside in a bag. Think of it like a twisted Santa Claus who loves to whistle. Expect some real messed up dreams from seeing this dude.

5 Latin American Horror Films To Check OutIn lieu of an IP drop, Monstruos: The Monsters of Latin America inspired us to highlight some of the best horror movies from Latin American countries. Check these out below. These movies are available on various streaming platforms (namely Shudder).

The Wolf House – Directed by Cristobal León & Joaquín CociñaA stop-motion animated film from Chile, The Wolf House is a chilling depiction of indoctrination. Framed as a story within a story, the young protagonist tries to escape the violence of autocrats, only to find herself vulnerable to the harsher world. It is only when a wolf helps her that she gains her power, but in this case, the wolf is standing in for the violent ruler Pinochet. It’s dark and a bit depressing, but it’s also one of the most visually unique films of the last decade.

La Llorna – Directed by Jayro BustamanteDo not confuse this movie for the terrible Conjuring universe flick. This La Llorna covers genocide and some dark magic and very nearly got nominated for an Oscar. It’s a slow burn and artistic experience, but it’s also a stunning feature of an era in Guatemala most people do not know about. In many ways, it’s a perfect companion film to the Monstruos house.

Tigers Are Not Afraid – Directed by Issa LópezBlending magical realism that helped directors like Guillermo Del Toro break into the mainstream and an honest depiction of crime, Tigers Are Not Afraid is a surreal ghost story with plenty of real-world scares and mythical ones. This one is pretty dark, so know that going in. We’ll see some magical realism, so this is a great flick if you dig the Monstuos vibe.

When Evil Lurks – Demián RugnaIt’s genuinely one of the most vile and disgusting movies you’ll ever watch. Just trust us; it’s worth the time, and we don’t want to go much further into it. Just enjoy the incredible makeup effects.

Terrified – Directed by Demián RugnaFunny enough, many people have compared Terrified to Insidious. It has lots of supernatural vibes and some genuinely beautiful creature effects, and it even won Fantastic Fest when it premiered. It’s so good that even Guillermo Del Toro has thought about remaking it.

Specialty Food and DrinksFood Heart “Beet” Toastada – red beet tartare with hummus, vegan feta and watercress on a crispy tortilla — $7.49

Spinal Column Pinchos – grilled chicken tenders with red chimichurri – $10.99

Pork Carniceria – slow roasted mojo pork, mole sauce, tortilla – $8.99

Chocolate Tres Leches – milk soaked chocolate cake with whipped topping and canela – $5.99

DrinkDepredadora – Misguided Spirits® Silver rum, Cappelletti ‘Mazzura’ Aperitivo, mango syrup, pineapple and lime juices, Disco Inferno® bitters and pomegranate seeds

20 oz. Souvenir Cup $17.50

12 oz. Single Serve $13.50

Refill $13.50

Hype/Projection Rankings:* Scares – 10/10 * Character Variation – 8/10 * Comedy – 2/10 * Set Design – 8/10 * Wait Time vs. Value – 7/10

Monstruos: The Monsters of Latin America Ranking Projection – 1st place (out of 10)

Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN 2024 Prep: MONSTRUOS: THE MONSTERS OF LATIN AMERICA – Creepy Creatures Rule appeared first on Sunshine State Cineplex.

View Details

The Elves have their Rings, and they’ve already extended their stay in Middle-Earth. However, Sauron makes his move, seemingly getting to Celebrimbor before news of his identity reaches the city of Eregion. After going missing for an episode, the Dwarves are brought back into the adventure. “Where the Stars Are Strange” allows The Rings of Power to take some big steps forward in the history of Middle-Earth. The stakes of the season are becoming clear. “Where the Stars Are Strange” is directed by Charlotte Brändström & Louise Hooper. It is written by Helen Shang.

Morfydd Clark as Galadriel; Benjamin Walker as High King Gil-galad in “When the Stars are Strange.”“Where the Stars Are Strange” – The RecapAs Mount Doom erupts, the tendrils and ill will from Mordor spread through the lands. In Khazad-dûm, Durin the Younger (Owain Arthur) and Princess Disa (Sophia Nomvete) shop in the market. As Durin rants about his father’s stubbornness, Disa predicts an Earthquake. The mountain shifts, and soon Khazad-dûm descends into darkness.

In Lindon, Galadriel (Morfydd Clark) prays at her brother’s gravesite. She is joined by Celebrimbor (Charles Edwards), who informs her that he’s had a visitor. The world around her darkens as Galadriel realizes he means Sauron. Lindon’s plants capture Celebrimbor and kill him, making him a gravesite like her brother. As he dies, he rants about seven more Rings. He blames his death on Galadriel.

She awakens in a meeting discussing Sauron’s most recent movement into Mordor. Celebrimbor’s “Death” was a vision. Gil-Galad realizes that Galadriel has been gifted sight of some kind and dismisses the room. While Gil-Galad knows that Sauron is alone and without armies, Galadriel worries that Sauron will construct more Rings. She admits she has glimpsed “the unseen world” since wearing the Ring, and Gil-Galad admits the same. When Galadriel wishes to hunt him, Gil-Galad reminds her that “The Deceiver” can literally warp realities for those he ensnares. She cannot face him alone and asks for someone to accompany her.

Charles Edwards as Celebrimbor, Amelia Kenworhty as Mirdania in “When the Stars are Strange.” In Eregion, Mirdania (Amelia Kenworhty) tells Halbrand that Celebrimbor cannot see him. Halbrand realizes they’re asking him to leave, but he refuses. As she leaves, Mirdania notices wounds on his back. She relays the information to Celebrimbor, who tells her to leave him. In the woods, corpses of elves – including the messenger with the news about Halbrand’s identity, are dragged away. He is dead, and the news never reached Celebrimbor.

In Rhûn, the rider approaches a stronghold in the desert mountains. There, witches and a wizard perform dark magic, including a bloodletting ceremony. The ritual causes bugs to seemingly create another being from The White Wings. The Dweller (Bridie Sisson) has returned and brings news of Sauron to the “Dark Wizard” (Ciarán Hinds). He asks her about “The Istar” – or as we know him “The Stranger.” He wishes to reach The Stranger before he harnesses his powers. The tracker – Brânk(Yasen Zates Atour) – promises to capture the Istar. The masked man will kill the halflings if he does not surrender.

Ciarán Hinds as the “Dark Wizard” in “Where the Stars are Strange.”The Stranger (Daniel Weyman), Nori (Markella Kavenagh), and Poppy (Megan Richards) guess his true name. He will know when he hears it, and their many guesses do not feel right. Nori promises him they’ll discover it. Poppy finds a shortcut for their journey, which will take them across a barren desert. They choose to stay on the longer path. They continue to find it difficult to forage for food, but they hear the trackers approaching. They take cover and realize they’ll have to take the desert path to avoid detection.

Khazad-dûm struggles in the aftermath of the earthquake. As some dwarves gossip, Princess Disa attends a meeting with King Durin III (Peter Mullen). Narvi (Kevin Eldon), one of the architects of Moria, explains that the earthquakes have stopped their ability to grow crops without sunlight. The dig teams could reopen the caved-in paths, and they need stone singers like Disa to provide the path. However, when they try to sing, the mountain does not provide them a safe place to dig. The King asks Disa to stay back, and the two fight bicker about the Durins fighting. She tells Durin III to summon Durin the Younger to apologize.

Peter Mullan as King Durin III in Where the Stars are Strange.Meanwhile, Durin the Younger works with the dig teams, where the miners razz him for living a privileged life. At home that night, Disa provides food, but it tastes like “last year’s bread.” She admits that it is, but King Durin will not allow trading. She needs her husband to speak with The King and change his opinions.

In the Grey Havens, Elrond (Robert Aramayo) carves wood when Galadriel approaches. She asks him to join her with a small team traveling to Eregion. They have not heard from Celebrimbor, and she fears Sauron is there. Elrond refuses, but Galadriel admits she cannot face Sauron alone. She believes he tricked her, but Elrond reminds her that all Sauron did was stoke her ambitions. He refers to Galadriel as Sauron’s collaborator by wearing the Ring.

Outside, Círdan (Ben Daniels) awaits Elrond. They argue about the ethics of using the Rings, and Círdan asks Elrond to reconsider his stance. He admits that the power of the rings is stunning because, in Sauron’s hands, they could dominate all creatures. Círdan tells Elrond he is wise for fearing the power. However, it’s not his enemies holding this power, but his friends. His guidance can help stop the darkness.

The Stranger, Nori, and Poppy grow weak in the sun. He drags them on a fabric sled, but he passes out. Poppy runs to the top of the hill and sees water in the valley below. They push The Stranger onto the sled and drag him to the well. When they lower the bucket, it sets off a bell that rings over the land.

Markella Kavenagh as Nori; Megan Richards as Poppy; Daniel Weyman as The Stranger in Where the Stars are Strange.As The Stranger drinks water, he awakens. As he regains his composure, he sees a staff like the one in his dreams. He picks it up as the trackers arrive and charges towards the well. The Stranger uses the staff and summons a gust of wind. It soon becomes a tornado, blowing all the dirt and sand into the sky. As it does, Nori and Poppy hold onto a rope from the well, and the staff disintegrates in The Stranger’s hands. The halflings are pulled into the tornado before he reaches them, and they disappear.

In Eregion, Celebrimbor works on a new process, as Mirdania observes. Using Mythril, he invents the Ithildin – a way of writing runes only visible in the moonlight. As they observe its use on the balcony, they realize Halbrand is still waiting in the courtyard below. Sauron/Halbrand stares at the forge and refuses to move even as rain falls.

Charlie Vickers as Sauron; Charles Edwards as Celebrimbor in Where the Stars are Strange.Celebrimbor approaches Halbrand and tells him to leave, or he will be forced to eject him. Halbrand asks whether Celebrimbor has spoken with Galadriel. When it’s clear that the smith does not know his identity as Sauron, Halbrand plays on his lack of knowledge and ego. As he puts it, the true creator’s craft brilliance and the elites do not invite them in to enjoy the spoils. Halbrand turns to leave, but Celebrimbor stops him.

Inside, they discuss the success of the Rings. Celebrimbor becomes overcome with emotion, and he wants to celebrate. Halbrand stops him. As he puts it, there are “no half-truths,” and he cannot hide anything from Celebrimbor. Sauron/Halbrand asks Celebrimbor to make nine more Rings for Men. The elf believes the race of Man is too volatile, and besides, the dwarves will never supply the Mythril. When Halbrand reveals the Dwarves have their own struggle, the elf stops him. How does Halbrand know this?

After a beat, Halbrand admits he is not a human, a King, or a mortal. This truth caused Galadriel to cast him out. He admits he comes as a messenger from beyond the world Celebrimbor knows. The world is turning to darkness, and Mordor is only the beginning. When Celebrimbor refuses to believe he’s from the Valar, Sauron uses his powers to bewitch the environment around the elf. His voice echoes through the halls and tells Celebrimbor that with his help, the elf will live immortal as “The Lord of the Rings.” Once again, Sauron has changed his appearance. Now, he appears as an elf known as Annatar – The Lord of Gifts.

Charlie Vickers as Annatar in “Where the Stars are Strange.”Gil-Galad summons Galadriel to travel to Eregion. She will leave with five elves in her company. When she thanks him for reconsidering, he reveals that Elrond convinced him to sanction the party. However, Galadriel will not lead the party. Instead, it will be led by Elrond. In Khazad-dûm, Durin the Younger receives a summons from Lord Celebrimbor. The dwarves have been summoned to Eregion.

“Where the Stars Are Strange” – The TakeawaysAgain, it’s hard to start discussing The Rings of Power without reveling in Vickers’s performance. He dominates the screen despite only appearing in a few scenes. “Where the Stars Are Strange” features an impeccable ending, and his performance at the dinner with Celebrimbor is top-notch. Vickers once again shifts his persona, creating at least the third version of the Sauron character so far (we are not counting Jack Lowden’s cameo in the last episode). It’s quite an accomplishment.

Owain Arthur as Prince Durin IV; Sophia Nomvete as Disa in “Where the Stars are Strange.”Meanwhile, Edwards gets to show off his range early and often throughout the episode. From Galadriel’s dreamlike experience to the final sequencing, Edwards gives Celebrimbor a cadence and duty-filled purpose few actors could pull off. Early in the press, J.D. Payne and Patrick McKay noted that Celebrimbor is an Oppenheimer/Prometheus figure. His creations will destroy the world and also provide its light through the darkness. The Rings of Power is playing with heavy themes.

That tortured genius emerges when he hears the rings have saved his people. The joy and jubilation he feels seems unattainable. Even when all consider him the master smith of all eternity, he remains empty in his accomplishments. The rings’ success opens the door to true immortality for Celebrimbor, only for Sauron to channel that happiness for his own gains. If the season plays out as noted in Tolkien texts, Celebrimbor is one of the most remarkable tragedies in the history of Middle-Earth. Edwards ensures we are heading down the right path.

Morfydd Clark as Galadriel in “Where the Stars are Strange.”The sparking chemistry between Galadriel (Clark) and Eldond (Aramayo) is something to watch. Their relationship across time is a tricky one, and at times, leans towards a lust rarely associated with either. At the same time, Aramayo plays the scenes perfectly, mixing the betrayal and want into a single look. While Clark occasionally feels empty in her performance, especially since the Ring has seemingly hollowed out her emotions, Aramayo more than makes up the gap. They’re great scene partners, and it’s curious if the friendship will blossom into something more on this mission.

Ciarán Hinds as the “Dark Wizard” in “Where the Stars are Strange.”How crazy is it that the potential introduction of Saruman would rank quite so low? The “Dark Wizard” certainly has a penchant for sacrifice and blood other performances pulled from the text. Also, the casting of Hinds – an Oscar-nominated actor in his own right – is quite the coup. His story is more compelling than The Stranger in this episode because we mostly see Weyman struggle with his character’s inability to remember who he is. While he’s certainly good at that, we’ve seen this version of the performance for ten episodes. One wonders how long they can string us along about his name. It may wear out its welcome.

Markella Kavenagh as Nori; Megan Richards as PoppyFinally, the dwarves are about to obtain their own terrible power. The invitation to Eregion will mean a request for more Mythril. More Mythril will mean more digging. More digging in Moria leads to an angry fire beast. Suddenly, the lights going out seem tame. While Moria suffers indirectly from Mordor, Sauron continues to wield it to his advantage. His quest to govern nine rings to men continues, and we know they will become the strongest foes in his army.

This makes the dwarves’ choices integral as we see how they shape the future. To make matters worse, the Durins fighting does little to help the cause. Good for Disa for trying to get everyone on the same page. At a disadvantage, it’ll be interesting to see how the dwarves barter for their Rings.

Alan’s Rating: 9/10Watch “Elven Kings Under the Sky” on Amazon Prime. The episode premiered on August 29, 2024. Read our Season 2 review of The Rings of Power here.The post TV: WHERE THE STARS ARE STRANGE – The Rings of Power – Season 2 Episode 2 Recap appeared first on Sunshine State Cineplex.

View Details

After the betrayal of Halbrand/Sauron, the Elves will need to navigate the future. Luckily, The Rings of Power is not only interested in Elvish struggles, but those of Sauron as well. The compelling origins of the “Halbrand Sauron” take center stage in the Season 2 premiere and allow Charlie Vickers to shine as a star of the show. Written by Gennifer Hutchinson and directed by Charlotte Brändström, “Elven Kings Under the Sky” kicks off Season 2.

Forodwaith at the Dawn of the Second Age“Elven Kings Under the Sky” – The RecapAt Forodwaith Sauron (Jack Lowden) demands orcs and Adar (Sam Hazeldine) pledge allegiance to him. However, the orcs do not believe in Sauron’s intentions, and instead, they kill him in a frenzy. Doing so unleashed a powerful magical blast, turning Fordowaith to ice and snow. Adar examines Sauron’s remains, and they seem to have disintegrated. The orcs pledge their fealty to Adar.

However, black bile seeps through the crevices in the rock and builds a puddle in the rocks below. Over time, the puddle begins shifting, killing small creatures for sustenance. With enough power regained, the bile crawls from the castle and travels through the forest. It comes upon a lone woman in a carriage and devours her. Afterward, Sauron regains physical form – appearing as Halbrand (Charlie Vickers).

Charlie VickersHalbrand walks through the woods, seeking the orcs and Adar so he can have his revenge. However, he runs into a refugee wagon train led by Diarmid (Nicholas Woodeson), who warns him of the danger. The leader bears the crest of the Southland Kings as a reminder that the fortunes of the powerful can change in an instant. The family line that ended centuries earlier. Sauron joins them and follows the people to the ships.

On the boat, the man speaks to Halbrand about the past. Halibrand wonders if he can ever change after the evil he’s committed. The man tells him it is possible to change. As they speak, the sea monster attacks the ship and kills most of the passengers. Diarmid is trapped under a beam and calls for help. Halbrand runs to him, but instead of helping him, he steals the King’s crest. He leaves Diarmid to his fate and escapes. The next day, Halbrand and the other survivors encounter Galadriel (Morfydd Clark) in the water. They speak for the first time.

We return to the present, where Elrond (Robert Aramayo) and Galadriel race through the woods. Elrond carries the three rings, and while Galadriel reaches for them, he outpaces her. He arrives in Lindon first, bringing the rings to High King Gil-Galad (Benjamin Walker). When Galadriel reaches Gil-Galad, he demands the truth about Halbrand’s identity. She continues to lie to Elrond and Gil-Galad, but they do not believe her. She finally reveals the truth – that Halbrand is Sauron.

Elrond and Galadriel fight about Sauron, but Gil-Galad tells them to stop. They need to test the Rings at Lindon because they have no choice. Either the elves need to leave Middle-Earth and abandon its people to Sauron’s rise, or they need to test the Rings and potentially gain the power to stay and fight. Elrond preaches that the Rings must be destroyed because they do not know if Celebrimbor (Charles Edwards) was corrupted during the forging of the Rings. Rather than hand them over, he leaps into the waters below to escape the other elves. He seeks counsel elsewhere.

Charlie Vickers as Sauron/HalbrandIn Mordor, Adar and the Orcs take control. The men who they’ve captured are forced to swear fealty and are branded on the neck when they’ve done so. Halbrand surrenders himself to the orcs and asks to negotiate with Adar. He asks for those in the Southlands to be set free. In return, he will tell Adar about an Elven weapon and where he can find Sauron. Adar refuses and promises to torture him unless he gives up the information. The mere mention of Sauron sends paranoia through the orcs and Adar. Glüg (Robert Strange) asks his father if Sauron can return, but Adar repeats that Sauron is dead.

The Stranger (Daniel Weyman) dreams of a staff. When he touches it, we see flashes of evil and good, including the fires of Mordor and another Wizard. Nori (Markella Kavenagh) asks him about the dream, but he refuses to tell her. They are being watched from a distance by a masked figure. Nori and The Stranger come upon a tree, and it appears they’ve been walking in circles. They’ve also run out of food, and Nori pushes The Stranger to use his power to generate food from a tree. He does his best, but he loses control. The explosion yields bugs, not fruit from the tree.

Nori is thrilled to have food, but The Stranger feels disheartened. He reveals the dreams as they eat roasted bugs. Nori admits she misses Poppy and home. The Stranger tells her it is okay to yearn for home because even if his memories are gone, he shares the feeling. The Stranger then notices a fire in the distance. They know they are being followed.

Daniel Weyman as The StrangerHalbrand watches a Warg that cannot reach him. However, it appears hungry. When Waldreg (Geoff Morrell) approaches, he offers food to Halbrand for any information on Sauron. He refuses, so Waldreg tortures him. After they’ve gone, Halbrand feeds the food Waldreg dropped to the Warg.

Elrond arrives at the Grey Havens, seeking counsel from the esteemed elven leader Círdan (Ben Daniels). When Círdan enters the boathouse, he reveals to Elrond that he knows of his presence. Círdan asks what Elrond brought to him. In Lindon, Gil-Galad sends a messenger to Celebrimbor about Halbrand’s true identity. Galadriel thanks Gil-Galad for his trust, but Gil-Galad does not trust her. After scouts report that Elrond has disappeared, Galadriel realizes where Elrond has gone.

Ben Daniels as CírdanIn the Grey Havens, Elrond relays his fears about the Rings to Círdan. It’s unclear if they can destroy the Rings without ending the age of Elves, but Elrond believes this is how they must proceed. Círdan knows of a place where the ocean opens into an endless void. If they drop the Rings into the ocean, no one can recover them. They hear the arrival of Gil-Galad and Galadriel. She enters the boat hall, but only Elrond remains. Eldrond prods her and asks if she craves the power from the Rings more than she fears Sauron’s influence. As they talk, he delays her until Círdan has set sail.

In the desert, The Stranger and Nori set a trap for the person following them. To their surprise, they find Poppy (Megan Richards), who has been following them for days. As they celebrate reuniting, she brings extra notes and maps. She also reveals the way out of the desert by singing the lyrics to “The Walking Song.” The Harfoots have come this way before. It helps them find the lands of Rhûn. The Stranger realizes he’s been here in his recurring dreams. We also discover that the masked man continues to follow them. On his saddle, he carries a painted insignia – one that looks like an inverted Eye of Sauron.

Markella Kavenagh as NoriCírdan readies to dump the Rings into the ocean, but after picking up the bag, he hesitates. In Mordor, Adar stands over Halbrand and tells him how Morgoth first selected him as an Uruk. It was Sauron who helped him escape torment, but Sauron’s gift seemingly came with a price. Adar freed the Southlanders and now expects Halbrand to talk.

Halbrand tells Adar that Sauron has taken a new form, and he will use his allegiances with the Elves to help Adar defeat them. He is forced to swear allegiance to Adar and swears allegiance to “The Lord of Mordor.” Adar releases Halbrand – but orders he is followed. Waldreg goes to clean the room where Halbrand was held, but unbeknownst to him, Halbrand released the Warg in secret. It devours Waldreg.

The Great Tree of LindonIn Lindon, Gil-Galad announces the elves must leave Middle-Earth as the Light of Valinor has faded. However, Círdan arrives wearing one of the three Rings. He believes Celebrimbor has brought the light to Middle-Earth. He hands the other two Rings to Gil-Galad, but when Elrond tries to stop him, the remaining Rings fall to the ground. Gil-Galad and Galadriel pick them up and wear the Rings, which instantly saves the Light of Valinor in the seedling at Lindon.

In Eregion, Celebrimbor relights the forge. Mirdania (Amelia Kenworhty) brings word that a messenger arrived. Celebrimbor hopes Lindon has sent word about the Rings, but instead, it is Halbrand. He has arrived from the Southlands and wishes to speak with the Elven Lord.

Morfydd Clark as Galadriel“Elven Kings Under the Sky” – The TakeawaysThe Rings do not take long to create fractures in “Elven Kings Under the Sky.” The episode hands itself over to the debate, bringing many of the most important elves in history to challenge each other. While we know that these characters will far outlive this conflict, the moral arguments here shape the future dialogues we will hear during the War of the Ring.

“Elven Kings Under the Sky” excels the most, however, as we take a scalpal to Sauron. The opening twenty minutes of “Elven Kings Under the Sky” might be the best stretch of any episode in the series. Not only do we see just how terrifying Sauron’s powers can be. We see how unnatural and vile they are. Even in “Elven Kings Under the Sky,” there are moments when Sauron could change his fate. He could lead a different path. However, his unwillingness to act out of anything but self-interest dooms him to continue walking this road.

Morfydd Clark as GaladrielCharlie Vickers gives his best performance to date, making Sauron scary and relatable at once. He reveals the sorcerer’s cunning nature while showing a side of his charm. There’s a reason that the world will fall for Sauron’s deceptions, and Vickers proves capable of charming every person he meets. Even more disturbing, we know what he is doing. Yet we feel drawn to rooting for him regardless. This is a highlight reel for Vickers in the future, and he’s astounding in “Elven Kings Under the Sky.”

Meanwhile, Galadriel continues to take losses. Elrond and Gil-Galad do not trust her. She seems completely on tilt, destroyed by Sauron’s betrayal and failure. Galadriel tries to hold composure, but it’s failing every second. When she finally obtains a Ring, her ambition becomes clear. Morfydd Clark does an excellent job at making us feel her struggle in “Elven Kings Under the Sky,” but we know Galadriel does not have a solid foundation to stand upon as she hunts down Sauron. The elves should fear her choices.

Finally, we get some movement on The Stranger and Nori. Adding Poppy to the group will provide Nori with some balance. Yet it’s The Stranger’s dreams that are integral to dive into. He sees images of Sauron. The Stranger sees war. Perhaps most importantly, he sees another wizard who looks extremely similar to the one we know from The Lord of the Rings.

The blue wizard theory is still in play; as we know, the two blue wizards came to Middle-Earth before Sauraman and Gandalf had. However, do we trust The Rings of Power to go that route? There’s a lot to think about from the elves and Sauron in “Elven Kings Under the Sky,” but getting a sprinkle of “The Stranger” instantly elevates that plotline. The only real knock on the episode is the lack of dwarves. It’s beautifully shot and brings out important aspects of narrative to come.

Alan’s Rating: 10/10Watch “Elven Kings Under the Sky” on Amazon Prime. The episode premiered on August 29, 2024. Read our Season 2 review of The Rings of Power here. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: ELVEN KINGS UNDER THE SKY – The Rings of Power – Season 2 Episode 1 Recap appeared first on Sunshine State Cineplex.

View Details

Few franchises so thoroughly master a type of scare that it becomes their calling card. Yet it’s almost impossible to discuss Insidious without discussing its string of now iconic jumpscares. While this can sometimes frustrate while we watch a movie, Insidious: The Further seems poised to take advantage of shocking thrills. With heavy rumors pointing toward Dylan Kollath (the designer behind Dead Man’s Pier: Winter’s Wake and Blood Moon: Dark Offerings) taking the lead role on this house, we expect a visual stunner with plenty of scares.

Back at Halloween Horror Nights 25, Insidious was a frightening house that continues to spark conversations to this day. If Halloween Horror Nights Creative can bring that energy back to the property, Insidious: The Further will be one of the best houses of the year. However, with plenty of negativity surrounding the most recent films, Kollath and team will need to bring their A-game to capitalize on its frights.

Expected Wait TimesWeekdays

50-90 minutes

Weekends

60-120 minutes

Location: New York – Next to Jimmy Fallon and Rip Ride Rocket – Soundstage 24

Characters and Scenes We Want to SeeInsidious: The Further House DescriptionEnter The Further as demons try to ensnare you. The Red Faced Demon will lure you into his lair. KeyFace will unlock your fears. And more.

Characters Keyface – As the name suggests, this guy loves keys. On a more serious note, he’s scary as heck. His first appearances at HHN in Orlando and Hollywood (2017) were poorly received. However, with the opportunity to redeem himself, he’s front and center for the marketing of the house. Visually, there’s more than enough to make him a terrifying figure to prove that Insidious: The Last Key jumpscares were not a fluke.

The Red Faced Demon – If there were a horror icon for the Insidious franchise, the Red Faced Demon would undeniably be it. The figure behind the most famous jumpscare in recent memory made for a brilliant villain and instantly recognizable character design. He’s deeply embedded into every Insidious story, so no matter how they choose to deploy the demon, he makes sense.

Elise, Specs, Parker & The Lamberts – The human characters of the Insidious franchise should have plenty of screen time. Elise directly confronts some of the antagonists outside the first two films. Specs and Parker follow her on those jobs (The Last Key and Insidious: Chapter 3). Meanwhile, The Lamberts are the main characters in Insidious, Chapter 2, and The Red Door. You cannot have a house about this property without including these characters in some iteration.

The Bride in Black & Michelle Crane – Another icon for the franchise, the Bride in Black – aka Parker Crane – haunts Elise, Josh, and Dalton. Parker is frightening in every sense of the word and might be the single scariest apparition in the franchise. Parker’s mother, Michelle Crane, was the abuser that turned Parker into a killer. They stay primarily in The Further, making them ideal scareactors to add to the house.

The Man Who Can’t Breathe/The Wheezing Demon – In Insidious: Chapter 3, The Man Who Can’t Breathe is painted as the primary antagonist to Quinn and Elise. The character design, with an oxygen mask and emaciated appearance, makes him quite terrifying. They were deployed exceptionally at HHN 25. We would love to see him return if The Further stands out as a greatest hits section.

LocationsRed Door – We gotta have a red door to walk into The Further. Don’t be shocked if it’s very early in the house (or frankly part of the facade). It should also be our way out, so keep in mind that a long-dark hallway is in your future either way.

The Red Faced Demon’s Lair – Turn up the Tiny Tim and let’s rock out to his scary-as-sin location. It’ll be an awesome spot to drop us into while in The Further. Also, if Universal is letting Kollath cook, I can imagine an open-air sequence where we see the demon sharpening his claws to draw focus, only to have a half-dozen waiting for you while your focus is down.

Elise’s Childhood Home – Filled with items from the 1950s, her childhood home is creepy in every sense of the word. It’s also brilliantly laid out in a way that will make sense for HHN fans to explore. That basement holds some secrets that would be pretty freaky to explore. Fingers crossed, we get some suitcases (though it’s hard to imagine that it’ll be as effective as it was in the movie).

The Lambert Home – The original house featured some impeccable set designs once we reached the Further, including a funeral parlor and some ghastly recreations of 1950s Americana. That seems like a key piece in making The Further shine, and it was an excellent repurposing of this already great location. Would be fun to see it return.

Specialty Food and DrinksFoodThe Red Door – potato and onion filled handpie — $9.49

Eggs in the Further – jalapeño brioche “egg in the hole” with shakshouka and feta cheese – $11.99

“Last Key” Pop – red velvet cake pop with chocolate key — $6.99

BeveragesVeil of Shadows – White Claw® black cherry vodka, DeKruyper® Créme de Cassis, blackberry syrup, pineapple juice, sour mix and a black licorice candy “veil”

20 oz. Souvenir Cup $17.50
Refill $13.50
12 oz. Single Serve $13.50

Beyond the Veil – pineapple juice, citrus sour mix, blackberry syrup and a black licorice candy “veil” — $8.50

Hype/Projection Rankings:* Scares – 8/10 * Character Variation – 8/10 * Comedy – 2/10 * Set Design – 7/10 * Wait Time vs. Value – 5/10

Insidious: The Further Ranking Projection – 4th place (out of 10)

Watch movies from the Insidious franchise on streaming. Insidious: The Red Door is currently on Netflix. Insidious: Chapter 3 is on Max and Hulu. Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN Prep 2024: INSIDIOUS: THE FURTHER – An Intense, Jumpscare Heavy House appeared first on Sunshine State Cineplex.

View Details

How autocracies rise to power has been at the forefront of art for the past fifteen years. In its first season, The Rings of Power laid the breadcrumbs for why this occurs. Our belief that evil simply announces itself as such does not prove true in real life. Autocrats rise through manipulation and trickery. It’s nearly impossible to separate The Rings of Power Season 2 from these ideas. The show dives deeper into the malice and hatred of Sauron. Yet the series wisely does not posit its figurehead is solely responsible for a societal rot, playing on the fears and movements occurring across Middle-Earth.

Featuring deeper commentary and brilliant visual spectacle, The Rings of Power Season 2 takes a huge step forward. After Season 1 concludes with betrayals and deception, we follow Sauron (Charlie Vickers) as he seeks to regain power. Now aware of his return, Galadriel (Morfydd Clark), Elrond (Robert Aramayo), and Gil-Gallad (Benjamin Walker) must decide if the rings can save the elves. Celebrimbor (Charles Edwards) continues his work on the Rings, while Durin (Owain Arthur) and Desi (Sophia Nomvete) push to mine Mythril.

In Neumenor, devilish plans swirl against Queen Regent Míriel (Cynthia Addai-Robinson). Captain Elendil (Lloyd Owen) grieves his son Isildar (Maxim Baldry), unaware he survived the eruption of Mount Doom. Adar (Sam Hazeldine) pushes his forces back into the West with whispers of Sauron’s return adding to his paranoia. Finally Nori (Markella Kavenagh), Poppy (Megan Richards), and The Stranger (Daniel Weyman) make their way through the desert. However, a formidable presence hunts them.

The size and scope of The Rings of Power Season 2 justifies the long production timeline. The visuals continue to astound, with fully realized creatures presenting new high points for the franchise. The tens of millions of dollars per episode is all there. The dwarf kingdom in Moria and Khazad-dûm has few equals on television. The opening episode provides harrowing gore but also highlights the depth of depravity just below the surface of The Lord of the Rings. The sets might already exist from previous episodes, but many – like Eregion – are explored in granular detail.

While the first season saw some battles, The Rings of Power Season 2 plunges us into war. The violence can be galling, but showrunners J.D. Payne and Patrick McKay embody the horrors as only Tolkien could write them. These battles, especially combined with the brilliant Orc makeup, certainly make House of Dragon’s wars feel like skirmishes. There are several grandiose and epic battles within The Rings of Power Season 2, each with impeccable personal stakes.

Additionally, one cannot help but rave about the visual effects. Many creatures appear in The Rings of Power Season 2 that we’ve seen in previous adaptations of Tolkien stories. The Ents are among the most impressive, but some of the creatures that dwell in darkness are even more astonishing. This, plus the orc makeup, helps remind us of Tolkien’s visionary fantasy in ways that feel nostalgic, but pushes television forward.

Yet where Payne and McKay find the most success comes from the stories. The ways that stories, legends, and knowledge are passed down in this world are something to behold. You can feel a conversation drifting in one direction, and realize the very personal conversation also includes important lore. The relationships between the heroes and villains become an ever-spinning challenge for the writers. Different pairings not only result in wildly different political outcomes. They often find something brilliantly unexplored in a character through the unique pairings.

The Rings of Power Season 2 also excels in its use of political parallels. Many moments and conversations feel as relevant to 2024 as when Tolkien’s original works were published. It’s not that The Silmarillion or his other collected works spoke on modern issues. Tolkien simply spoke on evergreen cycles in culture and history. Strongmen find support, while compassionate and caring leaders often take a backseat to create stability. Through his lens, Payne and McKay examine political maneuvering and privilege, all while keeping us rooted in Middle-Earth. The meaning is there if you’re interested, but its subtle execution should satisfy those who want pure escapism.

Edwards stands out, becoming a spark plug for The Rings of Power Season 2. Without him, it’s easy to imagine the show could falter. However, his nuanced and complicated performance as a creator with limitless ambition feels especially poignant. The screenplay caters to him, but with the emotional and ethos-driven depth, it’s a wise choice. He’s the best performance of either season of The Rings of Power, and hopefully, will earn him recognition.

There are a couple of things that it’s difficult to get around in Season 2. The most notable is tone. The Rings of Power Season 2 takes a page from The Two Towers. It’s darker than the story before, but it ensures character growth matters for the long-term future. Our heroes become outsiders in their own realms. Their morals and values are tested to the extreme. The palace intrigue and grasps for power have never been better in Tolkien adaptations. Yes, adventure is present, but this tone alienates some viewers. While I love The Two Towers more than Jackson’s other films, it’s far from the consensus choice.

Finally, there are too many direct references and Easter eggs to the larger lore. Yes, the world-building remains impeccable. The introduction of many characters, especially Rory Kinnear as Tom Bombadil, works like a charm. Yet more than once, a character utters a series of lines that are pulled straight from Tolkien’s Lord of the Rings trilogy. The actual phrase “Lord of the Rings” is uttered several times over. While some of these moments are cyclical and build into the ethos of Tolkien’s works, others feel far too reverential to the series as a whole.

While Season 1 often found itself struggling to lay the foundation, The Rings of Power Season 2 gets to take advantage of that time. All eight episodes build on the emotional journeys of the characters we’ve grown to love. Some rise to icon status in Tolkien’s works. Others must develop integral ideologies for the series to progress. The Rings of Power takes a big leap forward visually, and if you’re in the Tolkien hive already, you’re in great hands. The final two episodes might be the TV event of the year, so keeping up is well worth your time.

Alan’s Rating: 9/10Watch The Rings of Power Season 2 on Amazon Prime. Read our review of Season 1 here! Check out our Reviews, Recaps, and Features on TV here! The post TV: THE RINGS OF POWER Season 2 Goes Deeper and Darker Into the Malice appeared first on Sunshine State Cineplex.

View Details

Few franchises ever have three true-blue bangers in their history. Yet A Quiet Place pulled it off again. After two harrowing movies from John Krasinski, Michael Saronski’s A Quiet Place: Day One added a brilliant story to the larger saga. However, these monster movies on this scale are rarely seen in temporary theme park attractions. How they pull off these creatures – aliens known as Death Angels – will make or break the experience.

The concept of mostly sensory manipulation in haunted houses is not unusual in HHN history. Whether we’re talking 3D gimmicks, unique lighting patterns, or even simulated silence, Halloween Horror Nights has seen it all. Do we trust the creative team to pull off a house this ambitious? Or will third-party considerations get in the way of brilliance?

Expected Wait Times A quick word on this house in particular. Early rumors suggest animatronics are a big deal in this house. Even if it’s only puppets, if these effects go down, the house may stop letting guests into the attraction until it is fixed. Keep this in mind if it’s a priority for you.

Weekday

60 – 120 minutes

Weekend

90 – 180 minutes

CHARACTERS/EFFECTS WE HOPE TO SEEA Quiet Place House DescriptionMake a sound and you won’t last long. Monstrous creatures will hunt you down as the world of the first two films comes to terrifying life.

CharactersThe Abbott Family – The five main characters (Krasinski, Emily Blunt, Millicent Simmonds, Noah Jupe, and a baby) will likely guide us through the house. They are the protagonists and the literal victims of the horror. They also speak in sign, and hopefully, the scaractors will showcase this skillset.

Death Angels – They’ll be scattered throughout the house as our primary antagonist. Considering they’ve added more every movie, expect plenty.

Emmett – A friend of the Abbotts was played in A Quiet Place – Part II by Cillian Murphy. He’s another protagonist to help guide us through the house. Plus, he’s a badass, so that helps make him an ideal candidate for A Quiet Place house.

Marina Bandits – In A Quiet Place – Part II, Emmett and Regan (Simmonds) are attacked by a mysterious mob. They are terrifying, and if the scene can be brought to life, they would be an excellent series of scareactors to mix things up.

Island/ Townspeople – Victims of the Death Angels, the small town Emmett and Regan discover is quickly torn to pieces. That said, let’s get a scareactor playing Djimon Hounsou.

ScenesThe Abbott farm – There are plenty of reasons this makes a great setting. It’s spooky, it’s claustrophobic, and the designers can really flex their muscles. Downsides? There’s corn. Just seems like a no-brainer, especially inside the house with a bloody bathroom and nail-covered steps. This should actually be between 7-10 rooms of the A Quiet Place experience.

Emmett’s Factory Hideout – It’s another place that makes for a brilliant location. There’s enough here that we should visit, especially given what’s upstairs. However, there’s also a chance it’s too minimalist for its own good.

The Marina—If we get the marina, we get the Marina mob. It’s actually that simple, and Universal Creative has created these with ease in the past.

The Island Radio Station – The excellent conclusion of A Quiet Place – Part II occurs in a gory radio station. It’s a perfect way to deploy some new designs to close out the house and has a Death Angel as an integral plot point.

Specialty Food and DrinksFoodAbbott’s Farm Corn Chowder – creamy stew with shrimp, corn and vegetables — $8.99

Millbrook’s Baked Beans – quietly cooked baked beans with mashed potatoes, cheddar cheese and a cornbread muffin – $8.99

Wooden Board Éclair – spicy dark chocolate pastry cream filled éclair dipped in chocolate ganache with a bloody chocolate plank — $6.99

BeveragesRaining Blood – Old Forester® bourbon, broVo Spirits® Lucky falernum, DeKruyper® Créme de Cassis, blackberry syrup, lemon juice and a hint of smoked sea salt

Souvenir Lightbulb $17.50
Refill $13.50
12 oz. Single Serve $13.50

Hype/Projection Rankings:* Scares – 7/10 * Character Variation – 5/10 * Comedy – 1/10 * Set Design – 9/10 * Wait Time vs. Value – 6/10

A Quiet Place Ranking Projection – 7th place (out of 10)

Watch both A Quiet Place movies ahead of HHN on Paramount Plus. Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN Prep 2024: A QUIET PLACE Presents Unique Challenges appeared first on Sunshine State Cineplex.

View Details

The fantasticism around The Lord of Rings turned J.R.R. Tolkien‘s fantasy novels into one of the biggest franchises on the planet. Yet the questions about how The Rings of Power – Amazon Studios‘ foray into the uncompleted ideas from the author. Serving as a prequel to the origins of The Lord of the Rings, showrunners D. Payne and Patrick McKay faced an unenviable task of reinventing the stories in the franchise. While there are moments when The Rings of Power loses some of its steam, the vital setup for the series’ future becomes a necessary evil. At the same time, plenty of moments appeal to the spectacle in Tolkien’s vision.

The Rings of Power follows several key plotlines, making for an expansive and epic tale. The diversity in the tales allows the far-reaching narratives to feel isolated at times, but slowly, they begin to converge. The primary focus of The Rings of Power is Galadriel (Morfydd Clark), an elf woman who seeks retribution for her brother’s death. She hunts Sauron, a dark sorcerer who remains a threat after Morgoth’s defeat. After a fallout with her command and Gil-Gallad (Benjamin Walker), she finds herself in an alliance with Southlander Halibran (Charlie Vickers) and Sea Captain Elendil (Lloyd Owen). Galadriel pleas with Queen Regent Tar-Míriel (Cynthia Addai-Robinson) to send an army to quell whispers of shadows in the Southlands.

Elrond (Robert Aramayo) makes pleas to his friend Durin the Younger (Owain Arthur) to assist elvish smith Celebrimbor (Charles Edwards). The people of the Southland (Nazanin Boniadi, Tyroe Muhafidin) are watched over by elf Arondir (Ismael Cruz Córdova). However, they face an Uruk named Adar (Joseph Mawle) leading an orc army. Meanwhile, a falling star leaves an unnamed man (Daniel Weyman) in the care of Harfoot halflings Nori (Markella Kavenagh) and Poppy (Megan Richards).

The spectacle and scale of The Rings of Power cannot be ignored. It’s not only brilliantly designed, but every dime of the massive budget appears on screen. From costumes to set design, it’s truly a game-changer for what is possible on television. Sadly, this does not help with some of the narrative pacing. The long episodes (most fall between 60 and 80 minutes) are needed for the storytelling to feel complete. However, there are many moments where it feels indulgent, even for those steeped in Tolkien lore.

The performances throughout the season are excellent, but the arcs are not always up to snuff. The most glaring stems from Galadriel, whose monomania feels incredibly shortsighted. At times, she expertly weaves through the politics of her world, but there are too many moments where she makes poor decisions that complicate her mission.

What certainly does not help matters is the one-level tone for Galadriel from start to finish. Her focus causes every moment to feel like life or death. Even the few moments we get insight into the character come under harrowing conditions. Compare this to Elrond, who must marry difficult interpersonal relationships, unwieldy stress, and incredible humor. Every other plotline contains levels of human emotion, but Galadriel and the A-plot feel dour.

On the flip side, the moments of levity are brilliantly juxtaposed with legitimate horror. This is best seen in the Harfoot stories, which shift between Goonies-style adventure and A24 horror films. Yet, within the stories of each, this tonal variation feels just. It’s stunning storytelling, even if it feels disconnected from the larger struggle with Sauron (for now).

The MVPs of The Rings of Power change from episode to episode. It’s hard to argue against Aramayo, Arthur, or Sophia Nomvete. They bring the most complete characters to life and add beyond what is on the page. Vickers and Owen also excel. The emotion from Owen becomes one of the best aspects of the series period. Vickers has a challenging role to play and does so with bravado. It’s an excellent turn that plays on the audience’s history with Tolkien’s work and the concept of the hero’s journey. His charisma helps him shine from his earliest moments.

With a series like The Rings of Power, expectations versus realities must be balanced. No, The Rings of Power could never approach the scale of The Lord of The Rings. Yet it features some of the best effects on television. Makeup characters are everywhere, and the battle sequences are astonishing. A natural disaster towards the end of the season highlights a stunning achievement in television, embracing the blockbuster expectations set by Game of Thrones. When Rings of Power is working, it’s among the best shows on TV. However, Season 1 has too many overly serious moments to keep it in that stratosphere.

Watch The Rings of Power on Amazon Prime. Season 1 is now streaming. Season 2 begins August 29, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE RINGS OF POWER – Season 1 Builds the Foundation Tolkien’s Beautiful Fantasy appeared first on Sunshine State Cineplex.

View Details

It’s been a rough few months for the Ghostbusters franchise. While there are some fans of the Ghostbusters: Afterlife film from 2021, Ghostbusters Frozen Empire was received with far more suspicion. Scores were down from fans across the board (IMDB dropped from a 7/10 to 6.1/10, Letterboxd dropped from a 3/5 to a 2.6/5). It’s been a bad run for Venkman and the company, but HHN looks to reverse the course with their audience.

After Ghostbusters lit the world on fire with its house at HHN 29, it was only a matter of time until it returned. Ghostbusters Frozen Empire does have one huge advantage – we get to return to New York. The CGI of the movie is not going to be as jarring in a Ghostbusters Frozen Empire house, either. If anything, I trust the Halloween Horror Nights to turn these visual effects into practical spectacle. It’ll be curious to see how they integrate in the creatures of Ghostbusters Frozen Empire into the house. They are frightening in premise and were poorly executed on film.

LocationProduction Central/Minions Entry

Expected Wait TimesWeekdays

50-90 minutes

Weekends

60-120 minutes

Characters and Scenes We Want to SeeGhostbusters Frozen Empire House DescriptionAn ancient artifact has released a chilling new entity, Garraka. He’ll stop you cold. Only the Ghostbusters can keep you from getting iced.

Characters

The Ghostbusters – Obviously, we will get new and old teams with little Easter eggs throughout Ghostbusters Frozen Empire. Expect an Egon Spengler suit in a room or two, but his grandkids are already in the Universal Mega Movie Parade. They’ll likely drive most of the action, especially since it’s primarily their movie.

Nadeem – It would be very odd if they didn’t have Kumail Nanjani’s character in the house. While it’s mostly a comedic role, we still expect him to drive the plot towards the end of Ghostbusters Frozen Empire.

Slimer – We saw Slimer puppets last time, and he returned to Ghostbusters Frozen Empire after sitting out Afterlife. He’ll be back, hopefully, a couple of times at worst. Fingers crossed that the blacklight puppet also returns. It’s an awesome visual effect.

Ghosts – Obviously? Expect some Easter eggs to the past films. A certain New York Library spirit seems inevitable.

Stay Puft Marshmellow Man – It’ll be curious to see if they bring this character back again. The mini-Marshmellow Men should make plenty of appearances (likely on video and in statues), but we want the big boy to shine again.

The Sewer Dragon – After a very chilly opening set piece, we’re taken to the heat of summer. Here, a ghost dragon flies overhead. The HHN decor team may be involved (likely via screens), but time will tell.

Garraka – Another god who wants to rule New York City. What else is new? Garraka brings an undead army with him, and he’s a very well-designed big bad. He’s already all over the marketing and merch, so he’s definitely in the house.

Scenes

A Frozen 1940s Adventurer Club —I’m mostly just hoping that the art team got the budget to bring this sequence to life. It’s easily one of the best shots of the movie, and frozen characters would be a great way to introduce our villains.

Ray’s Occult Bookshop —There’s already a food location based on the shop. However, with images of the Hollywood facade openly available, it seems clear this will also be the entrance to Ghostbusters Frozen Empire house. It’s a good way to pump in some Ackroyd audio and let the actors do their thing.

The Firehouse – It’s the iconic set, HHN set decoration teams have done it before, and it’s the finale of Ghostbusters Frozen Empire. Expected an icy spectacle that should feature some spectacular design work.

Check out some food options on the Halloween Horror Nights Twitter account. Specialty Food and DrinksFood Slimer’s Korean Corndog – Korean cheese dog with Fritos®, coated with Cheetos® powder, ghost pepper spice, sage derby cheese and mozzarella – $11.99

The Frozen Death Chill – Korean corndog-dipped mint cheesecake with Bugles® and glitter — $11.99

Mini Stay-Puft S’more – Mini Stay-Puft marshmallow man, chocolate bar and graham cracker — $6.99

DrinksClass-V Concoction – New Amsterdam® vodka, St-Germaine® Elderflower liqueur, kiwi syrup, honeydew melon syrup, lime juice, vanilla bean essence and fluffed marshmallow topping — $15.00

Garraka’s Icy Breath – Honeydew syrup, lime juice, blue Curaçao, elderflower syrup and fluffed marshmallow — $8.50

Hype/Projection Rankings:* Scares – 3/10 * Character Variation – 4/10 * Comedy – 4/10 * Set Design – 9/10 * Wait Time vs. Value – 2/10

Ghostbusters Frozen Empire Ranking Projection – 9th place (out of 10)

Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN 2024 Prep – GHOSTBUSTERS FROZEN EMPIRE Hopes to Flip the Script appeared first on Sunshine State Cineplex.

View Details

For over four decades Merchant Ivory Productions excelled at crafting beautifully poignant works of cinema. Named after its founders, Ismail Merchant and James Ivory, it was a production company that would become best known for its many works of dramatic period pieces, including A Room With a View and Howard’s End. The new documentary from filmmaker Stephen Soucy explores the complicated history of the renowned company and those involved in its success.

Through detailed interviews with those intimately involved with the productions, we’re treated to look behind the scenes. Soucy, much like Dorothy in The Wizard of Oz, pulls back the curtain to reveal the tumultuous journey of the underdog company’s many successes and the hurdles they faced.

Merchant Ivory’s humble beginningsOf the forty-three films released by Merchant Ivory, James Ivory directed thirty of them, and Ismail Merchant produced forty-two. The two men met following a screening of an Indian documentary that Ivory had directed. Merchant sought out the filmmaker to express his admiration for the film. This meeting would launch a long-running romantic and professional partnership between the two, although James would joke that it was “love at second sight.” Helena Bonham Carter, who’d acted in several Merchant Ivory films, described the relationship between James and Ishmael as “symbiotic.”

Ruth Prawer Jhabvala, a British/American novelist and screenwriter, collaborated with the team frequently, writing screenplays for twenty-three of their films and winning two Academy Awards. In the words of Jenny Beavan, one of Merchant Ivory’s frequent costume designers, “You always knew you were going to get a good script.” That is among the primary themes of the documentary. A collaboration of immensely skilled individuals producing masterful works despite their limitations.

Merchant Ivory operated with far less resources than the larger production companies it existed alongside. Time and money were especially tricky, which led to questionable methods from Ishmael in getting funding for films. Soucy doesn’t shy away from the negative connotations associated with film production, especially regarding Ishmael, who was often referred to as a conman.

In fact, Soucy asks James directly how he feels about the unflattering title associated with his former partner. James dismisses the critiques at first before confirming that Ishmael was, indeed, a conman. He doubles down on the declaration by asserting that all Hollywood producers are. It’s a brutally honest confession that sheds light on how movies are made.

Perhaps some of the most insightful input comes from the actors and actresses describing what it was like to work on a Merchant Ivory film. Natasha McElhone, for instance, details James Ivory’s unique style of directing, which she claims wasn’t really directing at all. McElhone and other actors, such as Adrian Ross Magenty, describe a film set infused with trust between the director and performers.

Who is Merchant Ivory for?Documentaries are a fantastic opportunity for viewers to learn about topics and events that they otherwise may not have any experience with. Whether those topics appeal to a mass audience or not varies. Movies about movies, especially documentaries, are often viewed as self-indulgent and can feel inaccessible to non-cinephile audiences. This is a trap that Merchant Ivory falls into.

The films produced under the production company were often critically acclaimed, but few would be considered crowd-pleasing. A general audience with little knowledge of the company’s history or filmography is likely to feel disconnected from the material. The more compelling and accessible story stems from James Ivory himself.

James, who won an Oscar for his screenplay of Luca Guadagnino‘s Call Me By Your Name, possesses a screen presence that is instantly endearing. There’s a natural kindness about him, and his story of living as a gay man in a time when homosexuality was far less accepted is compelling. His romantic relationship with Ismail Merchant was often one of secrecy, hidden from their families and shared with only a select few; however, through their films, they were able to express themselves openly and without restriction.

Merchant Ivory is a love letter to film. It delves deep into its subject and passionately explores it. The behind-the-scenes footage and input from those involved will undoubtedly appeal to a specific audience, but the range of that audience may be quite narrow. This is a film for film lovers.

Joshua’s Rating: 7/10Watch Merchant Ivory in theaters on August 30, 2024. Cohen Media Group distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: MERCHANT IVORY – A Film for Film Lovers appeared first on Sunshine State Cineplex.

View Details

While technology will always help horror find new concepts worth exploring, sometimes, the classics are enough. An old-fashioned sequence killer appeals to the base impulses of the Halloween Horror Nights Crowd, and HHN 2024 has three set to scare the hell out of us. The Barmy triplets look to join the house icons of years past with Triplets of Terror. The Soundstage House combines the aesthetic of Rob Zombie, the character design of The Strangers, and blends it all in a My Favorite Murder podcast.

After the very popular House of 1000 Corpses at HHN 29 (2019), we will likely see some similar gore. However, that house had the Rob Zombie touch. Admittedly, we were on an early tour of Triplets of Terror, and while we have pictures, we’ll be holding them until after the opening weekend. In the meantime, we’ll go ahead and give you some direction to help maximize your experience.

LocationSoundstage 24 – Entrance between Jimmy Fallon and the Tribute Store (New York)

Photo Credit for Building Tribute Store Entrance to @HHN_Jacob on Twitter. Expected Wait TimesWeekdays

40-60 minutes

Weekends

50-90 minutes

CHARACTERS/EFFECTS WE HOPE TO SEETriplets of Terror House DescriptionYou’re invited to the Barmy triplets’ birthday bash. But beware, they celebrate by recreating their family’s murders. Prepare for a gory gathering.

CharactersJR (pronounced Junior – per UO Unmasking the Screams tour) – the big boy, will be present throughout Triplets of Terror. He’s a “hoarder” who loves collecting things from the people he hunts. It’s not too dissimilar to Leatherface but with more of a hell-billy vibe. An amalgamation of Captain Spaulding and Leatherface will make him into a cult favorite.

Melody – the smallest of the three twins, Melody’s mask is far less clear than her siblings. To be honest, there was not much to learn about Melody in the early Unmasking tour, so hopefully, the scare actresses can bring that personality out of the story.

Harmony – The taller girl of the two, Harmony, dawns a bunny mask in many of her scenes. She’s not too dissimilar to Dollface from The Strangers and Eloise from Bob’s Burgers. Hopefully, she’s got that scumbum in her and makes for a harrowing villain.

LocationsThe Barmy’s original house – if they’re going to recreate their family’s murders, the team at Halloween Horror Nights will need to bring us through the first murders. If they had been previously at the event, we’d have felt differently. However, this is pretty straightforward.

The Houses of New Victims – If we’re recreating, the art team will likely bring us into new environments as well. The question is how many times we’ll recreate the killings or if it’s all in service to one large sacrifice. Depending on these environments, we could see some variation.

Halloween Horror Nights Easter Eggs – There were nods to other characters and houses throughout the tour. This is simultaneously a strong push to build the Barmy triplets into the larger HHN culture and also tries to cover up some of Triplets of Terror‘s issues. It will be curious to see if this falls closer to Icons: Captured or Hellblock Horror once it’s up and running.

Movies To Watch as PrepManiac (1980)One of the most terrifying films in the 1980s is the unnerving and bloody Maniac. Directed by William Lustig – who would go on to direct the Maniac Cop films and Uncle Sam – taps into a viscerally unsettling tale of violence. It’s not for the faint of heart, but if you’re in the mood for a gore showcase and some of the most disturbing images you’ve ever seen, Maniac will do it.

Sinister (2012)While there won’t be a ghoul killing the folks of Triplets of Terror, a lot of other content in Sinister greatly influences Triplets of Terror. From Ethan Hawke’s excellent performance as a researcher to the dark hits throughout the movie, a lot checks off the boxes. Without spoiling Sinister, it’s a great one to check out, especially if Bughuul appears in the Enter the Blumhouse scarezone.

Longlegs (2024)It certainly will not be as expressionistic as Longlegs, but the idea of law enforcement chasing down a serial killer through suburbia feels relevant. A homemade creepiness also courses through Longlegs that can easily apply to Triplets of Terror. There’s no way Longlegs influenced Triplets because of its release date, but some overlap is difficult to ignore.

Henry: Portrait of a Serial Killer (1986)In full disclosure, Henry: Portrait of a Serial Killer was so violent and disgusting that it took seven years to reach theaters despite widespread critical acclaim. Trigger warnings do not begin to explain this movie. This is for someone willing to watch a very dark story, but if Triplets of Terror is meant to be the bloodiest house of the year, Henry is a good comp.

Specialty Food and Drinks: FoodSay “Cheese” Burger* – An all beef patty on a cheese bun with American cheese, white cheddar, lettuce, tomato, red onion and cill pickle aioli — $9.99

Bloody Goody Bag – Cripsy chicken chunks with fries, pepper onion mix, and a bloody good sauce — $9.99

Slashed Siblings Sweet Sampler – A bubblegum mousse ballon, funfetti cupcake, and a chocolate cheese cake cone trio. – $8.49

Beverages3 Daughters Brewing® Flight – 6 oz. serving of each of 3 Daughters: One Brewing® Beach Blonde Ale, One Florida Orange IPA, and One Rod Bender Amber Ale — $13

3 Daughters Brewing® A Wake Coffee Blonde

20 oz. Souvenir Cup $15.25
Refill $12.00
12 oz. Single Serve $12.25

3 Daughters Brewing® Florida Orange IPA

20 oz. Souvenir Cup $15.25
Refill $12.00
12 oz. Single Serve $12.25

3 Daughters Brewing® Rod Bender Amber Ale

20 oz. Souvenir Cup $15.25
Refill $12.00
12 oz. Single Serve $12.25

Hype/Projection Rankings:* Scares – 7/10 * Character Variation – 3/10 * Comedy – 2/10 * Set Design – 6/10 * Wait Time vs. Value – 3/10

Triplets of Terror Ranking Projection – 10th place (out of 10)

Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward!The post HHN 2024: TRIPLETS OF TERROR – A Bloody True Crime Experience appeared first on Sunshine State Cineplex.

View Details

The push to explore the vastness of space can quickly turn existential. Comparing oneself to an infinite void rightly messes with your mind and your mental stability. Yet, sharing this journey with others offers different challenges and fears. Slingshot – a new space drama from director Mikael Håfström, places us with three men on an integral mission. As they confront a breaking point in their careers, they must decide the proper steps forward. Slingshot digs into the paranoia we feel around the connections we make in life. Sometimes, even the most authentic ties feel otherworldly.

John (Casey Affleck) wakes in his pod and performs routine maintenance checks with his fellow crewmen. Nash (Tomer Capone) discovers some issues while they are in hypersleep, and he’s concerned their space shuttle cannot survive the trip to Jupiter’s moon Titan. However, Captain Franks (Laurence Fishburne) believes Nash exaggerates the danger. Their mission is bigger than these issues, and he appeals to John to continue the mission. As John weighs the decision to jumpstart the Slingshot to the moon, he becomes consumed by thoughts of Zoe (Emily Beecham), his partner on Earth.

Håfström’s tale cannot be entirely separated from the modern geopolitical experiences of the past five years. Yes, there’s a lot of fertile ground to cover in what isolation in space does to people. Yet, it’s even more accessible to tie this isolation and underlying rage to the COVID pandemic. That feeling of helplessness courses throughout Slingshot, and this aspect of Affleck’s performance is very relatable.

Once again, Affleck continues to show his talent as a performer. There’s never been much question about his ability to pull heart-wrenching stories into his performance style. If anything, he’s one of the best actors alive at wearing his heart on his sleeve. In Slingshot, this means he can acknowledge his feelings towards his partner on Earth and bleed those emotions into his technical work. He brilliantly builds John into a monomaniacal man on Earth, and he’s questioning his purpose for the first time.

Fishburne and Capone are good in their roles as well. They very much support Affleck in his journey, leaving them feeling a little one-note. When odd performance ideas do pop up, they stem from the screenplay. Neither does anything to upset the apple cart and casting them provides a base-level competency from which any production benefits.

Unfortunately, Slingshot’s issues are twofold. First, the writing and editing do the story a few favors. Unfortunately, Slingshot feels formulaic, and the tension from the story feels absent for most of the runtime. The thin story also allows audiences to get ahead of the tale, which leads to some predictable outcomes. Whether it stems from the page or the edit, Slingshot feels far less compelling than one would hope.

The second issue comes from pacing. Again, the editing becomes a problem. There’s not enough energy within scenes to keep us engaged. If Affleck and Beecham should have a torrid romance that makes them inseparable, we need to feel it. Instead, scenes stretch out too long. In some cases, cutting a scene in half and bringing the discussion back later in the film would make both sides of Affleck’s mind feel catered to. Instead, we feel the presence of a neon sign blinking, “This is an important flashback,” but the overly long scenes run out of gas before they conclude. Sadly, this makes Slingshot feel flat.

It does not help that more exciting space films have tackled similar subject matter in the past. Both Moon and I.S.S. cover similar emotional stories but do so in more compelling ways. Additionally, the ship feels frustratingly generic. Yes, the monotony adds to the idea that Affleck might be losing his mind. However, the ship should not be responsible for conveying that. The screenplay should. This falls on Håfström because he cannot fix these story issues without the other elements of Slingshot having to suffer.

It’s not that Slingshot lacks creativity because the ending clearly proves otherwise. However, the journey to the conclusion sinks the film before we get to those moments of brilliance. A handful of mistakes and a distinct lack of energy bring down the indie sci-fi. There’s still enough here to make it worth a watch, but with other movies covering the same ground with more efficacy, it’s far from must-watch territory.

Alan’s Rating: 5/10Watch Slingshot in theaters August 30, 2024. Bleecker Street Media distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: SLINGSHOT – A Dive Into Emptiness, Isolation, and the Void appeared first on Sunshine State Cineplex.

View Details

The recent trend of Halloween Horror Nights actively pursuing fantasy horror has seemingly unlocked a new subculture. Do not get me wrong, HHN and Universal have highlighted the genre for decades, with Harry Potter, Lost Continent, and even Dungeon of Terror appearing back at HHN 2. Still, Goblin’s Feast feels very reminiscent of a new trend.

The success of Scary Tales, Dueling Dragons, and, frankly, Stranger Things has only increased fantasy horror’s profile. Combined with the Torture Faire, a love of fantasy has come barreling in stark contrast to the metal horror of the 1990s and 2000s. Undeniably helping capture a younger audience while also throwing meat to the D&D fans of the event, Goblin’s Feast seems poised for breakout status.

Image courtesy of @hhn_jacob Twitter account. https://twitter.com/hhn_jacob/status/1826970694296477995 Location Pop Tents Behind Men in Black: Alien Attack

Expected Wait TimesWeekdays

35-50 minutes (peaks after Nightmare Fuel Shows will push this to 90 minutes).

Weekends

45-75 minutes (peaks after Nightmare Fuel Shows will push this to 90 minutes).

CHARACTERS/EFFECTS WE HOPE TO SEEGoblin’s Feast Description

Welcome to the Goblin’s Feast Tavern and visit the goblin village, where a lavish feast is being prepared for goblins, orcs, hobgoblins, and witches. And you’re the main course.

The Rings of Power orcs might be a great reference point for the HHN art direction team. Characters

1. Goblins — We’ve got four key characters already on the description. The first is obvious – Goblins. What these will look like appears up in the air, but there are two extremes. Either we get green-painted monsters (a la The Princess and The Goblin), or we get more in line with The Lord of the Rings. Considering the presence of Orcs as well, this seems likely. Looking back at previous HHNs, the latter clearly inspired the scareactors of The Island of Evil Souls (credit to HHN yearbook for the picture).

2. Orcs & Witches – At HHN 31, the creepy witch and orc vibe helped make Conjure The Dark rather unsettling. While it ranked lower than some scarezones, it excelled in character and set decoration. Obviously, witches have made many appearances at HHN, so it’s just a question of which type of witch they’ll show off. Here, we will guess the witches of Wicked Growth are the ideal designs to match the theme and vibes of Goblin’s Feast. This feels especially true after the Discover Universal Podcast short episode mentions there’s a witch that cooks for the village.

3. Giants – How this will come to pass is unclear. The easiest way will be using stiltwalkers or giant costumes like the Bloaters from Last of Us.

4. Humans & Elves – Finally, we have to expect some little townspeople to act as fodder. Without the ability to kill the audience (despite us stupidly walking into a Goblin nest), we’re expecting some canon fodder of old-timey townspeople. Think Fable or Monty Python-style characters getting skewered and devoured by goblin baddies. At the same time, expect some good old spine-rips, some crazy gore, and dismemberment. A blood/waver effect seems likely, especially inside the tavern in question.

Image originally from Orlando Informer.LOCATIONSFor the vibes to be immaculate, we’ll have to visit some very cool sets. We’ve actively avoided all spoilers on Goblin’s Feast, so we will post an addendum if Goblin’s Feast takes on a different aesthetic. At the same time, we have to imagine that scents will be a huge part of this story. The smells of roasting creatures should help Goblin’s Feast appeal to its audience, especially on re-runs.

However, we’re hoping for some real Beowulf fantasy shit. Give us a mead hall. Give us a mini castle. Bringing us into the halls, like Dueling Dragons last year, we could get some real spooky experiences. Hopefully, the designers here stem from the same team as Blood Moon: Dark Offerings and Dead Man’s Pier: Winter’s Wake. The pop tent setting undeniably restricts some of that creativity. Still, Descendents of Destruction felt significantly bigger in its pop tent than many houses that came before or after. That said, we need some variation to ensure the regular HHN guests do not feel underwhelmed by too many similarities to those houses.

Last but not least, Goblin’s Feast should showcase some of the woods. I’m curious if this will be used at the entrance and facade of the house or if it will be midway through the house. We’d put our money on that latter. That said, to get the goblin tavern, it would make some sense if we journey through this area first before we reach the action of Goblin’s Feast.

Specialty Food OptionsFood
Harissa BBQ Turkey Wing – crispy turkey wing coated with a spicy harissa BBQ sauce — $6.99

Pumpkin Guts – a butternut squash and zucchini noodles with pumpkin seeds and vegan butter inside an acorn squash — $10.49

Goblin Pie – baked mini apple pie with cinnamon sugar and a bloody raspberry jam — $5.99

Drinks
Ghoul Juice — Myers’s® Dark rum, Bols® cherry brandy, simple syrup, mango nectar, lime juice, Dale Degroff’s Pimento Bitters®, and Peychaud’s bitters
20 oz. Souvenir Cup $17.50
Refill $13.50
12 oz. Single Serve $13.50

Hype/Projection Rankings: * Scares – 6/10 * Character Variation – 5/10 * Comedy – 7/10 * Set Design – 8/10 * Wait Time vs. Value – 8/10

Goblin’s Feast Ranking Projection – 4th out of 10

Check out our previews of Halloween Horror Nights 2024. We are working to expand our theme park content moving forward! The post HHN 2024 Prep – GOBLIN’S FEAST Promises Witchy Delights appeared first on Sunshine State Cineplex.

View Details

Using animals on set has long created tensions between Hollywood and animal activists. In Jordan Peele’s Nope, the horrifying possibilities of trying to tame exotic animals for entertainment were brought into the limelight. Chimp Crazy, a new documentary series from Eric Goode, continues that conversation. Following a strange tale of exotic pet trading and terrifying lies, audiences experience shocking tonal whiplash.

However, it’s a far cry from Goode’s Tiger King series. Instead, the breadth of information and context brought into Chimp Crazy makes a compelling case against animal trading. The footage is harrowing. The stories are tragic. The practical and honest showcase of the horrors that can occur makes for a common-sense understanding of this dark practice.

The story behind Chimp Crazy feels absurd from the start. Tonia Haddix – an exotic animal dealer – begins working at the home and “Primate Foundation” run by Connie Casey. Casey’s long ties to the animal trade and Hollywood filmmaking opened the door for her chimpanzees to appear in dozens of movies, including Babe: Pig in the City and the 1997 film Buddy. On the set of Buddy, the chimpanzee actor – Tonka – bonded with star Alan Cumming. When Casey’s home became the subject of PETA litigation, Tonka became the center of the investigation.

However, when the animals are removed from Casey’s home, Tonka is missing. Haddix claims that Tonka died in the days leading up to the seizure. PETA lawyers work to uncover the truth, and national news pounces on the story. Following Haddix, director Eric Goode investigates the mystery behind his supposed death.

The twists and turns of Chimp Crazy become apparent early. Most surprising of all, this forces us to question the ethics of a project like this one. Goode confronts not just the ethics of pet ownership but also the ethics of documentary filmmaking as a medium. At what point does following a story conflict with the rule of law or the well-being of all involved? In many ways, Chimp Crazy asks the same questions that Civil War asked earlier this year. At what point does capturing truth outweigh acting based on morality?

It’s indisputable that PETA’s inclusion will cause some concern. The organization rarely approaches its activism through a lens of compassion for those it’s trying to convince. Instead, its loud, brash statements have caused many to formulate negative opinions toward the organization.

Yet, at the same time, PETA undeniably moved the conversation on animal rights, especially regarding SeaWorld and regulation. Plenty of horrifying stories about exotic pet ownership exist. Their activism stops people from owning animals that are not pets. This series is an example of how these laws protect the creatures and the humans who are unqualified to care for them.

With the hard discussions about journalism and animal cruelty in the service of pet ownership, Chimp Crazy becomes an important series. While Tiger King brought significant criticism, often because it focused on the absurdity of its characters over the well-being of animals, Goode finds more balance this time.

However, because of Goode’s reputation following Tiger King, he’s also forced to bring a proxy director – Dwayne Cunningham – as his stand-in. This adds a level of performance to the footage that’s difficult to qualify as part of the story.

Additionally, the camera crews still capture absurd footage. It’s very difficult to sensationalize a story like Chimp Crazy because the absurdity is plain for all to see. When the people on camera create larger-than-life characters, everything feels off-tilt by simply observing their everyday experiences. Tonia Haddix lies to filmmakers, judges, and anyone asking her questions. She gets extreme botox, lip-filler, and cosmetic injections. Cunningham moonlights as a literal clown. Another woman brings the camera crew into her life and then shows off her sex swing. There’s accidental humor that comes from all of these stories, yet simultaneously, the tragedy forces us back into the story.

Wisely, Goode showcases as much firsthand imagery as he can from the tragedies that occurred through chimpanzee ownership. The story of Travis, a Chimpanzee in Sanford Connecticut, made national news. The stills of blood-soaked sheets and car doors are harrowing. Those telling the stories maintain a level of PTSD that’s obvious on camera. It’s difficult footage to watch, but makes the truth undeniable.

In the search for Tonka, Goode gets incredible footage from his crew, who capture the decrepit and traumatizing images of others trying to hide their exotic pets. The embedded journalism and first-hand footage make the horrors obvious. It’s not only chimpanzees that deserve justice but the dozens of other animals being held by those without proper training. Simply loving an animal does not the environment safe.

Goode creates empathy for those who love their pets as if they are children. Many who own animals refer to them as their babies and children. Yet there’s a point where that bond, however strong, puts people in harm’s way. Goode’s exploration of these themes and questions about the role of journalism make Chimp Crazy a stunning exploration of this phenomenon. The truth is that exotic pet ownership remains selfish, and even trained professionals are consistently in danger of handling these creatures. Chimp Crazy makes that clear from beginning to end and represents a real step forward as a filmmaker for Goode.

Alan’s Rating: 8/10Watch Chimp Crazy on Max. Chimp Crazy airs on Sundays on HBO. Check out our Reviews, Recaps, and Features on TV here! The post TV: CHIMP CRAZY – A New Horrifying Tale of the Exotic Animal Trade appeared first on Sunshine State Cineplex.

View Details

The tumultuous Lumi debut put Pierpoint on its heels. While they escaped without a loss, they also did not inspire confidence in their strategy. Eric and the Pierpoint team need to bolster Lumi to keep working with other ESG (Environmental, social, and governance) companies. Now, the cleanup begins but it will require significant work. Meanwhile, Harper (Myha’la) and Petra (Sarah Goldberg) can make a big move. “It” – Season 3, Episode 3 of Industry builds on last week’s IPO chaos.

“It” – Industry – The RecapPierpoint has an all-hands call about Lumi’s stock. The conference call features thousands of analysts, but there are real questions about the company’s foundation. While Henry Muck (Kit Harington) continues to preach confidence, Pierpoint realizes he’s set to sit on a panel in Bern at a conference. Eric (Ken Leung) formulates a plan to ensure it goes well.

At FutreDawn, Anna (Elena Saurel) asks Harper why she was booked in as coach. After giving a pro-environment, lower-carbon footprint answer, Anna agrees it was best. Anna was unhappy about the Lumi earnings call, but she’s thrilled that Harper is becoming a team player.

Meanwhile, Petra meets with her lawyer. He informs her that Anna offered a contract extension, which will tie her to FutureDawn unless she wants to lose twenty percent of all her commissions. It will also force her to make trades only when Anna agrees philosophically. Rather than get controlled, Petra motions for Harper to join her and wonders if they can go solo. Petra offers Harper a job if they can swoop into the conference and steal business from Anna before she can meet with them. Harper agrees, and they get to work.

Adler cannot attend the climate conference, so Wilhelmina (Georgina Rich) asks Eric to attend instead. To ensure he’s prepped, Eric asks both Robert (Harry Lawtey) and Yasmin (Marisa Abela) to join him. Robert, Yasmin, and Harper discuss the conference over drinks until she gets a call from her lawyer, Denise (Fiona Button). Yasmin’s father’s yacht is back in the UK, but it’s being held by the British police. She also informs Yasmin that Hanani Publishing is looking to sell the yacht. Denise sees that Yasmin texting Eric, and the two end their relationship.

The next day, the Pierpoint crew boards Henry’s private jet to the conference. As they jump onboard, Eric tells Yasmin that Henry asked for her to join them. He also reveals Pierpoint Bank is going to write a paper on Lumi’s potential future, with Frank (Joel Kim Booster) as the writer. Eric thinks Frank is a company man, so the outlook should be positive. Henry boards and asks Caedi (Eliot Salt), Eric, and Bob to go to the back of the plane. In flight, some of Henry’s friends – a guy named Xander (Gustav Lindh) and a girl named Susie – ask Yasmin if she’s dating Henry. She smiles and tells them no.

When they arrive at the hotel, Eric calls out to Frank to ask when the recommendation on Lumi goes live. Frank does not respond, but the Pierpoint team needs to check into the hotel anyway. Only Eric has a room, so Robert will have to bunk with him. Meanwhile, Harper and Petra arrive in a deluxe suite. Harper needs to keep Petra’s schedule hidden from Anna because they have covert meetings in the morning.

Eric and Robert get approached by Anna because Morgan Stanely is telling traders to sell Lumi. It’s already dropped five percent. She’s worried that sharing the panel with Henry could make them look bad, and the FutureDawn board is pushing her to sell. Eric tells her it will be fine and tells another ESG CEO that they’ll be excited to take his company public too. The CEO tells Eric Pierpoint needs to do a better job on their IPO than Lumi’s.

Robert meets Frank in a spa and tries to fish for any direction the article will take. Frank remains vague but insinuates he’d like Robert to sleep with him. Otto (Roger Barclay) jokes with Henry and Lord Norton (Andrew Havill) about how ridiculous the conference is in the first place. Aurore Adekunle (Faith Alabi) arrives and asks Henry if Lumi will raise the price on her constituents.

Yasmin steps away to smoke and is approached by Xander. He asks if they can spend some time together, but she blows him off. Eric and Robert watch the silent film “It” while eating food from the hotel. Eric asks about Robert and Yasmin’s relationship, but he tells Eric they’re just flatmates. At a networking event, Yasmin runs into Harper, who asks for an introduction to Otto. They walk over to the group (with Norton and Aurore), and Harper pitches herself as a non-ESG fund.

Xander comes over to the group and asks Yasmin if her Dad is still on the run or if she killed him. Angered by the question, Yas leaves, but Henry chases her down. When she asks if she can leave. Henry tells her she’s not there in a professional context, and she screams at him for saying that. Yasmin leaves with Harper chasing her down. After speaking, Yasmin is mad that her father makes her feel this way, and Harper calms her down.

The next morning, Petra and Harper take meetings with various seed investors. They do not great responses from the people they meet with, causing Petra to get cold feet. This only gets worse when Harper pushes her into a corner when Anna and Eric walk by. To get Petra back into the game, Harper asks Yas for help getting Petra’s track data (to show overperformance). Yas refers Harper to Sweetpea, who should have access to the data. Yas agrees to get her the data but demands to get their firm’s commission. Harper agrees – telling her “I’ve always wanted you to work for me.”

At the panel, Harper and Petra watch Eric speak about Lumi and USGs. Frank’s recommendation on Lumi goes live as a “Hold,” which is a devastating sign from Pierpoint. Eric becomes aware that key members of the crowd are disinterested in the content from the panel. When questions go to the crowd, Harper stands up – revealing that Petra and her are spinning off a fund and reveals to the crowd that Pierpoint itself is recommending a hold. The crowd starts to gossip, and Lumi immediately drops fifteen percent.

Outside the panel, some investors speak with Harper and tell her their firm needs to get a deck ready. Anna screams at Petra in the corner of the banquet hall, as Petra tries to smooth things over. Back in the hotel room, Petra yells at Harper, telling her what happened was incredibly unprofessional.

Otto and Peter arrive to speak with them about investment futures. Harper reveals to Petra that her track data is available on her email. Otto also reveals to Harper that he spoke with Jesse Bloom (Jay Duplass in Season 2), who is serving time for tax evasion. Otto reports good news – that he sees Harper as a true financial mind. Peter reports that Petra’s earnings represented the majority of FutureDawn’s profits. Otto agrees to fund Petra and Harper.

Yasmin goes to the pool, where she spots Henry. Henry appears frustrated by the events of the day, and Yasmin reminds him that if he sells now, he will net millions. Henry asks her to see him as a person, not just the media’s picture of him as a shark. Henry then tells Yas about his father’s suicide – which pushed him to build something for himself. He then tells Yasmin that he wants time alone with her, which is why he asked Eric to bring her to the conference. They talk about sex and Henry leaves the pool.

In the bathroom, Henry calls his team. He’s going to sell off his stake in Lumi. He talks to himself in the mirror, pepping himself up because most companies fail. At the hotel, Eric finds out from Wilhelmina that other ESG funds are pulling their funds. Pierpoint will need to reevaluate its position. After Xander makes a joke about Eric, Susie apologizes to him. They begin flirting, and Eric introduces himself as Robert Spearing. Actual Robert goes to Frank and asks why he published a hold. Frank and Robert flirt again.

Yasmin knocks on Eric’s door the next morning, telling him they’ve got a meeting. Eric wakes up and tells Susie that she has to go. She lays out an invoice for the night, which totals $20,000. Eric confirms he’s still good in bed, and then tells her to hang tight and he’ll pay her when he gets back.

Eric runs downstairs where he sees Robert at the breakfast buffet line. He asks Robert where he slept, who tells Eric that the room was very loud. Susie walks by and calls out “Robert Spearing” in the hall. Robert looks quizically at his boss. Yasmin then brings Eric to the meeting with Petra and Harper. Eric tries to tell them they don’t have the capital, and Petra reveals that Otto’s investment gets them most of the way there. Harper tells Eric it’s in everyone’s best interests to work together.

Eric tells Petra that she has no idea who she is working with, causing Petra to call him rude. Harper lays out her needs and degrades Eric again. Anna sees Petra and Harper as she leaves, giving them the finger as she walks away. Back on the plane, Robert and Eric appear dejected by the weekend. Henry closes the door to the front half of the plane, which only partially obscures that Yasmin and Henry are sleeping together. Eric, Robert, and Caedi share the awkwardness.

“It” – Industry – The TakeawaysNaming your episode after a silent film from the 1920s is a bold strategy in 2024. However, It proves to be a perfectly prophetic film in terms of themes and ideas within this episode of Industry. The iconic Clara Bow picture helped popular the concept of the “It Girl” while securing her place in film history.

More important for Industry, It features a love triangle (square? circle?), some crazy antics on a rich man’s yacht, and a social climber finding her way into the world of the richest people on Earth. It’s pretty hard to not draw parallels to this particular season of Industry. If you’re feeling like taking some time to watch the classic film, it entered the public domain in 2023. Here’s a link for you!

The episode belongs to Myha’la in many respects. Harper makes big moves and convinces the world that she belongs in the financial industry at a level many would have doubted. Meanwhile, Myha’la’s performance requires nuance to keep us on her side, despite her dangerous moves against Pierpoint. The first two episodes were light on Myha’la, but Industry knew what it was doing. The more we get of the young actress, the better the show gets.

Meanwhile, Abela continues to battle against her father’s legacy. Social climbing matters in Industry, and now that the series features Henry and Norton, even Yasmin has a chance to move higher in society. Abela feels contempt from others, and Industry needs her to feel like an underdog. It is tough to play someone who is both privileged and helpless. Somehow, Abela covers all bases.

The extra pressure on Eric manifests in very funny ways. Industry has also introduced him to a larger pool of players. He might have been “the It guy” as a trader, but as Wihomena notes, adding the title of partner changes things. Industry never had Eric play in the debauchery pool with the younger castmember, but “It” certainly does. He breaks up with a much younger woman, sleeps with a prostitute on a company trip, and barters a deal with an enemy.

Industry needs Leung to sell the mid-life crisis, and he does it to perfection. There’s a mania to his performance that’s impossible to write off. Additionally, you can see the pressure and the paranoia creeping up on him – even as he’s selling their product, his eyes are darting between investors. Leung, wistfully wishing it had snowed (it did at the party he did not go to), is top-tier acting. Get this man an Emmy nod.

Great pop-ins from Joel Kim Booster, Faith Alabi, and Gustav Lindh speak to Industry‘s pull. Small roles on this show matter. Goldberg and Lawtey still have a huge part to play in the season, but they let others drive the car. Their internal, observant performance will set us up for future conflict. If Industry continues juggling this many characters and this many storylines successfully, it only further establishes itself among television’s best shows.

Watch “It” and all Industry episodes on Max. “It” aired on August 25, 2024. Read our Industry recaps here! Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: IT – INDUSTRY – Season 3, Episode 3 Recap appeared first on Sunshine State Cineplex.

View Details

Few directors create instant gravitas like Kevin Costner. The actor-turned-director has lifted projects from obscurity and become a laughing stock for his failures. Yet Costner has held a prominent place in Americana and pop culture since the 1980s. It’s part of what makes Horizon: An American Saga such an ambitious project. Like Clint Eastwood before him, he plays with his iconography on screen.

A hundred-million-dollar proposition is rarely the time to deconstruct your own history, but it’s also worked for Costner’s peers. If he had not reached for an era and genre of filmmaking that speaks to his sensibilities, then it wouldn’t have been Costner. Returning to the director’s chair allows Horizon: An American Saga – Chapter One to shape the themes of the journey ahead.

Told across multiple storylines, Horizon – Chapter One sends its characters deep in the West. A settlement is established on the banks of a river in indigenous territory. While the family is killed, settlers heading West have already set out for the new frontier. An attack by Apache warriors on a settlement results in dozens of dead settlers. Francis Kittredge (Sienna Miller) and her daughter Elizabeth (Georgia MacPhail) are rescued by Union soldiers. They are led by First Lt. Trent Gephardt (Sam Worthington), who is unwilling to massacre innocent indigenous tribes. Despite his protests, a posse heads out into the wilderness to kill Pionsenay (Owen Crow Shoe) – who acted without the blessings of his tribe.

Ellen (Jena Malone) leaves her abusive lover James Sykes (Charles Halford). Sykes’ sons Junior (Jon Beavers) and Caleb (Jamie Campbell Bower) set out after her. Simultaneously, a hired gun – Hayes Ellison (Costner) – is propositioned by Ellen’s sister Marigold (Abbey Lee). A wagon train makes it way west, led by Matthew Van Weyden (Luke Wilson). The wagons include upper class passengers Juliette Chesney (Ella Hunt), Hugh Proctor (Tom Payne), and Francis’ family (Will Patton & Isabelle Fuhrman). As the stories clash together, the people of this new frontier converge upon Horizon.

Costner’s interest in the West shifts from sequence to sequence. Some moments remain as romantic as his Dances with Wolves footage in the first act. Costner digs into some of the horrors inflicted upon indigenous peoples of the era. Yet these sequences are not handled with care, particularly because the first few acts are committed by indigenous warriors. Costner does not take the time to tell us these Warrirors are acting outside the will of their tribe. This forces audience to assume the worst about these men before the story has properly started.

That problem lies at the heart of Horizon: Chapter One, from the beginning of the film until its final montage. It’s very much a story told without full context. These characters will all play into the larger tale, but there’s no forward momentum uniting these stories other than the vague idea of “Horizon” – which few characters actually address within this movie. It’s hard to judge the quality of the storytelling because you only have a piece of the puzzle.

This is why the critique – that it’s closer to TV than a movie – becomes more damning. Now that Horizon: Chapter One has reached streaming, it might see a bump. Yet the issue remains – it’s still 3 hours, without clear breaks, and feels like a collection of scenes.

Despite showcasing some truly harrowing and impressive sequences, the story does not fully gel. It’s clear Costner needed to lay the groundwork. Within specific scenes, there are incredibly dense and complex dynamics at play. The raid on the small town on the beginning of the film could be remembered as an impeccable Westen sequence in the years to come. There, Costner builds tension and imagery that his mind has been formulating for decades.

He bookends the film with an inverse sequence, where white men slaughter innocent women and children. While the first sequence appears in darkness, this one appears in broad daylight. Costner forces the audience to watch the dangers of perpetual circles of violence. Like the opening, it’s difficult to watch and speaks to horrors that white settlers rained on indigenous peoples.

The actors seem game for their roles as well. Costner dominates his scenes, fully capturing the persona of a hired gun seeking anonymity. Beavers and Campbell Bowers are extraordinary, making perfect villains as the story unfolds. Wilson takes to the genre like a fish, and seems ideally suited for his role as a reluctant hero. Miller and Malone bring grit and determination to the frontier, and their performances deliver excellent emotional catharsis. A pair of scenes with Michael Rooker gives us a weird accent, but another heartfelt performance from the character actor. There’s a lot to like from the ensemble, it’s just not clear why we care about these characters yet.

While Horizon: An American Saga – Chapter One cannot be considered great outside of where this story leads, it’s possible that Chapter Two or Chapter Three does reach for more ambitious storytelling. Horizon is an unfinished product at this point, and it seems unlikely that Costner would have it any other way.

Alan’s Rating: 7/10 Watch Horizon: An America Saga – Chapter One on Max. Warner Brothers distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: HORIZON: AN AMERICAN SAGA – CHAPTER ONE – Costner Builds a New Western Epic appeared first on Sunshine State Cineplex.

View Details

Crime capers and bumbling small-town hijinks remain one of my favorite genres. From the sunburnt style of Hap & Leonard to the Florida sheen of Out of Sight, idiot criminals running into each other make for some of the best kinds of stories. Greedy People seeks to join the genre, filing itself somewhere between Elmore Leonard, Carl Hiaasen, and the Coen Brothers. At times, Greedy People is an exceptional piece of hardboiled filmmaking, especially given its ability to juggle a star-studded ensemble. However, a few missed opportunities leave us just shy of true greatness, leaving us with a very entertaining but imperfect flick.

New to a Southern town, rookie cop Will (Himesh Patel) hopes to make a good impression. His partner on the force, Terry (Joseph Gordon-Levitt), and boss, Murphy (Uzo Aduba), set him up for a good first day. After all, the quiet town is the perfect place to raise a family for Will and his pregnant wife Paige (Lily James).

However, when a routine call results in a death and a basket full of a million dollars, Will and Terry devise a game plan to get out of trouble. However, a masseuse (Simon Rex), a local businessman (Tim Blake Nelson), a businesswoman (Nina Arianda), and a pair of hitmen (Jim Gaffigan & José María Yazpik) all want their share of the money too.

Director Potsy Ponciroli (Old Henry) takes to the genre with palpable energy. A zaniness and silliness are present early in the story, allowing Greedy People to reach an incredibly dark comedic tone. While it might have some similarities to popular filmmakers, most notably the Coens, Ponciroli puts a unique spin on most of the crime elements, building out a series of recurring issues that haunt this particular police station. It makes for a charming experience and adds to the folksy peculiarities of small-town life while seriously helping the world-building. Like Will and Paige, we feel like fish out of water as we see the town’s longstanding customs come into view.

The comedy hijinks lead to funnier set-ups as the story unfolds. A witness to the initial killing tries to play cool and does so with the least amount of poise you’ve ever seen from a suspect. Yet it’s still enough to get by the cops, who seem rather poor at their job on many levels. They investigate the case at the speed of molasses, allowing more community members to find themselves embroiled in the cover-up. Greedy People wants you to know that people will always try their hardest to get money by any means necessary, even if we (and they) believe they are good-hearted. A million dollars will make people do stupid things.

Patel plays out of type, and for the most part, he makes sense in the role. He’s a charming performer and carries over his chemistry with Lily James from Yesterday. Unlike the saccharine nature of that comedy, both Patel and James feel like real characters, and the dynamics of their relationship are a big step forward. Together, they make for an intriguing center for Greedy People.

Meanwhile, Gordon-Levitt gets to embrace chaos. While he’s shown this ability in the past, most notably in The Night Before, Don Jon, and Premium Rush, it’s been a minute since we’ve seen him in this mode. He gets one of the showiest roles of Greedy People and dives into the comedy. It’s a reminder that Gordon-Levitt could have a very different career if he wanted to. Frankly, he’s got just enough devil in his natural charisma that it feels far more in tune with his persona.

Unfortunately, some aspects of Greedy People feel too shallow. Rex and Aduba feel underutilized, though they get a couple of great scenes each. The same can said for Nelson, and it’s even more shocking given Ponciroli’s history with the actor. That said, the large ensemble means someone has to lose time, and unfortunately, these three are so alluring that it’s noticeable when they’re gone. Whether we needed another scene each, or more intricacy for Aduba, this aspect comes up short.

Ponciroli does set up some intriguing setpieces during Greedy People that could ultimately highlight his talent for a bigger film. A bridge chase that features a oner that cranks up the tension to perfection. While it might be potentially stitched together from a couple of shots, it’s an effective sequence that shows Ponciroli can add a half dozen elements together effectively. Other moments on a dock and outside a shipping container instantly implant themselves in your mind.

Yet Ponciroli’s monologues might be the most intriguing aspect of his story. Nearly every character gets one, and his ability to shift the voice of the movie for a moment at a time makes everyone feel fully realized. It’s impressive and clarifies why some big names took on small parts. It’s what you’d expect from Hawley or Soderberg, making for a very fun time. Greedy People is not perfect, but when you get a sunburnt crime story like this one, it’s easy to let go and enjoy the ride.

Alan’s Rating: 7/10Watch Greedy People in theaters August 23, 2024. Lionsgate distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: GREEDY PEOPLE – A Flick Just Short of Caper Greatness appeared first on Sunshine State Cineplex.

View Details

The music-based horror flick feels more present than ever. While one of horror’s greatest icons, The Phantom of the Opera, is obsessed with music, blending the two art forms does not always work well. However, with the success of Green Room, Studio 666, and others, the subgenre has made a compelling comeback. Art of a Hit hopes to strike the right note but, unfortunately, leans into a few too many cliches for its good. While attempting to create a unique story is admirable, the execution leaves the experience feeling oddly flat.

In the mid-1990s, a small rock group reached new heights as they booked a nationally televised performance. Eight years later, the band is stuffed in a van, traveling to their last chance. Led by Ryan (Ryan Donowho), the group hopes to break through again. Their new partner – producer Charlie DuPont (Charlie Saxton) – knows how to make hits. However, Ryan holds a secret that will tear the band apart, and the French chateau they’ve traveled to feels ominous.

Director Gaelan Draper places us incredibly close to compelling ideas but never quite lands the plane. The most frustrating lies with the Ryan role, which feels obnoxiously contradictory throughout the movie. Ryan wants to gain relevance but does not want to write “bubble gum” music. He pushes back against Charlie at every turn but also believes Charlie is their answer. The contradictions go further, but to not spoil Art of a Hit, they’re best left unsaid. His selfishness could be a character trait, but the Ryan character feels like nails on a chalkboard here. We’re not supposed to like him, and we’re supposed to feel the hypocrisy. Yet, a blend of the writing and Donowho makes the character feel one-dimensional.

The rest of the cast speaks in cliches, ultimately falling on the screenplay. Saxton gives Art of a Hit its best character and performance by far – leaning into the odd stories about mega-producers to generate a lived-in performance. Saxton – who also served as the co-writer on Art of a Hit – brings a comedic energy to the story that juxtaposes nicely with his wrath. He taps into something the screenplay is missing in the other characters. When he’s not on screen, you feel it.

The most frustrating aspect of the story was the use of thriller and horror elements. They feel tacked on, with the overuse of big sound effects and a quick pan of the camera to create many of the scares. This distracts from the overall story in most sequences. Some fun gore shots appear in dream sequences; otherwise, the horror rarely scares the audience. Too many attempts at jump scares land without an ounce of tension.

While the ending delivers an unexpected and exciting conclusion, the road over the last twenty minutes is questionable. This is when we expect our horror movies to throw everything at the wall. Instead, the tension feels zapped from the film, and again, we languish with a character who is uninteresting to watch. The idea – that the artist in question found their immortality in a way they would never find satisfying – does little to fix the issues. It’s a compelling ending, but not one that rights the wrongs of the previous hour and a half.

This genre confusion, mapped onto a character that’s difficult to watch makes Art of a Hit a frustrating experience. The actors seem game, but messiness runs throughout the story. With some frustrating characters to boot, it’s tough to fully sign off on Art of a Hit as an indie darling. Instead, it makes a handful of mistakes that cause the foundation of the story to fall apart.

Alan’s rating: 4/10Check out Art of a Hit on digital VOD platforms. Giant Pictures distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: ART OF A HIT – A Few Botched Chords Hurt the Melody appeared first on Sunshine State Cineplex.

View Details

It’s cliche to tell audiences to go into a movie blind. After all, a movie should not live or die by its twists and turns. Yet Strange Darling holds a unique place in the cinematic landscape. The thriller brings together classic tropes and frightening turns. Star-making performances from Willa Fitzgerald and Kyle Gallner make Strange Darling, unlike anything you’ve seen before.

Broken in chapters, a story unfolds overnight. A young woman (Fitzgerald) and a man (Gallner) meet at a hotel. An older couple (Ed Begley Jr. & Barbara Hershey) put together a puzzle. Two police officers (Steven Michael Quesada & Madison Beaty) are called to a remote house. Intersplicing the chapters to tell a non-linear story, director JT Mollner creates a shocking and wicked crime thriller.

As Mollner’s sophomore feature, Strange Darling will serve as a calling card. It’s an impeccable showcase for tonal management and a brilliantly scripted thriller. Mollner keeps you on edge with a non-linear story, yet the individual pieces line up extremely well. His willingness to craft unique red herrings and high-level misdirects are helpful, but most importantly of all, he Mollner provides his performers with materials to shine. It’s not always through dialogue, with long chase sequences blocked with little to no dialogue. It makes the sequences with exposition hit harder while exploring an unusual side of a popular genre.

Mollner also excels with his visual prowess. There’s a shot in one of the “early chapters” that perfectly employs a split diopter to shift the power in the scene. It’s subtle moments like this that Mollner pulls off repeatedly. At other times, Mollner shifts the entire color palette or stock in a scene solely to communicate ideas of horror and sadness. Every sequence feels visionary, yet Mollner never lets Strange Darling wade into pretentious waters. Instead, the bold color choices and brilliant editing create a career-making experience.

Mollner’s willingness to reveal his mystery on his terms allows the audience to understand how Strange Darling will be told. It’s a movie that teaches its audience how to interpret its action and teaches you how to watch in the process. It’s too on the nose to compare to Memento or Pulp Fiction, but Mollner’s ability to juggle so much plot while keeping the movie on the rails is a thing of beauty. It’s cut to the bone, and there’s no fat on Strange Darling at all.

Holding it all together are the performances by Fitzgerald and Gallner. Each performer gives it their all in the story, but for Fitzgerald, Strange Darling proves she’s got the star power to sustain a long career. The camera loves the intensity and horror she brings into every sequence. The performance behind her eyes forces the audience to constantly shift their feelings towards everyone, and it becomes Strange Darling‘s secret weapon.

Just as integral in the two-hander, Gallner perfectly plays into a type that we often fear in horror. There’s nuanced writing in this story, and his performances elucidate many of the more subtle ideas and concepts. Because of the shifty storytelling, he must appear pathetic or fear-inducing depending on the sequence. Gallner does this to perfection, and his performance tracks exceptionally regardless of where you are in the narrative.

Perhaps the real surprise of Strange Darling comes in how unique it looks. Choosing show-stopping color palettes helps the cinematography shine early. The costumes and makeup effects are also excellent when called upon. Unfortunately, these elements do not always feel consistent throughout, even when the highs are exceptional.

With a lot of big ideas, Strange Darling could easily have felt over-ambitious. However, the brilliant performances and Mollner’s excellent direction keep it in balance. A few scenes run longer than we need or occasionally lose their nuance. However, few thrillers are as exceptional as Strange Darling, and it’s one you’ll remember for a long time.

Alan’s Rating: 8/10Watch Strange Darling in theaters August 23, 2024. Magenta Light Studios distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: STRANGE DARLING – Fitzgerald Headlines a Visionary Thrill Ride appeared first on Sunshine State Cineplex.

View Details

Over the last 50 years, few directors have been as mainstream and controversial as Oliver Stone. The same can be said of director Quentin Tarantino. With Natural Born Killers, Stone continued adding to his controversial filmography, while Tarantino made a name for himself as a writer. Defined by balancing contentious subjects with unconventional filming methods, Stone’s career was best exemplified by Natural Born Killers.

From the onset, it is clear Stone has abandoned all conventionality. Directing a story penned by Tarantino, a highly stylized kineticism defines the approach as a neck-breaking cluster of sadistic actions thrown at an unrelenting pace. Color palettes are chameleonic in nature, as storyboards shift from vibrant color to monochromatic to black and white and back to color again, with sense and purpose being far from evident. Formats are audaciously mixed and matched, with live-action shots giving way to strange animations as just one example.

Every piece of the bloodlust pie eschews a manic quality. Director of Photography Robert Richardson whips the camera around and places it at odd angles to ensure an off-putting experience. The soundtrack at the hands of Trent Reznor, is designed to rupture ear drums. At all levels, Stone commits to this deranged style infused with Tarantino DNA, crafting something unique and engrossing in the process.

The subject matter parallels its twisted pictures as the psychopathic duo of Mickey (Woody Harrelson) and Mallory Knox (Juliette Lewis) venture into a depraved killing spree. Even though it is not Stones’ focus, he does offer a glimpse into their origins, perhaps offering an answer for his character’s motivations but more likely to tinge them with sympathetic qualities.

For Mallory, the juxtaposition between difficult subjects such as sexual violence, incest, and abuse against the backdrop of a wholesome family sitcom serves as her backstory. Mickey’s past rears its head through nightmares and ghastly images brought about by a childhood filled with neglect, abuse, and exposure to a horrifying incident. These backstories, coupled with Mallory’s innocence and Mickey’s charm, help create a likable lore around the characters.

It all plays into Stone’s goal of offering a scathing critique of the mass media’s irresponsible manufacturing and glorification of celebrities. In this case, violent killers capture the nation’s heart, as Stone undoubtedly looks to ridicule celebrity worship tendencies. Images of real-life notorious murderers pepper Natural Born Killers and offer examples of how they have been exalted in the name of engaging content. Besides a few brief moments where Stone deviates from his intended purpose to ponder the natural killing instinct inherent in all living things, he remains committed to bringing down the hammer on the media.

Natural Born Killers would not be Stone’s first foray into the dissection of mass media and its penchant for sensationalism. Six years prior, Talk Radio, based on a play by Eric Bogosian, tackled the role media plays in creating a manic crowd and the effects both ultimately have on each other. With Natural Born Killers, the Bogosian musings are abandoned in favor of a more hyperactive and graphic approach, appropriate for a Tarantino story. Where Stone treats Talk Radio with grounded seriousness, in Natural Born Killers he packs on the satire, creating a fantastical world void of realism.

In this fairytale of sadistic rapture, the character actors have come to play. Woody Harrelson and Juliette Lewis are magnetic in their portrayal of Mickey and Mallory. Despite the horrific actions of their characters, it is difficult to look away as they prance, punch, kick, stab, and shoot their way from scene to scene. As passionate as they are about killing, the savage Bonny and Clyde are also madly in love with one another. Harrelson and Lewis sell audiences on their cold-blooded nature while also bringing to life a heart-warming love story. Perversity at its finest.

Joining them is a cast of who’s who character performers, who all seem game to ramp up the camp. Rodney Dangerfield, Tom Sizemore, Robert Downey Jr., and Tommy Lee Jones all participate as embodiments of the institutions that formulate, enable, and ultimately help build the sensationalist fables. All four are given ample opportunities to make their presence felt, with Dangerfield’s abusive father to Mallory being the standout.

Sizemore plays sleazy cop Jack Scagnetti, who, along with Jones’ ecstatic warden Dwight McClusky, has much to gain from others’ violent tendencies. Downey Jr. portrays yellow journalist Wayne Gale, with an Australian accent and operatic flair. Gale ultimately becomes Stone’s de facto shooting target in his war.

In the 30 years since its release, Natural Born Killers has maintained its controversial nature as it continues to shock and inspire ample conversation concerning its commentary on media sensationalism and the problematic aspects of celebrity worship that permeates through American culture. Due to its hyperviolence and euphoric style, Natural Born Killers would also serve as a new blueprint for future filmmakers. Its impact is not up for debate, even if hindsight allows for questioning the value of its message. In any case, Natural Born Killers remains today as scathing and as unflinching as when it was first released.

Watch Natural Born Killers on streaming today. Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. Please check out other Sunshine State Cineplex reviews here!The post Get Busy Living: NATURAL BORN KILLERS – The Sadistic Satire Continues to Shock appeared first on Sunshine State Cineplex.

View Details

The 90s were an undeniably cruel time for queer cinema. A cross-section of nearly any mainstream comedy from the era will reveal blatant homophobia, prejudice, problematic storylines, and overall intolerance toward the LGBTQ+ community. Even in cases where gay characters were held in a more dignified light, they were often sideline players, regulated to the best friend or comedy relief role. How remarkable then that a mainstream film, starring three prolific, straight actors, should tackle both drag and transgenderism in a comedy that doesn’t treat its characters as punchlines. Even more impressive is how The Adventures of Priscilla, Queen of the Desert has gracefully aged 30 years without the need for an ounce of concealer.

Formatted as a relatively straight-forward (pun truly not intended) road comedy, the titular Priscilla, Queen of the Desert is the name bestowed on the silver tour bus that Tick (Hugo Weaving), Bernadette (Terrence Stamp), and Adam (Guy Pearce) take across Australia to perform their drag show in Alice Springs. The show is a favor to Tick’s estranged wife Marion (Sarah Chadwick), who owns a Casino Resort, and an excuse to visit with his son Benjamin (Mark Holmes).

Bernadette, bereaved and brooding, is constantly at odds with Tick over his motivations and with Adam, who she finds overly flamboyant and obnoxious. As the journey across the country exposes the trio to long-held bigotry and violent, homophobic abuse, they bond with each other and many other residents they meet along the way.

The balance director and writer Stephen Elliott strikes between the dramatic moments of intolerance and the dry, self-deprecating comedy throughout lends to Priscilla, Queen of the Desert‘s overall success. No instance or particular sequence feels contrived or preachy yet the comedy doesn’t distract from the seriousness of the injustices the trio face. In fact, the only thing over the top are the Priscilla‘s amazing costumes, for which it won an Academy Award, noteworthy as it is still the most recent contemporary-set movie to win the honor.

Weaving, Stamp, and Pearce each embrace their roles and play beyond stereotypes. A perfect marriage of well-written characters performed beautifully lends another level of authenticity that prevents Priscilla, Queen of the Desert from feeling like a satire. Stamp, in particular, brings his dry delivery to the devilishly sharp Bernadette with great success.

The other standout performer is Bill Hunter, portraying a kindly but sheltered man named Bob, who joins the trio out of curiosity about their lifestyle after his wife leaves him. Straight and unfamiliar with the complexities of queer life, Bob represents the audience who have also not been introduced to authentically-represented gay individuals before. His ignorance is not met with disdain and his acceptance comes from knowing the individual rather than the persona. It is a beautiful and, frankly, groundbreaking portrayal of the kind of understanding one can achieve when stereotypes and prejudices are tossed aside.

Currently, there is such a strong dichotomy of views on drag. On one hand, thanks to the success of programs like Ru Paul’s Drag Race, more viewers than ever are learning about the art of drag while finding entertainment in the personalities and performances of the contestants. On the other hand, the proliferation of content has drawn the ire of conservatives who have waged an unholy war on not just drag but the entire LGBTQ+ community.

As evidenced in Priscilla, Queen of the Desert, the intolerance has always been there but it stemmed primarily from ignorance from lack of exposure. Now, with greater representation, the ignorance is willful, and hate is even more misguided. The film offers that comedy can be a tool to bridge the divide, but thirty years later, that divide is greater than ever.

Earlier this year, Elliott revealed that a sequel is in the works with the original trio set to reprise their roles. Given how much and how little has changed in the 30 years since The Adventures of Priscilla, Queen of the Desert bowed in theatres, perhaps comedy can once again be the olive branch to bring two opposing viewpoints together.

Time will tell if a sequel can capture the same care and magic as its predecessor, but if nothing else, it may reignite interest in Priscilla, Queen of the Desert – which holds up after three decades as a meaningful piece of cinema that has heart, humor, and beauty. And maybe this time, there will be no bloody ABBA…though I certainly hope not.

Josh’s Rating: 8/10Watch The Adventures of Priscilla, Queen of the Desert on streaming today. Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. The post Get Busy Living: THE ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT – This Queen Aged Remarkably Well appeared first on Sunshine State Cineplex.

View Details

After the cliffhanger ending to Episode 1, Industry immediately picks up its second episode after the power outage. The intensity is natural from the jump and only escalates over the episode. Industry is at its best when the pressure is high, and “Smoke and Mirrors” illustrates that point to the tenth degree. It’s another episode packed to the gills with tension.

“Smoke and Mirrors” – The RecapThe lights have gone down, and panic sweeps the floor at Pierpoint. The lights and phones return, but the damage is already done. Traders are selling hard on Lumi. Eric (Ken Leung) screams at the floor to keep selling and only pitch the growth profile. Rishi (Sagar Radia) yells at Eric for firing Kenny because a second-year analyst is now handling his calls.

At the stock exchange, Henry (Kit Harington) asks Robert if Lumi stock is trading. Robert calls back to Pierpoint to ensure everything is underway. Otto (Roger Barclay) calls Yasmin (Marisa Abela) to invite her out to the gentleman’s club again. Eric steps in and hangs up on him while Rishi and Anraj (Irfan Shamji) discuss that Rishi’s running a short that could go sideways on him. If the Bank of England steps in to help Lumi, Rishi will be upside down on his short. Meanwhile, Rishi’s risk limit has been reached on Lumi stock alone.

Sweetpea (Miriam Petche) tells Yasmin that Henry Muck is a fuckboy, and that he peed on one of her friends after a night together. Confused about why she’s hearing this story right now and overwhelmed by the non-stop calls, Yasmin collapses. Eric picks her back up, and Rishi continues to chew him out. Anna (Elena Saurel) calls and asks Yasmin if Pierpoint oversold Lumi. Yasmin gets out a decent comeback, and Anna accepts the answer.

Henry asks Robert (Harry Lawtey) about the heavy drop-off in trading already. He begins arranging calls with the press and acting erratically. Robert tells him he cannot go to the media, but Henry asks his assistant Katie to set them up anyway. Henry meets with the media over Skype and Zoom, promising to offer more retail shares instead of institutional investments. Robert tells him to hang up again, but Henry just plows through the call. He then tells Robert that he’s being “overfamiliar” and to leave.

At Anna’s firm, Petra (Sarah Goldberg) and Harper (Myha’la) speak about her future. Petra tells Harper that Eric called her nine times to stop her initial hiring. That means Harper meant something to Eric, and it’s intriguing to Petra. She tells Harper she will hedge against Lumi and needs to know who will be the easiest to pull one over at Pierpoint. Harper tells her Yasmin.

Rishi continues to struggle on the floor, and Bill Adler (Trevor White) walks onto the floor with a new salesman. He also raises Rishi’s risk limits. The story from Henry hits the wires, and while Lumi has been rallying, it immediately tanks the stock. The price jumps from -23 to -31 in an instant.

At Lumi HQ, Henry continues to self-aggrandize to Robert, who tells him to get off the phone. Rather than accept any blame, Henry believes capitalism and the stock market are the problem. Robert turns it around on Henry, reminding him his lock price is only 60 days. It shows that even Henry wants to take advantage of early good trades to make money and dip. They scream at each other until Henry begins physically fighting Robert in the nursery.

Robert gets a call from Venetia (Indy Lewis), who asks where Robert went last night and if he’ll be back at the office. She tells Robert he makes Pierpoint bearable. Petra asks Harper for some pitches. As Harper gives her some, Anna checks in on them, but they cover the conversation with coffee talk. When Anna leaves, Petra follows through on one of Harper’s pitches, trading on credit default swaps with Yasmin. Pierpoint offers a lower price than the market by about 25 points. They quickly make the trade.

When Anna finds out, she storms into Petra’s office and screams at both of them. She gets pulled away because the board of her company shows up. At Lumi, Henry continues to spiral. His board at Lumi confronts him over his recent behavior. They ask Henry to step down as the CEO and inform him their CFO has resigned. Henry tells them, “None of this is real,” and then runs out of the conference room.

At Pierpoint, Eric gives Yasmin a pep talk, comparing today’s trading to “smoke and mirrors” to ensure all trades go their way. Bill Adler asks why they’re understaffed, and when Eric tells him they let Kenny go, Bill is shocked. He meant someone had to go in the next quarter, not the next day.

Robert arrives at Nicole’s house and jumps over the wall. He meets a young woman on the other side of the wall, who appears to be Nicole’s daughter. She lets him inside the house. Her daughter asks if Robert is one of Nicole’s men, and his non-denial confirms her suspicions. Robert tells her he’s sorry for her loss and comforts her. She kisses his neck and tries to take things further. As she leaves, she reveals she is only fifteen. For once, his morality helped him.

Robert calls Henry and finds out he’s taken downers. Henry locked himself inside the ADA stall at Lumi. Robert lets Yasmin know, and they formulate a plan to get a bounce on the stock. She tells Robert to meet her at Lumi in 30 minutes. Before she leaves the trading floor, she confirms that Otto and Gregory Clarke – a natural gas CEO – are at the club. She tells Eric she’s going and talks Henry into allowing her to manage things.

They arrive at the gentlemen’s club, and she steps outside (only men are allowed inside). She calls the tabloids to ensure photographers are outside. Robert and Otto bicker inside, but he successfully gets them outside for photographers to take pictures. Having Henry meet Gregory sparks rumors of acquisition.

At Pierpoint, the book is even. Eric seems surprised because Lumi ended the day positive, but Rishi explains that his long-on Sterling will pay off. Bill and Eric let it go. Yasmin fishes for compliments for setting up the meeting to fuel acquisition talk. Eric, instead, tells her what she did was unethical. It was market manipulation at best and potentially illegal. He does not believe she has to degrade herself to be good at her job. They leave the conversation with a positive understanding. Before she leaves, Yasmin gets a phone call to meet someone for dinner.

At FutureDawn, Anna leads a party because of the Lumi’s success. Harper stumbles upon some of her co-workers doing coke at their desks. They invite her out, but she passes. Instead, she follows Petra out to the garage.

Petra tells Harper that she’s thinking about leaving FutureDawn. She wants to work with people who are open to debate. Petra then asks Harper how she got the price below market earlier in the day. Harper knew that the junior would not have live pricing, so they had a fifteen-minute advantage on pricing. Petra tells her to leave personal animus against Pierpoint behind. It’ll hurt her future. As she drives away, Petra informs Harper that she knows about the graduation issue at Pierpoint. To Petra, it means that higher education is overvalued.

Yasmin meets Henry at dinner, asking him where he got her number. Henry reminds her that his uncle owns several newspapers and that he had taken down an article about her on vacation. She meets Henry in the restaurant bathroom. At first, he believes he’s about to get laid, but instead, she insults him. She then goes into the stall and pees – playing off Sweetpea’s information from earlier.

When she steps out, she sees Henry has left. He left a bottle of extremely rare wine behind for her. When the restaurant is unwilling to open it, she steps outside and uses her keys as a corkscrew. She drinks straight from the bottle.

Yasmin flashes back to the boat in the Mediterranean when she fought with her dad about having sex in her bed. He tells her that he’ll be prosecuted if he returns to England. They fight, and he physically pushes her down on the bed and sits on her chest. She spits in his face and calls him names, but he knows she’ll always return to him. On the boat, Yasmin cries and smokes a cigarette. Harper appears on the yacht and tells her to stop crying. In London, Yasmin rides the bus and realizes someone is taking her pictures again. She steps off the bus and leaves the wine.

“SMOKE AND MIRRORS” TakeawaysThe episode largley lies on Marisa Abela’s shoulders, and she shines throughout. It’s a very internal performance through most of the story, and the writing is phenomenal. The episode plays out with excellent pacing, and builds on ideas about who Yasmin has become as a character. Between the last two episodes, Abela has seemingly taken over the center of the series.

The subdued role of Harper (Myha’la) is intruging. We know she’s found a new home at Anna’s firm, and immediately seems to be on Anna’s nerves. However, with Sarah Goldberg joining the series, it seems like “Smoke and Mirrors” wants to push her towards a new future. At the same time, we discover that Harper was on the Yacht with Yasmin over the summer. There’s still a lot to learn about Harper’s time away from Pierpoint, but the fact that show is not Harper-centric any longer likely benefits the future of the show.

Throughout “Smoke and Mirros” Robert facilates between his posh background and his lowbrown origins. Lawtey continues to give one of the best performances of the season, which certainly speaks well to the producers. They’ve let him grow and they’re rewarding him for his talent. Pitting him in scenes against Harington also gives him a natural foil and give him better writing. “Smoke and Mirrors” might be Lawtey’s best subtle work to date, compounding his showcase episode in the premiere.

“Smoke and Mirrors” also opens a thread about Rishi. Something is up with him, and he pushes back from his bosses multiple times. The “back itching” also seems very suspicious. We know he can mix it up, but his drug use might be getting out of control. With Anraj bringing up the “Sterling Long” multiple times, we have to assume that’s coming back in the future. Radia continues to feel at home with Rishi, and even the bit role in “Smoke and Mirrors” delivers high energy.

Eric’s choices also seem on edge. “Smoke and Mirrors” brings many of his decisions in the premiere into focus. They were rash decisions that he made emotionally. However, with the IPO, they were dumb moves. Leung plays the chaos well, but he does not get a true standout moment until the end of the episode with Yasmin.

“Smoke and Mirrors” gets the Pierpoint crew to the other side of the IPO. Yet the celebrations feel unearned. At best, they cheated their way into success. Rishi’s other deals still meant they did not turn a profit. Not for nothing, but the fundamentals of a company launching a big IPO and only breaking even for the day is shocking. Time will tell how they handle the chaos at Pierpoint, but the alarm from Eric and Bill speaks to something deeper at hand.

Alan’s Rating: 10/10Watch Industry on Sunday nights on HBO and Max. “Smoke and Mirrors” aired on August 18, 2024. Read our full Season 3 Industry review here.Check out our Reviews, Recaps, and Features on TV here!The post TV: SMOKE AND MIRRORS – Industry – Season 3 Episode 2 – Recap appeared first on Sunshine State Cineplex.

View Details

The cyclical nature of incarceration remains a stain on American life. The rationale and dialogue behind incarceration should always be rehabilitation. However, few politicians are willing to greenlight criminal justice reforms that put humanity first. Daughters, a stunning work from Angela Patton and Natalie Rose, followsincarcerated men and their children as they prepare for a father-daughter dance. I was left in tears watching this film in a way few movies ever illicit, with Patton and Rose constructing a plea for forgiveness and common decency. Daughters will strike at the heart of any parent and opens the door for logical criminal justice reform.

In D.C., a program exists to allow the daughters of incarcerated men to attend a father-daughter dance. Following four of these families, Patton & Rose captured the intimate moments in everyone’s lives. The fathers must learn how to dance, discuss their reasons for joining the program, and put their best foot forward. Meanwhile, their daughters live a life outside of the system. With their mothers or caretakers, they must decide if they actually want to partake in the dance.

Film, like few other mediums, creates empathy for its subjects. Throughout Daughters, Patton and Rose put this idea at the center of the film. No matter what footage you’re watching, the subjects’ humanity shines through. The heartbreak, the anxiety, the self-hatred, and the longing are palpable. A single shot of the men waiting in the hallway, nervously awaiting their daughter’s arrival, is one of the most moving shots of 2024.

There’s also something to be said about what you take into a movie like Daughters. I’ve been open about my own struggles with my dad before his passing in 2016. During a window in 2013, he was in prison and sent letters to my apartment, where I lived alone. It was a harrowing experience to read those letters, even when I had no opportunity of seeing him during this time. After he was released from prison, we reconnected and bonded quickly, but unbeknownst to me, I had very little time left with him.

Watching the fathers in Daughters yearn for connection with their children hit me in a deep, emotional place. I could not help but think of my own father and his struggles behind bars. Instead, I live with guilt that I was not a comfort to him during this time. I was 23 and angry. In many ways, I cannot help but valorize these children because they actively engage with someone they may barely know and do so with extreme empathy. It’s a choice I wish I had made. Seeing these moments between father and daughter struck me in a place I could not fully comprehend, and Daughters leaves an undeniable imprint on the audience.

Beyond my personal ties to the footage, Patton and Rose shine as filmmakers. Their pacing and shot selection result in incredible sequences. They build trust with their subjects, who open up to them with incredible vulnerability. The footage appears simple, but the process of capturing these moments cannot be understated. The choices in lenses and visual flair only further showcase their abilities as directors.

The time taken to follow the girls and incarcerated men over the years highlights the importance of a project like this. Creating and uplifting actual resources for incarcerated men that reduce recidivism rates is integral for the justice system to work. Daughters highlights one of these programs. For the audience, we spend ninety minutes in the world. For the families, this is a culmination of years of planning and missed opportunities for the families. You can feel that in the filmmaking, which allows Patton and Rose to tell a story that drips with pathos and emotion. Daughters is not only one of the best films of 2024 but also the best of the decade.

Alan’s Rating: 10/10Watch Daughters on Netflix. Daughter was distributed by Netflix. Please check out other Sunshine State Cineplex reviews here!The post Review: DAUGHTERS – A Stunning Work of Humanity appeared first on Sunshine State Cineplex.

View Details

Long before Alien, writer Dan O’Bannon worried he might not make it in Hollywood. In the early 1970s, O’Bannon and John Carpenter collaborated on a film about astronauts being hunted by a creature on their spaceship. The comedy – Dark Star – became an early proof of concept for each figure. Carpenter proved he could direct. O’Bannon proved his ideas could be the foundation for a heady sci-fi film. Yet, most importantly of all, they were on Hollywood’s radar. Still, O’Bannon found difficulty getting steady work. A hop, skip, and a failed Dune project later, and O’Bannon was laying the groundwork for Alien, even as he was couch surfing. Little did he know, his screenplay for “Memory” would become one of the greatest American productions of all time.

The story behind Alien remains as iconic today as it was decades ago. That’s why Memory: Origins of Alien makes for such an intriguing documentary. Yet I fell in love with Alien without that intriguing side of the story. The VHS copies haunted me in video aisles for years, even to the point that I had a compulsion to build xenomorphs with my legos. When I was seven, I saw Alien3 while at a babysitter’s house. It was so freaky and chilling, I never wanted to wander within eyesight of the franchise. Yet by fifteen, I fired up a re-release of Alien on my Netflix discs, starting my love of a film that remains to this day.

My story about Alien is not so different than others. It’s a VHS classic that has only grown in esteem over the years. An incredible sequel and an iconic creature force many of us to return to the well over and over again. Part of this credit goes to Ridley Scott, who balances the sexual violence, the cold inhumanity of capitalism, and the body horror to craft a movie unlike any other in history.

O’Bannon admits he stole from everyone in the screenplay, and Walter Hill’s rewrite strengthened the ideas at play. Perhaps most important of all, H.R. Giger remains overrated and underrated to this day. Yes, his work is iconic and set the tone for the series. No, it was not all based on ideas from the screenplay (some of his art already resembled the Xenomorph before ever touching the movie).

Yet in many ways, the synthesis of these men and the other creators on set speaks to the universal nature of Alien. It’s not pulling from one idea but every idea. It does so through a retrofuturism while also downplaying a trip to outer space as a normal activity. Like every other resource, it would only be a matter of time before corporations stole more from the natural world. It would only be a matter of time until we stumbled on the wrong thing.

The political anger and frustrations of the 1970s permeate through Alien. By the end of the Carter administration, it was clear that many would remain angry about America’s standing in the world. Even the Carter administration came after Nixon degraded the public trust. Vietnam still runs deep within Americans. It was a time of turmoil; these are the moments when audiences let the darkness consume them.

A perfect killing machine makes for the perfect metaphor. As Hooper notes in Jaws, a creature of perfect evolution moves, eats, and makes baby creatures. Alien cashes in on this idea (even doing so in the pitch meeting). Their creature only knows how to destroy. Every moment builds towards the monster becoming more powerful. As we watch the creature reveal new capabilities and danger, it’s clear that the Xenomorph (a name that is not used until the second film) should kill everyone.

Yet an impeccable cast helps all of the ideas come into focus with remarkable precision. Ian Holm turns Ash into the ultimate antagonist, arugably scarier than the Xenomorph as he tries to kill Ripley. John Hurt‘s magnetism makes his death even more shocking. Yaphet Kotto and Harry Dean Stanton bring incredible depth to their workman characters. Kotto in particular remains iconic, and it’s amazing to watch him add incredible nuance to a jokester role. Tom Skerritt‘s natural charm makes you believe he’s a hero, and he never wavers from for one second.

Yet of course, the combination of Ripley (Sigourney Weaver) and Lambert (Veronica Cartwright) become the secret sauce of Alien. Weaver would give a slightly better performance in Aliens, but her pure survival instinct in Alien is stunning to watch. She plays up the horror, but does so with incredible poise. There’s a reason we all worship Ripley, and Weaver’s star-making performance leaves no questions about her talent. The physicality she displays adds to Ripley’s iconic standing, as few performances of its ilk had existed on film before Alien.

Cartwright makes for a brilliant foil. In many ways, her overwhelmed performance is the most natural of the crew. She’s watching friends die horribly, and her performance during the chest-bursting is unparralleled. Cartwright digs into Lambert, and makes her far more than the unstable character many have pegged her as. It’s a mental unravelling that is not only gradual, but logical within the context of Alien.

It’s miraculous that Scott moves the creature from the weakest form possible into a baby and finally into a monster capable of horrors untold in real-time. Combined with the brilliant visual aesthetic, impeccable production design, and great performances from top-to-bottom, Alien has few equals in cinematic history. It’s a virtuosic showcase of Scott’s storytelling abilities, setting a standard for which all sci-fi horror would be judged for generations.

Watch Alien on Hulu today. Check out our Alien Franchise pieces here. Please check out other Sunshine State Cineplex reviews here!The post Retro: ALIEN – An American Masterpiece of Fear and Visual Genius appeared first on Sunshine State Cineplex.

View Details

As an avid theme park goer, I grew up visiting Walt Disney World and riding the Great Movie Ride at Disney’s MGM Studios. Nothing traumatized my younger self more than the Alien sequence. It is curious then that years later the Alien franchise would come to be one of my favorite franchises, even with several films of questionable quality. With the latest installment of the long-running Alien franchise bursting into theaters this week, I have taken the opportunity to rank the 9 films of the franchise. Though in-universe retconning has dismissed the Alien vs Predator films as non-canonical, their intention was to connect to the established lore so they are included here.

9. Alien: Resurrection (1997) 4/10 – Directed by Jean-Pierre JeunetA polarizing entry into the Alien franchise, Resurrection was nearly the nail in the coffin for what many felt to be a tired franchise, and, when compared to the rest of the films, it’s little wonder why. Far from the thoughtful or more nuanced scripts of its predecessors, writer Joss Whedon brought his then-still-fresh brand of plucky nerdiness to a series that was mostly loftier.

A shark-jumping storyline lingers on the precipice between campy and just plain bad. From the dialogue to the film’s proceedings, this movie seems most out of place amongst the rest and not in a good way. In a franchise where nearly every side character is expendable, this film’s cast is the forgettable, and even Weaver’s performance, though fun, shows franchise fatigue.

8. Aliens vs Predator: Requiem (2007) 4/10 – Directed by Colin and Greg StrauseCanonically disavowed, AvP: Requiem serves as a sequel to the first Alien vs Predator film. Forgettable from start to finish, the only reason this film doesn’t finish last on this list is for the appeal of seeing the Xenomorphs in domestic settings. Similar to the rush of the climax of The Lost World: Jurassic Park, there is something viscerally scary about placing the aliens in turf that they are unfamiliar with and one wishes that the idea wasn’t wasted on this otherwise forgettable film.

7. Alien³* (1992) 5/10 – Directed by David FincherAlien³* is the franchise’s darkest movie, both aesthetically and thematically. Fincher’s stylistic flair is on full display but without any fresh ideas on how to bring the creature terror to a prison planet where the inhabitants are all worthy candidates for death, the film feels like a slog. It’s too brooding and gloomy to be exhilarating but in whole is not a terrible film. One of the film’s greatest strengths lies in the concepts of redemption, morality, and spiritual awakening. On its own, it would be a fascinating character study but the mashup of genres is overshadowed by fitting it into the alien universe.

6. Alien vs. Predator (2004) 6/10 – Directed by Paul W.S. AndersonFor anyone eschewing the cerebral qualities of the previous two entries on this list, AvP offers sweet relief. Developing its own mythos that is later disproven by later films in the series, this movie brings the Xenomorphs to Earth for the first time and pits them against the hunters from Predator. It’s a mash-up that is purely pulp but is simply entertaining. It’s not a good movie but it is an enjoyable one. However, one may wish that the filmmakers did not settle on the more accessible PG-13 rating, and, in so doing, limiting the carnage that the two greatest hunters in cinema history can inflict on each other and the humans that get in their way.

5. Aliens (1986) 7/10 – Directed by James CameronAliens would likely rank higher if only Bill Paxton’s Hudson was dispatched sooner, ending his insufferable bellyaching to the anonymous “man.” Aside from that, Cameron puts aside the terror in favor of a more straightforward yet satisfying action film. His technological and visual mastery elevates the basic story to the next level and Weaver brings a more varied and deeper portrayal of Ripley here that is not seen again in any of her following reprisals.

4. Prometheus (2012) 7/10 – Directed by Ridley ScottServing as a prequel to the other films, Prometheus feels like the most standalone of the entire Alien franchise. Tackling concepts like creation and artificial intelligence can be heavy stuff, but here, Scott makes it palatable by creating a new mythology for this film that hints at some truly transcendent concepts. Visually, the film is stunning, bringing some of the most gorgeous visuals seen in any of the films. Likewise, Prometheus’ cast represents the franchise’s best.

3. Alien: Covenant (2017) 8/10 – Directed by Ridley ScottBridging the gap between Prometheus and Alien, Covenant is the second of a proposed trilogy of prequels. However, following what can only be described as franchise indifference, the film failed to generate much acclaim or box office returns. This is a shame because several great ideas are born from the film, particularly from the synthetic character David, returning from his enlightenment in Prometheus with fresh ideas about humankind’s unworthiness of continued existence. Michael Fassbender brings both malice and gravity to the character in a masterful performance. Coupled with plenty of variations on the familiar Xenomorph and ample carnage, this film is the first to feel like a true Alien film since Alien³ 25 years prior.

2. Alien: Romulus (2024) 9/10 – Directed by Fede AlvarezFresh, exciting, and soil yourself terrifying, Alien: Romulus bursts into theaters with enough new ideas to reinvigorate the Alien franchise and enough respect to do so in a way that honors all the films that have come before. It is a stand-alone film set between Alien and Aliens, and by choosing to pick a period that is already established, Alvarez doesn’t need to spend time on new world-building. Instead, he is able to narrow the focus to a smaller core group of characters than most of the other films.

That means the body count here is lower but the stakes are higher. With fewer disposable characters for the aliens to pick off, the noose feels very tight around our heroes from very early on. Alvarez capitalizes on this to raise the feeling of terror and dread to an all-time high.

Likewise, Cailee Spaeny’s Rain, David Jonsson’s Andy, and Isabela Merced’s Kay are some of the franchise’s most likable characters. Not since Ripley and Newt have we felt such a desire for the characters’ survival. Alvarez and co-writer Rodo Sayagues have also delivered a fresh take on the synthetic being in Andy. If Fassbender delivered the masterclass on bringing nuance to a character of artificial intelligence, Jonsson is his star pupil. Equal parts endearing and heroic, Andy is at the heart of the film’s coolest moments.

From a technical perspective, Alvarez delivers a crisp and refreshingly practical viewing experience. The cinematography is unmatched and to bring fresh action pieces to a four-decade-old Alien franchise is impressive. Seriously, how have none of the previous filmmakers thought to use the weightlessness of space for any other sequences? Forgoing CGI whenever possible, the animatronic Xenomorphs and facehuggers have never looked better or more terrifying.

Equally terrifying, though not quite in as positive a manner, is the film’s sound editing. It may be that in space no one can hear you scream but they will have a fair chance of hearing this film. In and of itself, the volume is not an issue however when the sound effects drown out the dialogue, there is an issue. Fortunately, yet inexplicably, this only is an issue for the first quarter or so of the runtime.

Regardless, Alvarez delivers the most original and scariest Alien film since the original. Awesome visuals and likable characters help land this newest entry in its spot at number two on the list.

1. Alien (1979) 10/10 – Directed by Ridley ScottAtmospheric. Terrifying. Tense. Alien clings to the number one spot not just for being the trailblazing film that introduced the world to the Xenomorph but because after 45 years no other film matches the brilliance of Scott’s original. Featuring a stellar performance by Sigourney Weaver and the Spielbergian sensibilities of showing as little of the monster as possible until later on, Alien earns its place on the mantel. From a technical standpoint, the film achieves a lot with very little, and such practical sensibilities make the world Scott created feel lived in and real. This is science fiction at its most accessible and horror at its most visceral. Alien is a true masterpiece of cinematic history.

Watch Alien: Romulus in theaters on August 16, 2024. Check out all of the* Alien franchise films on Hulu now! Read our reviews or other Alien* franchise movies here.Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post Ranking the Alien Franchise – 9 Movies and 45 Years appeared first on Sunshine State Cineplex.

View Details

After an easter egg in Predator 2 hinted that Xenomorphs and Predators could share the screen, audiences fantasized about the idea. Decades after the original pitch hit theaters, Alien vs. Predator arrived in theaters. While Paul W.S. Anderson arrived with blockbuster experience in his background, Alien vs. Predator quickly felt outside his comfort zone. Brand management stretched over the story, forcing audiences to imagine the two creatures were equally matched despite the story leaning towards the The Predator franchise. The resulting flick has moments of joy, but feels like a lesser entry for both franchises.

One of the richest companies in the world detects a strange heat signature in the Arctic. Its leader, one Charles Weyland (Lance Henriksen), pulls together a unique team to explore the heat signature. Included in the group is Lex Woods (Sanaa Lathan) – a mountaineering guide. When the crew reaches an abandoned mine outpost, they discover a path to their quarry – a massive pyramid under the ice. However, awaiting them in the darkensss is a showdown between Xenomorphs and Yautja (Predator). Caught between the two forces, the crew must side with one of the creatures to ensure humanity’s survival.

On concept alone, Alien vs. Predator should be a home run. The creatures are uncaring. The violence they rain down on humans is legendary. I consider myself a Xenomorph fan first, but flicks like Predator, Predators, and Prey are too much fun to ignore. Yet somehow, even a director like Paul W. S. Anderson made these fighters boring.

The ingenuity of all of these killing machine disapates quickly. Yes, the movie explains these are not apex predators of their races, but the right of passage element does not explain the inconsistencies in the story. One minute, a Yautja slices a xenomorph’s scalp off. The next, a face hugger easily sneaks up to impregnate it. The xenomorphs work to free their Queen but can only do so by biting her and causing her acid to erode the shackles. In previous Alien films, we’ve already established they’re willing to kill each other to let the strong survive.

These mistakes are frustrating, but feel amplified with a lack of gore. The Unrated and R cuts exist for Alien vs. Predator, but it’s almost more insulting they needed a second cut to integrate these ideas. Just one year earlier, Freddy Vs. Jason racked up more than $115 million worldwide. Cutting to a PG-13 rating might have slightly boosted short term revenues, but ask any horror fan which versus movie is better. Almost universally, you’ll hear the clash of the slashers.

Equally astounding is that Anderson is clearly cashing a paycheck. The director of Resident Evil, Event Horizon, and Mortal Kombat barely registers his style. The action remains underwhelming at every turn. The CGI is often middling, if not outright terrible.

While some puppets help the showdowns feel more authentic, it’s a wonder why Anderson took on this project. He shows far more excitement in directing Johnny Cage fights, letting Alice destroy the Umbrella Corporation, and even putting Sam Neill on a spaceship to a Hell Dimension. Yet for the first time, he feels fully restrained and loses his trademark goofiness. Alien vs. Predator is perhaps the most self-serious movie of his career, which includes a Kit Harrington starring Pompeii movie.

There are certainly some fans of Alien vs. Predator but it’s hard to hold too much excitement. It’s a mostly boring movie filled with bad exposition and weak fight sequences. Perhaps the one reason this maintains some hope comes from Lathan’s performance. However, even that is not enough to save this frustrating IP mashup.

Alan’s Rating: 3/10Watch Alien vs. Predator on Hulu. 20th Century Studios distributes.Please check out other Sunshine State Cineplex reviews here!The post Retro: ALIEN VS. PREDATOR – A Catastrophic Squandering of Potential appeared first on Sunshine State Cineplex.

View Details

It’s often easy to imagine men standing up to defend their families. Yet the truth is far darker, as many believe their loved ones can take the abuse. Good One offers insight into this phenomenon, delivering a shocking and heartbreaking view of how allies may fail the ones they love most. Most prescient, director India Donaldson confronts the inherent push from many men to uphold the status quo, often through their own ignorance.

As she readies for college, Sam (Lily Collias) prepares for a weekend camping trip with her father, Chris (James Le Gros). Her parents are divorced, and this gives them an opportunity to spend time together. Their backpacking crew includes two more members, Chris’ best friend Matt (Danny McCarthy) and Matt’s son. However, when Matt’s son refuses to join, the three-person party marches into the woods. Over the next few days, Chris’ best friends rant and discuss their frustrations in life, as Sam hears their unfiltered beliefs.

Donaldson follows in the footsteps of other filmmakers who utilize walking trails to their advantage. The outdoorsman experience forces conversation between even shy men. Opening up over a few days reveals a darker side, especially an internalized misogyny. Donaldson correctly charts how men slowly let their walls break down before adhering to sadly traditional views.

Sometimes, departing society brings out the worst in humans. Away from the context of culture, they can craft a new persona that fits their current environment. Throughout Good One, both Chris and Matt make bold claims about their abilities. Their hike becomes a mini cultural biome where their ideal selves can exist without the presence of women.

Despite Sam’s presence, the men do not acknowledge her as an equal part of their hike. Even the name – Good One – implies that Sam is unlike other women. Her name is not gendered. She carries a heavier pack than most. When Chris speaks, he expects her to be subservient to him and not ruin his good time. Even when the actions of Matt or others on the trail cause Sam anxiety, only Chris’ experience matters for the trip to be a success.

Collias literally walks a difficult path in Good One. It’s a mostly internalized performance, and her non-verbals must convey much of the shifting emotion. Her performance works when she is asked to carry the narrative but is most effective when the camera catches her reactions. It’s a heartbreaking performance and an excellent use of negative space from the actress.

Additionally, the banality of misogyny comes through brilliantly in Le Gros and McCarthy’s performances. There are moments when you can feel their righteousness and anger build perfectly. At other moments, McCarthy turns Matt into a perfect gentleman. However, as you watch the relationship unfold, you see that his actions are meant to hide his true intentions. Their performances have to be menacing but well-meaning. The performances are not as great as Collias’, but they’re undeniably an essential part of Good One’s success.

While Good One features some pacing issues, it’s a gorgeous production overall. It looks incredible, with the wilderness perfectly capturing the themes and beauty around them. Additionally, the script is sharp, allowing the audience to understand the issues. At the same time, the brashness of its leads removes any subtly from its story. It turns Good One into a film that does not fully trust its audience. Still, the vast majority of Good One shows incredible promise for Donaldson. Those who catch its vibes early are in for a masterful experience.

Alan’s Rating: 8/10Watch Good One in select theaters now. Metrograph Pictures distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: GOOD ONE – An Introspective View of the Patriarchy at Work appeared first on Sunshine State Cineplex.

View Details

When it comes to marketing itself, no country in the world matches the United States of America. Take, for example, the Alamo. The marketing machine implores people to remember it, perhaps because the most forgettable part of a visit to San Antonio would indeed be the Alamo. In any case “Remember the Alamo” has stuck and resonates with the belief that the destination merits visiting.

However, Luc Besson’s first foray into American filmmaking does not take place in San Antonio. It takes place in the Big Apple, the Empire State, the City that Never Sleeps: New York City itself. With Léon: The Professional, Besson could not keep himself from including every cliché associated with the city he must have learned from convincing American marketing. Little Italy is the specific setting and operating within are corrupt police detectives, stereotypical mafiosos, dysfunctional families, and a hitman with an affinity with milk. Whatever Besson’s vision of America is, Leon: The Professional taps into the banality of implied Americanisms.

Despite its best efforts to drape itself in the red, white, and blue hues of the star-spangled banner, the hues of the of Léon: The Professional more closely resemble the French Tricolore. The film is remarkably French in its execution, holding a neck-breaking pace fraught with haute tension throughout. Leon (Jean Reno) is a foreign cleaner or hitman, employed by mafia boss Tony (Danny Aiello). Leon ties up loose ends by using methodical, yet lethal persuasive methods. Unexpectedly, Leon finds himself as the de facto foster parent to young Matilda (Natalie Portman) after her family is brutally murdered by corrupt police detective Stansfield (Gary Oldman).

Any cultural shock Besson might have experienced as he visited the United States for the first time is gleefully returned as he taps into his Gaul sensitivities. Unconcerned with kindly introducing himself to American audiences Besson offers an unconventional, uncomfortable, and oftentimes brutal and bloody film. Despite this, Besson miraculously makes it all completely enthralling and endearing. What else can one call a touching moment between a hitman and his 13-year-old apprentice as he shows her the ins and outs of coldly sniping someone other than miraculous in its execution?

Seeing Mathilda look through the scope and perfectly execute a shot (with paintballs instead of bullets, some restraint from Besson) as Léon guides her is the least uncomfortable situation Besson puts the main characters through. Much has been discussed about how the relationship between the two borders on pedophilia, with Mathilda even declaring she is falling in love with Léon. He never acts in any way other than as a reluctant father figure.

Back when The Professional was released in 1994, audiences were understandably shocked, with conversations surrounding the relationship still being had today. Are these part of the musings Besson has on American culture? Or does the director use this to illustrate the boyish nature of his title killer? Discussions will continue.

With him, Besson brings former collaborator Jean Reno in the role of Leon. Reno is nothing short of superb, as he manages to create a sympathetic character, even after his brutally violent introduction. As adept as he is at killing, Léon struggles with social skills, is stiffed by his patron, and is completely lost when it comes to raising a child, much less one that has romantic feelings for him. But Léon tries, as he successfully gets Mathilda to stop smoking and cursing, teaches her morals and ethics even in the profession of “cleaning” and ultimately saves Mathilda’s life. Léon is rightfully one of Reno’s best and most memorable roles.

The other half of the unlikely duo is brought to life by Natalie Portman. Mathilda is her first major role, and it would be her most demanding role until her Oscar-nominated turn in Closer 10 years later. A lot is asked of the young actress, as Mathilda experiences unimaginable grief that moves her towards seeking revenge. However, there is an ebullient nature despite the tragedy. All this occurs as Mathilda is also on the brink of coming of age, experiencing an awkward sexual awakening. Astonishingly Portman delivers on all fronts, resulting in one of the best introductory performances by a young actor ever.

In their supporting roles, Aiello and Oldman understand the assignment, as they play to ridiculous levels the caricature aspect of their roles. Aiello’s Tony headquarters his mob empire from a restaurant, as he orders his soldiers with a thick New York accent. As an expert in villain embodiment, Oldman gleefully elevates Stansfield’s sadistic qualities. The Beethoven-obsessed detective is an unbalanced psychopath, with Oldman masterfully raging from scene to scene.

Even after 30 years, Léon: The Professional is still among the best work from many involved. Besson introduces himself to America as a visionary not afraid of engaging in brutal and controversial subjects. Furthermore, Besson opting to disguise his French tendencies with an American facade result in a hodgepodge of cultural truisms. In effect, this creates something truly worth remembering.

Watch LÉON: THE PROFESSIONAL on streaming platforms today. Columbia Pictures distributes.Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. The post Get Busy Living: LÉON: THE PROFESSIONAL – Besson’s American Debut Proves Unforgettable appeared first on Sunshine State Cineplex.

View Details

Though the film is directed by Ethan Coen, Drive-Away Dolls gives the impression of Kevin Smith directing Thelma and Louise. The deranged plot serves to allow the characters to wax poetic on their connections and worldview while driving from Philadelphia to Tallahassee in an almost dream-like 1999. That the two duos are plutonic lesbians and a pair of hapless henchmen pursuing them allow two different conversations to occur almost seamlessly. The mash-up of stereotypes hints at something deeper but Drive-Away Dolls does not intend to take itself too seriously, instead offering an oddball comedy that is boisterously funny and quietly endearing.

Jamie (Margaret Qualley), fresh from a break-up with her cop girlfriend Sukie (Beanie Feldstein) convinces her best friend Marian (Geraldine Viswanathan) to accompany her on a road trip to visit her aunt. They mistakenly procure a Dodge Aries from a drive-away service run by Curlie (Bill Camp) that was meant to be delivered, with some unsavory contents (which to reveal here would be a disservice but can be said to be a cast member in its own right), to Florida. The Chief (Colman Domingo) instructs his two goons, Arliss and Flint (Joey Slotnick and C.J. Wilson), to retrieve the car and its contents to avoid the wrath of Senator Channel (Matt Damon).

The story, written by Coen and long-time collaborator and spouse Tricia Cooke, is smartly dumb. The focus lies in the relationships between the characters. Devoting the time to their interactions instead of needless exposition allows Drive-Away Dolls to zip forward at a steady pace and allows the characters to transcend their intentional stereotypes. Cooke, who identifies as a lesbian, brings authenticity to the dialogue between Jamie and Marian. Jamie, incredibly sex-positive, believes Marian needs to loosen up and spends most of their journey trying to get her friend to hook up with strangers they meet on the way.

Drive-Away Dolls is unabashedly queer cinema and has been in development for over two decades, unable to receive backing due to its subject matter. Keeping the film routed in the time period that it was conceived creates an alternate version of the late 1990s that feels almost ethereal. The tone of exploitation meets screwball sex comedy again plays against audience expectations and demonstrates the filmmakers’ ability to blend unconventional genres.

Qualley, donning a Texas twang, does most of the heavy lifting of the script’s dialogue but Viswanathan’s quiet contemplation brims with a restrained intensity. Slotnick and Wilson are hilarious and Damon, never afraid to go over the top, is a treat. Camp and Domingo also stand out in their smaller roles. The characters are intentionally written as stereotypes but the cast brings each to life in a way that makes each feel authentic, adding to Drive-Away Dolls‘ appeal.

Drive-Away Dolls won’t be everybody’s cup of tea, but for those who like their mug brimming with humor and wit, this is for you. Coen and Cooke deliver a gay romp that contemplates identity while flipping conventional genres on their heads. A game cast adeptly brings their characters to life in sometimes surprising, always funny ways. The journey to the destination in Drive-Away Dolls is well worth the time it takes to get there.

Josh’s Rating: 8/10Watch Drive-Away Dolls on Peacock! Focus Features distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: DRIVE-AWAY DOLLS – This Madcap Journey has Humor and Heart appeared first on Sunshine State Cineplex.

View Details

Few franchises have changed the very fabric of cinema quite like Alien. From its origins in 1978, the series consistently defied expectations in blockbuster filmmaking. Sometimes this resulted in brilliant era-defining classics. Occasionally, it was met with vitriol. Alien: Romulus returns the series to theaters for the first time since 2017, and it’s clear what we’ve been missing.

Director Fede Alvarez handles the franchise with care. He embraces moderation (for him) but still creates far more obscene and creative deaths than most entries of the franchise. Alvarez also gives Alien: Romulus a clear line of demarcation from the Ripley saga. While there are certainly nods to those movies and Prometheus, the story is functional as a standalone tale. That’s not to say Avalarez does not send a love letter to fans in the know. This two-pronged approach yields some incredible moments unlike anything you’ve ever seen in the Alien franchise, while also featuring a few stumbles.

Alien: Romulus picks up in the year 2142, set between Alien and Aliens. Rain (Cailee Spaney) searches for a way to get off her mining colony with her brother Andy (David Jonsson). An old flame, Tyler (Archie Renaux), and his sister Kay (Isabela Merced) offer them an opportunity. Just above their planet, there’s a wreckage that’s gone undetected. In that wreck are cryopods that will help them reach another system. For their plan to work, Andy – a synthetic – will have to communicate with the ship’s MU/TH/UR interface. With Tyler’s cousin Bjorn (Spike Fearn) and his pilot girlfriend Navarro (Aileen Wu), the group makes their way to a vessel with far more danger than they anticipate.

Alvarez vocally pronounced his wishes to return Alien: Romulus to the roots of the franchise. In many ways, he succeeds. He brings blue-collar adults, scratching for every dime they can. They are more aspirational than the workman of the Nostromo’s crew, but they also prove their technical know-how quickly. These are people who thought they would pull an easy job and continue on their way to a better life. Instead, they stare down death.

This aspect is somewhat successful but still does not fully embrace workers. Instead, the characters have vague jobs, making it impossible for us to fully know what they’re giving up to go on this mission. All we know is that this colony is terrible, which will be enough for some.

Their fears also emerge from the character’s backstories. In many scenes, there are openly racist attacks against Andy. He’s notably a dark-skinned black character who is also the only synthetic in the crew. The anger and vitriol toward him cannot be mistaken for shared language towards American slaves. It’s too brash to be unintentional, and Jonsson plays these scenes with incredible grace.

Additionally, Romulus continues to attack the Weyland-Yutani company. Baked into the franchise’s DNA is the incontrovertible anger toward corporations that sacrifice life for profit. When these choices are made to make weapons of war, it’s even more despicable. Alvarez continues this discourse, but mostly through surface-level discourse and bureaucrats who might as well have villains stamped on their foreheads.

Finally, Alvarez returns to the very sexual roots of the franchise. There’s no question that sexual, phallic, and sapphic imagery shows up continuously throughout the movie. Additionally, Alvarez leans into the sexual innuendo of the Xenomorph as it uses its exoskeleton as a probing, violent act of killing. There’s nothing more sexual than the face huggers, which actively show sexual violence whenever they attack.

Beyond all of the symbolism and fan service, Alvarez assembled a fun core of characters. The strength of his two leads, Spaney and Jonsson, quickly becomes apparent. The other performers are good, especially Merced. However, they occupy a space that Alien characters before them have, namely as side characters focused on survival above all-else. Alvarez does not give them the humorous asides that Scott and Cameron were able to gift their characters. While there’s some misdirected anger and stupid choices, they do their best to keep up with the leads.

Spaney’s lead performance is clever and exciting to watch. It’s not quite as good as her performance in Civil War. Yet her poise and charisma shine through, and her looks of terror are something to behold. Additionally, she must struggle with the changing dynamics of her team as the threats they face change. Jonsson faces the most difficult performance on many fronts, and while one can argue it leans into autistic tendencies, his transformative performance delivers on the emotional needs of Romulus. It’s a cold, but stunning performance.

Finally, the variation between brilliant special effects and very poor ones almost sinks the ship. For most of Alien: Romulus, there’s no question about how incredible the effects look. They wisely hide the faster xenomorphs in the dark, and the close-up puppets are astounding. Practical face-huggers and water-bound huggers also excite. However, there are two moments, one early in the movie and one late, with shockingly poor application of CGI. Those aspects really hurt, especially when compared to the brilliant showcase Alvarez creates in establishing shots of the planet. The production design recalls Scott’s first movie, and further plants us in the lived-in world of the franchise.

Alien: Romulus will certainly annoy some audience. After all, there are callouts to previous movies that make no sense. Other moments have subpar effects that really stand out in comparison to the beauty of other Alien movies. However, when Alvarez gets it right, he delivers some of the best moments in the franchise to date. Most importantly, Alien: Romulus works even if you have no knowledge of this franchise. In many ways, it’s a perfect blend of stand-alone storytelling with enough nods to long-time fans to satisfy.

Alan’s Rating: 8/10Watch Alien: Romulus in theaters August 16, 2024. 20th Century Films distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: ALIEN: ROMULUS – An Alien Loveletter In the Dark of Space appeared first on Sunshine State Cineplex.

View Details

After the end of a very exciting second season, the lines in the sand have been redrawn. Harper no longer works at Pierpoint. Eric and Rishi remain on the team. Yasmin’s potential fight with her father appears short-lived, but the consequences are considerable. Robert must return to Nicole, who will only continue to abuse him. New faces populate Pierpoint, and the bank has shifted its investment focus. “Il Mattino Ha L’Oro in Boca” opens the door for Industry to make some drastic moves.

Il Mattino Ha L’Oro in Boca – The RecapOn the Mediterranean, Yasmin (Marisa Abela) lounges on a yacht. As she heads to her room, she finds her father (Adam Levy) sleeping with a server on the yacht in her room. After seeing the genitalia of her father and his lover, she leaves. Later, she smokes on the upper deck while other girls take pictures.

Six weeks later, Yasmin wakes up to noise outside of her window. She realizes that in the dumpster below, paparazzi take pictures of her in a house of squalor. She runs downstairs to confront the paparazzi and the photographer gets hit by a car. He gets up and runs away. Robert (Harry Lawtey) rushes outside and asks Yasmin if he should call the police. She declines and tells him that the photographer was in his dumpster.

On the floor, new sales and training grad Sweetpea (Miriam Petche) posts a video on social media. Yasmin walks onto the floor and tells her to pay attention to her current job, not her social media following. Sweetpea’s computer has a story up about Yasmin, but Sweetpea defends Yasmin by telling her it’s unfair she’s being treated this way. She also mentions she’s working on a risk model, and that James Ashford called Yasmin this morning about an IPO Pierpoint is facilitating for a company called Lumi.

Yasmin calls James, who seems very worried about the IPO. He’s driving to London to get answers from Lumi CEO Henry Muck (Kit Harrington). Rishi (Sagar Radia), Kenny (Connor MacNeil), Venetia (Indy Lewis), and Anraj (Irfan Shamji) join the floor. They continue to prepare for the IPO.

Yasmin calls Robert, who is managing Henry during a press interview. She warns him about James’ incoming visit. When the journalist asks him some difficult questions, Henry struggles to answer questions competently.

The Pierpoint partners meet, providing Eric (Ken Leung) with applause and special gifts for making partner. The Lumi IPO helped him on the road, and Bill Adler (Trevor White) celebrates the win in the meeting. Lumi will be the first of many ESG (Environmental, social, and governance) companies Pierpoint will be shepherding through the IPO process. Not all members of the board believe in the plan. One member refers to it as greenwashing, refers to it as “Woke” investing, and labels these trades as fads. Eric and Wilomena – the new CFO – defend the strategy for Pierpoint to invest heavily in these companies.

After the meeting, Eric and Bill discuss Yasmin. Bill worries that her status as a nepotism hire has run its course now that she’s in the tabloids. He wants Eric to fire her, and reminds him that his partnership is still new. Bill needs the floor to know cuts are a normal part of the business. He also asks Eric to confirm Lumi will close above 480 the following day.

At Lumi, Robert breaks the news to Henry about James coming into the office. Henry screams at Robert, telling him James’ investment was minimal and insignificant. One of Henry’s assistants brings him a sandwich, and he joins Robert in a glass office. After eating part of the sandwich, Henry tells Robert that Lumi’s luck has gotten worse since Robert joined the team.

Eric and Kenny discuss Yasmin on the floor. Kenny continues to vouch for her. In the meeting at Lumi, James questions the new Earnings Report. After going through it all, he reveals that the debt profile is shockingly unstable. He does not trust the Pierpoint evaluation of Lumi. He offers back half of his equity at 430 a share.

At Pierpoint, Yasmin steps into the call to stop James from selling his stake in the company. However, Henry uses Yasmin’s sales pitch to instead take back all of James’ equity at that rate. Shocked that Lumi would make that trade, James agrees and leaves the office. Kenny tries to reassure Yasmin and Sweetpea about the IPO. He tells Eric they must sell the extra shares by tomorrow. Eric tells Yasmin she’ll need to ensure the price stabilizes tomorrow and if she does not, he will fire her like Harper.

We jump to Harper (Myha’la Herrold), who works with Anna (Elena Saurel) at FutureDawn. A co-worker confronts her about being green with her coffee cups and recycling them properly. Yasmin calls for Anna, and when Harper pushes back, Yasmin dismisses her.

Anna and Petra (Sarah Goldberg) are actively in a meeting about investment strategy. Petra asks Harper about “ethical and impact investing” as a strategy. Harper sides with Anna, but Petra believes no one is thinking for themselves. Anna speaks to Yasmin, who makes her worried about Lumi’s IPO when she’s offered more shares. Anna sniffs out that someone else is dumping. Anna then asks Harper to complete menial tasks, including moving her car.

Yasmin receives a call from Henry on her personal phone number. Henry asks Yasmin to join him for dinner. Harper gets chastised for not moving Anna’s car. After Anna leaves the office for the night, Harper speaks with Petra about ESG as a fad. She explains that every company is overvalued at this point. They walk towards the elevator, and Anna returns. Petra leaves, allowing Anna and Harper to apologize to each other. Harper asks to speak about the firm’s investment profile, and they’ll discuss it the next day.

Yasmin waits in Robert’s kitchen, and when Robert returns with Venetia, she yells at him for giving out her personal number. Robert did not give him the number. Harper also returns to the house and goes upstairs to “make bad choices” with her casual hookup.

Yasmin leaves to meet Henry, who is playing handball with his uncle – Lord Norton (Andrew Havill) – and investor Otto Mostyn (Roger Barclay). They continue playing while Lord Norton apologizes to Yasmin for his paper’s coverage of her in the tabloids. Henry tells them to pause, and he tells Yasmin that he appreciates her help. As Yasmin leaves, Otto chases after her. He tells her that her father owes a lot of people money, including their gentleman’s club. He expects her to stop by the club tomorrow.

Yasmin wanders the street and heads out to meet with a lawyer. After relaying her concerns, Yasmin spots Eric in the corner. He wanders over and explains he’s not with his wife anymore. Yasmin’s new lawyer asks Eric to join them. When they finish their drinks, Yasmin’s new lawyer invites Eric and Yasmin back to her apartment. There, they snort coke and let loose.

Robert heads out after sleeping with Venetia to meet up with Nicole (Sarah Parish). They continue their affair. Afterward, Robert admits he’s in over his head on the house because he continues to spend money on it. Nicole does not know why he stays afterward. They admit they need each other in some way.

Eric asks Yasmin about his relationship with Kenny because he does not fully understand it. Eric admits that Kenny watched over him after a bender. Eric’s wife threw him out and he’s been sober until tonight. Yasmin admits she wants Eric’s approval. She also asks what Harper gave Eric so she can stay around. Eric tells her Yas that she should not be like Harper, but also admits he has to let someone go. The only choices are associates or higher, and the only associates are Yasmin and Robert. Before they keep talking, Yasmin’s lawyer comes onto Eric, and Yasmin leaves.

Robert wakes up with Nicole on the porch. They had fallen asleep overnight. He looks down and sees Nicole died overnight. A trail of blood leaks out her nose. Robert jumps, and her body falls on the concrete. As police pick up her body, Robert calls Yasmin. He believes he’s cursed but does not tell her about Nicole. She apologizes for how she treated him.

At Pierpoint, the phones are ringing off the hook. Kenny appears stressed out about new calls and reveals Bill will be on the floor for the Lumi IPO. Sweetpea asks where Eric is as well because his wife dropped their children off at the office. Eric rolls in, still smelling like drugs from the night before. Robert also joins the floor, but after Rishi makes a joke, Robert breaks down into tears. Eric takes him off the desk.

Down the hall, Robert tells Eric that he lost a client overnight. Eric is surprised “that’s all” it was and tells him to get to the IPO. Eric has Robert repeat the phrase “I’m a man, and I’m relentless” until he gets him in the right state of mind. Eric backs off the idea of firing Robert during the exchange.

When he returns to his desk, Kenny asks Eric if they need to go to a meeting. Eric pulls Kenny into an office and fires him. When Kenny tells him it’s a wrongful dismissal, Eric raises the sexual harassment against Yasmin. Kenny leaves, but not before telling Eric he feels sorry for him. Kenny then asks Yasmin how she could do this to him as he walks out the door. Eric tells Sweetpea to watch his kids.

At the stock exchange, Henry prepares to hit the button on the stock exchange. He wonders if it was a mistake, but Robert reassures him. When Henry goes to hit the button, there’s a nationwide power outage. Both the stock floor and Pierpoint have no power to make any trades. Henry asks what happened and the episode ends.

“Il Mattino Ha L’Oro in Boca” – The TakeawaysIndustry returns with a bang, both to open and close the episode. Forcing Yasmin into the extremes of a professional and personal unraveling finally puts her on the defensive. In previous seasons, she seemed spoiled at times and downright entitled at worst. Yet immediately, “Il Mattino Ha L’Oro in Boca” unbalances her. Abela shines throughout the episode, playing straight-edged, angry, remorse, high, and comedy all at once. It’s the strongest argument for Abela as a lead actress to date.

Additionally, Harper begins her comeback. She’s clearly spiraled, sleeping with subpar dudes (she even refers to this guy as a mistake). She creates tension with every co-worker, including Yasmin. Yet Myha’la taps into the ambition with an energy reserved for sharks, and “Il Mattino Ha L’Oro in Boca” gives us more than a simple catchup.

Harper prods and pokes her way around, occasionally failing at simple tasks. The menial is boring to her, and she cannot focus on the task at hand that got her here in the first place. Yet when she asks Anna to pitch “to keep my head in the game,” it’s low-key one of the most vulnerable things she’s said to date. It seems unlikely she will rejoin Pierpoint, but stranger things have happened. She must think Petra sets her up to make moves in a way Anna does not.

Robert also finds himself increasing in tilt. The death of Nicole not only shocks, but it breaks something in the man. Every time he becomes vulnerable, his world comes undone. Whether it’s intentional or not that he’s unhappy in his casual relationship with Venetia. Lawtey’s incredible on “Il Mattino Ha L’Oro in Boca.” If this is where he’s starting the season, the Emmys will come calling. Lawtey combines mania and sadness brilliantly, especially when he goes toe-to-toe with Leung.

The final of the core four performances set to drive the season, Eric finds himself in a new environment. Just last season, Bill tried putting Eric out to pasture. Now he’s a conquering hero. That reception, especially after his marriage fell apart, begins a shift in Eric. “Il Mattino Ha L’Oro in Boca” seems determined to remind us he’s human, not a god. Eric’s always been aggressive, but now he’s taking the reigns of power. Last season he had great moments, but Leung kicks off the season with his best performance yet.

What is Pierpoint doing in the ESG business? There’s got to be something beyond “Eric believes it’s a good investment strategy.” Already the board has vocal dissenters. The play at Lumi might open a new market, but it could also crash the industry. It is also the most capitalist idea possible to make money on a company meant to provide for the communal good. Those ideas are in opposition to each other, and will eventually create conflict that cannot be resolved.

The irony of dropping in an energy blackout to start the trading day only further increases the anxiety. The brilliant move launches us out of a canon for the next episode. It’s impeccable delivery of stakes throughout the episode, juxtaposed with an idea and ending the audience never considered. We want more Industry now, and “Il Mattino Ha L’Oro in Boca” was a hell of a start.

Alan’s Rating: 10/10Watch Industry on Sunday nights on HBO and Max. “Il Mattino Ha L’Oro in Boca” aired on August 11, 2024. Read our full Industry review here.Check out our Reviews, Recaps, and Features on TV here! The post TV: INDUSTRY – IL MATTINO HA L’ORO IN BOCA – Season 3 Episode 1 – Recap appeared first on Sunshine State Cineplex.

View Details

In the aftermath of Succession, there’s been a mad hunt for the next political power series. HBO and Max believed the answer was in-house, with Industry – even as it leaned into its third season. While the first two seasons showcased emerging stars, Season 3 leaves behind promise. To be the king, you have to earn it. Industry Season 3 is the best show on television and takes the title with a masterful combination of tension and eroticism.

Now a few years after their grad years, Harper (Myha’la Herrold), Yasmin (Marisa Abela), and Robert (Harry Lawtey) live together again. Harper works for one of Yasmin’s clients and strikes a bond with a new trader, Petra (Sarah Goldberg). Yasmin and Robert continue with Pierpoint and must get a new IPO for an ESG (Environmental, social, and governance) over the finish line. Led by Ser Harry Muck (Kit Harington) – an eccentric old-money capitalist – Lumi proves far less stable than Pierpoint thought. The ESG market shifts quickly, and Eric (Ken Leung) must lead the Pierpoint team through the wilderness while Harper seeks to destroy her former mentor.

Industry established itself as an unfiltered look at the sex, depravity, and internalized hate one feels in the pursuit of money. It’s a show that’s blatantly anti-capitalist while following the ultimate capitalists in their pursuit of excess. Season 3 makes it clear, there’s no future for these people. Everyone, from Harper to Eric to Rish (Sagar Radia) are doomed to unhappiness and a unique form of addiction. They all lose major parts of their life in the process. It’s just a question of when they’ll lose it next.

Showrunners and creators Mickey Down and Konrad Kay push their characters to new limits this season. Industry cuts some of the cast to create a hyper fixation on the Harper, Yasmin, Robert, and Eric pairings. While others still maintain large roles, Industry undeniably becomes their story. Each faces incredible personal and professional challenges. The secrets they keep provide them with new stakes in every interaction.

Simultaneously, their professional and personal entanglements only further enhance the stress. The rat-a-tat dialogue and big monologues hit harder, and the frenetic editing increases anxiety. Industry often shoots in close-up. Combining this style with fewer principals adds to the claustrophobic atmosphere. With nuanced interactions quickly devolving into shouting matches, Industry operates at a level reserved for Mad Men, Succession, or early seasons of The West Wing.

At the same time, Industry works on a two-pronged level that showcases its mastery. It gets deep into the weeds of financial jargon that might leave most audiences in a stupor. However, every sequence communicates an aspect of the characters in relation to each other. Whether they are looking to assert power, pull a bait-and-switch, or confuse their conversation partner, there’s a gamification that emerges. Knowledge is power in Industry, but even when some are stabbed in the back, the kinetic energy between each key figure pulls them back into the fold.

Finally, this season focuses on destructive ways that capitalism has broken even positive-sounding corporations. While there’s always hope for the next company to change the world for the better, the financial benefits in the market may prove too powerful to ignore. There’s always a hope that companies act to benefit the planet. Yet Industry reminds us that behind the curtain, men and women pull the levers to warp public perception. It’s a callousness that even Season 2 did not approach, and Industry‘s exploration of these ideas is stunning to behold.

The top four performances take a huge step forward. Abela emerges as the standout, getting the most opportunities to play grief, love, loss, and lust. Her search for defining her agency in the context of the political and economic elite stands apart from the other characters. No one can quite understand what she’s going through, and that isolation plays across Abela’s face in many scenes. Despite her character’s selfishness, Abela keeps us cheering for her.

Leung embraces his devil side and finally gets to have as much fun as his co-stars. Beneath the surface of the dad and mentor, there’s been a monster waiting to get out. Leung brings Eric’s anger, resentment, and internal struggle through his performance. It’s one of the best of the year by any performer. His co-stars – Lawtey and Harington – are serviceable wells of depression. Lawtey takes a step forward, proving that beneath Robert’s stiffer exterior, there’s a hollowed-out man seeking acceptance for his skillset.

However, when Radia gets an episode to himself, he vaults himself into the discussion for the most nuanced performance of the season. Not far behind, Leung and Trevor White become instant classics that Mamet would be proud to have written. Last but not least, Myha’la continues her brilliant performance as a neurotic and ambitious trader. There are moments in the season where she seemingly steps into the background, yet like a wrecking ball, she barges onto the screen and takes the episode over. Myha’la plays every interaction with a unique approach, and even though we know Harper will play with her prey, there’s a deadly intrigue that Myha’la infuses into the scenes this year.

For a series about power, Industry shines a light on the vulnerabilities of its characters better than any series today. It’s not only fun to watch, but incredibly fulfilling. Industry takes another giant step forward this year, and with even better direction, it’s too good to ignore any longer. Industry takes its place as the big dog in television. It’s not only a must-watch television but a series built to stick with you long after you’ve stopped watching. It’s a perfect show and one that seems poised to influence the next decade of creators.

Alan’s Rating: 10/10Watch Industry on HBO on Sundays, and immediately on Max. Read our Weekly Industry Recaps here. The series begins on August 11, 2024.Please check out other Sunshine State Cineplex reviews here!The post TV: INDUSTRY Season 3 – An Impeccable Reach for Immortality appeared first on Sunshine State Cineplex.

View Details

It Ends with Us, author Colleen Hoover’s first major adaptation, puts front and center the uncomfortable topic of domestic abuse. Where does love stop and habit reveal itself? What amount of forgiveness should be allotted to an abuser? It Ends with Us tackles these questions with no hesitation but it takes the characters longer to come to the same conclusions. The subject matter is dark and occasionally teeters toward melodrama, but the filmmakers intersperse enough light moments that keep the film balanced without underplaying the seriousness of the material.

Justin Baldoni and Blake Lively star in IT ENDS WITH US.Lily Bloom (Blake Lively) grew up watching her mother (Amy Morton) endure habitual beatings by her father (Kevin McKidd). Vowing to break the cycle, Lily promises herself that she will not endure the same abuse that she witnessed her whole life. When she meets neurosurgeon Ryle (Justin Baldoni) she makes clear that she is looking for a relationship and not a one-night stand.

When Ryle reenters her life after the opening of her flower store, he begins to pursue her, first as friends with his sister Allysa (Jenny Slate) and her husband Marshall (Hasan Minhaj) but later more aggressively. After he finds out that Lily’s first love Atlas (Brandon Sklenar) has reentered her life his true personality comes to light forcing Lily to make incredibly difficult decisions.

There always exists scrutiny when a massively popular book receives an adaptation. Were the filmmakers faithful to the source material? Did they cast the characters appropriately? Which pieces of the slot had to be left out for pacing and time? These questions will undoubtedly be debated by legions of fans of the original novel.

Jenny Slate and Blake Lively star in IT ENDS WITH US.However, from a film standpoint, the cast delivers strong and nuanced performances. The screenplay by Christy Hall could easily fall flat without a talented cast bringing the characters to life. Lively delivers a career-best, allowing Lily to be both strong and vulnerable within a scene almost simultaneously. Baldoni, pulling double-duty as the lead and It Ends With Us‘ director, simmers with an intensity that draws you in at the same time as he sets off red flags that something dark lies under the surface. Slate brings her signature comedic timing but adds more humanity than many of her past roles, showing more range than normal.

It is impossible to discuss It Ends with Us without addressing the violence. While what is depicted on screen is not graphic, the film leans into the intensity of the situations. Far from cheapening Ryle’s actions, by focusing on the effects of the abuse instead of the acts themselves the filmmakers use clever editing to demonstrate the gaslighting and justifications that victims of abuse often face.

Justin Baldoni and Blake Lively star in IT ENDS WITH US.The audience understands Lily’s internal struggle, from first coping by making excuses to later recognizing that she is falling into the same patterns as her mother. This is masterfully done, and with her eventual revelation comes a moment of catharsis that left the packed theater nearly breathless. It Ends With Us takes a definitive stand and will undoubtedly give strength and hope to those in similar circumstances.

In between the tense moments, however, It Ends with Us does little to set itself apart from other romantic dramas. The story beats and meet cutes will feel familiar and the banter between friends and siblings will be recognizable to anyone who has ever watched a sitcom. Baldoni doesn’t allow the filler scenes to get in the way. Even though It Ends With Us clocks in over two hours, the pacing never slogs. This does, however, leave little screen time for Atlas to shine, a shame given Sklenar’s strong chemistry with Lively.

Blake Lively and Brandon Sklenar star in IT ENDS WITH US.It Ends with Us is sure to find its audience. Those familiar with the source material will likely delight in seeing the beloved book come to life but viewers going in blind may benefit from as little foreknowledge as possible. The filmmakers plotted the film in such a way as to illustrate Lily’s journey in a sensitive way. Lively’s performance, along with the rest of the cast, brings the characters to life in a way that makes them feel authentic. Though some sections feel heavy-handed, Baldoni finds a balance that never makes the movie feel emotionally manipulative. That care, given the subject matter, is paramount.

Josh’s Rating: 8.5/10Watch It Ends with Us in theaters starting August 9, 2024. Sony Pictures distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: IT ENDS WITH US -– The Adaptation of Colleen Hoover’s Novel Plays the Right Notes appeared first on Sunshine State Cineplex.

View Details

Few movies have aged as spectacularly as The Conversation. Built around surveillance in a Post-Watergate America, Francis Ford Coppola tapped into something primal in humanity and the American psyche. Not only are we scared of being heard in our private moments, but we’re terrified within these moments of vulnerability. With a new 4K restoration heading into select theaters to celebrate its 50th anniversary, this is an excellent time to catch The Conversation, as you’ve never seen it before.

After completing a job in an open park, surveillance expert Harry Caul (Gene Hackman) questions the ethics of the audio. His second-in-command Stan (Jim Cazale) listens to the audio and finds it boring. Yet Harry picks up on aspects of an old surveillance job he completed, which resulted in multiple deaths. His fears and paranoia spiral as he attempts to start relationships with women. Harry eventually finds himself in a cat-and-mouse game with people (Harrison Ford) willing to hurt him if he does not complete the job.

The all-star cast assembled by Coppola looks better than ever with the restoration. The film grain remains visible throughout the new version, but the crisp aspects remind us just how beautiful The Conversation has always been. Cinematographers Bill Butler and Haskell Wexler play with color, imagery, and space in profound ways. Whether in a warehouse or watching the silhouette of blood splatter, they created a unique visual approach that would inspire filmmakers for decades. Even Coppola and crew were willing to homage, with direct visual references to Psycho only further pushing the boundaries.

Coppola in the 1970s was an unstoppable force, and even this story – without the bombast of The Godfather or Apocalypse Now – buries its way into your psyche. Coppola was smart, if not paranoid himself. The whittling away of freedoms and privacy rights were already in the ether during this era. Add in the Watergate, Pentagon Papers, and Hoover’s FBI, and you had a powderkeg of distrust in institutions. While Caul may not actively work for the FBI, it’s hard to imagine men like him do not. The power of social media, data breaches, and AI data mining adds to the power of The Conversation as we fear our biggest secrets could be exposed.

The true secret of The Conversation is the unbelievable performance from Hackman. The levels of emotional vulnerability and fear are stunning to watch in any performance today. Most of The Conversation, despite its name, follows him silently walking through apartments and scenes. His complete commitment to bringing Harry’s eccentricities to life helps the movie soar. However, it’s the raw emotion hiding behind the subtle performance that makes The Conversation one of Hackman’s two or three best performances of his career.

Additionally, Coppola’s sound team utilizes every trick possible to mess with the audience. It’s stunningly precise sound work and one of the great achievements. With the restoration, this aspect comes into focus even more. Pulling from the lauded 5.1 soundtrack Walter Murch crafted in 2000, The Conversation finally looks as good as it sounds.

Without much doubt, The Conversation deserves a place in the pantheon of American films. It might be Coppola’s most internal film to date, and it would be the crowning jewel of nearly every filmmaker alive. The Conversation‘s eternal timeliness and incredible personal stakes are rare today. There are too many incredible moments in The Conversation to count. It’s one of Coppola’s very best movies, and this restoration only further proves its power.

Alan’s Rating: 10/10Watch The Conversation in 4K on August 9, 2024. It opens in Los Angeles and New York before expanding nationwide. Florida viewers can check the screenings at the dates below:Miami, FL – COSFORD CINEMA – August 16 – 18

5030 Brunson Dr, Coral Gables, FL 33146

Sarasota, FL – BURNS COURT CINEMA – September 6 – 12

506 Burns Ct, Sarasota, FL 34236

Additional screenings can be found here. Rialto Pictures distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE CONVERSATION 4K Restoration – A Classic Looks Better Than Ever appeared first on Sunshine State Cineplex.

View Details

The Beach Boys are to America as the Beatles are to the UK. They were the defining band of the sixties, with a sound that was unique and hip. The new documentary on the titular group by Frank Marshall and Thom Zimny tracks the group’s rise and fall but doesn’t quite capture the fun, fun, fun the band was known for. The Beach Boys, while largely positive, feels occasionally somber. However, new behind-the-scenes and home-video footage will offer plenty for fans who are familiar with the story and context for those who are coming to the band fresh.

LOS ANGELES – CIRCA 1964: Rock and roll band “The Beach Boys” pose for a portrait with 2 Honda Mo-peds in circa 1964 in Los Angeles, California. (L-R) Al Jardine, Mike Love, Dennis Wilson, Brian Wilson, Carl Wilson. (Photo by Michael Ochs Archives/Getty Images)Marshall and Zimny take a straightforward approach to the subject, focusing on the chronological progression from the band’s start through the end of their heyday. The focus lies mostly in the past, forgoing the band’s modern-day presence. This may not be the most comprehensive examination of the band’s lasting impact but it does thoroughly examine the family dynamics that led to the creation and eventual falling out of the group.

For a band with as long a history as the Beach Boys to be limited to a comparatively short run time of fewer than 2 hours (The Beatles: Get Back, also produced for Disney+, features three episodes that all together total over 7 hours) sacrifices need to be made but the filmmakers take care not to short-change the audience. Die-hard fans of the band will likely not learn anything they didn’t already know but the first-hand footage will be new and exciting.

LOS ANGELES – 1966: Singer and mastermind Brian Wilson of the rock and roll band “The Beach Boys” directs from the control room while recording the album “Pet Sounds” in 1966 in Los Angeles, California. (Photo by Michael Ochs Archives/Getty Images)Another strength of the film is its devotion to the central theme of family and music. The group’s makeup which is primarily bonded by blood serves as the glue that held them together when days were not the sunniest. That most of the bandmates were family – Brian, Carl, and Dennis Wilson are brothers, Mike Love their cousin, and Al Jardine a close friend – adds a level of intimacy to the interviews. Many groups claim their bandmates are like family but when that is actually the case, stakes go beyond the success of record sales. The harmonies seem to develop out of that bond and become timeless compositions that endure today.

Though the film takes a positive view, Marshall and Zimny don’t sugarcoat the darker periods of the band’s history. Issues stemming from the influence of Murry Wilson, Brian’s challenging times in the mid-70s, and other legal issues are mentioned for context but the filmmakers don’t allow these negative points to drag the film down. Choosing not to dwell on the bad keeps the film moving along but their inclusion helps keep the film honest, something Stan Lee, another Disney+ doc, failed to do.

CALIFORNIA – CIRCA 1964: Rock and roll band “The Beach Boys” perform onstage in circa 1964 in California. (L-R) Dennis Wilson, Al Jardine, Carl Wilson, Brian Wilson, Mike Love. (Photo by Michael Ochs Archives/Getty Images)While not the most comprehensive look at the entire history of the group, The Beach Boys puts forth an honest summation of the origin and eventual downfall of “America’s Band.” Directors Marshall and Zimny keep the proceedings largely positive but don’t shy away from the darker days. New behind-the-scenes footage and home videos are interwoven with talking head interviews to keep fresh the film’s well-known narrative.

Ultimately, “God Only Knows” how the “Good Vibrations” the band was known for wasn’t just constant “Fun, Fun, Fun.” “Wouldn’t It Be Nice” if they could “Do It Again” so that their legacy never gets “Shut Down?” Well, “Don’t Worry Baby” because this film is “Good Timin’” with “Heroes and Villains” and some good ole “Rock and Roll Music.”

Josh’s Rating: 7/10Watch The Beach Boys on Disney+. Disney+ distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE BEACH BOYS – An Honest Look at the Ebb and Tide of America’s Greatest Band appeared first on Sunshine State Cineplex.

View Details

Unless you’ve been buried in the catacombs for the past 200 years, you’re aware the 2024 Olympic games are well underway in Paris. Unapologetically French to the point Dionysus would be proud, the opening ceremony was something to behold. Each participating nation’s delegation was introduced as they rode boats along the shark-infested waters of the Seine on the way to the Eiffel Tower. So maybe there weren’t any sharks. But that’s not what Netflix’s recent release Under Paris would have you believe.

Ever since Steven Spielberg unleashed Jaws on the shores of Amity Island, shark movies have been a steady mainstay in cinema, with them encompassing a variety of genres, from horror to sci-fi, to camp. The latest entry Under Paris, arrives from France, and answers the question of what a shiver of sharks swimming in the Seine would amount to. Spoiler alert: nothing good.

These sharks are led by a gigantic Mako named Lilith by the scientists who track her need to find a new place to call home. The reason for relocation is a large pileup of trash in the Pacific that has ruined their habitat. After a young marine biologist named Mika (Léa Léviant) tracks Lilith to her new home on the Seine, she fears for its safety and thus seeks out the help of fellow scientist Sophia Assalas (Bérénice Bejo), who also tracked the shark 3 years earlier.

Even though Sophia has first-hand experience of what Lilith is capable of, her grief makes her hesitant to help Mika make sure no harm comes to the animal. However, after witnessing Lilith isn’t done chomping down on everything in her way she decides to help in safely removing the shark from the French river. Joining the mission is police lieutenant Adil (Nassim Lyes) and his team after having their disbelief over a shark living on the Seine proven wrong.

A shark on the Seine may seem like less of a problem than the probability of one being there. However, director Xavier Gens makes sure to address these potential inconveniences. He sets his story during the preparations for a major triathlon and the subsequent 2024 Olympics. Otherwise, there is little reason to go swimming in the Seine. As for the shark being there, Under Paris is wrapped up in a thick layer of preachiness; unrelenting in its mission to get its eco-saving message across.

These scenarios also allow Gens to explore the role politics play in not only keeping the population safe but also in employing measures to protect and save the natural environment. In this case, Paris mayor Angèle (Aurélia Petit) will not put the triathlon on hold, and orders for the shark to be killed. That Angèle shares not only anti-environmentalist views but also a physical resemblance to Marine Le Pen must not be a coincidence.

Under Paris more than makes its points clear, However, the message of the importance of saving the planet is strewn together by so many ridiculous moments it is difficult to take the movie seriously. Furthermore, whether it is intentional in its satire is challenging to decipher when considering the bleak and serious tone it aims for.

In addition, Under Paris also bites off more than it can chew, as its environmentalist agenda is mashed together with the subjects of grief and political irresponsibility towards conservation efforts. As a result, these musings remain mostly inconclusive.

Despite this, Under Paris does have moments of pure shark terror. A scene in the catacombs builds up tension and claustrophobia, only to explode in limb-chomping violence, even using practical effects and makeup to boot. The film’s coda also packs on the adrenaline, abandoning its self-seriousness in favor of the exhilarating absurdity that better suits the story. Combined with its unique Parisian setting, Under Paris manages to show its teeth in its high points.

These instances offer a glimpse into what Under Paris could have been. However, its unrelenting desire to maintain its seriousness and its incessant preachiness bites off the fun factor. Too few moments involving shark mayhem keep Under Paris from swimming among this genre’s best, yet it still offers just enough of a bite to merit a watch.

Borja’s rating 5.5/10Watch Under Paris on Netflix today. Netflix distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: UNDER PARIS – Sacre Requin! Shark movie Lacks Fun appeared first on Sunshine State Cineplex.

View Details

Now that Rhaenyra has her forces, she readies for the upcoming storm. Adding Addam, Ulf, and Hugh still proves challenges await. Meanwhile, the Greens appear shaken by the new information. How they will react and what comes next may decide the future of the war. Geeta Vasant Patel directs the season finale – “The Queen Who Ever Was” – one of the best episodes of the series yet. With some incredible reveals and a stunning final act, “The Queen Who Ever Was” is one of the best episodes of TV in 2024.

The Queen Who Ever Was – Season 2 Episode 8 – The RecapSer Tyland Lannister (Jefferson Hall) negotiates with the Triarchy in Essos to help break Rhaenyra’s blockade. They demand The Stepstones in return for their help. While Tyland resists at first, he eventually agrees to their demands. As he goes to leave, they impose one last detail – Admiral Lohar. She walks into the room, and tells Tyland she will not join him unless he bests her at something. He asks what, and the room laughs.

Aemond watches over a town engulfed in flames, with Vhagar snarling as they fly away. Aegon thanks Maestar Orwyle for his assistance and tells him he’s been a good man. Larys enters the room and reveals that Rhaenyra has added three more dragon riders to her forces. He tells Aegon that they must run. Aegon does not wish to leave, but Larys tells him that they can live abroad in Essos. Aemond will return to kill Aegon, as he’s already destroyed Sharp’s Point. They must live to see another day.

Aegon and Larys discuss how to escape King’s Landing in “The Queen Who Ever Was.”In the Vale, Rhaena finds a stream and drinks from it. She continues searching for the wild dragon. Jace walks into the council room at Dragonstone, where Hugh and Ulf are joking. Jace yells at Ulf, who mocks him but does not know Jace. They bicker, and Hugh apologizes for Ulf. Jace then warns them that he will kill them if they do not help the war effort, or if they get in the way. The tension between Ulf and Jace is palpable. Hugh takes Ulf from the hall.

Coryls and Rhaenyra discuss “the dragon math” – accounting for Helaena’s dragon Dreamfyre and for Daeron Hightower’s dragon. Rhaenyra also asks what Corlys knows about Adam of Hull, which Corlys lies about. Additionally, Corlys reveals that his ship has been renamed – “The Queen Who Never Was” – and that his actions will represent his love for Rhaenys. He then raises the issue of Daemon.

Corlys and Rhaenyra count the dragons on each side of the battle lines. Emma D’Arcy and Steve Toussaint star in “The Queen Who Ever Was.”In Harrenhal, Daemon enters the main hall in a hurry. Ser Simon informs Aemon that Alfred Broome has arrived. Broome and Daemon discuss the next steps, and Broome pushes Daemon to claim the throne as a King. As he does, Ser Simon watches from the shadows.

Ironrod tells Aemond that Rheaneyra took all of the bastards from King’s Landing. Aemond replies that no ship can come or go in the harbor without being checked by his soldiers. Ironrod believes that will slow down the fishermen, but Aemond believes they must make sacrifices.

Alicent speaks with Helaena about leaving King’s Landing. As they speak, Aemond enters the room and commands them her to ride Dreamfyre to battle. This creates a fight, with Aemond telling Alicent that their lives are at stake, and Alicent believing Helaena is the only pure one left in their family. She yells at Aemond for burning the small folk when he feels insulted, and believes they can never rule when they act so brashly. Alicent leaves and asks Maester Orwyle to help them escape King’s Landing in secret.

In the woods, Ser Criston Cole looks at Alicent’s favor. Her brother, Gwayne, threatens to send him to The Wall. He asks Cole if he remembers his oath. Cole tells Gwayne that Alicent saved him multiple times from death, and he will always follow her. If he’s sent to The Wall, it means their relationship will be out in the open, and the Hightowers will be disgraced. Cole believes that all their efforts are useless now anyway, as the dragons will decide the outcome of the war. He believes his death will be a relief.

Criston Cole struggles to carry on in “The Queen Who Ever Was.” Fabien Frankle stars.In Essos, Tyland Lannister gets thrown into the mud by Lohar. They continue to wrestle, until Tyland overtakes her. She admits that he’s impressed her. She then asks if he’s ever eaten the flesh of his enemies. Aghast, he tells her no. For a second, she acts angry that he refuses her hospitality, and then tells him it was in jest.

Jace and Baela discuss his parentage, and Jace continues to sulk. Baela calls him out for it, and reminds him he’s not the first child born out of wedlock. If he thinks being a dragon rider is not enough, than he is doomed. Rhaena grows cold in the Vale, freezing as she tries to sleep. In Essos, Tyland and Lohar drink, eat and toast their new alliance. As Tyland goes to leave, Lohar tells Tyland that they want children by Tyland. They will have him sleep with their wives.

Rhaenyra, Jace, and Baela eat with the new dragon riders. Rhaenyra tells them that they will learn to ride over the next two days and that they will be knighted for their service to the realm. Ulf continues to drink and act boisterously. Addam and Hugh appear far more fearful of slaying those in the realm. Rhaenyra receives word from Harrenhal, specifically Ser Simon, that Daemon might be planning a coup. Rhaenyra asks Addam to join her and fly to Harrenhalat once.

In Harrenhal, Alys wakes Daemon at his bedside. She tells him she’ll be heading to God’s Wood. As they walk out, Daemon sees a silhouette of an antlered creature walking on its hind legs. Alys asks if Daemon is ready to see his future in with the tree. In his vision, he sees the Three-Eyed Raven, the White Walkers, and the Night King; Dead dragons and soldiers litter battlefields. Daemon sees himself drowning, a comet, dragon eggs engulfed in flames, and Daenerys Targaryen rising from the ash with dragons. Daemon steps out of the shadows at King’s Landing, where Rhaneyra sits on the Iron Throne.

Daemon Targaryan readies himself for a vision in “The Queen WHo Never Was.” Matt Smith stars. Suddenly, the voice of Alys Rivers disappears. Instead, Helaena stands behind him, telling him he is but one of the pieces in the game. We cut to King’s Landing, where Helaena stands looking over King’s Landing. Aemond approaches her and begs her to reconsider her choices. He tells her that Alicent does not have the same call as they do. Helaena tells him that she refuses. She then tells Aemond that he saw what he did. He dies in the future, and Aegon will return to the throne.

Rhaenyra arrives at Harrenhal, where Ser Simon awaits her. He admits to her that he feared the worst, but she should come into the halls of the castle. Inside, Daemon holds court over hundreds of soldiers. He walks through the crowd to her, and tells her he’s surprised to see her. All of the soldiers gathered have sworn him allegiance. She asks him who he serves.

Daemon Targaryen pledges his loyalty to Rhaenyra Targaryen at Harrenhal in “The Queen Who Ever Was.” Emma D’Arcy and Matt Smith star. Daemon takes a beat and tells her in high Valeryian what he has seen. They cannot survive if they do not unite. She tells him that he sounds like her father, and Daemon reveals what he has seen. He then pledges his loyalty to her and rallies the troops to her side.

Coryls speaks with Alyn at the docks of Driftmark. Coryls tells Alyn that the other members of the ship do not feel loyalty towards him because of his silence. When Coryls tells Alyn he’s only providing the feedback to help him, Alyn tells him off. It’s only after Corlys lost everything that he felt the need to care for his bastard son.

Rhaena Targaryen observes a dragon she’s followed through the hills of the Vale. Phoebe Campbell stars in “The Queen Who Ever Was.”Rhaena walks through the hills, seeing a dragon in the distance. Masarya tells Rhaneyra that the gods favor her, providing her the forces to win the war. Rhaenyra still hesitates, knowing it will cause death. Masarya tells her there was no choice. The path was laid long before her.

Rhanerya sleeps at Dragonstone but is awoken by her Kingsguard. When she walks downstairs, Alicent awaits in her quarters. Alicent has come to apologize to Rhaenyra and admits she lost her way. Rhaenyra asks what she wants, and Alicent tells her that she wishes to leave the world behind. She only wants to run away from the world with Helaena.

Alicent and Rhaenyra meet at Dragonstone in “The Queen Who Ever Was.” Emma D’Arcy and Olivia Cooke star. Rhaenyra tells Alicent it’s too late. Alicent then tells Rhaneyra of a plan. She knows that Aemond will join Cole in the Riverlands soon. When he goes, Rhaenyra can take the throne. Rhaenyra reminds Alicent that she cannot take control of the realm as long as Aegon lives. If Alicent agrees, they can end the war. After a few minutes, Alicent agrees to the terms. In three days’ time, she can take the throne.

Rhaenyra asks her if she knows how history will judge her. She will be painted as a cold and evil queen defeated. Alicent knows, but she admits she only wants to live. She asks for Rhaenyra to join her on the run. However, the Queen says no, reminding her that her path was set long ago.

Alicent Hightower observes the sunrise in “The Queen Who Ever Was.” Olivia Cooke stars. As Alicent leaves, we see the pieces moving on the board. Bannermen for the Hightowers, the Starks, and more go to war. Corlys, Alyn, and the forces of Driftmark make their way to the boats. Tyland and Lohar sail to meet them. Aegon and Larys escape via a carriage, as Daemon readies for battle. Otto Hightower remains imprisoned, revealing his fate after leaving King’s Landing for the first time in weeks. Rhaenyra and Alicent stare over the sea in different places. History is literally overwhelming Rhaenyra, while Alicent appears free for the first time.

“The Queen Who Ever Was” – The TakeawaysWith the finale – “The Queen Who Ever Was” – House of the Dragon makes its claim for the best show on TV. A few of its flaws still remain, but it’s hard to ignore its triumphs. Not only has House of the Dragon finally embraced its comedy, but it’s showing more heart than one might expect. As Ryan Condel and his staff have shown, there’s a lot more going on with these characters than one might assume.

Another brilliant performance from Emma D’Arcy drives “The Queen Who Ever Was” to new heights. Their talent cannot be ignored, and it’s another award-worthy performance this time out. Not only do they command every scene, but they play off every other member with poise. Every relationship shifts based on the gravitation performance from D’Arcy and provides each sequence its own tone. It’s truly a marvel to see a performer so thoroughly own the screen.

Perhaps the most shocking moment of “The Queen Who Ever Was” comes with Daemon. Matt Smith plays the fear in Daemon exceptionally well, and a flurry of visuals further explores the future. It creates direct links between the actions taken by Rhaenyra, Daemon, and others that will lead to the rise of Daenerys Targaryen. With a surprise cameo from the Three-Eyed Raven to boot, “The Queen Who Ever Was” further asserts why Rhaenyra has to become Queen. Her decisions, however, they may go, will inevitably influence the future of the realm.

With a lot of callbacks to Game of Thrones, it would not be shocking for fans to turn against the episode. However, the vision becomes a necessity for Daemon. It helps highlight his connection to his brother. It reinforces what he already knew in his heart about his role in the battles to come. Most importantly, it proves that we are on the path that will lead to the destruction of the White Walkers. With more people on the Blacks in the know, the likelihood of defeating the horrid creatures only grows.

Additionally, “The Queen Who Ever Was” begins introducing the new characters set to shake up the world. Ulf (Tom Bennett) has trouble with Jace (Harry Collett). The two already find themselves at odds, and Jace’s chip on his shoulder only gets worse. It’s very frustrating to see his character arc over the past two episodes. Jace has been a weak point all season and “The Queen Who Ever Was” does little to help that notion. It’s writing that feels too obvious and, frankly, a little boring.

Even though the added elements of racism feel important for “The Queen Who Ever Was” to explore, Collett is left with one level to explore. More than anything, it’s annoying to watch him whine through every scene, and if Ulf puts him in his place, it might actually go very poorly for Jace.

Meanwhile, the further development of Helaena was integral. Her character feels much deeper, and Phia Saban‘s Season 2 performance elevates as a result of “The Queen Who Ever Was.” Anyone cursed with knowledge like her would go quite mad, but it’s the stoicism in the face of danger that’s incredible to behold. “The Queen Who Ever Was” will belong to D’Arcy, but Saban’s turn is incredible.

Finally, the talk between Alicent and Rhaenyra in “The Queen Who Ever Was” will shake the foundations of the show. That not only directly conflicts with Fire & Blood, but lays out why it does not matter. Rhaenyra and Alicent know how they’ll each be judged in the texts, yet “The Queen Who Ever Was” digs deeper than that. It recognizes that for history to occur, they must come to an agreement as former friends. “The Queen Who Ever Was” reveals just how broken they are and how their service to the realm left them unable to live normal lives.

For House of the Dragon to keep excitement for what will likely be an eighteen-month hiatus, “The Queen Who Ever Was” had to keep us on the hook. With warriors marching into battle, it did just that, but it’s the characters that we’ve clung to now. “The Queen Who Ever Was” highlights just how deep the House of the Dragon bench has become, and why it’s one of the shows that inspires the monoculture. One can only imagine the episode will be highlighted for years to come, and it’s a stunning one to close out the season.

Alan’s Rating: 10/10“The Queen Who Ever Was” aired on August 4, 2024. Watch House of the Dragon on HBO and on Max. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE QUEEN WHO EVER WAS – House of the Dragon – Season 2, Episode 8 Recap appeared first on Sunshine State Cineplex.

View Details

While we’ve covered House of the Dragon week to week throughout Season 2, we remained hesitant to write our latest review. After all, Game of Thrones was once the best shows on television. Its collapse remains a legendary tale of frustrating stakes and poor storytelling. While Season 2 of House of the Dragon, led by Ryan Condal, appeared like a true return to form, we held on with bated breath.

At the end of the season, we can now say that House of the Dragon has returned to television’s apex. There will be more nuanced and better shows this year. Some may even attempt to bring out that scale. Yet Condal and company made us believe in Game of Thrones storytelling once more. As other TV franchises flounder, House of the Dragon proves its vision simply exceeds its contemporaries. That puts it in a league unto itself, even when potentially stronger interpersonal TV series arrive.

Throughout Season 2, Rhaenyra fought for every ounce of respect. Daemon proved horrified by his mental pain at Harenhall. Alicent watched her sons fight and turn into monsters with power. Aegon II got deep-fried by his brother. Finally, we watched the power of the realm shift, with illegitimate men rising to power on the backs of dragons.

Throughout Fire and Blood, the text that Condal has adapted, the story rarely lets women engage in master plans. In the series, the opposite occurred, with both Rhaenyra and Alicent proving vital to the story. Additionally, Rhaena and Baela proved far more cunning and capable than the story once framed them. It’s easy to say that House of the Dragon simply expanded these roles for these women. However, with George R.R. Martin on board as a consultant and producer, he signed off on these changes. He’s too smart of a writer to ignore this was his plan. Martin once more points to the histories written by men who conveniently downplayed their role in a changing world.

Condal and the directing team excelled at bringing the blockbuster vision to House of the Dragon. While last season often ran into the same issues regarding the lighting, Season 2 became one of the best-looking shows on television. The action set pieces brought danger back to the show in ways that had been missing. Their massive size felt far more tangible and drama on dragonback proved every bit as alluring.

Additionally, the violence and political machinations of the season felt heightened. While the Daemon in Harenhaal eventually grew tiring, it proved necessary to understand the character in a new light. It also forced Rhaenyra to grow independently, becoming a force unto herself.

There’s not enough praise for Emma D’Arcy this season, who proves an elite talent. They never let the show down, instead pushing Rhaenyra to new heights as the emotional core of the series. Additionally, they were game to share the screen with anyone and still dominated the show. Their performance was key to the success of House of the Dragon this year.

Not far behind, Olivia Cooke, Eve Best, Sonoya Mizuno, Abubakar Salim, Matthew Needham, Tom Glynn-Carney, and Ewan Mitchell provided incredible supporting turns. Each brought their unique abilities in their roles and earned every second of screentime. Glynn-Carey and Mitchell proved exceptional as villains but also showcased vulnerabilities even Game of Thrones rarely keyed into. Additionally, Bethany Antonia, Clinton Liberty, and Phoebe Campbell put themselves on the map as characters that may rise to fan-favorite status within the next two years.

It’s exciting to return to Westeros every Sunday once again. There was a real chance House of the Dragon became the spin-off for the hardcore fans of the first show. However, it’s emerged as one of the best-looking shows on TV, with blockbuster ambitions in every scene. It’s too much fun to ignore and with brilliant writing to compliment the impeccable performances, it’s certainly earned its way back into TV’s elite shows.

Alan’s Rating: 9/10Watch House of the Dragon on Max. Read our recaps for every episode here.Check out our Reviews, Recaps, and Features on TV here! The post TV: HOUSE Of THE DRAGON – Season 2 Review – HBO’s Blockbuster Returns to Glory appeared first on Sunshine State Cineplex.

View Details

With the weekend upon us, we’re checking out some of the movies and shows to watch this weekend. Kneecap is a brilliant comedic biopic, starring the Irish rap group of the same name. Dirty Pop explores the Boy Band phenomenon of the 1990s through the crimes of Lou Pearlman. Finally, Wicked Little Letters lands on Netflix after a short theatrical run. The film stars Jesse Buckley and Olivia Colman as women on opposite sides of a profanity-laden scandal. Check out the reviews below!

KNEECAPEven when you see hundreds of movies a year, sometimes a movie sneaks up on you. Kneecap stands a chance to surprise audiences with it’s impeccable storytelling. It’s a stunningly funny exploration of what it means to find purpose in activism. Simultaneously, it never pulls its punches, choosing to be politically incorrect and wear it’s activism credentials on its sleeve at all times. An experience unlike any movie in 2024, Kneecap will undeniably appear on my top ten movies of the year lists later in 2024.

The fictionalized biopic follows the real Irish rap group Kneecap. The group formed in the late 2010s, as the push to make Irish the official language of Northern Ireland kicked off. While Naoise Ó Cairealláin and Liam Óg Ó Hannaidh struggle with organized crime in the drug world, a young teacher – JJ Ó Dochartaigh – works behind the scenes to teach the Irish language.

When the three men meet, Dochartaigh realizes they have a unique opportunity to change the discussion around the language. Donning the stage name “DJ Próvaí,” Dochartaigh produces beats for “Móglaí Bap” (Ó Cairealláin) and “Mo Chara” (Ó Hannaidh). They blow up, becoming a symbol for the Irish culture while the police and radio stations try to shut them down.

The three rappers play themselves, and their natural ability pops off the screen. They not only excel in the comedic scumbum antics but add incredible heart to the dramatic pieces. Considering the rest of the cast features Michael Fassbender, Josie Walker, and Simone Kirby, they’re surrounded by dramatic heavyweights. Everyone taps into the tone from director Rich Peppiatt, and Kneecap becomes a soaring exploration of art and culture.

As someone with roots back to southern Ireland, it’s hard to fully put into words what the movie means to me. Beyond any religion or language barriers, there’s a beauty in the pride Kneecap shows. I’m only a few generations removed from the island nation. Far more than Belfast or My Left Foot, Kneecap feels engrained in the roots of what it means to be Irish. It instantly enters the Pantheon of incredible Irish-music dramatic films as well, joining Sing Street and The Commitments to showcase the incredible musical traditions of the Island nations.

With brilliant music, one of the funniest screenplays of the year, and a stunning heart, Kneecap arrives at the perfect time. If you’re looking for the best new movie of the weekend, and one of the most important films of 2024, Kneecap checks both boxes. Let your scumbum self out, and let the beats of the hip-hop reverberate in your chest. It’s well worth your time.

Alan’s Rating: 9/10Watch Kneecap in theaters starting August 2, 2024. Sony Pictures Classics distributes. Dirty PopThe rise of Boy Bands during the 1990s was far from a guarantee. However, Backstreet Boys and NSYNC grew into massive superstars. Dirty Pop charts their rise, as well as the success that followed business executive Lou Pearlman. With some contributions from former members of several of his groups, Dirty Pop* paints a picture of a moment in the industry before the mega-records could take over. However, Orlando proved a perfect space for Pearlman and his friends to take advantage of young artists with a dream.

From humble beginnings, dreaming of aviation Pearlman became a massive influence on the industry through the 2000s. By “discovering” several of the biggest Boy Bands of the era, he created a rivalry that dominated the marketplace. However, after a few years, it became clear Pearlman not only took advantage of his groups but actively controlled them with terrible contracts. As he lost support from the artists, the show sued to get out of the contracts, the pop music industry shifted.

Within a decade, Pearlman went from holding incredible political influence in Florida to having to flee the country. His eventual fall revealed his business was built on a house of cards. The Ponzi scheme he executed became one of the longest frauds in American history.

Director David Terry Fine utilizes the archival footage of the group to massive success. However, Dirty Pop makes a shocking choice to narrate Pearlman’s actions from his book using AI recordings. Cutting back to the Pearlman “footage” becomes increasingly disturbing, like looking at an eCard from 2005. While this narration might have helped explain Pearlman, the method of delivery is horrifying to watch. It’s not only visually unappealing, but considering Pearlman died in 2016, it feels ghoulish.

Wisely, Dirty Pop expands beyond the Boy Band phenomenon. Yes, this is what will loop most audiences into the series, but Pearlman’s crimes ranged far beyond the music industry. For years, he created a portfolio of investors that he continued to rob. Their life savings and their dreams were dashed when they went to cash out, only to realize Pearlman had no intention of paying them back. Unlike most documentaries on Netflix, Dirty Pop communicates the actual loss of its subjects with pathos. They do not feel like accidental victims, and their stories of loss are seeded through the entire series.

While Dirty Pop tells a compelling story, the AI aspects sink the series. It’s not just that it feels anti-art, but more importantly, this is an example that literally took jobs off the table. Why not use artistic renderings or voice-over artists to bring this same footage to life? Considering that the story follows a fraudster, it’s hard not to feel like Dirty Pop wants to draw you in with its explosive drama, only to cut corners in its production.

Alan’s rating: 3/10Watch Dirty Pop on Netflix. Wicked Little LettersNeightbors can be difficult, especially when they are overly nosey. It’s reasonable for all members of a community to watch out for each other, but when privacy concerns are destroyed because of outside perception, the mood a neighborhood can shift quickly. A new light comedy (but mostly dramatic) Wicked Little Letters cashes in on this tangible sensation. However, the results are quite mixed from the word go. Even the excitement of a Jesse Buckley and Olivia Colman showdown cannot save Wicked Little Letters from feeling trite in it’s storytelling.

In Littlehampton, the middle-aged Edith Swan (Olivia Colman) receives a series of letters full of profane language. As they continue to arrive, the blame shifts to Edith’s rabblerousing neighbor, Rose (Jessie Buckley). As the police dig into the letters, questions of evidence go out the window as Rose is railroaded. At the same time, police officer Gladys (Anjana Vasan) believes evidence exists to exonerate Rose.

Unfortunately, director Thea Sharrock does not have a lot of room with the facts of the story. After all, Wicked Little Lies is based on real events that occurred in the late 1910s. Sharrock must navigate the movie through the slightly obvious storybeats, and unfortunately, it makes Wicked Little Letters feel very predictable.

Simultaneously, the execution of the material tries to walk a light-hearted tone that has been popular in recent times. Unfortunately, a number of these movies, including Misbehavior and The Duke have felt rather hollow as well. There’s certainly a market for these period-set dramedies, but despite recruiting excellent casts, they rarely feel as exciting as a final product. However, it’s hard to balance the comedy and dramatic tone of a story where a woman is vilified and her children are taken from her. This would be difficult for any director, and Sharrock does the best she can with the material.

While Wicked Little Letters will scratch the itch for some, it feels like a hollow experience. Despite an extraordinary cast, it cannot rise above “fine.” Unfortunately, that’s a disappointing outcome for this flick.

Alan’s Rating: 4/10Watch Wicked Little Letters on Netflix. Sony Pictures Classics distributes. Please check out other Sunshine State Cineplex reviews here!The post Weekend Catch-Up: KNEECAP, DIRTY POP, and WICKED LITTLE LETTE appeared first on Sunshine State Cineplex.

View Details

“We Got Next”. With that declaratory statement, the WNBA announced its arrival to the world. Getting its start in 1996, the league has now more than a quarter century worth of history comprising highlights, champions, and legacies that have contributed to the league’s staying power. This most recent season, the WNBA ushers in a new era, where the popularity of the league has never been higher. Established veterans like A’ja Wilson or Breanna Stewart battle for championships year after year. Rookie sensations Caitlin Clark and Angel Reese are quickly establishing themselves as eventual all-time greats. It is an exciting time to be a WNBA fan.

These current stars of the game stand on the broad shoulders of some larger-than-life giants. And perhaps none is larger than recently retired Seattle Storm sensation Sue Bird. Widely considered one of the GOATS (greatest of all time) of the game, Bird, too, is ushering in a new era in her life, looking to extend her impact beyond the hardwood. Important work involving better pay and labor conditions for women in sports, support of the LGBTQ+ community, and founding the multimedia and commerce company TOGETHXER to ensure broader sports coverage for underrepresented groups are some of the causes Bird has been passionately involved in.

The documentary Sue Bird: In the Clutch shines a light on Bird’s basketball career and her ongoing endeavors. The subtitle references Bird’s ability to consistently perform at high levels when the game is on the line, usually resulting in wins. Disappointingly, Sue Bird: In the Clutch rarely reaches greatness, instead bricking its attempts at effectively capturing Bird’s impact.

Conventional best describes Sue Bird: In the Clutch. From her upbringing in Syosset, New York, to her final season in Seattle, director Sarah Dowland traces every step of Bird’s basketball journey, including NCAA titles, WNBA championships, and Olympic gold medals. Dowland employs traditional methods for telling Bird’s story. Archival footage is plentiful, while there is no lack of on-camera interviews from family, friends, former coaches and teammates, agents, and, of course, her fiancée, soccer superstar and activist Megan Rapinoe.

All are more than eager to join in the adulation process. Sue Bird: In the Clutch succeeds in making it clear such platitudes are well deserved and does an admirable job of providing exciting basketball highlights. However, it is conventional to a fault in its approach.

Sue Bird: In the Clutch also falls short when it comes to exploring the moments away from the basketball court that defined Bird. Although discussed, subjects such as the hardships Bird faced as a woman athlete, adversity while finding her role on the court, struggles with accepting retirement, or coming to terms with how to handle her sexuality as a public figure are precipitously handled. In addition, her off-court achievements post-retirement are casually outlined and void of any merited depth.

However uneven, Sue Bird: In the Clutch covers a true icon of professional sports. As such, the documentary lands in must-watch territory for those who have arrived late to the WNBA party. It is also required viewing for those who are passionate about the continued growth and influence of women’s sports and how that impacts our culture and society. If nothing else, Sue Bird: In the Clutch serves as an adequate introduction to the Bird legend, and helps make audiences aware through skimmed efforts, of Bird’s continued legacy building post-retirement.

Sue Bird looks to continue to perform in the clutch and soar to new heights as she embarks on this new and significant post-basketball journey. Sue Bird: In the Clutch might not reach the same stratosphere of its iconic subject, but it does earn points for hopefully introducing a new wave of documentaries covering woman athletes. Let’s see who’s got next.

Borja’s rating: 6/10Watch Sue Bird: In the Clutch on Netflix today. Wolfe Releasing distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: SUE BIRD: IN THE CLUTCH Falls Short of It’s Legendary Subject appeared first on Sunshine State Cineplex.

View Details

Coming up as an indie filmmaker allows some artists to play with the medium in ways many directors never will. Joel Potrykus does this with his latest dark comedy, which brings together heart and tragedy. Vulcanizadora is one of the most unique films of the 2024 Fantasia Film Festival, and he took time to speak with Sunshine State Cineplex about his process. We discuss the tone he achieves, his longtime relationship with actor Joshua Burge, and the adaptability needed to be an indie filmmaker.

Vulcanizadora Features a Unique ToneOne way you realize you’re watching a Joel Potrykus flick comes through in the tone. Not only are his movies very funny, but there’s a very dark gallows humor behind several of his works. “It’s just kind of the tone that always comes through. It’s probably because I like all kinds of movies that all my different influences just seep into it. My favorite movies are like The Evil Dead, which is a different kind of horror and a different kind of comedy.”

The comparison proves apt. Vulcanizadora follows two men walking through the woods. There are many great comedies about buddies going hiking in the woods, and it’s not until you’re too late that it becomes apparent that Vulcanizadora is not one of those movies. Yet what’s unique about his movie is that Potrykus makes their goal incredibly relatable.

“I think a lot of people deal with the bad things in their life with humor and shrugging things off. To me, that’s what Derek is doing for the first half of the movie. He’s just trying to avoid discussing the bad thing that is about to happen to both of them. To me, humor seems to be like a natural defense mechanism.”

A Spiritual (or Unofficial) Sequel Informed Joshua BurgeIn 2014, Joshua Burge and Joel Potrykus crafted a small metal comedy about a scam artist and a Nintendo Power Glove. Almost a decade later, they reprise their characters in Vulcanizadora, with Marty (Burge) and Derek (Potrykus) serving as the heart of the movie. The two collaborated again on 2018’s Relaxer, and the chemistry they’ve built made their process on set rather easy.

“At this point, he (Burge) and I had a shorthand. We don’t have to get deep into returning characters we already know. We don’t have a lot of motivations to discuss. We know where the characters are ten years later.”

Potrykus compares the process to playing in a band. ” it’s like making a record with your friends you’ve been recording with for years. You don’t have to say, ‘This is why I’m going to play a C here’ or ‘This is why I’m going to do this fill.’ You guys know each other, and there’s a certain rhythm. It’s easy to work with your friends and people you’ve worked with before. It’s the way I like to make movies.”

Shooting on 16 MM CamerasOne of the best things about Vulcanizadora is the overall look. Shot on 16mm cameras, Potrykus and his team emphasized shooting on film. “It was an aesthetic choice. I love film, and it’s what got me into filmmaking. It was just the chance to work with actual celluloid film, and then once DSLRs came along, it made it more practical and accessible.” This was not his first time doing so, and he used to experiment with other cameras as well. I’ve shot a lot of shorts on Super 8 and 16 millimeter.”

However, shooting on film also comes with its perils. “There’s much more pressure to shoot on film because you’re spending money every time you push the advance button.” In order to ensure Potrykus gets the most out of his footage, he enjoys keeping continuity between crews. “Working with the same people is really important because we didn’t have the luxury of three or four or five takes.”

Luckily, Potrykus notes that they did not need that many. “We had to get just about everything with one. Since we’ve been working together we can adapt to scenes that are not as heavily scripted. It allows at least Derek, to kind of just ramble for a while. We didn’t have to worry about hitting certain marks or making sure certain lines were said the exact right way. It was a looser production that really just fit well.”

Face of Death, Gerry, and Overwhelming GuiltWhile shooting, Potrykus leaned on more subversive films than many of his peers. In particular, the infamous Faces of Death becomes a recurring sequence throughout the movie. “They’re my age, and when I was a kid in the 80s, the Faces of Death movies were one of those series you couldn’t let your parents find you watching. They felt taboo and dangerous.”

It also spoke to Marty and Derek’s emotional state. “These guys are so stuck at age 15, it seemed like a natural fit. Derek would pitch, ‘We should be in a Faces of Death video. If we’re going to do this, let’s film it.’ It just seemed natural. It’s a great way to frame some of their motivation. You know, what a sick way to want to live forever.”

They not only plan a horrific end to their story but revel in guilt throughout the story. Potrykus explains that the idea stemmed from other horror movies. “That is very much from American Werewolf in London. Dave kills all the people, and he tells the cop to arrest him. Instead, the cop tells him to get out of here. It is sad because he feels guilty and does not want to continue doing bad things. He desperately wants to tell somebody, but no one wants to listen.”

Throughout Vulcanizadora, Burge holds this idea within his mind. We’re made aware of a crime he’s accused of before the start of the story, and now he’s marching toward an inevitable end. “It just felt like survivor’s guilt in the most direct way possible. He’s responsible and still alive. You’re ready to confess, and people don’t even want to hear you. To me, that’s heartbreaking.”

It also helps Vulcanizadora split into two clear parts. It resulted in a surprise event at the end of the first hour and sets up the final third of the movie. “One of the criticisms of my films is that they end too early. At first, I thought now they’ll say it ends too late. But I was like, ‘No, I’m going to go for it.’ We called them Part One and Part Two when we were filming.”

To ensure that the aspects of the movie feel separate, Part One occurs in seclusion from the world, while Part Two forces the characters back into society. “There’s something primeval about nature. And if you’re going to go do this thing, Derek’s one last thing is that he wants to go on a camping trip.”

In many ways, it’s also a love letter to Potrykus’ relationship with Michigan. “I love Michigan, and I’m just surrounded by forests and everything. It felt very Michigan to have these beaches and dunes. I’d want to have one last spiritual journey.” The choice to take the characters away from society came from the setup for Gus Van Sant’s 2002 movie, Gerry. “When I was watching Gerry the first time, I thought it was going to be Vulcanidazadora. But it didn’t turn out that way.”

Building the Mad Max-like HarnessesPerhaps the most lasting image of Vulcanizadora stems from the scary-looking harnesses each character wears. For Portykus, this took some time to develop. “We talked a long time about how Derek and Marty were going to do it. I think it was our production designer [Michael Saunders] who suggested “What if they used M80s?” The choice seemed far-fetched at first. Potrykus laughs at first and continues. “That’s that’s too ridiculous and extreme. But then, like, two days later, I was like, ‘Yeah, that’s ridiculous and extreme. And it is perfect for these characters.’ I’ve never seen that on film, and it is more disturbing than seeing a more traditional choice.”

Potrykus asked his brother, Prop Master Chuck Potrykus, to see what he could come up with. “He asked me to give him a few days so he could draw a design that would force them to commit. We’re both in love with everything Mad Max. It had to feel homemade and kind of industrial.” While Chuck pieced them together, Joel continued to shoot the movie. “We didn’t put them on until the day we were shooting.”

Of course, the devices were as painful to wear as they look in the movie. “They were painful, and they didn’t fit perfectly. There was metal jutting into our mouths, and straps yanked around our foreheads. It was really painful. It added to the feel of the moment. I told my brother to give it two notches tighter than you would want because I want it to look like we are locked in.” The sequence that follows quickly becomes the most intense of the movie.

SPOILER WARNINGS BELOWThe Beach and Field of DreamsAt the end of the second act, Vulcanizadora takes a big shift. This also required more rehearsal than most of the movie. “Yeah, Josh and I did actually rehearse that. For me, it’s the most important scene In the movie.” The emotional catharsis of the sequence bursts off the screen, and Potrykus had to ensure it functioned on screen and on the page. “We were saying important things that the characters really thought about. When I was writing, I said, we’re going to shoot it in two different shots, and they’re both going to be really tight close ups of just the faces.”

Potrykus did not want it to seem like a romantic send-off, as many other movies have done. “I don’t want to see sunsets. I don’t want to see gorgeous landscapes. I want to see their faces.” The final result is stunning, especially considering the way it was shot.

“The scenes were each shot once: Josh’s angle and then one take of Derek saying, ‘We should talk about all the ideas to escape the situation.’ We then pointed the camera at Josh and let him listen to all that, only to point the camera back at me for the big emotional second half. Those were ten-minute shots and used a full magazine. We let it burn through ten minutes straight.”

Potrykus knew his emotion needed to rise in order to hit the mark. To ensure he got there as a performer, he called in an assist. “Right before I called action, I had queued up the ending of Field of Dreams on my iPhone. So if you look, you can see Derek’s like looking down at something. I’m watching the end of Field of Dreams. it’s the only movie that makes me cry. I just started acting through the scene, and we got it in one. Those are real emotions coming out of me in the moment.”

The EndingBy the end of Vulcanizadora, the guilt has overtaken our characters. While there was a plan for an explosive ending, Potrykus changed gears at the last minute. “It [The Final scene] is the only scene in the movie that was not in the script. In the script, it was really complicated and involved a huge rig. It was a very complicated kind of camera movement.”

However, while the rig was available, Potrykus felt the ending he shot was more thematically relevant. “We were rolling the camera on the scene, and Josh looks back at the family. I was like, “Give us your smile,” and he does that. I’m wondering, ‘Where am I going to cut to next?’ I yelled at Josh to start walking, and I told the camera operator and cinematographer, Adam [Minnick], to follow him. I realized ‘This is the ending of the movie. This is the shot.'”

Because the footage cuts, we are left with an ambiguous ending. “We don’t know if he’s just having a fun time, going out to have one last moment of freedom, or he’s going to do something else really bad to himself. You can read into this one. This is beautiful without saying a single word.”

Much of film history is littered with happy accidents, and the ending of Vulcanizadora can be chalked up to this in some regard. However, Potrykus called the audible despite knowing another option was available, and the move pays off for the incredible finale. “It was one of those amazing moments that came to me at the exact time the camera was rolling. I love it.”

Read our full review of Vulcanizadora here. Keep up with Vulcanizadora from the Factory 25 website. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024 Interview: Joel Potrykus on Vulcanizadora, Dark Comedy, and Field of Dreams appeared first on Sunshine State Cineplex.

View Details

One of the fun things about horror in 2024 is the ever-growing indie community. This allows for quick ascents for directors who tap into resonating stories and cool effects. The Adams Family has become one of those special collectives, but their latest feature – Hell Hole – does not reach their standard. Directed by Toby Poser and John Adams, the Eastern-European-set movie shows incredible ambition. Unfortunately, the performances from the supporting cast and the visual effects get away from them on this one.

A crew of American fracking specialists move to Serbia on a government contract to set up a new site. They discover a potent odor as they prepare the site for their controversial energy collection method. As the ground appears to bleed, they also find a French soldier from the 18th century, who seemingly survived underneath the dirt in a sack of bile. While they struggle to communicate with him at first, a creature emerges from his body. The parasite begins to attack and kill those on the base, forcing John (John Adams) and Emliy (Toby Poser) to take drastic action.

After the success of Hellbender and Where the Devil Roams, Hell Hole quickly rose on our most anticipated lists. After all, Posner & Adams showed incredible growth behind the camera in each movie. They proved capable of telling compelling stories while tapping into a dark menace in the concepts. Few directors can make the audience feel the impact of grotesque kills and body horror quite like Posner & Adams. However, Hell Hole quickly loses this aspect in favor of CGI and subpart puppet effects.

Rather than opening the door for the next chapter, Hell Hole feels like a for-hire job that the Adams Family is trying to will into a hit. However, Poser, Adams, and Lulu Adams also wrote the movie. It’s easy to see where Adams and Poser were coming from. With the wind at their backs, creating their own Alien or The Thing would push them into a new tier of directors. They chose this challenge, and unfortunately, the gamble does not pay out. Instead, it’s a frustrating shift for the indie darlings.

The issues with Hell Hole cannot be separated from the CGI effects throughout the movie. The effects are below-average and feel like they’re below a Syfy movie budget. We get moments with a far more effective puppet, and while puppeteering might have raised the budget for Hell Hole, it would look much better with these aspects. Instead, the images appear dated from the moment they appear on screen and bring down Hell Hole.

To add to the issue, characters do not react to the creatures or solider they’re seeing with any sense of urgency. For a group of scientists to have found a man from three centuries ago buried in the Earth, everyone is shockingly calm. Even as the characters die and literally explode, the rest of the group feels shockingly calm. There are moments when the tone of the characters on screen matches the appropriate tone for what is happening in front of them. However, the fact that it’s inconsistent is a problem for Hell Hole.

The frustrating screenplay may be the final straw that breaks the camel’s back. Too often, characters go for a witty comeback rather than an actual discussion. There is one character who becomes radicalized by the events in question, but at the same time, others are supremely unwritten. We do not get insights into what makes most characters tick, which is a surprising departure for the Adams.

Hell Hole feels like their attempt at spectacle, but it sadly loses most of what makes the Adams Family such a fun group in the process. This hurts Hell Hole from the ground up and makes this a misstep. Luckily, they have more than enough great movies in their backlogalready to make up for a mistake like this one.

Alan’s Rating: 3/10Watch Hell Hole at the 2024 Fantasia Film Festival. Hell Hole releases on Shudder on August 23, 2024. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: HELL HOLE – A Frustrating Follow-Up From the Adams Family appeared first on Sunshine State Cineplex.

View Details

As the world continues to shift, some have worked hard to keep the status quo in order. The idea of the patriarchy is beyond debate at this point. However, the push to keep this social order in play causes some to revert to conservative or “traditional” ideas of family to stand up their worldview. Cuckoo, a new horror film from director Tilman Singer, asserts this power in a roundabout way. By framing its creatures as a “continuation of a species,” the men of Cuckoo actively disempower women by turning them into literal monsters. At the same time, a character dynamic at the center of the story highlights the importance of family and women as they push back against these ideals.

After the death of her mother, Gretchen (Hunter Schafer) joins her father – Luis (Marton Csokas) – as he moves his new family (Jessica Henwick, Mila Lieu) into the German Alps. Luis joins Herr König (Dan Stevens) to build his company a new resort, and soon König offers Gretchen a job at the ski resort. However, Gretchen and co-worker Trixie (Greta Fernández) observe strange behavior from pregnant women and a creature running through the woods. With the help of a local investigator, Gretchen unravels the truth about the mountain paradise.

The best aspects of Cuckoo come from its willingness to let go of the steering wheel. The absurdity of the monster hunting the grounds of the resort and the men who run it, make for some excellent moments. Singer captures some incredible images through shadow and character design. His willingness to let the moments speak for themselves lifts Cuckoo because once the exposition starts, you can feel your attention waning. The dense chunks of exposition are undeniably the weakest parts of Cuckoo, versus the pure visual unease that Singer creates in most sequences.

Additionally, Schafer delivers a tour-de-force as the lead. She dominates the screen whenever her character is on screen and plays into the humor within the role. Playing seventeen allows her to make stupid teenage decisions, follow her libido, but best of all, show a rebellious streak against her family. Her common-sense approach to the character also makes Gretchen feel authentic, and Schafer’s borderline fourth-wall-breaking dialogue makes her a brilliant stand-in for the audience. Simultaneously, Schafer adds so many layers of anger, resentment, and frustration to the character that Gretchen feels like a complete person from moment one.

Stevens continues his excellent 2024 with another brilliant supporting turn. Having played an action blockbuster hero in Godzilla x Kong and then turning into a mustache-twirling New York stereotype in Abigail, Cuckoo provides him a subtle performance. Always in control, Stevens digs into the violent urges and malevolence of König, and never pretends he’s anything but a monster.

Steven’s performance works as parody, leaning into a trope that’s become upsettingly commonplace with his view of the world. He never hides his vitriol towards others, but the world grows distracted by his charm and wit. Despite several red flags in his first few sequences, the world cannot believe he’s capable of the violence he appears to promise.

Finally, the supporting cast in Cuckoo varies in its effectiveness. Henwick feels wildly underused, and one wonders if there was an alternate track for this character in another cut of the movie. Additionally, Csokas feels too one-note to be fully effective. Fernández leaves an impression but only gets a few scenes to shine. Jan Bluthardt might be the third-best performance in Cuckoo, but a bigger performance would have helped his arc feel complete. Instead, he feels like an anti-Stevens, both in style and charisma. Singer builds the movie around his two key characters, but one would like a little more out of the rest of the cast for Cuckoo to fully work.

That said, Cuckoo features some very cool effects and some genuine scares. The monsters are scary, and the lead performances are excellent. However, with a weighty screenplay and some one-note characters, Cuckoo cannot quite rise to its potential. Singer’s latest opens the door for more unique work in the future. Still, Cuckoo delivers a unique feeling that’s hard to replicate and makes it an excellent candidate for future cult status.

Alan’s Rating: 7/10Watch Cuckoo at the 2024 Fantasia Film Festival. Neon distributes and releases the film nationwide on August 9, 2024. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.Please check out other Sunshine State Cineplex reviews here!The post Fantasia 2024: CUCKOO – A Harrowing Display of Patriarchal Power appeared first on Sunshine State Cineplex.

View Details

It’s easy for horror to approach a singular sub-genre and proceed to tell its story within that world. Slashers and ghost stories have long dominated the space and only continue to grow in popularity. However, Oddity – from director Damian Mc Carthy – decides to utilize a mishmash of these genres to tell a harrowing personal tale. With paranormal, ghost stories, and creature feature elements, Oddity stuns in its brazen approach to scare the daylights out of you. With excellent thriller elements building throughout the story, Oddity emerges as one of the signature horror films of the year.

While renovating a house in the countryside, Dani (Carolyn Bracken) is murdered. Her husband Ted (Gwilym Lee) visits her twin sister Darcy (also Bracken) one year later. When he does, Ted informs Darcy that he acquired items from the man suspected of killing her sister – a former patient named Olin (Tadhg Murphy). Afterward, Darcy visits Ted at the house Dani was renovating, where Darcy meets Ted’s new girlfriend Yana (Caroline Menton). Darcy brings a strange gift – a wooden man resembling a golem. Over the course of the night, secrets are revealed and the tension rises throughout the house.

Mc Carthy pushes the audience straight into the abstract horror pool, and as a result, Oddity takes on some powerful narratives. Questions about nature versus nurture, belief in mental illness, and greed coalesce within the story. Oddity keeps these ideas running throughout the tale, especially with Olin serving as a questionable villain, and Ted’s past proving far darker than one might imagine. Darcy’s own anger and depression since the death of her daughter leads to her own form of neurosis, putting her on a one-track mind to avenge her sister’s death.

The performance from Bracken brings down the house. It’s a brilliant turn that allows her to embody two characters at different points in the movie, but still create chemistry between them. Not only are Darcy and Dani believably sisters, but the love between them bursts off the screen. Even though they never share the screen while living, the emotion and pathos felt in each performance highlight Bracken’s power as a performer. She must also play a character with visual impairment and never leans into caricature while doing so. Instead, she makes us believe in the character’s ability to read people without their body language. It’s a stunning display that makes Oddity soar.

Additionally, Lee steps into a lead role with confidence. While he’s often relegated to prominent supporting roles in projects like The Great or Bohemian Rhapsody, he makes for an excellent foil to Bracken. There’s a lot going on beneath the surface of his character, which Lee allows to break through in small pieces throughout Oddity. He also bounces off Menton and Jonathan French exceptionally well. It’s a role that simultaneously shows his ambition, lust, and darkness within the same performance.

Mc Carthy ensures that the visual scares of Oddity remain with you long after the movie ends. He composes one of the best jump scares in years around a tent setpiece while also dolling out slow-burn tension with the arrival of the wooden doll. The visual of the wooden man is terrifying in its own right, and combined with the magic imbued within the creature, Mc Carthy ensures that folk horror fans will be thrilled by the inclusion. He builds additional layers and scares on the fringes, with possessions, ghosts, and darkness all combined to unease the audience. It’s a stunning array of visuals, and Mc Carthy becomes a must-watch director after Oddity.

A stunning display of loss and excellent performances make Oddity a must-watch for horror fans. Not only does it take turns you’ll never expect, but its slow-burn approach makes it impossible to ignore. The dread you’ll feel in your house after watching Oddity makes you realize just how effective Mc Carthy is as a director. With a bright future ahead and a stunning visual foundation, we hope that Mc Carthy returns to horror soon.

Alan’s Rating: 8/10Watch Oddity in select theaters now! Oddity is distributed by Shudder and IFC Films. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: ODDITY – An Unnerving Horror Fantasy appeared first on Sunshine State Cineplex.

View Details

This week, we’re catching up on some of our favorite adult animated shows from 2024. Among them is the return of Futurama, a new Batman series, and the surrealist animation series Smiling Friends.

Batman: Caped Crusader – Season 1In the aftermath of X-Men ‘97, it’s unsurprising that there’s been renewed interest in super animation. For decades, WB Animation ruled the space with the brilliant Batman: The Animated Series and Superman: The Animated Series. Both concepts stemmed from Bruce Timm, who served as the showrunner and creative force behind both projects.

Now, Batman: Caped Crusader looks to recapture that magic. Now only does the visual styling draw inspiration from the Noir and Retro-futuristic styles of the previous series, but Timm returns to provide a direction. It’s a fun throwback, even if the animation does not reach the highs of the previous shows.

Starting with a Year 1 approach, Batman: Caped Crusader allows the titular hero (Hamish Linklater) to introduce himself to the world. At first, there are naysayers who cannot believe in the legend of a vigilante. However, he quickly establishes himself against new variations of iconic foes. A gender-swapped Penguine (Mini Driver) controls most of the underground, while legendary voice actors step in a variety of unique villains. With an all-star voice cast (Eric Morgan Stuart, McKenna Grace, Toby Stephens, Christina Ricci, David Krumholtz, Diedrich Bader, Reid Scott), the new take on Batman tells solo stories over the ten-episode arc.

Harley Quinn, BatmanTo the benefit of Batman: Caped Crusader, this version provides more depth and time to its women characters. Beyond the gender-swapped Penguin, Renee Montoya (Michelle C. Bonilla) gets more time to highlight corruption. Dr. Harleen Quinzel, a.k.a. Harley Quinn (Jamie Chung), gets far more depth in this version. Defined entirely outside a Joker figure, she’s far more formidable. Finally, Barbara Gordon (Krystal Joy Brown) provides a different take on the heroine. The three get their own heightened arcs, and their relationships to each other help flesh out this version of Gotham.

More time with Flass and Bullock also paints the police in a far more malevolent light. The corruption throughout Gotham becomes one of the more intriguing aspects of Batman: Caped Crusader. That arrogance does not stop with the police and, at times, extends to Bruce/Batman. More than once, his anger gets the better of him, and he shows Batman in a light that is not always complimentary. Hopefully, this will continue to drive stories in future seasons as this nuance remains an integral part of the Batman story. Ultimately Batman: Caped Crusader is a fun throwback that cannot quite reach the heights of its predecessors.

Alan’s Rating: 7/10Futurama – Season 12A return to the future brings back the silliness of Primetime animation. While many shows of its style are running on fumes, Futurama’s limited return helps raise the highs of the show. In its twelfth season, Groening and company can still tap into something special around Futurama. At the same time, the series occasionally falls into “old man yells at clouds” territory, especially as technology changes so rapidly.

If you’re reading this review, you likely already know Futurama’s plot. A young man named Fry (Billy West), gets cryogenically frozen and wakes up in the future. Now, he works for his Great-Nephew/Great-Grandson Professor Farnsworth (West). As Fry adjusts to the future, he creates a small family with his co-workers – Lella (Katey Sagal), Bender (John DiMaggio), Hermes (Phil LaMar) and others at Planet Express.

Groening and company strive to poke fun at tech, and occasionally, they hit the mark. At the same time, the NFT episode already feels wildly out-of-date. The cycle of animation production might be too long to tackle topics so zeitgeisty. Considering the fast rise and crash of the NFT market, nearly every joke of note has already been told. A Bender-focused episode helps, but the issues with tired jokes circumvent his unique perspective on the digital assets.

At the same time, every episode after the premiere feels far more unique. These episodes serve as an excellent showcase of Groening and Co.’s ability to craft funny characters that work outside of pop culture jokes. Yes, they still make their way into Futurama, but the dynamics of the team allow jokes to feel organic.

Even a passing knowledge of Futurama opens the door for some deep chuckles. When Futurama cooks, it makes for a very fun experience. However, you mostly know what you’re getting into with the series, especially at this point. It’s a nice way to revisit the series, and if you love spending time with Fry, Lena, and Bender, you’ll be happy to check out their latest adventures.

Alan’s Rating: 6/10Watch Futurama on Hulu and Disney+. Season 12 is now streaming new episodes weekly.Smiling FriendsA dynamic second season showcases the strength of absurdist animation. Adult Swim’s Smiling Friends plays into its surrealist tone, quickly shifting between comedy, dramatic stakes, and horror. Not only does Smiling Friends push the boundaries of the medium. The creativity of the show pairs with its character’s attempt to bring light into the world for some incredible hijinks.

Due to its humor and its animation style, Smiling Friends will not be for everyone. However, it’s hard to imagine a show that draws more raves among some viewers, and I must admit it’s among the best TV I’ve watched in 2024.

Smiling Friends follows the employees of “Smiling Friends” – a company that looks to make people happy in their capacity as contractors. Pim (Michael Cusack) and Charlie (Zach Handel) work for various clients. When they do, Pim approaches the jobs with a positive outlook. Charlie, on the other hand, plays the role of the pessimist. As they tackle various clients, they find themselves constantly rolling with absurd punches and shocking revelations. As they pursue their jobs, they help The President, a former video-game character, their boss (Marc M.), and dozens of others.

The surrealist nature of Smiling Friends will instantly push some audiences away. It chooses to embrace the grotesque, and with additional violence on top of the images, that alone will stop many from watching the show. The creatures that inhabit the world are exceedingly strange, but the dark comedy coursing through the series helps it deliver. Smiling Friends hits a deep nerve in your funny bone when it’s at its best.

The joke setups and hilarious antics make for some of the most daring comedy today. Add in the visual humor, which can populate the screen at the drop of a hat, and you’ve got one of the most dynamic shows on television.

With fifteen-minute episodes, Smiling Friends also rewards its audience for their patience. Even if you bump against the episode currently airing, it’s easy enough to ride it through until the next one. Additionally, there’s very little serialization involved in Smiling Friends. This allows audiences to explore the episodes in any order they see fit, and choose their own path through the show. With episodes catered to one character, and constantly shifting genres, there’s something for everyone in Smiling Friends.

Alan’s Rating: 10/10Watch Smiling Friends on Max. All of Season 1 and Season 2 are streaming now. Smiling Friends is produced by Adult Swim. Check out our Reviews, Recaps, and Features on TV here! The post Adult Animation – Batman: The Caped Crusader, Smiling Friends, Futurama appeared first on Sunshine State Cineplex.

View Details

A killer hunting a group of teens has been the foundation of the slasher for decades. Over the years, the priorities of the teens and co-eds have changed. However, #AMFAD: All My Friends Are Dead tries to apply the formula to Gen-Z. The frenetic pacing and high energy sometimes help the slasher meet its lofty goals. However, underwritten characters and leaning into tropes make the movie a cliche festival. It’s a frustrating experience that cannot fully embrace its tone and struggles to help us connect to the violent showcase.

Directed by Marcus Dunstan, #AMFAD: All My Friends Are Dead follows seven teens heading to a music festival. However, when they blow a tire, they end up at an Airbnb two hours from the show. While Sarah (Jade Prttyjohn) is new to the group, the other members have spent years together. Their past comes back to haunt them when a killer hunts them. Citing the death of their former friend Colette (Jojo Sewa), the killer exposes the original group’s dark secrets. The group gets picked off one by one, all dying in a manner consistent with the Seven Deadly Sins.

#AMFAD: All My Friends Are Dead dives into internet culture and never lets off the gas pedal. Ironically, it does so with characters who seem inept at using the internet or technology. The way Dunstan tries to write some jokes does not match any modern tech. In one scene, a character fast-forwards through their camera footage, randomly stopping to let a character deliver a one-line joke based on the footage. It feels more like camcorder footage than cell phone videos. In an era of TikTok and Instagram reels, the long videos and VHS-style forwarding feel wildly out of touch with modern internet culture.

Additionally, #AMFAD: All My Friends Are Dead features ADHD editing. It’s bouncing between storylines picks up speed as the movie progresses. While early footage of a 2004 massacre with similarities to our story correctly uses a montage of old news footage, the rest of the movie does not reach the same heights.

The real low point for #AMFAD: All My Friends Are Dead comes from its too frequent callbacks to great movies. Using the same ideas as Se7en, I Know What You Did Last Summer, and Scream does little to help the slasher’s cause. It’s one thing to pay homage, but it’s another thing to lift the story in its entirety. Some gore effects live up to the hype, but very few other moments do.

What makes #AMFAD: All My Friends Are Dead so frustrating is that we can see Dunstan has visual talent. Shots and ideas are executed about as much as you can hope for, but the pacing and story sink the ship. There’s a version of this movie that hits the zeitgeist. However, this one feels set up to capitalize on the idea of a Gen-Z gorefest rather than deliver a new iteration of the teen slasher.

The other aspect working against #AMFAD: All My Friends Are Dead is the relevance of movies like Bodies Bodies Bodies. That movie tackled the same ground with far more nuance, especially in the screenplay. The mystery in #AMFAD: All My Friends Are Dead does not work. It over-telegraphs its twists early. This deflates the slasher elements and makes for a very hollow experience.

One can see why #AMFAD: All My Friends Are Dead attempts to tackle this subject matter. However, it’s not specific enough to Gen-Z characters and simultaneouslywantsto push the tropes. With so many quick cuts and too many cliches, it fails to gain much traction outside of kill sequences. With performances that leave much to be desired, Dunstan can never quite get the movie under control. One hopes his next feature allows him to showcase more unique storytelling rather than default to the genre’s cliches.

Alan’s Rating: 3/10Watch #AMFAD: All My Friends Are Dead on Digital and On-Demand platforms starting August 2, 2024. Cinedigm distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: #AMFAD: ALL MY FRIENDS ARE DEAD – An Underwhelming Stoner Slasher appeared first on Sunshine State Cineplex.

View Details

Changing norms around recreational drug use and drug culture have shifted drastically in the last ten years. With shows like Euphoria and Industry making substance use part of their characters’ day-to-day lives, this world deserves further exploration in modern film. That’s not to say there have not been movies addressing the subject, but it’s been a minute since a truly surrealist vision helped showcase this subculture. Infinite Summer seeks to do this, sending our protagonists into an abstract and strange world. The techno-drug devices push the characters further into an other-worldly experience, touching on how these disconnects can warp our brains. Infinite Summer has big ideas and, despite overstuffing the story, succeeds in most of these explorations.

The young women spend their summer days at a lakeside cabin. Mia (Teele Kaljuvee-O’Brock) feels disconnected from her lifelong friend Grete (Johanna Rosin). Her friend has a new friend (Hannah Gross) in town, and they appear willing to flirt with boys and explore new drugs in ways that Mia feels uncomfortable. However, Mia meets Dr. Mindfulness (Ciaron Davies), who not only tracks her from her digital footprint but arrives with a new mask device. Upon using Dr. Mindfulness’ devices, Mia explores a new side of herself. However, two Interpol officers (Steve Vanoni and Katariina Unt) are investigating Mindfulness, and the company is supplying him with the new tech.

Throughout Infinite Summer, director Miguel Llansó pushes his characters’ worldviews. He blends sex and drug culture with the new sensations available to humans through transmediation. His movie works best when focused on this intersection and highlighting how easy it is to lose oneself within either techno-culture or drug culture. With stories of Silicon Valley elites and venture capitalists engaging in drug-fueled weekends, this feels like a relevant story worldwide. As these technocrats continue to gain power, it’s only logical that they will extend their power to satiating the masses, even if it results in something as odd as the smoke hazes in Infinite Summer.

Additionally, Llansó highlights peer pressure’s power despite the digital divide. With characters unwilling to put themselves in harm’s way in person, digital persuasion becomes far more powerful. For Mia, her views of Grete using these new devices spurn her towards joining in their use. She sees the adverse effects on her friends, who even assault police officers and seemingly struggle to breathe while under the influence. Yet, with time and persistence, she falls under her friend’s spell and joins her for the trip of a lifetime.

It’s easy to see the influences of Llansó and Infinite Summer, which makes the story slightly more predictable. However, the aspect that harms Infinite Summer most stems from the visual effects. At times, they are brilliant and highlight Llansó’s imagination as a filmmaker. However, there are other times when the movie stops dead in its tracks to leave us in a half-rendered cloud.

It’s understandable that Llansó would wish to showcase some of these effects, but it feels like Infinite Summer tries to go this well a couple of times too many. Finally, the Interpol storyline adds color to the story, but distracts from the characters we want to investigate. It’s a frustrating self-own on the movie as it progresses.

With good performances from Kaljuvee-O’Brock and Rosin, Llansó crafts a compelling tale. The coming-of-age aspects blend exceedingly well with the changing technology. A culture of early adoption and open-mindedness towards holistic treatments makes these characters more willing to try these new experiences. While there’s a lot to like in Infinite Summer, its budget might be the ultimate culprit. Llansó clearly has vision and ambition, but not always the support to see his ideas through to the end.

Alan’s Rating: 6/10Watch Infinite Summer at the 2024 Fantasia Film Festival.Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: INFINITE SUMMER – A Kaleidoscopic Journey Into Drug Culture appeared first on Sunshine State Cineplex.

View Details

For more than twenty years, criticisms of the internet have raised questions of authenticity. How can anyone be satisfied when the lives they see away from their own are so extravagant? We may not even realize our frustrations with the worlds our peers present to us, and Faces dives into the phenomenon. As it does, Faces comments on the ways we perceive ourselves and others. There’s also a narrative about gender and sex, adding to the depth of the tale.

Directed by Blake Simon, the short follows a creature attempting to find comfort in the skin of its victims. Over the fifteen-minute short, the monster changes skin multiple times. As the creature shifts between its new personas, it tries to find comfort in its surroundings.

Its easy to see Faces as several kinds of stories. That’s an exciting feature of a short, because they rarely can extend to tackle that variation, let alone tackle its single idea. Simon combines the commentary around authenticity in public with some brilliant gore effects to get the audience’s blood pumping.

As you watch Faces, it’s easy to relate to the shape shifting creature. While we believe we’ve found our place, an introduction to another view of the world causes us to rethink our identities. As we strive to establish ourselves, we pull from the ideas around us. We are defined by the societies around us, and this creature explores the concept well. This goes beyond the idea of nature versus nurture, and instead speaks to enforced cultural norms.

In the age of social media, these trends have only become more prevalent. The ideas parroted by those addicted to platforms can terrify. However, even light social media users can become vessels to spread misinformation. The same can be said of personality quirks or views of interpersonal dynamics. If the wrong person influences the wrong teen or adult, the likelihood of violence may skyrocket. If nothing else, this creature begs for belonging, and when it is denied that connection, it reacts in anger.

Visually, Faces showcases some very cool visual styling. Simon not only embraces a strobe-like effect in the edit but also fills the screen with unique color combinations. Add in some very gory kills, and you can feel the potential of expanding the story on a larger scale. The kills are well-directed but might need more work in the edit to ensure they do not feel like a series of jump scares. Even in this short, Faces overplays its hand there.

Faces shows promise for filmmaker Blake Simon. His sense of horror is spot on, and one would like to see more character development for a story like this one. This does not hurt the final product but adds to the emptiness around the characters. However, one can see how the argument further enhances Simon’spoints. It’s a solid genre short and one that will stick with us for a while.

Watch Faces at the 2024 Fantasia Film Festival. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: FACES – An Unnerving Creature Tale appeared first on Sunshine State Cineplex.

View Details

Last week, “Smallfolk” ended with a question about the future of the realm. Could Rhaenyra actually find someone outside the Targaryen lineage who could ride a dragon? Addam of Hull answered that question definitively, but we do not see the interactions between Addam and Rhaenrya until “The Red Sowing.” The latest episode of House of the Dragons reminds us of the stakes of the war and, for the first time, asks if Rhaenyra’s passion for ruling supersedes her line’s future. The answer comes in a brilliant episode, which feels one part Succession and one part Jurassic Park. Loni Peristere directs “The Red Sowing.”

The RecapRhaenyra and Addam stare at each other from the beach. Their dragons roar in the background. When Rhaenyra asks what Addam wants, he tells her he wants to serve her and bends the knee. She’s confused at his willingness to bend the knee, but he tells her Seasmoke came to him. Rhaenyra asks for his parentage, but he does not admit to his relationship with Corlys. She thanks him and asks if she can fly to Dragonstone. He believes he can.

In Kings Landing, Maester Orwyle stitches up Alicent. She laments that despite her efforts for her family and the realm, she believes it was all for naught. When she leaves, she asks Ser Rickard to accompany her to the Kingswood.

Larys and Ironrod speak about the soldiers who ignited the riot. They are being sent to the Wall by Aemond. Ironrod also reveals rumors are circulating about Seasmoke having a new rider. Larys suggests they leave the rumor in the wind without verified sources and gossip.

Jace watches Seasmoke and Addam come into Dragonstone. Her council knows the rider is from Driftmark but does not know his relation to Corlys. Jace demands to know where his mother is, but she will not attend. Instead, she keeps council with Mysaria. They discuss potential new dragon riders and Mysaria reveals that there are at least four score bastard children of the Targaryen line worldwide. Rhaenyra is worried because the highborn families have nobility, but Mysaria retorts that her brothers fight her. It’s the time to change the paths of lowborns across the realm.

Corlys walks into the room where Addam stays. At first, Addam diverts his eyes and asks for leave. Corlys approaches him and tells him well done. He also grants Addam’s leave from his service.

In Harrenhaal, Oscar Tully arrives to speak with Daemon. There’s tension between the two, but Oscar confirms their banners are raised to Rhaenyra. Oscar is unsure the lords of the Riverlands will follow Daemon. Ser Simon lets them know the Riverlords are awaiting them. Daemon tells the Riverlords that Oscar has pledged his loyalty to Daemon. When challenged, Oscar stands up to his lords and Daemon, reminding them that the word of his house is its bond.

The other Lords of the Riverlands speak up, however, asking for justice. The Blackwoods have dispensed savagery on the lands. Willem Blackwood tells the crowd he only did what was asked of him. Oscar retorts that he did it because he wanted to. He demands Daemon dispense justice. At first, Daemon appears conflicted but then dispenses the justice Oscar requests. He decapitates Ser Willem.

Afterward, Daemon returns to his chambers and once again sees Vicerys. When he asks Vicerys about the crown, his brother tells him he does not want it. Vicerys reminds him of how crushing the throne is for those who rule. He then asks Daemon if he’s sure he still wants it.

Aegon and Maester Orwyle work on walking, but he falls. As Aegon cries, Larys arrives. His advisor tells the King that he needs to progress faster. At first, Orwyle tells Larys that the King cannot have a second walking session later in the day, but Larys insists.

Corlys approaches Alyn of Hull. He tells Alyn he must prepare the ships to sail on a mission. Corlys then reveals that Addam is the dragon rider. Alyn is stunned, and Corlys notes that his house does not yield riders. They might be Targaryen on their mother’s side. Alyn tells Corlys he does not wish for a higher standing. He, instead, belongs to salt and sea.

In the Vale, Rhaena and Rhaenyra’s children leave the stronghold. Lady Arryn watches them and eventually closes the doors. When she does, Rhaena leaves the path and begins looking for the feral dragon in the Vale. Alicent arrives in the Kingswood. When Ser Rickard asks how long they’ll be out in the woods, she replies that she does not know. She steps down to the lake and floats among the water.

Jace speaks with Rhaenyra about her plan to recruit basterds. He’s furious, referring to the others as mongrels. He believes that allowing other bastards to ride will threaten his own claim to the throne. Jace confronts her about Harwyn Strong, and Rhaenyra tells him she does not like going down this path. He remains her heir, and despite his pleas, she moves forward with the plan.

Myseria sends word to her spies in King’s Landing. Alyn delivers the message and waits in the harbor. Ulf hears about Rhaenyra’s plan in the tavern. He’s hesitant at first, but he agrees when pressured by others. Hugh tells Kat about his parentage. He must heed the call, or else his family may never rise. He leaves at dawn with Ulf, Alyn, and dozens of other basterds.

When the basterds arrive in Dragonstone, one of the dragon keepers tells Rhaenyra off for bringing them. He will have no part in what she’s doing. Rhaenyra ensures to lay out the risks to the group, but she also says they can save the realm. Rhaenyra then describes Vermithor, the Bronze Fury, to the group. She brings them to him.

When she calls, Vermithor emerges from the shadows. She tells the group that only dragons choose their masters. She then steps outside and Vermithor kills most of the dragonseed. However, Hugh screams to stop him from killing another dragonseed, and when he does, Vermithor yields.

Ulf continues to run through the caverns. He accidentally steps on a dragon egg. A dragon emerges behind him. At first, Ulf grows scared, but Silverwing relents. A surprised Ulf rides Silverwing, who flies over King’s Landing. Aemond sees the display and joins Vhagar. They give chase, but Silverwing and Ulf return to Dragonstone. There, Aemond sees Rhaenyra, Ulf, Hugh, and Addam with their dragons. He flies back to King’s Landing, with Rhaenyra standing defiantly on the shoreline.

Alan’s Rating: 9/10Watch “The Red Sowing” on HBO and Max. “The Red Sowing” aired on July 28, 2024. Watch all of House of the Dragon on Max. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE RED SOWING – House of the Dragon – Season 2, Episode 7 Recap appeared first on Sunshine State Cineplex.

View Details

The Beekeeper is the kind of non-threatening action movie that requires little brainpower to enjoy. It doesn’t strive to be a thinker; it exists solely as a means for Jason Statham to do his now-familiar schtick: beat up bad guys in creatively brutal and increasingly ridiculous ways. In that, The Beekeeper succeeds at its mission. However, the movie fails to embrace the fun and, more often than not, takes itself too seriously. Characters abandon logic like spent bullet casings but mostly play it straight, resulting in an uneven tone that distracts.

Jason Statham is ready for vengeance in The Beekeeper from director David Ayer. Adam Clay (Statham), a former secret operative for a clandestine organization known as Beekeepers, has taken to retirement on the farm of a lonely widow, Eloise (Phylicia Rashad). When Eloise is scammed and commits suicide, Clay becomes the prime suspect to Eloise’s law enforcement daughter Verona (Emmy Raver-Lampman). Seeking vengeance and looking to clear his name, Clay embarks on a brutal journey of revenge that sees him take on the scammers with ties to the Danorth family (Josh Hutcherson, Jemma Redgrave) in the highest levels of the United States government.

The Beekeeper takes its time establishing Clay’s retirement which almost serves to establish the film as more than the standard shoot-em-up. Eloise’s plight as the victim of a telephone scam is a unique set-up that suggests The Beekeeper could be something special. However, once the bullets and fists start flying, any subtlety quickly disappears. Seeing Clay mow down baddies is always a crowd-pleaser, but given the setup, it is disappointing that more nuance isn’t allowed beyond the first act.

Josh Hutcherson drinks a beer and looks at his phone in The Beekeeper from director David Ayer. Director David Ayer knows how to stage fight scenes, however, so once the action amps up, there is still much to enjoy on that front. While gauntlet films can sometimes feel tiresome, Statham’s charisma and deadpan delivery remain amusing. Additionally, the array of villainous dispatches are varied enough to prevent the movie from dragging. The brisk pace keeps The Beekeeper under 2 hours which proves to be a wise choice by the filmmakers.

Hutcherson stands out as the only memorable performance of the supporting cast, hamming it up as a spoiled heir to his family’s shady business. His panache for rich boy antics is vocally derided by his mother, who has to keep a fixer (Jeremy Irons) on hand, not to keep her son in check but to maintain her public image. The dynamic is entertaining but underdeveloped. Raver-Lampman’s Agent Parker, unfortunately, makes little impact and quietly fades from memory as soon as she’s off-screen.

Jason Statham interrogates Jeremy Irons for his role facilitating financial crimes in The Beekeeper from director David Ayer. Ultimately, The Beekeeper is little more than a breezy action flick. There are components of intrigue that fail to develop in favor of more non-stop action. But audiences might expect that from a Statham vehicle, and there is nothing wrong with that, given the flair with which the action is doled out. Hutcherson and Irons step up to match the crescendo of over-the-top ridiculousness; however, the rest of the cast fails to meet that energy. Fortunately, by the end of the movie, most of those characters end up dead, so perhaps that was by design. In the end, The Beekeeper offers a little sting and a hint of honey but is mostly a hollow hive.

Josh’s Rating: 5/10Find The Beekeeper on JustWatch to stream it today. MGM distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: THE BEEKEEPER – A Mediocre Bee Movie Misses the Mark appeared first on Sunshine State Cineplex.

View Details

Few stories are more satisfying than those of brief encounters. While the love one feels for someone may result in a firey passion, many stories do not end that way. Darkest Miriam tells a story of how grief may affect us for years, only to find a person who changes our perspective on life. Featuring an incredible performance from Britt Lower, Darkest Miriam stuns in the best ways. It’s an intricate movie that will age like fine wine.

Lower plays the titular Miriam, an employee at a small library branch. Miriam’s job is occasionally monotonous, but the regulars that frequent the library add some excitement. Miriam begins finding notes throughout the library, many of which allude to her past and her father. One day, she introduces herself to Janko (Tom Mercier), a young immigrant who frequents the park bench near her lunch spot. They begin a relationship and, over time, must handle the bumps in the road that come with commitment.

On its face, Darkest Miriam seems like a standard dramatic tale. However, writer and director Naomi Jaye populate the world with peculiarities and nuances that enrich our experience. Based on The Incident Report by Martha Baillie, Jaye expands the perspective from a series of literal reports while also using them to insert humor throughout the screenplay. It’s a wise choice and allows for a unique sense of adaptation while helping the audience piece together life around Miriam. That texture becomes essential to the story.

It’s no surprise that Charlie Kaufman (Being John Malkovich, I’m Thinking of Ending Things) serves as executive producer. There’s a darkness and threatening nuance to Darkest Miriam that he surely nurtured in the process. Yet Jaye’s directorial style and vision never bear his signature. It’s an excellent example of Jaye asserting her own voice while fitting into the mission of a particular artist.

Jaye shoots Darkest Miriam brilliantly, ensuring that extreme close-ups help us burrow inside Lower’s mind. She allows the world to feel fantastical and odd, especially as Miriam reads the notes left for her. However, Jaye keeps things grounded, not only in humor but in the absurd things humans do to each other.

One sequence results in a computer user being struck on the head, while another results in Miriam approaching a masturbater, only to find his work has already been completed (on her books, no less). These could be played for huge comedic laughs, and at times, Faye finds that tone. However, her willingness to let Miriam walk through the normalcy of her life also results in an easy to recognize compassion.

Additionally, Lower’s impeccable performance drives the emotional power of Darkest Miriam. Her nuance in carrying grief across time is simply stunning. As she tells us about her life, she sells her feelings honestly. However, as we discover she’s an unreliable narrator, this adds tension to her performance and makes the movie all the more compelling. Lower lets us into her heart and grief while also showing us the beauty of finding love. Sometimes, life changes around you quickly, and Lower’s performance allows us to observe a person struggling to hold it all together.

Darkest Miriam does not fully qualify as a fable, but with Faye’s unique vision and screenplay, it often feels like one. With Lower’s impeccable performance providing a strong centerpiece, Faye mines the power of the central relationship through to a satisfying conclusion. There’s incredible heartbreak and hope within the same story, all while exploring the absurdities of monotony. There’s a lot to love about Darkest Miriam, and this gem feels destined for cult adoration.

Alan’s Rating: 9/10Watch Darkest Miriam at the 2024 Fantasia Film Festival. Darkest Miriam is awaiting US distribution. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: DARKEST MIRIAM – An Exquisite Tale of Love and Tragedy appeared first on Sunshine State Cineplex.

View Details

When most audiences picture documentary pictures as a rigid medium, artistic flourishes have helped them evolve. Movies like The Act of Killing and You Were My First Boyfriend offer unique visions through recreation. Ethnography and pathos-driven storytelling fit into the documentary and open the discourse of how we craft these stories. Adrianne & The Castle highlights one of these tales. Following the love story of Alan and Adrianne St. Georges provides a heartbreaking tale of how we grieve. It’s a powerful story, only eclipsed by the earnest nature of the tale.

The St. Georges created an unusually strong lifelong bond. Alan was far more subdued and nervous. Adrianne was larger than life, showcasing a unique style and performative talents. Together, they created Havencrest Castle in Illinois and eventually founded a Mascot creation company in the 1970s. Their art showed their passions and love for one another, building a literal monument to their story. However, since Adrianne passed away in 2006, Alan has built his life as a monument to his partner of more than thirty years.

More than anything, Adrianne & The Castle make it impossible to doubt the passion some couples feel. The St. Georges prove quirky over time, but shame disappears as they build their lives. While some might argue that the house and costumes are gaudy, Adrianne’s self-confidence drives the entire endeavor. Watching Alan step out of his comfort zone, and continue to craft beautiful art, makes for an extremely rewarding experience.

Director Shannon Walsh gives Alan the power to recreate important sequences of their lives with the camera. They reenact the first time they met and other pivotal parts of their time together. The events become emotional for Alan but also give him a chance to speak lovingly about his life with Adiranne. It’s a powerful experience drenched in pathos, but more importantly, it allows Alan the opportunity to spend time creating more art in honor of the woman who changed his life.

The recreations are gorgeous. They feature many of the outfits and costumes that made Adrianne such a unique woman in the first place. It also allows Alan to show the stranger aspects of their wardrobes. Walsh finds a sweet spot in creating the visuals in reenactment, versus the visuals when she’s shooting Alan’s life. The archival footage provides a strong base for the reenactments. It’s hard not to compare this film to Ren Faire or You Were My First Boyfriend, but the parallels are impossible to miss. It allows Walsh to capture the glory and beauty of the costuming, as well as the Castle’s lush visual palette.

The line between true documentary and storytelling documentaries continues to blur. While the Maisels popularized the verite style, Adrianne & The Castle joins a long list of new movies that blend the two. The performative aspects of these movies remove a traditional element of the story, but that also assumes that those being followed by the camera have always acted as if it never existed.

It’s not hard to fall in line with the ethnographic theory that showing up to record or document a story already changes the environment. In this case, Walsh takes the next natural step, allowing Alan to not only play in performative aspects but also help shape the narrative around his wife. It’s important for genres and mediums to change, and this string of new documentaries has helped draw interest to stories that fit outside the ideas of traditional storytelling.

A heartbreaking examination of grief and a celebration of life, Adrianne & the Castle embeds itself in your heart. There are moments towards the end of the story that choked me up and helped justify this approach. While love stories may feel trite to some, you can feel the power of the St. Georges’ love in every aspect of this story. Adrianne & the Castle does not need to be so earnest, but doing so makes it an incredibly rewarding experience for all who view it.

Alan’s Rating: 8/10Watch Adrianne & The Castle at the 2024 Fantasia Film Festival. Adrianne & The Castle awaits US distribution.Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: ADRIANNE & THE CASTLE – A Beautiful Love Story Through Expression appeared first on Sunshine State Cineplex.

View Details

Elijah Wood rose to international acclaim as a child actor, but with The Lord of the Rings he became a household name. In Bookworm, a new feature from director Ant Timpson, Wood combines two aspects of his career into a fun father-daughter movie. Bookworm takes inspiration from the precocious child subgenre, allowing young actress Nell Fisher (Evil Dead Rise) to provide a different hue on the trope. Wood and Fisher showcase incredible chemistry, and make Bookworm a very fun adventure flick.

Mildred (Fisher) believes she’s tracked down a mythological “Canterbury Panther” in the wilderness near her home. If she can capture footage of the creature, she will earn $50,000 Australian dollars to help her mother. However, a freak accident leaves her mother in a coma. Enter Strawn Wise (Wood), Fisher’s biological father and once-popular magician, arrives to watch Mildred. After flying across the world to watch Mildred, he wishes to connect with his daughter for the first time. His background as a magician is unimpressive to his book-smart daughter, but Strawn agrees to take Mildred camping so she can get the footage of the pather.

It’s fun to see Wood return to this kind of movie, especially after he served as the precocious child in so many movies himself. There are not any direct ties between Mildred in this movie, and Wood’s Flipper character. However, the energy and spiritual sequel vibes are off the charts, allowing the audience to buy in on the adventure aspects of the story. Much of Bookworm utilizes our knowledge of previous kid-focused adventure movies to its benefit, and this riffing proves essential as Bookworm finds darker corners and more intense setpieces than one might expect.

Once again, Wood utilizes his unique energy as a performer to let Bookworm get much weirder than one might expect. He turns Strawn into a has-been magician, frustrated by his former partnership with David Blaine. The running gag, that he hates Blaine, works throughout the movie while also serving as an important time capsule. Wood was not quite the same age as the infamous Leonardo DiCaprio-led group, but he makes for a believable peer to their antics. It also allows Wood to tap into his subdued rage that comes out in Yellowjackets or I Don’t Feel at Home in This World Anymore. However, using that for a family-friendly movie does wonders. It especially works when paired against a very funny Michael Smiley.

Fisher holds her own against Wood. After showing she can get the life scared out of her in Evil Dead Rise, Bookworm serves as a nice change of pace. Additionally, it points to her future as a star, especially when she digs into the more emotional aspects of the story. Timpson and writer Toby Harvard tap into the guilt children feel about their parents, even when they had nothing to do with the injury in place. Fisher grows up fast as Mildred, allowing her to believably play beyond her age. As a foil to the goofier Strawn/Wood, Mildred/Fisher becomes someone you want to root for.

While playing into the adventure tropes, Bookworm runs a bit long for this kind of movie. There’s some fat that could get trimmed, even if the beautiful camping setpieces are gorgeous to watch. Additionally, the beats are a little too similar to other adventure stories. It leaves Bookworm somewhat predictable, especially in its jokes about “prissy” Strawn in the wilderness. Perhaps the most damning aspect will stem from the limited CGI, which is essential for Bookworm to complete its basic quest. Unfortunately, the subpar quality stands out when the rest of the vistas look so impressive and stunning.

That said, Bookworm delivers a fun and engaging tale that rarely gets made anymore. It’s a nice level-up from the mediocre children’s films we often see, and has the emotional heart to make it rewatchable. Wood and Fisher have excellent chemistry, and they make for a believable father-daughter duo. Bookworm may not be perfect, but it’s a fun ride for those who wish to partake.

Alan’s Rating: 7/10Watch Bookworm at the 2024 Fantasia Film Festival. Bookworm awaits US distribution. Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post Fantasia 2024: BOOKWORM – An Exciting Father-Daughter Throwback Adventure appeared first on Sunshine State Cineplex.

View Details

Hi! My name is ~~Borja Izuzquiza~~ Wade! I’ve been commissioned by the good people here at Sunshine State Cineplex to write a review on the new Disney movie, Deadpool & Wolverine! (thud thud). I can say I’ve watched this movie 34 times already and am (knock knock) more than ready to share my thoughts (crash). Also, pay no attention to the sounds coming from the storage room. I think a mouse might have overrun it.

Anyway, this is super exciting! If this goes well, I might have found my purpose. Selling cars is not all that it’s cracked up to be, so you can count on me to put in maximum effort! Hopefully our boss Ed. the Editor (Alan French) will get rid of the mouse problem but other than that, this is pretty sweet! But enough of that and on to the movie.

Let me start by saying to every fanboy who was afraid they weren’t going to get their dis hard with violence and cursing: you don’t need to worry. There’s so fuing much of both! This movie is a hard R, just like your teeny weenies will be! (Bang)Thank god those puies at Disney didn’t fk it up and edit anything out. Who the fk does that sh*t anyway? Oh, but there are no drugs. Kevin doesn’t like them, although the team behind this must’ve bped a good dose of the devil’s dandruff when they made this movie. Hypocrites.

Ryan Reynolds (Looking hella good) as Deadpool/Wade Wilson in 20th Century Studios/Marvel Studios’ DEADPOOL & WOLVERINE. So, the movie starts with Deadpool killing a bunch of people while dancing to N*Sync because yes, the soundtrack of the movie… (reads notes… Rule 12.90: Do not tag “of the movie” at the end of a statement. Got it) …the soundtrack is uh. maze. ing.

Wade Wilson is going through a midlife crisis. He’s played by Ryan Reynolds, a handsome dude who kinda looks like me, or at least like my bas*ck if it had been roasted on an open fire. Wade wants to be an Avenger, but they don’t want him. (Muffled yell) His girlfriend Vanessa (Morena Baccarin**) doesn’t want him either. So, he sells cars.

Ignore the Hawaiian shirt fella. This is about Tom. Or Darcy. The Mercedes Guy. Or Paradox.That is until some people from the Time Variance Authority (you’re going to have to watch Loki, if you want to understand, because I’m not going to explain it) show up and take him to none other than fuing Mr. Darcy himself. Mr. Darcy (Matthew Macfadyen) or Paradox (Matthew Macfadyen) is played by that Tom dude (Matthew Macfadyen) from Succession. What a fuing good show! He wants to destroy Wade’s timeline but is willing to spare Wade, for reasons. (Creeeeaaaakkkk) Look this barely makes any fuing sense but who cares? It’s a good excuse to bring back the goamn Wolverine. So yeah whatever, go cry to someone that cares if you don’t like it. Wah wah…

Wade puts his Deadpool costume back on and goes looking for a Wolverine…in the YELLOW SPANDEX SUIT!!! Finally, what took so long??… to help him save everything, everywhere all at once. Fk I’m clever. Mr. Darcy then grabs a stick and pokes them (Disney’s version of peing) into a desert wasteland. That’s right, eat sh*t George Miller.

This is the point when the movie goes from awesome to super fuing awesome. It’s the best part of the mov…ergh!!…it’s the best part. Period. Nerds, wear your white pants because you’re going to splge!! Logan (Wolverine if you didn’t fuing know) is going through his own crisis. He’s angry, as he always is. But that’s good because, oh my god, that leads to some epically violent fights pulled straight from the pages of a comic book! Fk yeah! Who hasn’t been waiting for this?

Lame aes that’s who. (Knock knock) Hugh Jackman returns as Logan, and seriously like this guy is trying to win all the acting awards. He’s so goamn good in this!! It’s like Jean Valjean and Drover (now that’s a vague reference, iykyk) had a muscular, alcoholic, and vile baby! Almost made me cry that a**hole.

Speaking of ahole there’s one giant one that goes by Cassandra Nova, who is what the embodiment of a qef would act like. Emma Corrin, who plays her, is actually a sweetheart. She wants to destroy everything too. Everyone wants to destroy sht a la Disney with the MCU. So, Wolverine and Deadpool travel in a minivan, which means Disney was working on a tight budget…I mean, Tony fuing Stark gets Audi prototypes. A minivan? Really, a fuing minivan?? Not Shawn Levy*’s fault you can’t make money with your sucky multiverse. Sucky? Ah I’ll leave it in.

Your favorite ambiguously gay duo travel on their way to find a way back to their timeline but get into an epic argument that leads to so much fuing bloody action!! Hahahaha so good!! (bang) This is where it gets soooo much better because they’re found by…wait. Did you think I was going to spoil the movie?? You sick fus. Yeah, I’m talking to you. I don’t give a sh*t if it gets spoiled to you but not on my (clank) watch.

You will get your fat ass up and climb out of mommy’s basement and buy a fuing ticket if you want to know because I need, I mean this beautiful, sexy, god in his own image Ryan Reynolds guy NEEDS to get paid. Buying Wrexham A.F.C. wasn’t cheap and Rob doesn’t get paid half as much as you think he does on It’s Always Sunny in Philadelphia.

Think I was going to spoil it. F*ck you. I suppose you were reading waiting to see who’s playing Lady Deadpool too, you nasty popcorn-bucket-loving perverts. Well, I can’t wait until you find out.

Emma Corrin as Cassandra Nova (oh lord, she scary) in 20th Century Studios/Marvel Studios’ DEADPOOL & WOLVERINE. Where was I? (THUD THUD) Sht those mice are getting louder. I think I better go. But yeah, go fuing watch Deadpool and Wolverine. It’s the best goamn movie ever and the Deadpool trilogy is the best trilogy ever!! Kiss my white cuo Back to the Future! (SWING, BOOM). Fu*k! The mouse escaped!! I’m outta here!!!…Chimichanga!!

Hey guys, it’s Borja. Some weirdo with a toupee just hit me over the head and locked me in the storage closet. What? Oh, I’m okay, thanks. Sorry? No, we did not hire this sicko…what the heck is this? Man, this review is trash. Sorry you had to sit through that. I’m not going to be able to fix this. Go read Alan and Josh’s (Josh Walbert) take for this one. Thanks, guys, and sorry! Go watch Deadpool & Wolverine and look out for that weirdo.

Read Alan’s Review here! Watch Deadpool & Wolverine in theaters on July 26, 2024. Disney and Marvel distribute. Please check out other Sunshine State Cineplex reviews here!The post Deadpool & Wolverine: Borja Izuzquiza (Wade Wilson) reviews Deadpool & Wolverine appeared first on Sunshine State Cineplex.

View Details

It’s hard to describe the impact of the AIDS crisis to non-LGBTQ+ individuals. While safe sex and fears of STDs are present across every group, AIDS completely changed how some men and women perceived sex within their communities. Even worse, non-urban areas saw the plague as a perceived punishment. Haze, a new horror feature from director Matthew Fifer, feels the reverberations of this trauma. A string of deaths and horrors unfold in a small town, but even years after a mass suicide of queer men, the attitudes and homophobia have not changed. One cannot help but feel the anxiety of Fifer’s work as it partakes in a deeply upsetting character study.

Joseph (Cole Doman) returns to his hometown after years away. As a journalist, he hopes to shed light on the suicides of eight men at a local psychiatric hospital. As he explores the area around the abandoned site, he comes into contact with old family friends (David Pittu). However, Joseph also starts a relationship with Luke (Brian J. Smith), and the two begin a passionate affair. However, as Joseph’s investigation evolves, he grows rattled and loses track of time as his worlds blend together. Diving deeper into the conspiracy only makes his paranoia worse. When more deaths begin to surface, Joseph realizes there’s more to the case than he originally believed.

Fifer tackles symbols of oppression and rhetoric used against the queer community throughout Haze. In many ways, this becomes its strongest asset. It actively showcases a queer relationship that goes beyond lust. With confrontations occurring between neighbors, and the blatant homophobia that exists within the town. Joseph hears some in town remain fearful of “a disease” in the air and, at one point, is chastised for “Catching” something. Fifer also relays that his lead character feels like an outsider in the town, not only due to his queerness but because of his intellect. Portraying Joseph as an outsider, even in the place where he grew up, further reinforces our need to find a place where we belong.

Additionally, Fifer allows Doman to bring incredible nuance into the performance. Doman must play a character as an active reporter, with big ideas and empathy for his subject. Yet at the same time, he’s challenged by the people who made his life unbearable in his youth. Additionally, more layered and subtextual ideas are revealed by the character late in the film, but the ideas are present throughout the story. It shows Fifer writes Joseph with extreme intricacy and care, and Doman brings the character to life by committing to the anxieties within the character.

Additionally, Haze features brilliant cinematography at times. The dreamlike sequences and long one-shots stand out. DP Eric Schleicher adds an ethereal vibe with the use of shocking color and sometimes a singular lighting pattern. Some images burst off the screen and feel truly unique, even within horror. Other moments fall into traditional tropes, which lessens their effect. However, on the whole, Haze looks incredible and forces us into a subjective experience with an unreliable narrator.

Additionally, the longer shots help establish emotion and lust. Fifer utilizes these choices to first give us insight into Joseph’s mental state. As Haze continues, we watch his mind shatter. This does feel a little shallow at times, primarily through the writing. At the same time, when paired with fantastic visuals, Fifer taps into something raw and earnest. It’s a push and pull that Haze continues from its opening frames to its conclusion. For this critic, it was easy to lock into the slow-burn aspects. However, impatient viewers may see their minds wander. Regardless, Haze makes for a strong entry in the LGBTQ+ horror scene and should find its audience with Shudder on board.

Alan’s Rating: 7/10Watch Haze at the 2024 Fantasia Film Festival. Shudder distributes.Keep up with all our reviews from the 2024 Fantasia Film Festival! The Fantasia Film Festival runs from July 18 to August 3, 2024.The post FANTASIA 2024: HAZE – A Slow-Burn Descent Into LGBTQ+ Fear appeared first on Sunshine State Cineplex.

View Details

Since its release in February, Lisa Frankenstein has flown under the radar on the way towards streaming. Even though the romantic comedy film was released right before Valentine’s Day, that did not translate into couples flocking to the theaters looking to enjoy a date night. The box office performance disappointed, but Lisa Frankenstein does offer enough to merit more widespread success.

For one, it is Zelda Williams‘ directorial debut. There are moments in her film where she demonstrates she has a uniquely creative mind, much like that of her famous father, Robin. Next, the screenplay is written by Oscar-winner Diablo Cody, who infuses the story with a macabre tone similar to that of Jennifer’s Body. Add in two young and budding stars Kathryn Newton and Cole Sprouse. They offer solid performances and make Lisa Frankenstein more than deserves a viewing. It is odd that the film has mostly gone unnoticed.

What is also odd is the film itself. Early on, Lisa Swallows (Newton) mentions to her stepsister Taffy (Liza Soberano) how she enjoys visiting abandoned cemeteries and has a particular affinity with one grave belonging to a Victorian-era man (Sprouse). Additionally, the film explains that Lisa’s mother was mysteriously murdered by an axe-wielding intruder. It’s a lot to start a movie, but Williams quickly establishes this will not be a conventional romantic movie.

Shortly after, a lightning strike brings the Victorian man back to life. Apparently, he was aware in death of Lisa’s visits, so he finds his way to her home. Up to this point, the film has muddled in and out of its strange landscape. It falters to keep the momentum going, resulting in some required patience. However, the proceedings eventually take-off during a scene where Lisa is confronted by her hostile stepmother Janet (Carla Gugino). This argument resorts to a macabre resolution where the film fully commits to its weirdness.

It would be best to describe Lisa Frankenstein as uneven. Williams showcases a penchant for camp and infuses it with the proper dose of the macabre. A subplot concerning a twisted search and acquisition for, let’s say, “needed objects” is ridiculous fun. Furthermore, an opening sequence composed of animated silhouettes acting out The Creature’s fate and a horror-laden dream that culminates in a drug trip highlight the good things that can happen when Williams unleashes her creative force.

Newton and Sprouse also admirably bring their characters to life. Sprouse’s turn is mostly void of any words, challenging the actor to emote non-verbally. Using mimes as a source for his performance, he convincingly succeeds as he monster-walks about. Newton is faced with juggling teenage angst and anguish. Lisa is subject to marginalization in high school due to her reserved nature. Newton admirably embodies Lisa’s struggle and passes with flying colors here. Additionally, she tacks on bonus points while shifting gears when Lisa is jolted with a bolt of confidence later.

It is a shame that Lisa Frankenstein does not fully commit to its highs. In between these experiences are moments that fail to capture the same eccentricities, humor, and energy. The film, unfortunately, plods during its more solemn moments, but what’s lacking in liveliness is made up for in substance.

The beating heart of Lisa Frankenstein is the story of a girl who faces the well-known challenges many girls face during their coming of age. In the case of Lisa, she must also deal with the loss of a loved one and try to fit in with a new family and community. Lying even deeper, is a far uglier and darker element than what any of the aesthetics can offer in the way Lisa ultimately decides to confront these challenges.

With Lisa Frankenstein, Williams and Cody crafted a weird and perplexing film appropriate for its Victorian-era inspiration. The 80s setting allows its darkness to be draped with the guise of a lighthearted camp, effectively making the tragedy unperceivable. It’s a clever achievement from a first-time filmmaker, one that ultimately places Williams in a group of young up-and-coming directors to look out for.

Borja’s rating: 7/10Check out Lisa Frankenstein* on Blu-Ray and DVD today. Watch Lisa Frankenstein *on Peacock. Focus Features distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: LISA FRANKENSTEIN – Deceptively Dark Debut Delights appeared first on Sunshine State Cineplex.

View Details

Few filmmakers are able to craft a picture as shallow as Love Lies Bleeding and still manage to capture and hold the attention of the audience. A script this uninspired in the hands of a different director and cast would be accused of scraping the bottom of the barrel of late-night eroticism. Instead, director Rose Glass captures a distinct and captivating style while a dedicated cast schmoozes a repugnant charm. It’s a film that succeeds on first watch because of the ever-escalating shock value, but once the shock subsides, its flaws become more apparent.

Kristen Stewart lights a cigarette in Love Lies Bleeding. Images courtesy of A24. Grungy Lou (Kristen Stewart) runs a gym, serving as the manager and custodian for a primarily male clientele. Aspiring bodybuilder Jackie (Katy M. O’Brian) passes through on her way to a competition in Las Vegas. The two are instantly smitten. To keep afloat during her stay with Lou, Jackie accepts a job at a gun range owned by Lou’s father, Lou Sr. (Ed Harris). Lou and her father don’t get along, but their estranged relationship is tested even further when the FBI arrives to investigate Lou Sr. Meanwhile, Jackie begins experimenting with steroids and faces some unexpected consequences as a result.

Katy M. O’Brian works out in Rose Glass’ new movie Love Lies Bleeding. Images courtesy of A24.Stewart and O’Brian fully commit to their characters, bringing out the soul from their equally tough exteriors. Their mutual infatuation speaks less of lust and more of the need to be accepted for who they are. As their relationship grows, so does their dependency on one another. Unlike co-star Dave Franco, the two prevent their characters from turning schlocky. Harris, sporting quite possibly the worst hairpiece in cinematic history, likewise chews through his scenes with fervor.

The problem, though, is that these characters do not have anything to say. Conversations hint at deeper connections that fail to materialize. Lou enables Jackie’s steroid use despite her early protestations. Lou Sr’s shady dealings are presented without explanation, making them seem more like a plot convenience rather than anything else. Lou’s sister Beth (Jena Malone) endures Franco’s JJ’s beatings with resignation. Each scenario begs for further examination, but they are left to drop.

Kristen Stewart and Katy M. O’Brian sit in the gym, next to the boxing ring. They star in Love Lies Bleeding from A24. Images courtesy of A24.Glass does, however, allow the visuals to unfold with gritty abandon. Love Lies Bleeding is a seedy time with seedy people, and the drab aesthetic chosen fits perfectly. Cut-away shots of Jackie’s steroid-added muscle growth serve to visually amp up the tension. As events escalate, Glass does not shy away from the violence, resulting in some pretty gruesome visuals intended to shock the audience more than advance the story.

There is a great film in Love Lies Bleeding, but it is hidden behind surface-level exposition. The cast and director don’t hold back, but the script doesn’t uphold its share of the work. There are some striking visuals, and the cast delivers solid performances. Still, Love Lies Bleeding feels unlike any other movie, and its uniqueness makes it watchable.

Josh’s Rating: 5/10Watch Love Lies Bleeding on Max today. A24 distributes. Check other streaming locations on JustWatch.com. Please check out other Sunshine State Cineplex reviews here!The post Review: LOVE LIES BLEEDING – A Stylistic but Shallow Noir Romp appeared first on Sunshine State Cineplex.

View Details

To get it out of the way at the very start, there are going to be many people who do not find anything to enjoy about Deadpool & Wolverine. They will throw around hot topic catchphrases like “fan service,” “vulgar,” and “#DisneyTooWoke” with the frequency that Marvel Studio’s latest utters the f-bomb. And, you know what? They are absolutely correct. And that is the point that the naysayers fail to see. Deadpool is a character who has always been a conduit to point out the things that were obviously wrong with the “business” of telling stories.

Deadpool & Wolverine turns the character loose to rip into anything, including Disney’s purchase of 20th Century Fox Studios, the faltering success of the MCU, and the messy prospect of forcing two decades worth of varying creative visions into one seamless experience. However, beyond the topical jokes and brutal violence, the filmmakers deliver an emotional story that grounds the mayhem. Ultimately, this is the best Deadpool film yet.

Since the events of Deadpool 2 Wade Wilson (Ryan Reynolds) struggles to find his place in a universe that is slowly dying. When the Time Variance Authority arrives at his birthday party to arrest him, Wade is presented with a choice by Mr. Paradox (Matthew Macfadyen). He can restore order to a complicated system of branching timelines and gain a purpose, but it will be at the expense of letting his own timeline die.

Unwilling to lose those he cares about, Deadpool steals TVA technology that allows him to jump between universes to restore order to his own. The key to success is Wolverine (Hugh Jackman), who died in Deadpool’s timeline but exists as variants in countless others. Despite the characters’ disdain for one another, they work together to try and make things right again.

To delve deeper into the nuance of Deadpool & Wolverine would be to reveal too much that the marketing has suppressed. There has been so much speculation online about expected cameos, story beats, characters, and plotlines that to comment on them would ruin the experience of viewing Deadpool & Wolverine. Suffice it to say that the film rewards fans who have stuck with Fox’s Marvel universe for the last two and a half decades despite countless frustrations, confusion, and straight-up questionable decisions (let’s not forget the Merc with the Mouth was introduced in a film that SEWED HIS MOUTH SHUT!).

Will everything that was been rumored happen? No, that would be impossible given the sheer volume of speculation. Will fans be satisfied? Also no because, as Wong correctly surmised in Avengers: Endgame, “What, you wanted more?” However, what is absolutely true is that the filmmakers approached Deadpool & Wolverine with a tenderness that belays its vulgarity. Their heart shows through in surprisingly intimate and emotional moments throughout. Cameos are more than fan service and instead are multi-scene appearances that further the story.

Deadpool & Wolverine is lean despite its excess. Every bit, joke, sight gag, line, fight, and character thoughtfully contribute to the overall experience. It’s purposeful and that gives the film a guiding light that could just as easily have dissolved into something akin to a sketch comedy program.

The heart comes directly from Reynolds and Jackman. Both deliver the best version of their respective characters that have been seen and push their performances to new levels. Deadpool & Wolverine represents a passion project for the real-life friends and their care shines through in every scene. Jackman, in particular, brings such pathos to a very broken-down Wolverine that he makes the character in Logan seem downright jolly. It is a testament to these performers that they are able to reveal new dimensions to characters that they’ve been playing for half their lifetime. The rest of the cast is exceptional, but this is the Jackman and Reynolds show, and that is enough.

Director Shawn Levy capitalizes on his working relationship with Reynolds and his own ability to craft layered set pieces to up the quality of the Deadpool franchise. Remove the characters from nearly any scene and the amount of hidden references, gags, homages, and details sufficiently captivate. Once the characters are added, the practical sets give them a sandbox to play in. Levy’s style is masterfully understated but keeps the focus on the characters. In this way, Deadpool & Wolverine feels like watching a comic book come to life across multiple panels.

Levy and cinematographer George Richmond funnel the action into muted backgrounds, much like how a panel in a graphic novel leaves the setting undefined so that the hero stands as the focus. With less engaging characters, this would be a massive risk, particularly when compared to the splendid background visuals of a film like Across the Spider-Verse. However, here, the risk pays off in a big way.

In any endeavor, it is simply not possible to please everybody. The filmmakers of Deadpool and Wolverine recognize that and play on that expectation to fuel so many moments that will become instantly iconic. The nonstop humor and violence may be too much for more casual viewers but Levy, Reynolds, and Jackman temper the bombastic moments with quieter moments of reflection that stick the super-hero landing. Fans of these characters and the Fox films as a whole will find a lot to celebrate and the MCU will benefit from such a fresh injection of energy. The filmmakers put in the maximum effort and sweet Marvel Jesus did they deliver!

Josh’s Rating: 9.5/10Watch Deadpool & Wolverine in theaters on July 26, 2024. Disney and Marvel Studios distribute. Please check out other Sunshine State Cineplex reviews here!The post Review: DEADPOOL & WOLVERINE – Maximum Effort Celebrates Over 24 Years of Fox’s Marvel Content appeared first on Sunshine State Cineplex.

View Details

Throughout the 1990s, courtroom dramas and comedies ruled theaters across the country. They presented a perfect date night activity and were so common that you rarely needed to give it your full attention. The best of these movies, The Pelican Brief, My Cousin Vinny, and The Firm, became iconic in their own right. Presumed Innocent returns to our lives in a very different era than its last adaptation. Now, the courtroom stories have shifted to television, where Jury Duty, American Crime Story, and Big Little Lies now live. Presumed Innocent proves David E. Kelley’s prowess once more and concludes with thunderous applause.

Presumed Innocent, based on the novel by Scott Turow, follows the murder of Carolyn Polhemus (Renate Reinsve). She worked for the Chicago district attorney, so when police are called to the scene, her colleagues are responsible for finding the killer. Rusty Sabich (Jake Gyllenhaal) gets the first crack at the case. However, Rusty gets replaced on the case after he cannot find the killer, and a local election pushes out his ally Raymond Horgan (Bill Camp). Soon, Tommy Molto (Peter Sarsgaard) puts together pieces that Rusty and Carolyn conducted an extramarital affair. Rusty becomes suspect number one, and as the evidence builds, Molto has him arrested for Carolyn’s murder.

Once again, the story primarily exists from Rusty’s point of view, but as the case develops, Kelley ensures that we cannot trust him. Tacking on additional ideas and subplots, Kelley wisely wrings every ounce of drama from the events. For fans of the original book and movie, there are subtle hints and nods towards the well-known finale. Yet, at the same time, there are moments that dissuade the audience from that idea, instead pushing us toward a different ending. Whether you can expect the same ending will not be answered in this review, and Kelley keeps you in suspense throughout.

Additionally, Kelley’s prowess in the genre allows him to effectively play the best versions of every trope. The defense attorney comes out of retirement for one last case. The defendant takes the stand. The prosecutor’s personal grudges get in the way of his ability to see things clearly. The judge gets to infuse enough of their personality into the case. It’s like drinking warm soup on a cold day, and Presumed Innocent thrives when it overperforms in every aspect of this story.

It’s rare to see the best take on projects so in their wheelhouse, but Kelley assembles an all-star cast for his series. Gyllenhaal arrives ready to get painted as a dirtbag and leans on all his charisma throughout the series. It’s arguably the best use of his movie-star status in some time, and he makes for an incredible “Love to Hate” character. The only actor more in their wheelhouse is Sarsgaard, who blows everyone away with his smarmy behavior. The two make for incredible foes throughout the series. With news of a second season in production, one cannot help but grow excited for one (or both) to return in the future.

However Ruth Negga as Rusty’s wife, Barbara, steals the show. She delivers a powerful foil to Rusty as she tries to save the marriage time and time again. Presumed Innocent gets incredible mileage over their disputes with each other. However, in the quiet moments, she brings so much pathos and gravitas to the show that you cannot help but root for her. Her performance, especially in the finale, raises Presumed Innocent to incredible highs.

Reinsve shows incredible range in her few scenes. She continues to showcase incredible ability and range in every role. Camp brings his usual brilliance to Presumed Innocent, and pairing him with his real-life wife, Elizabeth Marvel, adds an incredible element to his story. O-T Fagbenle takes a giant performative swing that works through most of the show but certainly frustrates some.

The only problem facing Presumed Innocent stems from its length. Even with most episodes falling under fifty minutes, eight episodes is still too many. At times, the story burrows into ideas that do not ultimately matter for the show. It’s fine to have misdirected, but these felt strenuous, even in this context. However, it’s also just fun to watch Kelley work his magic. Television allows for comfort watches in ways movies cannot always replicate. Presumed Innocent thrives with its stellar cast and top-notch writing. In many ways, it’s one of the best shows of 2024. It rarely reaches true highs, but it never dips in quality over the eight episodes. Frankly, that’s a huge win for audiences.

Alan’s Rating: 8/10Watch Presumed Innocent on AppleTV+. All episodes are now streaming. Review based on all eight episodes. Check out our Reviews, Recaps, and Features on TV here! The post TV: PRESUMED INNOCENT – The Enthralling Courtroom Drama You’ve Been Missing appeared first on Sunshine State Cineplex.

View Details

When Deadpool upended the box office in 2016, Ryan Reynolds established his long-dwelling superstar persona overnight. It proved to be a moment of transition for both Fox and Marvel. Logan was only a year away from release and would spell the end of Hugh Jackman as the iconic Wolverine. The Deadpool franchise sustained Fox while the rest of the Fox properties languished. For years, there was hope of a team-up between the two eras of heroes, but it seemed increasingly unlikely.

Yet this weekend, Deadpool & Wolverine makes its way into theaters after nearly a decade of hope. Bringing Reynolds and Jackman into the MCU seemed tricky on paper, but it allows Deadpool & Wolverine to celebrate an early era of comic book movies. Nostalgia reigns supreme, but one of the funniest scripts of the year shines in the action extravaganza.

After Deadpool finds himself alone, he struggles to find a purpose. At his birthday party, the Time Variance Authority (TVA) arrests him and takes him into their office. Their leader, Mr. Paradox (Matthew Macfadyen), will let Deadpool join the Sacred Timeline but he must let his reality die. Instead, Deadpool recruits a multi-versal Wolverine (Jackman) to fight back. When both are banished to the Void, they meet Cassandra Nova (Emma Corin), the sister of Professor Xavier. She rules the space with an iron fist and calls for her hunters to find them. Together, the mutants build a team to take down Nova and stop the TVA from destroying Deadpool’s reality.

The last few entries in the MCU have sought to gain goodwill from the fandom through fan service. In this regard, Deadpool & Wolverine does not hold back. There are gratuitous cameos, easter eggs, and Deadpool being let completely off the leash. Surprisingly, there are not just short cameos but multi-scene performances from actors who have not been present in Marvel movies for years. For those of us who grew up in the 2000s, it’s hard to imagine a more rewarding trip through nostalgia.

However, this also makes Deadpool look “baby’s first meta-comedy” – instead increasing the personal jokes about its leads and Disney as a whole. In that regard, Deadpool & Wolverine falls far closer to the 2013 video game or the long-running comic series. This may be too much for some viewers, and the violence goes through the roof. From its opening setpiece and credits, Deadpool & Wolverine completely upends what you expect in terms of violence and blood.

When it’s not serving nostalgia, the exposition drags Deadpool & Wolverine down a peg. Unfortunately, even in a two-hour movie filled with jokes, the script has uneven moments. Stuffed full of visual gags from director Shawn Levy, and the humor keeps the boat afloat. However, the story runs shallow until a brilliant third act ups the emotional stakes for both of our leads. Once a few other characters come into play, alongside Jackman’s excellent performance, Deadpool & Wolverine begins climbing the MCU ranks.

Reynolds and Jackman are both game for the very long action setpieces. This ends up being the strongest argument in favor of Deadpool & Wolverine. These setpieces are bloody, and they are frequent. It’s not only fights between the mutants and those who hunt them but the fights between themselves that shine brightest. This might be some of the best fighting in the MCU, with only a strong argument favoring Shang-Chi.

Additionally, the wackiness of the multiverse finally comes through. Only Loki had come close to approaching the power of these other films. Now, there’s a real challenger to the multiverse throne for Marvel.

Jackman once again suits up to showcase his incredible talent at bringing the deep sorrow of Wolverine to the big screen. It’s almost unfair how much better his performance is than the majority of MCU characters. Meanwhile, Reynolds leans hard into the comedy, and again, makes the chuckles from other MCU entries feel trite. In this regard, the actors are the perfect fit to star in a movie together, and their chemistry is just as eclectic in blood-soaked battle sequences as it is when they’re driving in a minivan across a wasteland.

Unfortunately, the one major knock on Deadpool & Wolverine stems from the visual palette. Outside the lead costumes and a Deadpool smorgasbord, this story has almost no visual panache. It features a wasteland that pales in comparison to the deserts of Furiosa and Dune Part II. It’s so flat visually you’ll wonder what went wrong. The action setpieces rule because of the exploration of powersets, but the cinematography is often bland. Unfortunately, this is par for the course in modern blockbusters, but it feels especially egregious when these two actors are providing a showcase.

You probably know if you’ll love Deadpool & Wolverine before you enter the theater. It’s just a question of how much. Some relatively weak villains do not provide any further nuance to the story, but the performances from Corrin and Macfadyen still feel perfectly tuned to support the Jackman/Reynolds show. It’s a good call, and watching them cook is why we’re here. Deadpool & Wolverine will surely be a home run for the fans, and with some jaw-dropping action setpieces, it will be a highly rewatchable staple of future MCU viewing parties.

Alan’s Rating: 8/10Deadpool & Wolverine releases July 25, 2024. Disney and Marvel Studios distribute. Please check out other Sunshine State Cineplex reviews here!The post Review: DEADPOOL & WOLVERINE – A Vile and Joyous Romp appeared first on Sunshine State Cineplex.

View Details

Rhaenyra needs to start making moves to swing the tide of the war. Sure enough, “Smallfolk” – provides some of those big swings. Not only does she get to test her dragon rider idea, but she might have unintentionally found an answer to a question. Meanwhile, Aemond begins to feel the weight of ruling. After all, it’s not all fun and games, especially as people grow restless. Which side can unite their subjects, and can they do it before their power slips away?

“Smallfolk” – The RecapSoldiers for the Lannister armies ride through the fields towards The Tooth. The lords come out to meet Tyland Lannister (Jefferson Hall), who boasts about the size of his existing force. They plan to wait at The Tooth until Aemond arrives with Vhagar.

When the raven arrives in King’s Landing, Aemond grows furious. He orders Jason Lannister to return a letter to his twin brother. They must march on Harrenhaal. Aemond then tells Jason he must make a treaty with the Triarchy. The Council, including Alicent (Olivia Cooke), voice displeasure with the idea. Ironrod asks if Alicent should be offered to the Greyjoys to bring them into the alliance. When Criston Cole sides with Alicent, Aemond tells Cole to set out for Harrenhaal. He reaffirms that this will split the forces for Rhaenyra if they must fight the Triarchy and Cole. Aemond relishes the idea of fighting Daemon.

As Alicent gets up to leave, Aemond asks her to stay behind. He questions why she’s on the Council at all. He tells his mother that she no longer holds a seat on the Council. Alicent tries to tell him she represents a moderating faction, but he still tells her to leave.

On Dragonstone, Coryls oversees the Black Small Council. Ser Steffon Darklyn is called forward, and Rhaenyra voices her plan to find additional dragons. Ser Steffon has Targaryen lineage (his Grandmother’s Grandmother). She asks if he might consider attempting to ride a dragon, and he agrees.

Daemon continues to have his nightmares at Harrenhaal. This time, he steps into the Red Keep and sees his brother Viscerys (Paddy Constantine) on the throne. Daemon watches their confrontation at the end of the first episode of House of the Dragon. Viscerys reveals his intention to name a new heir. Daemon cannot escape the room as Viscerys continues to sob. Daemon suddenly comes to and falls through a door at Harrenhaal.

Daemon grows angry with Ser Simon Strong, who believes Daemon has not gotten enough sleep. Daemon pulls a knife on Strong and accuses him of working for his foes. After naming the Hightowers, Rhaenyra, and the Greens, he tells everyone present their King is on his guard. He then leaves Harrenhaal to ride Caraxes.

Alys waits by the Weirwood tree in the courtyard. Daemon grows angry at her, but Alys tells him neither of them is “The Player,” but instead are pieces on the board. Daemon tells Alys that Rhaenyra never wanted the crown, and she reminds him that Viscerys did not want the crown either. It’s a burden, not a prize. Daemon asks her for counsel. She tells him to win over the Tullys, and he will control the Riverlands. For now, he must do nothing. In three days, “the winds will shift.”

On Dragonstone, the dragonkeepers sing for a dragon to emerge. One does, with Seasmoke arriving and stepping towards Ser Steffon. He asks Seasmoke to serve him in High Valeryian. Seasmoke seemingly bends down to allow Ser Steffon to ride. However, at the last minute, Seasmoke burns him alive.

At Driftmark, Corlys walks up to his ship as it completes repairs. He meets Alyn Hull and asks Corlys to serve as his First Mate. Alyn feels he does not deserve it and asks if Corlys is asking or ordering him. Corlys expects him to be on board his ship.

In King’s Landing, Ulf (Tom Bennett) asks if there’s any more food in the pub. However, they’ve got nothing else in the pub. Instead, one of the madames regales the bar with a tale from one of her women. The Prince Regent and his court eat fish, lamb, and other meats in the Red Keep. They do not care about the starving in King’s Landing to Flea Bottom. She then drops one last line: the rightful Queen was denied her crown. She then leaves, as Ulf reminds others that Viscerys never let them go hungry, even with his fabulous parties.

Rhaenyra continues to hear complaints from a member of her Council- Lord Bartimos – about the death of Ser Steffon. When he tries to remind her that he has a different approach, she stops and slaps him. She believes he’s forgotten to fear her. Mysaria arrives and tells Rhaenyra that it was the right decision. She believes there are others with closer bloodlines. Rhaenyra seems skeptical. However, her mood lightens when Mysaria tells her the whispers occurring in King’s Landing are working. The people are hungry.

In King’s Landing, a shop runs out of food as Kat (Ellora Torchia) was about to receive some. Even as she’s told there is no food, a cart of lamb gets pulled through the streets for the Dragons. Ironrod relays his concerns about the people in the Small Council. Aemond does not believe it’s their fault, but Ironrod and Larys stress its importance. Larys pushes Aemond to name a hand and, for a moment, believes that Aemond has named him. However, Aemond calls him a toad and tells Larys to reach out to Otto Hightower to return to King’s Landing and serve as Hand.

Grand Maester Orwyle arrives late but tells the Council that Aegon II regained consciousness momentarily. As the other Maesters tend to his wounds, Aemond enters the room. He tells everyone to leave, and as Aemond approaches, Aegon begins trying to escape. He cannot move. Aemond asks if he can remember anything. Aegon tells him he cannot. Aemond then steps out of the hall, telling Orwyle on the way out that his brother has a long recovery ahead of him.

Rhaena walks in the fields of The Vale with a young boy – Joffrey Velaryon – telling him they are not with his mother through no fault of his own. They come across the corpses of sheep, eaten and burned by dragons. Rhaena watches Joffrey and Aegon “the Younger” Targaryen play with their baby dragons in their chambers. Jeyne Arryn arrives and tells Rhaena that Prince Reggio would be willing to shelter the boys in Pentos during the war. She is surprised Rhaena is not happy, but Rhaena knows there is a dragon in the Vale. Jeyne tells Rhaena it’s a wild dragon and then reveals she will send six soldiers to help Rhaenyra’s family to Pentos.

In Driftmark, Alyn and Addam speak about Corlys’ offer. Addam feels overlooked again by their father, even if they are bastard children. Alyn tells Addam that the Seasnake would rather watch Driftmark get taken by the sea. A frustrated Addam still believes this position will help them rise in the world.

On Dragonstone, Rhaenyra looks over the sea when Jace arrives. He tells her that the staff continues to speak about her slapping Lord Bartimos. Rhaenyra continues to grow angry that she cannot take action. She’s ordered attacks but believes others will not respect her until her actions can be seen. Jace tells her she needs to bring Daemon back into the fold, but she grows angry at this refrain. Mysaria arrives, telling Rhaenyra that her “gift” has been sent. On the shores outside King’s Landing, boats come up to the shore, bearing food and supplies for the people. These boats bear the Black Targaryen flag.

Alicent waits by Aegon’s bedside. She asks Maester Orwyle if Aegon will genuinely get better. Maester Orwyle is confident he will, but when shes asks what kind of life he will lead, Orwyle falls silent. Alicent had also asked the Maestar to reach out to her father. However, no word has been returned. House Beesbury has raised arms against the Hightowers and war in The Reach has escalated.

Alicent steps outside the castle to find Cole but runs into Gwayne (Freddie Fox) first. She asks if her brother has heard from their father, but he has not heard any word. She also asks about Daeron because she does not know her young son. Gwayne tells her that he is kind and resourceful. She’s happy to hear that, as her other sons do not have those traits. He joins Ser Criston as they march for Harrenhaal. Criston and Alicent share a glance but do not exchange words.

In the Red Keep, Alicent approaches Helaena and asks if they can go to light a candle together. In King’s Landing, the food causes the people to rush to the beaches. When Hugh sees someone with food, he punches them out and steals it for his family. Alicent and Helaena are rushed from the Sept as the people continue to riot. They rotten fish at Alicent, and when someone grabs her, a member of the King’s Guard chops off their arm. This results in total madness from the rioters, and the people kill him as the soldiers help Alicent and Helaena escape.

Aegon awaits his painkiller, but Larys interrupts his treatment. He tells Aegon that the Milk of the Poppy will dull his mind. Larys tells Aegon his survival will already turn him into a legend. However, he’s lost his physicality and will never run again. Larys knows this better than anyone, and with a strong mind, he can win this battle against his brother. Aegon asks Larys for help.

Daemon watches Viscerys cry over the body of Aemma Arryn. Daemon apologizes to his brother for not being there in the aftermath of his loss. Ser Simon wakes Daemon to tell him that Grover Tully died. Oscar will now take over charge of the house. Ser Simon also reveals that Alys tried to help Grover Tully, but her craft could not help him.

Addam returns from the shoreline when Seasmoke flies overhead. Seasmoke begins flying after him, chasing him into the woods. Addam runs as fast as he can but trips on a rock. He believes he escaped, but Seasmoke lands next to him. The dragon walks up to Addam, and they stare into each other’s eyes.

Mysaria tells Rhaenyra about the success of their plan. Rhaenyra continues to doubt their ability to win the battles that matter. Jace’s displeasure has made her most frustrated. Mysaria tells Rhaenyra that Daemon only ever does what Daemon wants. Rhaenyra admits she admires her husband but she fears she lost him.

Mysaria reveals that their forces are stronger than she admits. She then tells the story of her father’s sexual abuse, which left Mysaria barren. She never trusted anyone until she met Rhaenyra and she believes in her cause. They hug, which quickly turns into a lustful embrace. However, they are interrupted by one of Rhaenyra’s knights. He brings word that Seasmoke has a rider. Rhaenyra runs to Syrax and flies off to investigate.

“Smallfolk” – TakeawaysFor an episode titled “Smallfolk,” there are only big players on screen. For the hand-wringing that others have felt over the show’s slow pace with side characters, the vision of Ryan Condal and George R.R. Martin proves undeniable here. Both big moves and small moves shape the future of the show, which may quickly come into focus in the coming weeks.

Addam of Hull – the dragon rider – enters “Smallfolk” as an angry and frustrated man. He leaves with a dragon. We do not have to wonder who the rider is for several reasons. First, he was the last person with Seasmoke. Second, Seasmoke and Addam appear at the beginning of the “next week on House of the Dragon” trailer. Finally, if Addam is indeed a bastard child of Corlys, that makes him Laenor Velaryon’s half-brother.

As one of the few dragon rider families, it makes more sense that Seasmoke would choose Addam instead of Ser Steffon. Huge questions remain on the change made in House of the Dragon regarding Seasmoke’s “riderless” status. In the histories, it’s reported that Laenor died. In the show, he did not. This is unlike Laena’s death opening up a spot on Vhagar. The rider is alive, and for Seasmoke to simply not know where his rider is does not make for the most satisfactory answer to the question. There is a note on Addam – he is angry with Corlys for his constant ignoring. One wonders if Addam may prove too volatile an actor in his own right.

Additionally, this opens a door for Rhaenyra. She has dragons, and there are plenty of Dragonseed – the bastard children of the Targaryen dynasty. In fact, we met one a few episodes back, who makes his reappearance in “Smallfolk.” Ulf believes he’s the son of King Jaehaerys I Targaryen. If true, he would make a great candidate, especially given his displeasure with the current rulers of King’s Landing.

Another of note is Hugh the Blacksmith. The silver hair is unmissable and likely stems from the line of Targaryen rulers. However, he also shows a penchant for violence, even if it is in defense of his family. It’s an interesting moment that reveals his character, and his willingness to take action to get what he needs. He’s one of the few characters in “Smallfolk” to do this, despite the many swirling stories. That said, his frustration with the Greens seems particularly relevant as well. Their willingness to let the people, including Hugh’s family, starve in the streets may draw him to Rhaenyra’s side.

Of course, there’s also the dragon in the Vale. Now that Rhaena is aware of a dragon, could she surprise and find one of riding age here? The others with Joffrey and Aegon the Younger (Rhaenyra’s child) are too small. But if Rhaena were to find one, it would be different from those at Dragonstone. This might be important, as we hear in the “Next Week” section that Daeron Targaryen now rides his own dragon. The Greens may add one to their roster as well. Any help the Blacks can get will be momentous.

All of this said, the “Dragon-math” only tells part of the story in “Smallfolk.” Several lower-key moves have begun to swing the war for Rhaenyra. While others have fought poorly in the war, Mysaria has proven invaluable as an ally. One wonders if there is not something more between the two women who shared that kiss at the end of “Smallfolk.” Not only will that get the fandom abuzz, but it may also prove the relationship between Rhaenyra and Daemon will be one of convenience in the future, especially as he grows closer to Alys.

Mysaria’s plan might be the most important aspect of “Smallfolk.” It offers an olive branch to the people of King’s Landing and opens the doors to Hugh and Ulf. Either could be Dragonseed and if they are open to joining up with Rhaenyra, the tide may shift quickly. Additionally, word will spread about Rhaeyra rightfully feeding the people while Aemond readies for more war. Alicent warns about his youth as a detriment, and it’s already bearing negative repercussions.

In terms of performance, there are a ton of excellent turns in “Smallfolk,” but the standout award goes to Emma D’Arcy and Sonoya Mizuno together. Their scenes start the episode without sexual chemistry, and during these moments, they’re still electrifying. However, when D’Arcy slaps her Council member, and when Mizuno revales her father’s actions, both bring down the house. Their joint performances make “Smallfolk” and House of the Dragon better this season. If nothing else, it’s become a richer text. Quick shoutout to Clinton Liberty, who nearly steals the episode in three scenes.

Finally, once again, House of the Dragon turned up more excellent imagery. Honestly, it’s hard to stop raving about how much more visually complex this season has been than last season. It’s an absolute joy to watch, and director Andrij Parekh joins the team after years with Succession and Watchmen. It was another very wise move to keep him at HBO/Max. Not for nothing, Eileen Shim also wrote the best episode of The Acolyte (“Destiny“), so she’s a talent to keep an eye on in the future.

Alan’s Rating: 9/10Watch “Smallfolk” on Max and HBO. House of the Dragon airs on Sundays. “Smallfolk” aired on July 21, 2024. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: “SMALLFOLK” – House of the Dragon – Season 2 Episode 6 Recap appeared first on Sunshine State Cineplex.

View Details

Throughout the 1970s and 1980s, the rise of the Satanic Panic spread through suburbia. As serial killers became cultural figures and this fear became a subdued part of America’s psyche, movies mirrored this worrying trend. It’s part of the reason why Halloween, Silence of the Lambs, and Se7en became cultural touchstones. The inherent fear of one’s neighbors opened the door to something more profound. Longlegs enters the culture in a very similar circumstance. Director Oz Perkins returns to the director’s chair with a highly unusual and dread-inducing tale of death.

Within Longlegs, he crafts questions about our obsessions, from true crime to monomania. It’s a harrowing and uncomfortable experience throughout, searing its way into your mind with vivid imagery. Longlegs earns a spot among the most visceral movies of 2024 and might be one of its very best.

Set in the early 1990s, Longlegs follows FBI agent Lee Harker (Maika Monroe). After catching a killer her profile within the department rises. Her boss – Agent Carter (Blair Underwood) – believes her unusual investigative intuition can help her make headway on an outstanding series of cases. The “Longlegs” killings follow a similar pattern: a church-going father kills his wife and family. Despite no physical evidence of another person’s presence, letters are found at the scene, signed by Longlegs. As Harker dives deeper into the mystery, questions arise about her sanity. It becomes even more troubling when Longlegs (Nicolas Cage) begins contacting her directly.

Throughout Longlegs, the fear of suburbia and separation comes streaming through. Perkins builds a sense of dread and fear in the normalcy before we even approach the darkest ideas of his story. A barren suburban street emits a feeling of foreboding. There’s nothing about our opening situation that feels out of the ordinary, but immediately, Perkins pulls in Fincher-esque visuals to communicate that beneath the drab and glossy world, something truly ugly awaits. Even a small choice, making Harker’s first case about a middle-aged white male killer, comments on society being deadened by the commonplace tropes of the kinds of men who become killers.

As we dive deeper into the film, Perkins begins playing on the more grotesque elements of serial killers. He actively courts the visual world of these men and actively makes Cage’s “Longlegs” as ugly on the inside as he is on the outside. Additionally, he turns Longlegs into a loser. He is unable to communicate with society and it’s clear that he’s unwilling to make an effort. It’s hard not to find ties to current political landscapes, especially as his fanaticism becomes a key pet of the plot.

Longlegs confronts the idea that these monsters are not self-aware. Cage’s monster proves himself to be competent. However, his violent outbursts and rage prove he would serve anyone who provided him with a sense of belonging. He’s the kind of character that could have faced a different fate. In this universe, the person who helped to shape him proved their malevolence has been passed down.

Cage’s performance unnerves and makes for an excellent supporting performance. Not only does he prove scary, but his outsized persona is why people follow these killers with cult-like enthusiasm. Not to be outdone Blair Underwood brings incredible nuance and frustration to the story. He builds the case for best in show throughout Longlegs and his final sequence proves just how compassionate he had been up until that moment. His moral and ethical compass drives much of Longlegs and Underwood makes this part of the character come out in every scene. In a similar fashion, Alicia Witt surprises in a limited, but consequential role. She shifts the mood, and becomes an integral part of the surprise to come.

Monroe proves divisive but plays logically as the reveals come fast. Her character feels broken from the word go, both unconfident and sheltered. Her dive into the case mirrors a Clarice Starling route until it becomes a very different tale. Monroe communicates the horror through her incredible facial expressions. Additionally, her subdued, trancelike states, further plunge the audience into Perkins’ nightmare. It fits Longlegs well, even if some are uncomfortable or unimpressed by Monroe. Her abilities must be misjudged throughout the story, even by those who believe she can be used for their missions.

In the final act, Longlegs combines its supernatural and serial killer plots in surprising ways. Whether this works for you is up in the air. Violence begets violence and Longlegs cannot avoid this either. Despite the presence of dark creatures in the shadows, it’s the real antagonists that send shivers down your spine. These are the ones who perpetuate the cyclical horrors. This drives a message, acknowledging that acting in one’s best interests does not wash your hands of the actions you take.

Other ideas percolate around the edges of Longlegs, including parental responsibility and questions of bureaucratic ineptitude. Yet Perkins builds his story on a foundation of dark visuals and even scarier people. The fanaticism that drives the plot destroys lives. It upends normalcy and allows for the darkest aspects of the human condition to go unchecked. There are scary visuals I will never forget, yet at the same time, I cannot wait to return to Perkins’ unhinged world.

Alan’s Rating: 9/10Watch Longlegs in theaters now. Neon distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: LONGLEGS – Dread and Discomfort Meet an Absurd Killer appeared first on Sunshine State Cineplex.

View Details

Filmmakers have long had a penchant for capturing destruction. From early examples of Godzilla ransacking cities to Buster Keaton narrowly missing pancake-ization from a falling storefront to modern examples that find more elaborate ways of showcasing mankind’s vulnerability against forces both natural and imaginary, disaster films have long been crowd-pleasers, if not always critical favorites. A quick look at the average Rotten Tomatoes score of the top ten highest-grossing disaster flicks suggests an average critics score of about 67%, which, while modest, hardly suggests the best of cinema.

What makes a disaster film good? Why do audiences turn up to watch the world get torn down? One particular on-the-nose scene in Twisters hints at the answer. But we’ll get to that a little further on. First, we need to define what, exactly, is a disaster movie.

The subgenre disaster movie refers to a film that sees the protagonist face off against a greater threat than man. Aliens, monsters, extreme weather, cosmic forces, acts of God, volcanic eruptions, pandemics, and earthquakes all represent the types of threats characters may face in these kinds of movies. Often parables for mankind’s ongoing disrespect for nature, the storylines typically follow a quest for survival in the face of cataclysm. Visually, destruction reigns supreme, and the death count is typically high. While the film may focus on a small group of survivors, peripheral casualties may number in the hundreds to thousands and sometimes more. In short, disaster films are a misanthrope’s dream.

(from left) Kate (Daisy Edgar-Jones) and Jeb (Daryl McCormack) in Twisters, directed by Lee Isaac Chung.So why do audiences find so much enjoyment in these movies? It is the same reason storytellers like telling these tales. They highlight the strength of the human spirit, the will to survive against seemingly insurmountable circumstances. In short, they give people hope. As the real world faces increasingly cinematic-type events – massive hurricanes, global pandemics, extreme temperatures – seeing ordinary people endure terrible things suggests the possibility of the audience’s own survival. The characters in disaster movies aren’t super-powered beings; they are everyday people with unremarkable physical skills. The audience can easily relate and that makes the movies accessible despite their unbelievable subject matter.

The other reason is that these films offer an escape. As life starts to feel insurmountable, movies become a haven to get away. Near the climax of Twisters, the only shelter from the massive tornado bearing down on a small town is a movie theater. The citizens are hurriedly rushed into the cinema as the twister roars through the town. As the masses huddle down and grasp the seats, the front of the theater, including the screen, is ripped away.

The scene is framed from the ground, looking up at the destruction and where the screen once was, the devastation outside is in focus. It is a clever shot that perfectly exhibits the spectacle of a disaster movie while highlighting the escape of the theater.

Not all disaster movies are so clever, however. There are plenty that offer mind-numbingly dumb ideas executed with the finesse of the event they are depicting. The Sharknadofranchise serves as a perfect example of the camp that saturates the genre. The movies are dumb, the filmmakers know they are dumb, and they know that people like dumb sometimes (and, it has to be said, are occasionally also dumb themselves).

But hey, cyclones picking up sharks from the ocean and depositing them on land really is just the natural progression of the frog storm scene in Paul Thomas Anderson’s Magnolia, which in turn is based on real events that occur when storms pass over lakes teeming with the easily relocatable amphibians.

The market for disaster films sometimes feels a little crowded, which makes it more of a challenge to pick out “the best one.” Less so now than during its heyday in the nineties, filmmakers still churn out world-ending features with annual regularity. There was a time when each year, two direct, nearly identical competitors would be released within a few months of one another. Dante’s Peak faced off against Volcano in 1997. 1998 saw Deep Impact take on Armageddon,and Independence Day answered Mars Attacks! and Twister beat out Tornado! in 1996. Recently, This is the End and The World’s End each comedicly took on the Apocalypse in 2013.

King of the disaster film Roland Emmerich, even copied himself in different years. The Day After Tomorrow and 2012 feature many similar storylines, highlighting the key determining factor of as massive visuals setpieces. As visual effects technology advanced, the level of destruction grew exponentially as filmmakers could render the visuals more and depict realistic devastation. All of the films present wondrous spectacle but some certainly look better than others.

Curiously, the ability of CGI to capture realistic chaos reached a tipping point and began to falter into the absurd. That is how The Day After Tomorrow appears clearer than 2012, released five years later. And as real-world weather systems became more and more extreme, audiences could more easily spot shoddy CG.

An added pressure is then put on filmmakers to capture the realism but still make it intense. Twisters’ Lee Isaac Chung brilliantly finds this balance. As authentic viral footage of massive tornado systems from the past year introduced the masses to the idea that a tornado passing through a power station could result in fire cyclones, Chung places his characters directly into such a scenario. The scene, which once may have seemed over the top, feels grounded when examined in the context of real events.

Twisters succeeds most when it places the audience in the middle of the action. Several pulse-pounding scenes occur during the film’s duration that, short of the violent winds, make you feel like you are holding on for dear life. It’s masterful filmmaking and something that bridges the gap between escapism and reality.

What once felt outlandish in a disaster film is happening around the world on a daily basis. Twisters grabs that idea and puts the audience center stage. It doesn’t quite reinvent the genre, but it puts a unique spin on the movie-going experience that makes it feel new and exciting. So go on, take shelter in the cinema. Even when the winds blow, the experience will most certainly not.

You’ve unlocked the Bonus Feature!Josh’s Top 5 Disaster Movies1. The Day After Tomorrow 2. Twisters 3. The Impossible 4. Twister 5. Armageddon Josh’s Twisters Rating – 8.5/10Watch Twisters in theaters July 19, 2024. Universal and Warner Brothers distribute. Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post It’s A Disaster! – How Twisters Is a New Spin on the Disaster-film Genre appeared first on Sunshine State Cineplex.

View Details

As trans visibility continues to get the attention it deserves, transphobia remains a concern. For many, social progress comes slowly. However, the dangers associated with trans life have made this concern even more prescient. Carnage for Christmas looks to address some of these concerns directly, allowing director Alice Maio Mackay to explore the struggles a trans person might face when returning home. She infuses camp humor and silliness to stand alongside the exciting gore effects. While aspects of the story struggle to coalesce, these highlights provide a huge positive for Mackay and Carnage for Christmas.

When Lola (Jeremy Moineau) returns home to spend time with her sister, Danielle (Dominique Booth), she brings considerable baggage into town. Before becoming a famous true crime podcaster, she discovered the body of a victim from years past. The legend of “The Toymaker” haunted her hometown, as a serial killer dressed up like Santa to kill his victims. When Lola returns, she could not imagine that the killings would resume once more. Faced with danger Lola must find a way to survive her trip home.

Mackay builds Carnage for Christmas around the concept of fear in the trans community. Unfortunately, the dangers of simply living life outside of Cishet norms are well documented. While there’s violence and killing around Lola, she appears uniquely equipped to handle the added stress. Unlike the others, Lola lives her life in fear of hate and violence. Even when she’s not worried about a serial killer, she’s aware that she’s in extreme danger. It’s a subtle but brilliant aspect of Carnage for Christmas that helps the slasher showcase its larger ambition.

Additionally, Mackay digs deep into 1970s slashers to build out its gory sequences. While many kills are reminiscent of the post-Halloween era, as well as some pre-Halloween influence (Silent Night Bloody Night, Black Christmas) the kills feel unique. Despite a limited budget, there are some very cool blood effects and makeup applications for the characters. Mackay showcases creativity in these moments and further highlights the camp humor running throughout the story. Even when these killings occur, there’s a theatricality to them that’s impossible to ignore.

Mackay’s vision for the character is never in doubt. Unlike some less effective queer horror in recent years, Mackay leans into aspects of the culture without turning her characters into caricatures. There are mean women from the community. There are kind people. Some lived in the closet for years, and only recently began displaying their true selves. Mackay nails the representation aspects of the LGBTQIA+ community, providing Carnage with a wide away of gender presenting characters and ethnicities on screen.

Moineau pulls from her own experience to play Lola. This provides Carnage for Christmas with a more grounded character for the comedy to bounce off. Moineau gets her own comedic moments, but she’s often collaborating and building off the jokes of the other performers. It allows the audience to identify with Lola, without feeling the pressure to be the hero and the comedic relief. It’s a smart touch, and her agency ultimately saves the day for characters time and time again.

While the comedy in Carnage for Christmas has clear roots in camp, there are still some problems with the story as a whole. Mackay tries to tackle a little too many threads in a relatively short feature (Less than seventy-five minutes). This overstuffs the story and leaves Carnage for Christmas feeling a little messy. This proves especially frustrating as the identity of the primary antagonist can be guessed with relative ease. There are plenty of things to like about the reveals and detective work by Lola. At the same time, entire characters and threads could be lifted from the movie, and the story would not change its essence.

Despite this aspect, Carnage for Christmas has a lot to offer. It’s not as campy as a John Watters movie, but at only nineteen years old, Mackey has a very bright future ahead of her. With a group of talented performers at her disposal, her ensemble and direction shine off the page. However, a limited budget hurts the production design and makeup effect at times. Still, Mackey displays a knack for these kinds of stories, and with some more refinement in the years ahead, Mackay appears ready to make the jump to a bigger budget.

Alan’s Rating: 6/10Watch Carnage for Christmas at the 2024 Fantasia Film Festival. Check out our other Film Festival coverage here! The post FANTASIA 2024: CARNAGE FOR CHRISTMAS – An Uneven But Fun Camp Slasher appeared first on Sunshine State Cineplex.

View Details

The tragedy and sadness of dark comedies can vary significantly in tone. However, the genre often functions at its best when it embraces some of the most horrific ideas imaginable. Director Joel Potrykus faces these ideas with Vulcanizadora, a humorous but upsetting story of two men walking into the woods. While it borrows visuals and ideas from movies like Old Joy or Faces of Death, Vulcanizadora carves its own path. Potrykus does not pull punches, forcing the audience to sit in discomfort and horror despite slacker energy hanging over the movie.

Two buddies, Martin (Joshua Burge) and Derek (Joel Potrykus), hike into the woods. On the way, they make short videos and fight about various topics. Having already been to prison, and facing another sentence, Martin remains glum throughout the trip. However, it Potrykus reveals they entered the woods for a dangerous reason. When their actions yield horrifying results, they must live with the compounding guilt.

Potrykus builds Vulcanizadora around the friendship between his two characters, and we see their bond rather quickly. Neither appears to have many friends, but their willingness to open up to each other conveys their sentimentality. Whether intentional or not, they find solace in each other. This ultimately becomes the most tragic element of the story.

Early on, there are hints about their mission, and when their plan is revealed, Potrykus milks it for all the tension it creates. It’s not only horrific but truly features a deadening sadness that’s impossible to ignore. Potrykus contributes to this on every level, from script to screen, and it shows an incredible mastery of tone.

Perhaps the undoing of Vulcanizadora stems from its mubblecore vibes. Despite this feeling, the 16mm camera creates indelible images over its runtime. The camera helps highlight the grittiness and malaise hanging over both characters. If nothing else, the camerawork would set the mood, but in this context, it helps provide the film with a texture that’s hard to shake.

Another issue with dark comedies is that they’re rarely funny. That is not the case through the first half of Vulcanizadora, where the buddy walk section is most prevalent. The two men dive into their emotions and into their issues as the story continues, but early on, it’s very funny. There’s nuance to the friendship, and you can tell Derek needs to explain everything he’s talking about to someone, and Martin likes to feel needed. Their chemistry sells the humor and, in turn, sells the dynamic.

As Vulcanizadora progresses, it becomes Burge’s showcase. He feels emotionally stunted early on, but after an incredible sequence on a beach, Burge shifts his entire physicality and performance. The final act becomes a showcase of grief and guilt. Burge becomes a figure asking for our empathy, and most importantly, it’s hard not to fulfill his request. It’s a dynamic performance that elevates Vulcanizadora as it completes its arcs.

Last, the emotional ideas at the heart of Vulcanizadora create genuine questions about the mental health of these men. Martin is clearly so rattled by his unending guilt that happiness seems out of reach. At one point, Derek reads a letter poisoned with upsetting language and anger. The problem this creates, however, is that Potrykus does not trust the audience to make the connections about their journey.

Some moments help advance the plot, but this exposition is nowhere near as rewarding as the men’s fluid conversations. As Vulcanizadora approaches its final act, there’s a shift to the more personal aspects of the story, which ultimately benefits its conclusion. Unfortunately, some more fat needed to be trimmed.

Vulcanizadora is not an easy watch, but that’s part of the magic trick. Potrykus makes us question why anything bad could come from these men, but we are fully invested in the story by the time it does. With some gorgeous visuals thanks to the 16mm photography, Vulcanizadora touches on deep subjects and emotional struggles. Potrykus is not new in the industry, but after a relative hiatus from making features, it’ll be curious what he wants to explore next.

Alan’s Review: 7/10Watch Vulcanizadora at Fantasia Film Festival 2024. The Fantasia Film Festival runs from July 18, 2024, to August 4, 2024. You can check out reviews and pieces about the festival here. Check out our other Film Festival coverage here! The post FANTASIA 2024: VULCANIZADORA – A Dark Buddy Comedy Driven by Guilt appeared first on Sunshine State Cineplex.

View Details

Since becoming the first Irish language film to premiere at the Sundance Film Festival in February, Kneecap has successfully toured the film festival stage during the following months. Finally getting a US theatrical release come this August, Kneecap arrives with its middle fingers raised and a proverbial “fuck all” for, well, just about everyone.

Don’t speak Irish? Eff you. Are you a “peeler” (police officer)? Eff you. Perhaps you’re a member of the Radical Republicans Against Drugs (R.R.A.D.). Eff you too. As a matter of fact, if you disapprove in any way of the hip hop trio’s hedonistic lifestyle involving hard drug dealing and consumption, heavy drinking, hardcore sex, theft, or any other illicit and rebellious activity they incur, eff you.

At the helm of Kneecaps’ unapologetic nature is first-time director Rich Peppiat. Peppiat is unconcerned with unfolding his biopic using familiar patterns. His subjects, the Irish hip-hop band Kneecap, are also game when it comes to defying convention and telling their origin story with some flair, embellishments, and loads of kinetic energy. Musical biopics usually stick to a tried-and-true formula. Fame is a double-edged sword, drugs are bad, etc. etc. Kneecap takes the opposite stance by reveling in the depravity they endorse. Thank goodness for that.

However, Kneecap is far from being an ode to sex, drugs, and hip-hop. The group was formed as a Celtic revival, a subgenre still growing today that first swept through Ireland almost ten years ago. Increasing interest in the distinctive elements of Celtic culture and tradition inspired Naoise Ó Cairealláin, JJ Ó Dochartaigh, and Liam Óg Ó Hannaidh to form Kneecap in 2017. Using the stage names Móglaí Bap, Mo Chara, and DJ Próvai, they understood that the Irish language was central to conserving Irish history and tradition. The three of them identified a niche in the music industry and merged the unlikely duo of hip-hop with the Irish language.

Kneecap covers this process, as then schoolteacher DJ Próvai meets Bap and Chara through a series of chance circumstances. DJ Próvai recognizes Bap and Chara’s talent for verse and implores them to create the trio to elevate the Irish language. Once Kneecap is formed and performs its first gig in front of a bewildered crowd in a small bar, the modest flake begins its roll into a snowball of revolutionary power. As the Irish hip-hop revolution unfolds, it becomes increasingly difficult to avoid smiles and head bobs.

It also becomes difficult for Kneecap to avoid controversy, as their unrestrained ways place a target on them for law officials and the more conservative factions of Irish society. Nonetheless, the group never falters in their abrasive ways resulting in a legion of growing fans reaching far beyond Irish borders.

Kneecap is a singular achievement. Peppiat and the group wrote the story, infusing it with the same creative spirit and controversial nature of its subjects. Scribblings on the screen in some sequences hash out the lyrics. Narration is heavily employed and delivered with the same speed and cadence as a rap verse. Fourth walls are broken, and ketamine bad trips open the gates to a hilarious Claymation sequence. It’s all part of the frenetic and entertaining display. Ushering the breakneck pace along is the group’s music, with anthems such as C.E.A.R.T.A. (loosely translated to “Rights” in English) adding even more attitude.

The group’s talent for writing is also matched by a keen ability to act. None of Kneecaps members have any previous acting experience, but all three prove more than capable of playing the fictionalized version of themselves. During certain moments, each actor is allowed to deliver on the comedy, defiance, and pathos that defines them, and they succeed glowingly.

Joining them are a slew of Irish talent. Josie Walker plays the main antagonist Detective Ellis. Jessica Reynolds as Mo Chara’s girlfriend Georgia is caught in between the love for her boyfriend and his anti-British sentiment. Fionnhuala Flaherty as Caitlin also works for the Irish cause. She realizes that her path and the path of her partner, DJ Provaí, may not converge.

Michael Fassbender and Simone Kirby play Móglaí Baps’ parents Arlo and Dolores. Arlo spends most of his time as a political refuge, and therefore as an absentee father. A staged death means interactions with his family are few and far in between. As a result, Dolores falls into a crippling depression, unwilling to leave her house. This storyline adds another layer to the multidimensional Kneecap, demonstrating how decades of political turmoil have devastated families.

As it continues to be viewed by wider audiences, Kneecap persistently lays claim to being the most unapologetic film of the year. But its lack of remorse stems from an unflinching passion for upholding and protecting Irish culture, traditions, language, and sovereignty. Ultimately, when all the cursing is done, when all the drugs run dry, and when some good old kneecapping takes place, what remains is an anthem for the preservation of cultural identity and the nations that harbor them.

Borja’s rating: 9/10Watch Kneecap in theaters nationwide August 2, 2024. Sony Pictures Classics distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: KNEECAP – Fight for Your C.E.A.R.T.A. As Energetic Docudrama Defies Everything appeared first on Sunshine State Cineplex.

View Details

Throughout the 1990s, the disaster movie was a hallmark of the cineplex. There were many variations on the ideas, from dinosaurs rampaging to giant storms at sea. Unfortunately, soaring budgets and middling CGI did little to help the genre evolve, and many of the movies simply underwhelmed. Twisters seeks to change that narrative, allowing natural phenomena to anchor the movie. With an excellent charisma-based performance from Glen Powell and Lee Isaac Chung‘s unique vision, Twisters answers the call for summer moviegoers.

After a traumatizing experience with an F-5 tornado, young meteorologist Kate (Daisy Edgar-Jones) moves to New York City. Five years later, the only other surviving member of her team arrives to recruit her. With new military technology, Javi (Anthony Ramos) leads a company looking to 3D image tornados. With the belief that this technology could save lives, Kate returns to Oklahoma. However, once there, she meets Tyler (Powell) and his team of YouTube “Tornado Wranglers.” With their help, Kate confronts her fears and returns to her research.

Director Chung tackles the bombastic blockbuster after earning a Best Director Oscar nomination for Minari just a few years ago. In the last decade, the pipeline from indie darling to blockbuster filmmaking became a running joke among many journalists. Rather than build a resume, the directors show just enough talent to get noticed by big studios, who hoped to capitalize on their naivety to control them. This approach resulted in some uneven movies, but Chung uses Twisters to prove his superiority as a filmmaker.

Glen Powell as Tyler in Twisters, directed by Lee Isaac Chung.Twisters is at its best when it showcases the humanity of its character, even if this results in some clunky dialogue. The original Jan De Bont movie put us in the shoes of scumbum scientists and their wacky pursuit of knowledge. Here, Powell, Brandon Perea, Sasha Lane, Katy M. O’Brian, and Tunde Adebimpe provide a modern update of that vibe. Placing them as YouTubers, Chung wisely has many in the audience questioning their efforts. This only gets heightened as they sell merchandise to storm watchers. The introduction of Powell and Perea plays more like a Jackass movie than the 1996 blockbuster, but this foundation provides a light for the movie to follow.

Chung showcases his visionary chops, shifting between a half dozen filming techniques during the movie. Film stocks, digital cameras, camcorders, drone footage, and YouTube rigs combine in logical yet realistic sequences. As he flips through the different techniques, he imbues Twisters with humanity and purpose for its characters. Even those with less noble purposes are provided enough background to frame them. At the same time, Twisters dives into the nuance between selling goods to help those in need and using disasters to shield your parasitic tendencies. This line in the sand becomes essential to all the characters as Twisters crescendos.

Twisters undeniably feature clunky moments as well. It’s hard for Chung and screenwriter Mark L. Smith to make the Javi character feel likable. Sadly, Ramos provides little help in raising the bar for the character. It’s odd that Kate would ever buy into Javi’s salesmanship, even as a friend. Even worse, he makes her look bad by proxy, seemingly to portray Kate as somewhat snobby. Combined with some imperfect dialogue and overexposition, Twisters holds the audience’s hand too often. It’s a story that tries to justify the science when, in reality, we’re not here for even theoretical ways to stop a tornado in its tracks.

No, we are here to watch tornados, and Twisters delivers those sequences in spades. The opening sequence terrifies, and Chung manages to surprise the audience by showing bodies being pulled by the winds and off the screen. By the end of Twisters, conservatively six characters with speaking lines have been ripped away by the winds or died while running from the funnels. While the original Twister featured a low death count, Twisters proves far more willing to show the human toll of these disasters.

(from left) Lily (Sasha Lane) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung.Several scenes also highlight the devastation these disasters have on small towns. Like the first Twister, the screenplay does not portray the people of the Midwest in the best light. Very few seem prepared for the likelihood of a tornado, and some buildings are revealed not to have shelters. It’s a bit of a stretch to set up a meta-joke about getting people into a movie theater.

However, naturalism and grounded realities are the enemy in blockbusters like 2 Fast and 2 Furious, Independence Day, or Twisters. We see tractors fly through the sky, watch Powell launch fireworks into a storm, and hear Colin Clive’s “It’s ALIVE!” scream into the windows. The images are a sight to hold, and that’s why many of us go to the movies.

In terms of performances, it’s impossible to ignore Powell. If you were not already sold on his charisma, Twisters is the nail in the coffin. He’s just got it, and we love his willingness to jump into the action-adventure genre without needing to be a superspy or superhero. Instead, he’s just a fun and kind of dumb guy in love with tornados. It’s not the same as Bill Paxton, partly because Powell already has the fame, but it’s a willingness to jump into whatever Chung asks him to do that shows some real commitment to the medium.

(from left) Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in Twisters, directed by Lee Isaac Chung.While others have criticized Edgar-Jones, I feel like she provides Twisters with a necessary calm. The other characters on the fringes are big and weird, if not manically driven by money. Despite this, Edgar-Jones went through a hellish experience and came out the other side scarred. She plays Kate with a precociousness and mostly nails the accent. Twisters asks her to be an observer of a world she hardly recognizes anymore. She works in that context. Finally, Parea steals nearly every scene he’s in and is the secret sauce for all the YouTube content. It’s a one-note, hilarious performance, and that’s perfect for the comic relief.

Chung’s direction helps Twisters get that 90’s Amblin vibe back into an action-adventure. It’s not perfect, but my audience actively embraced its corniness despite its flaws. It’s just as silly and weird as the first movie, which, upon critical reevaluation, has become a classic of the genre. Wait for some blockbusters that learn the wrong lessons from this movie, and it will likely occupy the same space in twenty years. Twisters is a perfect example of a “people’s champ” kind of movie. Audiences will continue to return to this one as its cast continues to thrive.

Alan’s Rating: 8/10Watch Twisters in theaters July 19, 2024. Universal Studios and Warner Brothers distribute. Please check out other Sunshine State Cineplex reviews here!The post Review: TWISTERS – Lee Isaac Chung Revives the Disaster Blockbuster appeared first on Sunshine State Cineplex.

View Details

Swooned. That’s what you did when you saw Glen Powell’s picture above these words. I don’t care who you are, you swooned. And how could you not? Look at this guy. His seductive squint pierces into your soul. That smile, emblazoned by divine dimples, exudes incomparable charm. His demeanor contains unmatched confidence. As a friend of mine astutely observed: “He looks like an actor created by AI.”

This objectification of Powell may come across to you as problematic and even disgusting. You would be right, but also he is a very beautiful man. However, he would not be the subject of this piece if he was not such a damn good actor. Undeniably, he has movie star looks, but more importantly, Powell possesses unique performative talents. With his aesthetic platitudes aside, let’s focus on the rising stars’ filmography.

It’s been a gradual rise to fame from his start as Long-Fingered Boy (ahem) in Spy Kids 3: Game Over, to his latest project, Twisters, where he plays a tornado wrangler. The past months have experienced the most noticeable increase in Powell’s stock value so far, so we decided to rank his best roles to date.

7. Anyone But YouThe first (or last) of the films in the ranking exemplifies the spirit of the methodology perfectly executed. Anyone But You is not very good, but Powell’s turn as romantic lead catapults the film onto this list. The romcom with typical shenanigans allows Powell to exhibit his charm as he also impresses with a fair dose of physical comedy. With Anyone But You, he carries the weight of a film on his shoulders, even one as burdensome as this. Also, the film is ranked last because “anyone but you” is a bold statement when Powell and Sydney Sweeney are your leads. I know, I know, disgusting.\

6. Set it UpLet’s get the romantic comedies out of the way. Set it Up, much like its leading man, is charming and funny. Even though Powell takes a back seat to a phenomenal Zoey Deutch, Set it Up ranks higher than Anyone But You for its own merits. Parts of it don’t make sense. But when that’s ignored in favor of the chemistry between the two stars, Set it Up becomes an enjoyable experience. Powell gets his moments to shine and excels in creating a lovable, wannabe Wall Street bro. He also proves he can hold his own as half of a romantic lead.

5. Hidden FiguresWhat’s more American than a Texas man playing an astronaut? Powell has limited screen time as astronaut John Glenn in the magnificent Hidden Figures but makes the most of it. He turns up the affability factor here, becoming a source of comfort in instances where racial and gender tensions define certain scenes. We need more Americans as astronauts like Glen Powell.

4. Everybody Wants Some!!* (2016)Everybody Wants Some!! should have been Powell’s big break. However, the rising star would have to wait six more years until Top Gun: Maverick gave him his next big dose of exposure. In Richard Linklater’s spiritual successor to Daze and Confused, he plays Finn, the upperclassman of a college baseball team. Everybody Wants Some!!* acts as a time capsule to the eighties, as it delightfully recreates an era populated with well-meaning bros. As Finn, Powell participates in the college rituals while also offering a slightly more mature perspective for his teammates. He creates Finn with complex layers enveloped by a jovial exterior. This approach percolates into his future work, ultimately lending momentum to his rising stock.

3. Top Gun: Maverick (2022)What’s more American than a Texas man playing a Naval aviator? As Lieutenant James “Hangman” Seresin, Powell offers his most memorable performance to date. Hangman is full of himself and obnoxious. Yet he ultimately proves he has the best interests of his team at heart. It’s a delicate balance that he manages to transition between with great ease. Audiences don’t love to hate him; they just love him. Top Gun: Maverick is arguably the best film and undeniably the most popular film Powell has been a part of. However, we rank Hangman at three until he gets his Top Gun spinoff (fingers, long or otherwise, tightly crossed) and flies his way to the top of the ranking.

2. Twisters (2024)The highly anticipated Powell vehicle is here. Only, it’s not his vehicle. Uber-talented Daisy Edgar Jones’ Kate Carter is the undisputed protagonist here, with Powell’s Tyler Owens at best standing by her side. What Twisters does provide for Powell is a midlands-sized space to go all wild and out when bringing the tornado wrangler to life. The charm, comedy, energy, and overall awesomeness that accompanies his manner explodes off the screen with the force of a twister.

Powell manages to level off Owens with the understanding, care, and affection he demonstrates towards Kate. What a guy! Not everything works in Twisters, but Powell does. A somber beginning is turned on its head once Owens and crew arrive on the scene. Befittingly, Powell proceeds to wrangle the film as his own, even if he must do it from the back seat of Jones’ vehicle.

1. Hit Man (2024)No Powell performance is more layered than his turn as Gary Johnson, a dude playing a dude playing another dude. Loosely based on a true story, Johnson is a professor who does police work on the side. This work eventually sees him posing as a hitman. Complications ensue when Madison (Adria Arjona), a potential client, and he fall for each other without Madison being privy to his true self.

Once you get over the unbearable attractiveness of the two leads, Hit Man reveals the all too relatable quandary of searching for an identity. That the theme runs parallel to Powell’s career may be a stretch without context, however, it is no assumption that Hit Man is the film that allows Powell to demonstrate the full range of his acting abilities. His multi-faceted approach is on full display here, resulting in his best work.

ConclusionPowell’s potential is far from realized. Coming up is The Running Man remake, Monsanto and Huntington, where he’ll share the screen with Margaret Qualley, another actor on the cusp of superstardom. Each title potentially offers Powell new ways to manifest his talents, so needless to say, we’re more than excited about these.

Whether it be as a Wall Street bro, astronaut, Navy pilot, baseball bro, hit man, or tornado wrangler, it is difficult not to love Glen Powell. He emits classic Hollywood allure in every shot, but most importantly, his talent and ability place him among these modern times. So, feel free to swoon away.

Watch Twisters in theaters today. Universal and Warner Brothersdistribute. Check out The Cineplex – a place where we post our opinion pieces and rankings! See all our posts here! Please check out other Sunshine State Cineplex reviews here!The post Glen Powell: Wrangling Up His 7 Best Performances appeared first on Sunshine State Cineplex.

View Details

Revenge thrillers have the potential to make for exciting films. With the popularity of movies like John Wick, the natural course would be to try and tap into that market. Trigger Warning is simply the latest to throw their name in the ring, hoping to catch the public’s attention. So, is it worthy of the viewer’s attention? Here’s your warning: No. From stilted performances, generic plotlines, lackluster action, and melodramatic tension, this movie could be forgiven for being mistaken for entirely AI-generated. From top to bottom, not a single fresh or original idea can be found. When opponents of artificial intelligence speak of the dangers of AI films, this kind of movie is what they are afraid of.

Trigger Warning. (L-R) Jessica Alba as Parker and Tone Bell as Spider in Trigger Warning. Cr. Ursula Coyote/Netflix ©2024.Jessica Alba plays Parker, a former special forces commando who returns to her hometown after her father’s unexpected death. Concerned that his death wasn’t natural, she begins investigating and quickly runs afoul of a local politician (Anthony Michael Hall), his sons Jesse (Mark Webber) and Elvis (Jake Weary), and some small-town arms-dealing gang members. This sets Parker on a journey of revenge and survival.

Trigger Warning. Anthony Michael Hall as Ezekiel in Trigger Warning. Cr. Netflix ©2024.Indonesian director Mouly Surya attempts to wrangle some life into the uninspired script but struggles to strike any sort of balance between genres. As the first English-language film by the director, there are bound to be some growing pains. However, other directors have made the transition seamlessly. There’s not enough action to classify it as an action piece, nor is there any suspense behind the father’s death to make it a thriller. The writers even try to add some political commentary, but a segment where white politician Ezekial questions Parker “about the meaning of Latinx” feels both ignorant and lazy.

Trigger Warning. (L-R) Jake Weary as Elvis, Anthony Michael Hall as Ezekiel and Mark Webber as Jesse in Trigger Warning. Cr. Netflix ©2024.Alba undeniably has charisma but has always failed to convert that into a strong performance. Her performance here is no exception, delivering lines as though off cue cards and failing to truly realize Parker as a character. She, however, is the film’s biggest asset, as the rest of the cast fails to even reach her wooden delivery. While the cast is given such generic characters and dialogue, it is apparent there was no motivation to transcend what was on the page.

Cinematographer Zoë White breathes a little life into the film through some decently polished visuals that make the film, at the very least, pleasant to look at. And for a direct-to-streaming, perhaps that is enough. Catch the audience’s eye with something shiny and hope they keep it playing as a mild curiosity. Whether such little ambition is the fault of the filmmakers or the production company remains to be seen.

Trigger Warning. Jessica Alba as Parker in Trigger Warning. Cr. Netflix ©2024.In a market filled with streaming services clamoring to release their own exclusive material to keep viewers subscribed, a strong case can be made for the latter. However, when the results are as abysmal as Trigger Warning, one must wonder if the payoff is worth the efforts of all involved. Ultimately, Trigger Warning’s list of red flags is a mile long. Decent visuals aside, wooden performances tout out generic dialogue through a formulaic plot directed with zero gusto.

Josh’s Rating: 1/10Watch Trigger Warning on Netflix. Netflix distributes.Please check out other Sunshine State Cineplex reviews here!Check out our Reviews, Recaps, and Features on TV here! The post Review: TRIGGER WARNING – The Best Warning is to Stay Away appeared first on Sunshine State Cineplex.

View Details

After falling to Earth, the questions around Aegon’s health take center stage. Without the King, the Green Council’s claim on the throne weakens. The death of Rhaenys will surely strike deep within Rhaeneyra’s camp as well. They’ve not only lost their largest dragon in Meleys, but they’ve lost a wise member of their council. Most importantly, they’ve lost a member of the family and Coryls’ wife. How they respond becomes of utmost concern.

“Regent” – The Episode RecapOn Driftmark, Corlys (Steve Toussaint) stumbles towards his throne. Tears stream down his face upon hearing of his wife’s death. In Dragonstone, Rhaeneryra (Emma D’Arcy) stares out over the ocean, mourning the loss of her aunt as well. However, in King’s Landing, Criston Cole (Fabien Frankel) and his soldiers pull a cart with Meleys’ head through the streets. They praise Aegon, but the crowd does not cheer for the victory. Criston appears surprised that the crowd does not react with excitement. Among the crowd, Hugh (Kieran Bew) watches Meleys, realizing the dragons are not Gods as many have stated.

Alicent (Olivia Cook) and Aemond (Ewan Mitchell) await in the Red Keep as the cart carrying Aegon sneaks into the City. The soldiers carry it through the halls and move Aegon into his bed. Alicent watches from the entrance of the room, while the Maesters begin attending to his wounds and burns. His armor remains fused to his body, and as Maestar removes pieces of the armor, his skin tears.

Maester Orwyle (Kurt Egyiawan) sets Aegon’s broken bones and wounds but remains unsure he will survive. Aemond mentions someone must rule in his brother’s stead. Cole cleans his sword, and Alicent asks what happened with Aegon and Aemond. While he responds Aegon fought valiantly, he does not respond to her questions about Aemond.

In the Black Council, Rhaenrya fights off the council, who believes women are not ready for war. She responds that the other soldiers have not seen battle either, as there has been peace in their lifetime. In another chamber, Jace (Harry Collett) speaks with Baela (Bethany Antonia) about his frustration. He believes his mother cradles him while sending out others on behalf of her claim. Baela points out that he’s being protected, as he will become the heir. Jace shrugs it off and realizes that he can meet with the Freys to clear the path for the Starks’ Greybeard army. He asks her not to tell his mother of his plan until after he’s left Dragonstone.

Daemon (Matt Smith) threatens the Brackens with death if they do not bend the knee. The Brackens continued to show defiance and Daemon respects them for it. However, he tells the Blackwoods to do what they need to in order to gain the advantage. Some things can be done outside of the knowledge of the crown, and the Blackwoods prepare to exploit a Bracken weakness.

In the Eeryie, Rhaena speaks with the Maden of the Vale, Jeyne Arryn (Amanda Collin). Arryn shows displeasure with the arrival of the two baby dragons and the eggs. She wants to protect the Vale, and these dragons are not fierce. The Lady does not want the Vale to be underestimated, and Rhaena understands the feeling. The Lady invites Rhaena to dinner.

Rhaeneyra takes council with Mysaria (Sonoya Mizuno). She’s frustrated by the council’s misogyny but understands their position. Mysaria hears word from the people of King’s Landing, who grow upset with the Greens. They speak about the parading of Meleys through the streets, while they are losing bread and food. The people saw the display of the dragon’s head as a bad omen, not as a moment of strength. She tells Rhaeneyra there’s more than one way to win a war, and sends out Elinda Massey (Jordon Stevens) on a mission.

Baela and Rhaenerya speak about the death of Rhaenys. Baela’s grandmother once tamed Mysaria, despite Daemon wishing to do it first. Both Rhaenerya and Baela felt a closeness with Rhaenys, even if they did not always get along. Rhaenerya then tells Baela she should reach out to her grandsire Coryls. She then hands Baela a box and tells her to deliver it to him.

Daemon continues to have absurd dreams in Harrenhaal. This time, he sleeps with an unknown Targeryian. As they please each other and perform oral sex, her narration reveals her identity. He sleeps with Alyssa Targaryen, his mother. Suddenly, Ser Strong asks if his food is up to par. Daemon awakens at the table, eating dinner with the council he’s slowly built. Lady Alys notices his head stirring but does not say anything.

Ser Strong continues to speak about the issues facing Daemon and the upkeep of his dragon. Harrenhal, for all its grandeur, does not have many funds. Larys transferred the majority to King’s Landing after the deaths of his father and brother. Daemon tells Strong he’ll guarantee the money, but will not collect it from Rhaenyra. He then tells Strong to call him King. There’s some tension, as Strong notes Daemon would not be King, but the Queen’s Consort. Daemon laughs it off.

At the Green Council, Maestar Orwyle briefs the council about his efforts. While he’s done what he can, he does not know if Aegon will survive. Alicent tells the Council there must be a Regent appointed until Aegon’s future is secure. While Alicent pushes for her own reinstatement as the Regent, the Council heavily favors Aemond’s case. After Cole and Larys side with Aemond’s claim, Alicent grows uncomfortable at the table. Aemond divides the tasks to the council.

In King’s Landing, Hugh sits with his family. Kat (Ellora Torchia), his wife grows uncomfortable with their neighbors and that the affront to Rhaenyra will cause retaliation. They have not been paid, despite the King’s promises. She believes the King lies, and they will all die soon if they do not leave King’s landing.

Alicent meets Cole in the streets as the ratcatchers are cut down off the streets. Cole tells Alicent that what he saw at Rook’s Rest was unbearable. Only a dragon rider can lead them. He does not believe Alicent can do what is needed at this time. Throughout the scene, the dog who followed Cheese can be seen following his dead owner’s corpse.

As Hugh and his family go to leave King’s Landing, the Gold Cloaks, under the orders of Aemond Targaryen, close the exits. The people are confused about Aemond’s new role as Regent, and they begin to grow angry. They scream for bread and meat from their new Regent. Hugh and his wife step further back, but the crowd continues voicing their anger.

Jace speaks with the Freys at the Twins. They fear Vaghar’s return and the danger he poses. They have not heard from the Tullys yet, so they were unsure if they can pledge their allegiance. However, they are open to taking on a new role, with the Strongs being disposed of at Harrenhal. If they Harrenhal, Jace tells the Tullys the Blacks will want bent knees.

Daemon cuts wood and meets with Alys (Gayle Rankin). She tells him that his plan with the Blackwoods is coming to fruition. On the wind, she hears the cries of death and missing. She asks him what kind of ruler he will become. He tells her that he will become the King when he takes the Red Keep and Rhaenrya can join him as equals. Alys wonders about his mother, and while he shows displeasure, Ser Simon delivers news that the Blackstones overtook the Brackens.

Coryls mourns at the edge of a dock. Baela approaches and tells him Rhaenyra offers him the Hand of the Queen title. Corlys calls Driftmark a tomb, questioning why Rhaenrya would ask more of his house. He would rather sail into the West. Baela retorts that Rhaenys died as she would have wanted in Dragonfire. She tells Coryls that her mother died this way as well, and she hopes to do the same. When Coryls tries to name her his heir, she tells him she cannot. She is of blood and fire, and he needs an heir of salt and sea. She will see Rhaenyra lifted to the throne.

Ser Alfred Broome and Rhaenyra have a heart-to-heart. She admits his strategy was correct. She knows that he’s proven his loyalty, but she needs him to go to Harrenhal. She does not trust Daemon, and installing Ser Alfre in the region should help stabilize things for their side.

Daemon sleeps in his room, but Ser Simon arrives to wake him. The people of the Riverlands have stormed into Harrenhal and raised their concerns about the Blackwoods. In their pursuit of the Brackens, they pillaged and looted the entire region. They did so with the red and black banners of House Targaryen. During the accusations, Daemon sees his late wife as a ghost, who asks if he’s checked on their daughters. They tell him they will not bend the knee for a tyrant and leave.

Elinda makes her way to King’s Landing. She tells a guard that she’s here for Mysaria. The soldier heard rumors of her death, but Elinda confirms her mistress is alive. She then finds her way into King’s Landing and meets her contacts. On Driftmark, Coryls sits on his throne and grips the pin for the Hand of the King. In the Red Keep, Aemond stares at the throne. His sister steps up behind him, asking if gaining the throne was worth the price. Alicent sits with her son. As she leaves, Aegon calls out for her.

Jace arrives back in Dragonstone and meets with Rhaenrya. Jace conveys to Rhaenyra that the Freys will bend the knee for Harrenhal. She appreciates his service but grows angry about her inability to act. Rhaenyra knows that they need dragons now, or Vhagar will overtake them. They devise a plan to find new dragonriders of Targaryen blood but have not been acknowledged as such. It’s a mad thought, but the plan might work.

“Regent” – The TakeawaysBefore we go further, it’s worth noting that most of the performances in “Regent” are among the best yet. There’s a lot of subtle work going on throughout the episode, and it’s one of the most balanced in terms of geography. It might be the closest we’ve seen to old Game of Thrones. However, House of the Dragon still has a problem. Jace continues to struggle.

It’s not really on actor Harry Collett though. Jace just comes off as dull. What he’s doing for Rhaenyra has already helped their side. However, the actual execution and writing around these scenes have him come off as a petulant child. It’s already a mountain to climb with younger actors, but “Regent” does him few favors. It’s frustrating to see the show leave him out to dry.

Emma D’Arcy once contended for the best performance in the episode, but this time, we have to lean toward Steve Toussaint and Bethany Antonia. Their pain sets the tone for the episode and finds its footing throughout the episode. Their discussion on the docks in Driftmark should be one of the highlights of the show when it’s all said and done. Antonia stands out, and wins MVP honors for “Regent.”

Olivia Cooke’s scene at the Small Council also reminds us of her ability to take over an episode at a moment’s notice. Her fear of her son and the betrayal of the men in her life comes through in “Regent,” which may have long-term ramifications. It’s a rare loss for Alicent, who can literally feel her power slipping away. Ewan Mitchell continues to lurk around the castle in “Regent.” His character might bear the name of the episode, but he surprisingly fades into the background for most of it. While he remains intimidating, this is a step down from last week’s episode. Still, the two prove to outpace the rest of the Green performers.

In the future, the new dragon rider plan will become a huge step for the Blacks. They have more dragons than any other location, and their mastery of the creatures has long paid dividends. Now, if Rhaenyra and Jace are correct, they will have a force that even Aemond cannot match. However, they must find the riders first. A few have been strewn through the show already, and watching the rise of these characters will be extremely fun. We’ll leave spoilers out for now, but events of “Regent” will matter in the battles ahead.

Alan’s Rating: 8/10Watch “Regent” on MAX and HBO. “Regent” aired on July 14, 2024. All episodes of House of the Dragon can be streamed on the MAX app.Check out our Reviews, Recaps, and Features on TV here! The post TV: “REGENT” – House of the Dragon – Season 2 Episode 5 Recap appeared first on Sunshine State Cineplex.

View Details

With satire all too often flying over the heads of its intended targets, employing this method to communicate a message is risky. Fly Me to the Moon decides that entertaining the notion that the Nixon administration attempted to stage the Apollo 11 moon landing is a good idea. Unfortunately, the film ultimately is too timid to take a definitive stance against the ignorance it gleefully presents.

Fly Me to the Moon does, however, begin with promise. Director Greg Berlanti and writer Rose Gilroy manage to skirt various interesting and complex subjects. The film’s opening montage is composed of a quick summary of the sociopolitical landscape of America during the 1960’s. That decade’s politics were accentuated by the Cold War against Communism. Whether that meant the conflict in Vietnam or the race to beat the Russians to the moon, the ramifications of each event are continued to be discussed and felt today.

That would be worthy of further analysis and deeper exploration for a film subject. However, after establishing the setting, Fly Me to the Moon shifts to include commentary on how the role of media can influence the public’s views on current affairs. With the ongoing Vietnam War, NASA and the space race found itself losing momentum in the public’s minds. This waning interest meant that much-needed funds to make the Apollo 11 mission possible were being denied by America’s politicians. As per the trend, Fly Me to the Moon shifts focus again, taking viewers around the marketing world’s orbit.

Enter Kelly Jones (Scarlett Johansson). Kelly is a public relations extraordinaire who is mysteriously hired by a Nixon administration “Deep Throat-esque” official, Moe Berkus (Woody Harrelson), to spearhead a marketing campaign. The hope is that this campaign will spark a renewed interest in the moon landing mission. Kelly, along with her trusted assistant Ruby (Anna Garcia), are more than up for the task as they whirl and twirl their way from deal to deal, hoping to engage the public’s interest.

These moments are among the most kinetic and entertaining, tinged with Mad Men‘s influence. By having Kelly assume the persona of whoever is needed to land lucrative sponsorship deals, Fly Me to the Moon subtly suggests that Kelly may not be who she seems to be. This puts her at odds with Apollo 11’s flight director, Cole Davis (Channing Tatum), who is vehemently against the commercialized and often fabricated optics of the mission at the hands of Kelly.

Several orbits later, audiences realize they have landed in romantic comedy territory. The tonal inconsistency and lack of focus throughout proves maddening as a predictable, cookie-cutter romance overshadows the promise of something more substantial. However, the two leads do make the blossoming romance worthwhile. Johansson and Tatum deliver on the couple’s chemistry while also getting the most out of the tepid humor written into their courtship. Johansson also perfectly portrays her character’s chameleonic nature with delight, effectively owning every scene she is in. Tatum offers a solemn take on the committed yet scarred Davis, but the character’s treatment fails to reach the energy that inhabits Jones.

The laws of diminishing returns are in full effect once Fly Me to the Moon introduces the staged moon landing into the production process. In present-day America, where conspiracy theories fuel problematic and dangerous ideologies, the decision to entertain this nonsense is a head-scratching one. Satirical stabs have been taken at the moon landing before, most notably in the mockumentary Opération lune. However, unlike its predecessor, Fly Me to the Moon fails to hold a conviction in favor of ridiculousness and instead comes close to becoming devil’s advocate.

Considering the quality of the talent assembled, Fly Me to the Moon is, above all else, an extremely disappointing output. Berlanti has proven more than capable of creating poignant and thoughtful films, as was the case with Love, Simon. However, here, he fails to present a cohesive and clear product.

The cast is a star-studded affair, with each performer offering worthwhile moments. Of note is Ray Romano as Henry Smalls, who provides some of the film’s most emotional and humorously sincere musings. The production design at the hands of Shane Valentino is also masterfully crafted as it meticulously recreates the era with painstaking detail. Yet, these efforts fail to offset Fly Me to the Moon’s issues.

The sociopolitical ambiance in America today echoes the similar sounds of the crisis of the 1960s. The moon landing proved to be an inspirational and unifying achievement that helped Americans as they readied for an unknown future. Instead, Fly Me to the Moon’s decision to entertain cynicism in favor of the outrageous and outlandish fails to convincingly deliver on either front, resulting in an irresponsible offering at the worst possible time.

Borja’s Rating 4/10Watch Fly Me to the Moon in theaters on July 15, 2024. Apple TV+ and Sony Pictures distribute. Please check out other Sunshine State Cineplex reviews here!The post Review: FLY ME TO THE MOON Offers Little to Long For, Worship, and Adore appeared first on Sunshine State Cineplex.

View Details

While Osha and Mae spent the last episode with each other’s masters, there are still pieces of the puzzle missing. While it has been implied that much more occurred on Brendok than we know, “Choice” finally confirms that truth. The road for the Jedi to meet Osha and Mae and how the choices of Sol, Indara, and others shaped their future coalesce within the episode. “Choice” provides a strong second half to “Destiny” from earlier in the season, but most importantly, it gives us the context we need before the finale of The Acolyte.

Jedi Master Indara (Carrie-Anne Moss) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“CHOICE” – The RecapSixteen years before the start of The Acyolyte, Indara (Carrie-Anne Moss), Sol (Lee Jung-jae), Kelnacca (Joonas Suotamo), and Torbin (Dean-Charles Chapman) run tests on Brendok. They’ve been on Brendok for seven weeks and found nothing. Torbin grows restless, but Indara explains that the planet had been cataloged as lifeless, yet it has considerable growth. Sol elaborates that the planet might be the site of a vergence, a location with an incredibly powerful pocket of the Force.

Indara and Sol discuss Torbin’s arrogance about the vergence. She believes Torbin is too distracted to appreciate it fully. Sol and Indara believe in different paths as teachers. To cover more ground, Sol heads off from the group. He eventually stumbles upon Mae and Osha as they showcase their force powers. Shocked, Sol continues to follow them until they rejoin Mother Koril (Margarita Levieva). Realizing the Force Witches are responsible for these girls, Sol calls Indara, but she does not respond. He continues to follow them through the forest.

The girls and Koril come to their hidden base, with Sol still watching from the shadows. After they go inside, Sol climbs up the walls of the base to sneak into the base. He observes the witches, including Mother Aniseya (Jodie Turner-Smith), training the girls. As the girls prepare for the ceremony, Sol returns to Indara and the other Jedi. He explains what he saw and thinks they need to move in tonight. He fears for the girls’ safety. Torbin worries that the women of the “Force Cult” are Night Witches, but Indara dispels the notion. She considers Sol’s worry, and they check on the girls.

(L-R): Torbin (Dean-Charles Chapman), Sol (Lee Jung-jae), Jedi Master Indara (Carrie-Anne Moss) and Kelnacca (Joonas Suotamo) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.As Kelnacca gets them into the base, Indara tells her team she’s going in alone. Sol disagrees and convinces Indara to bring them with her. When they walk into the ceremony, Aniseya speaks with the Jedi. While Sol and Indara speak with the girls, Aniseya uses her force powers to enter Torbin’s mind. She senses his weakness through ambition and exploits it, using her powers to possess him and drop him to his knees.

When he does, the discussions stop, and Aniseya tells the Jedi to leave if they want Torbin back. Osha interrupts Aniseya’s negotiations, wishing to test with the Jedi. The witches and the Jedi agree to a test, and the Jedi agree to leave. Aniseya releases Torbin. The tensions remain high, but each side returns to their homes.

Torbin (Dean-Charles Chapman) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Back at the ship, Torbin sits silently. Sol and Indara discuss the impending Jedi tests. Sol feels a connection with Osha already, but Indara does not seriously entertain the idea of bringing the girls for training. They are too old, and their family will not let them leave. Sol insists that he wants to protect Osha, believing her the better choice because she has not been marked with black magic. While Indara notes these rituals are coming, she tells Sol not to confuse his wishes for Osha’s.

The next day, the Jedi test the girls. Mae immediately fails the test, actively sabotaging her way through it. When Indara asks what the ceremony was for, Mae tells her it was an Ascension ceremony. Indara asks what that means and how the girls will rise to lead the Coven. Mae reveals her mother’s words: that all must be sacrificed to fulfill their destiny. For Osha, Sol tries the approach we saw in the previous flashback episode.

(L-R): Torbin (Dean-Charles Chapman), Sol (Lee Jung-jae) and Jedi Master Indara (Carrie-Anne Moss) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Indara senses something is wrong during the test. Osha passes, but Indara wants to wait for word from the council. She tells the men to wait outside the ship and continue their research. Indara soon joins them, revealing the council does not sanction the girls coming to Coruscant and that the group has already interfered too much.

Sol grows angry and asks to speak to the council. Indara refuses, reminding Sol that Osha only passed after Sol coached her. He tells Indara he only wants what is best for Osha, but Indara retorts that what is best is not for him to decide. The blood test results come back, with Mae and Osha showing very high midi-chlorians counts and an identical genetic profile. They are not twins, but literally the same in every genetic way. Sol and Indara realize that vergence may have allowed a single consciousness to split between two bodies.

Kelnacca (Joonas Suotamo) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.When Torbin hears the vergence caused this, he goes to a speeder bike. The girls are his ticket back to Coruscant. Mae and Osha fight, and Osha expresses her wish to join the Jedi to Mother Aniseya. Meanwhile, Mother Koril pushes Mae to anger. As Aniseya tells the Coven she wishes to honor Osha’s wishes, Mae locks the Coven in the base by breaking the front door. She does this just before Torbin arrives, and the Jedi believe the witches have locked them out. Sol and Torbin begin to scale the walls.

Inside, Mother Koril arms the Witches. The Jedi have breached the fortress once again. Aniseya tells Koril that they cannot use violence. Koril would rather die before the Jedi take her children. Mae accidentally starts the fire in the halls as the Jedi reach the top of the walls.

Sol and Torbin meet Aniseya and Koril in the courtyard. Sol tells them he comes with noble intentions, and Aniseya tells him that the noble intentions will destroy all of the Jedi someday. Mae runs into the courtyard asking for help, causing Torbin and Koril to draw weapons. Attempting to stop the fighting, Aniseya screams “No!” and bursts into smoke with her powers. Frightened, Sol impales the cloud, killing Aniseya. As she dies, Aniseya reveals that Osha chose Sol over her own family. Mae cries over her mother’s body. Koril tells Mae to run.

(L-R): Torbin (Dean-Charles Chapman), Sol (Lee Jung-jae), Mother Aniseya (Jodie Turner-Smith) and Koril (Margarita Levieva) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.As Mae escapes, Koril and Sol duel while Torbin deflects blaster shots. Parts of the base begin exploding as Indara approaches. Koril and the witches use the destruction to possess the last Jedi, Master Kelnacca. A possessed Kelnacca battles Torbin and Sol. Almost killing Torbin, Sol stops his friend at the last minute. Sol nearly dies at Kelnacca’s hands, until Indara clears his mind with the force. Doing so seemingly kills all of the witches of the Coven. Indara sends Sol to find the girls.

Mae and Osha meet at the bridge. They reach for each other as the bridges begin to collapse further. Sol arrives to hold both bridges up, but after a few seconds, he drops Mae’s side to give himself a better chance to save Osha. On the ship back to Coruscant, Sol watches over Osha. Indara angrily chastises Torbin and Sol for their actions. Despite this, she crafts the story they will tell the council: Mae burned down the fortress and killed all inside. It’s the only way to keep Osha safe after everything she went through. Osha wakes, and Sol tells her the story.

Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“CHOICE” TakeawaysWhile it’s been expected for some time, the revelations in “Choice” prove the Jedi acted out of arrogance. Not only did Sol wish for his own Padawan at all costs, but Torbin’s ambition to return home caused him to take actions that pushed them further into the fight. While Indara and Kelnacca appeared more restrained in their approaches, that was no match for the ambition of these men.

That has ultimately been the message of The Acolyte. The Star Wars spin-off has questioned why the Jedi are not only the most powerful beings in the universe but questioned their approach that they are seemingly birthed with rights that others do not possess. We know that for all that Sol and Indara did for Osha in the days that follow “Choice,” she ultimately left the Jedi Order.

Jedi Master Indara (Carrie-Anne Moss) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Even when the emotional bonds of a Jedi are strong, the world does not work in absolutes. Again, Star Wars opens up bigger questions about our own world, and whether we can acknowledge the gray areas in morality. Ultimately, whether power of any kind can corrupt feels clear. Even for someone using “noble intentions,” our choices can have far-ranging implications we cannot fathom in the moment. In some cases, they may lead to the worst of outcomes.

“Choice” provides the starry role we expected for Moss at the beginning of the series, allowing her to showcase physical gifts and her talent as an actress. This also serves to dress down Sol, which Jung-jae performs exceptionally well. There’s a line between the Sol from this era and the one we’ll meet in sixteen years. The wisdom he’s gained over that time proves one can grow but does not overshadow his actions. It gives us insight into Jung-jae’s performance throughout The Acolyte and helps the puzzle pieces fit together nicely.

(L-R): Koril (Margarita Levieva) and Mother Aniseya (Jodie Turner-Smith) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Once again, the show leans a little too far into the dark visual palette. However, the setpieces for the battles, especially Kelnacca versus Sol & Torbin, prove exceptional. The image of a possessed Wookie descending the stars and lighting up a saber is a borderline all-time shot in Star Wars history. The battle that follows lives up to the hype and helps add nice action to “Choice,” which complements its larger philosophical questions.

Perhaps most important, the view of what happened inside the Coven is no longer a mystery. Both Koril and Aniseya bring their own emotional gravitas to the episode. Both Turner-Smith and Levieva excel in the roles, and it’s a shame we’re losing them so soon. One hopes they’ll find a way to bring these characters back in some fashion, potentially in future seasons. If The Acolyte can land the plane next episode, it should return for more in the future. With the last pieces of the story in place for the finale, we hope it lives up to the journey we’ve had so far.

Alan’s Rating: 8/10Watch “Choice” – Season 1 Episode 7 of The Acolyte, on Disney+. This episode aired on July 9, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: CHOICE – The Acolyte – Season 1 Episode 7 Recap appeared first on Sunshine State Cineplex.

View Details

If you’re ready for a dragon battle, “The Red Dragon and the Gold” will fulfill your fantasies. However, the fallout of Rhaenyra and Alicent’s time together echoes throughout the episode. Each side is more emboldened to take action and understands the stakes. The question is, can the sides pull back the dragons now that they’ve been unleashed? “The Red Dragon and the Gold” – Season 2 Episode 4 of House of the Dragon – makes it clear that peace is no longer an option. The episode is directed by Alan Taylor.

“The Red Dragon and the Gold” RecapDaemon Targeryin walks into the throne room of King’s Landing. He approaches the Iron Theone, and young Rhaenyra walks down the stairs. She taunts him that Vicerys loved her more, so he slices off her head. Her decapitated head speaks to him, and Daemon awakens from the dream. Ser Simon Strong wakes him up, telling Darmon a raven arrived.

As they walk back to the great hall, Ser Simon relays information about Cole. His forces continued to gain strength and could soon overrun the Riverlands. The Tully family might be weak, but they’ve sent a representative. Daemon meets Oscar Tully, and they discuss bringing the Tully forces. When Oscar shows restraint to overrule his grandfather, Daemon begins to insult him. He instead asks for Ser Simon to bring the head of House Blackwood to him instead.

As Alyn of Hull works on his ship and is approached by Rhaeyns. She looks upon him with a realization that he’s a bastard. She also pieces together that he’s the man who saved her husband. Corlys approaches his wife, and she insinuates that she knows of Alyn’s true parentage. She knows Alyn is his bastard. She then lets Corlys know Baela has requested her presence on Dragonstone and leaves.

In King’s Landing, Alicent asks Maester Orwyle about Vicerys’ wishes for succession. Orwyle takes a pregnant pause and tells her she did not know the king’s intentions. When he leaves the room, it’s revealed he left a bottle of Moon Tea. Alicent approaches it and drinks it to terminate her pregnancy.

On Dragonstone, the Black Council grows restless. They are angry about Rhaenyra’s absence, but Rhaenys attempts to quell the unrest. As a council member rises to challenge her, Coryls arrives. He asks why the Council has turned into a body that seeks to gain incremental power and the room quiets.

Criston Cole continues to gain followers. In the aftermath of a battle, he offers the ability for the losing soldiers to join him, or they will die. After he executes their leader, they bend the knee. He orders his soldiers east, but Ser Gewayne points out that Harrenhaal lies West. Cole knows, and still pushes his soldiers East.

Aegon screams at his council for not stopping Daemon’s capture of Harrenhaal. As he does, Aemond reveals Cole is looking to take a smaller castle, Rook’s Rest. Argon grows angry that his younger brother knows this information, and they fight in Valerian. Aegon eventually backs down.

Larys goes to Alicent, who missed the meeting. When he asks why, she says she was overindulgent on food. However, Larys notices her medicine. Larys asks if she fears for Ser Criston on his campaign, but she downplays her feelings. He also notices that she’s reading the histories of the realm and wonders if she questions Viscerys’ intentions. She believes, whatever his intentions were, that meaning died with him. The war is underway.

Daemon continues to stir at night in Harrenhal. He watches shadows make their way past the door and arms himself. He walks through the castle, following an armored soldier until he meets Alys Rivers. She served as the castle’s Maester when the last one fled. She taunts Daemon, believing his intentions will end with him seeking his own claim to the throne.

After taking a drink from Alys, Daemon continues to have visions. He comes to while in Harrenhal sitting at a small council with the Blackwoods. Daemon forgets he asked to see them. Willem Blackwood promises to join Daemon should he use Ciraxis to take out Brackens. As the conversation continues, Daemon sees Laena Velaryon taking the place of the servant pouring wine. He agrees to Blackwood’s terms.

Aegon grows restless in his council as well. He believes his council does not respect him. He leaves in anger and storms into his room. Alicent is returning Vicerys’ books when he arrives, and they bicker. Alicent reminds Aegon that he has no wisdom and instead pushes those with experience away. She tells him to stand down and let others accomplish their work.

Criston orders his men to march on Rook’s Rest during the day. Hightower questions him, but he pushes onward. Rhaenyra returns to her council, where Jace tells the blacks they are going to send a dragon. Rhaenyra claims she will go, but Rhaenys steps up to go instead. As Cole nears Rook’s Rest, Aegon rides Sunfyre to battle to assist. Rhaenys does the same from Dragonstone, riding Meleys. Rhaenyra tells Jace about the Song of Fire and Ice.

As Rhaeyns descends on Cole’s men, he sends out a signal. Aemond awaits in the woods, but just before he takes off, he sees Aegon flying overhead. Cole, taken by surprise, tells his soldiers to advance. Aemond tells Vhagar to wait as Aegon charges forward. In the air, Sunfyre struggles against Merlys. That is when Vaehgar and Aemond arrive. Aemond tells Vhagar to attack, plunging Sunfyre to the ground with Aegon on board.

Rhaenys and Aemond do battle in the skies. As they do, Cole races for Aegon. When the dragons fall to Earth, they wreak havoc on the ground forces. Many are crushed or burned alive. It appears that Rhanys and Meleys have the upper hand, but Aegon and Vhagar come from below. Vhagar clamps down on Meleys, killing her. She falls to the ground with Rhaenys on her back. When Meleys falls on the castle, there’s an explosion of fire.

In the aftermath of the battle, Cole wanders the war zone. Bodies are scorched and burned. He comes upon Aemond as he searches for the King. Aemond points to Sunfyre’s collapsed body, where Aegon lies. Aemond leaves as Cole stands in horror.

“The Red Dragon and the Gold” – TakeawaysThe fireworks fly at the end, and we lose a huge piece off the board. The Queen Who Never Was falls to her death in “The Red Dragon and the Gold,” and while we do not see her charred corpse (as the book suggests), it’s a definitive farewell to Eve Best. Once again, Best proves excellent in “The Red Dragon and the Gold.” She pushed the episode up a level during the scenes in court. Her facial expressions show the pain and defeat she expects by taking on the mission. Without her on Team Black, they’ve lost their most experienced rider and their largest dragon.

However, the Golds prove their own weaknesses in the fray. Aegon appears gravely injured, but while the episode leaves his survival up in the air, the “Next Week on House of the Dragon” hints at his survival. How Cole and Aemond pivot from “this “The Red Dragon and the Gold” will ultimately decide how the Greens fight moving forward. Fabien Frankel plays the arrogance of Cole extremely well, and gives his best moments in the series in the aftermath of the battle. His character is still an idiot, but Frankel provided some growth in the episode.

Ewan Mitchell steps up his game in “The Red Dragon and the Gold,” showcasing that he has the ability to lead episodes as needed. He unleashes Aemond’s anger and resentment towards his family. There’s also a dark lust for power that Mitchell portrays with a playful glee. If the rest of this season, and several to follow, will rest on Mitchell as a primary antagonist for the Blacks, he proves his value as a performer here.

Now, the Blacks must make a pivot of their own. They’ve not only lost a leader but another member of the family. Rhaenyra needs to turn the tide on this war quickly. The realm may not be willing to accept her, and as she notes in the episode, some have already mistaken her caution for ineptitude. With the right moves, she can still turn the war, but it has to come with risks. Rhaenyra has played scared, and it’s cost her an Aunt and son so far. For them “The Red Dragon and the Gold” must teach them to make moves. Otherwise, Rhaenys will have died in vein.

Visually and stylistically, “The Red Dragon and the Gold” stuns. It’s likely to rank high on Emmy nomination ballots next year, as the craft and direction from Alan Taylor are impeccable. You love to see a show spend as much time honing its visual splendor, and Taylor once again proves himself one of the very best in the game today. “The Red Dragon and the Gold” will certainly warrant him a directing nomination next year, and with amazing VFX, sound, and makeup, it’s going to be a craft showcase for House of the Dragon.

Alan’s Episode Rating: 10/10Watch “The Red Dragon and the Gold” on Max. House of the Dragon airs on Sundays. Please check out other Sunshine State Cineplex reviews here!The post TV: THE RED DRAGON AND THE GOLD – House of the Dragon – Season 2, Episode 4 Recap appeared first on Sunshine State Cineplex.

View Details

The Despicable Me franchise continues its roller-coaster trajectory. The now-iconic Minions have taken over entire areas of theme park culture, and deliver multi-billion dollar hits. At the same time, Despicable Me 4 hopes to correct a worrying decline around stories involving Gru (Steve Carrell) and his family. While the Minions: Rise of Gru surprised some as a return to form, Despicable Me does not continue the positive momentum. Instead, it feels like a lackluster, lazy sequel that plays more like a series of vignettes than a cohesive story.

Picking up after the birth of Gru Jr., Despicable Me 4 catches up with Gru in Dad mode. Despite committing to family life, he helps the Anti-Villain League bust one of their most-wanted criminals during an alumni dinner for his villain school. However, the villain is one of Gru’s sworn rivals – a half-roach Frenchman named Maxime (Will Ferrell). When Maxime escapes, the AVL sends Gru, Lucy (Kristen Wiig), and the girls into witness protection. However, in their new small town, next-door neighbor Poppy Prescott (Joey King) wants to earn villain cred of her own. She blackmails Gru into helping her while Lucy works as a hairdresser, the girls struggle to adjust, and the Minions become super-soldiers (the Mega-Minions).

If that sounds like a lot to plop into a 95-minute movie, Despicable Me somehow feels both rushed and loose. Some plot threads get introduced as potential pitfalls, such as Agnes’ unwillingness to lie, only to be dropped halfway through the movie. There are questions about how Gru’s past work could affect the family, especially given that they go into hiding and the girls struggle to make new friends at school.

Rather than explore that dynamic, Gru gets pushed into a side-quest with a character we’ve never met on an adventure that puts them in a position to get caught. It may be unfair, but The Incredibles features the same basic setup. That movie milks the strife that would create. Despicable Me 4 rarely takes a breath before launching into its next slapstick bit.

Even side gags feel like they were once important in a previous version of the movie, only to be rewritten at some point in the process. Stephen Colbert distracts as Poppy’s father, and despite lending his voice to be a stereotypical rich guy, has no affect on the plot whatsoever. John DiMaggio voices what could have been a hilarious new bus driver with the charisma to control our little yellow dudes. Instead, he falls away in a glorified cameo. A plotline around Edith and Agnes attending karate classes disappears after one scene, despite being one of the genuine high points of the movie.

Perhaps nothing feels more disappointing than announcing Ferrell’s involvement. The iconic actor and comedian has contributed in small roles to many movies and shows in the past. He usually brings incredible energy into these bit parts, and helps create memorable moments as a result. President Business remains one of the best-animated antagonists in recent memory.

His role in Despicable Me 4 should channel that energy, but instead feels shockingly low-energy. The accent feels like he dusted off the Mogatu performance and turned up the “French” on the voice modulator. It’s a huge miss, and outside of his cockroach physicality, would easily rank at the bottom of the Despicable Me villain tree.

That might not matter in a vacuum, but don’t worry, Despicable Me 4 finds a convoluted way to ensure that all of the villains of both the Minions and Despicable Me films make their way into a single scene. That sequence feels like what one might have expected from a final Despicable Me movie, but given Despicable Me 4‘s box office projections, we’ll be right back here in the next two to four years.

If you like the Despicable Me franchise, then Despicable Me 4 will work for you. However, it’s tough to recommend to anyone else. There’s not much going on in this movie beyond random action sequences with no real ties to keep the story together. Things kind of just happen because we need them to. However, Despicable Me 4 will scratch the Minion itch for its core audience and ensure future installments are underway.

Alan’s Rating: 4/10Watch Despicable Me 4 in theaters today. Universal Studios distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: DESPICABLE ME 4 – A Surprising Letdown Despite Looney Tunes Action appeared first on Sunshine State Cineplex.

View Details

The noise building around Ti West, “master of horror,” has always been a little disingenuous. West, who certainly directed horror classics like X and House of the Devil, has always focused on story above all. Maxxxine, his latest foray into the genre, does not play like a typical horror film. Many knocked House of the Devil and The Innkeepers for being too slow, but West’s slow-burn taste has allowed them to endure for years. In the case of both X and Pearl, the bloody conclusions came after restraint. They also contributed to an understanding of two women who sought fame at any cost. Maxxxine arrives with very high expectations and a bloodlust.

Mia Goth’s rise as a scream queen further fueled the fire, despite questions on and off set. When Maxxxine starts up, it returns us to her character’s journey, forcing her to reckon with her life. While the trilogy continues its understanding of fame versus infamy, it takes its foot off the horror pedal. This makes for a unique and satisfying conclusion but is not what many will expect.

Maxine Minx (Goth) rose to become a respected adult film actress. However, she wants to break through in mainstream movies, not porn alone. When she auditions for The Puritan II, Maxine hopes to nab the lead role. Director Elizabeth Bender (Elizabeth Debicki) pushes Maxine, even bringing the star of the first film around set. Simultaneously, Maxine receives blackmail from private eye John Labat (Kevin Bacon) while a serial killer roams LA. The killings become personal as Maxine’s friends begin dying, causing police (Michelle Monaghan & Bobby Cannavale) to investigate.

West constructs Maxxxine in a way that allows it to stand out from the two previous films. While X mirrored grindhouse movies and Pearl celebrated technicolor stardom, Maxxxine dives into the grittiness of 1980s Los Angeles. When it trends toward horror, it’s indebted to B-movie slashers like Maniac or Pieces. However, West primarily pulls from Brian De Palma’s lurid thrillers. Guilt and melancholy hang over the movie, and West makes Hollywood feel every bit as corrupt as the adult film industry springing up in the shadows.

Additionally, with the satanic panic occurring throughout the background of Maxxxine, churches, and others are benefiting from the exploitation and perceived corruption. That aspect of Maxxxine harkens to modern-day concerns, showing the extremists who believe Hollywood is an all-corrupting bacchanal have always existed. West retorts these groups and once again highlights the blind pursuit of a belief may result in unforeseen consequences.

Beyond all else, Maxxxine portrays the corrupting influence of stardom. West crafts the story in a way that allows us to see Maxines’s personal descent into madness from the guilt. Additionally, the compounding pressures weigh on her over time, causing distrust in most around her. Literally losing her friends at a rapid pace does not help matters, but in an era of disinformation and the unknown, her skepticism saves her. While others naively find themselves in harm’s way, Maxine navigates the darkest aspects of the culture.

Additionally, Maxine continues to show a darkness within her. A Buster Keaton Mime and car receive the worst of it, but it’s clear that her rage has not left her. West insinuates that even with fame and money, our character does not leave us. The sex and violence it takes for us to get to the mountaintop have little to do with our power once we get there. Maxxxine tells the story of a woman discovering her power and agency. What she does when she obtains that strength does not always put her in a positive light to those around her.

West’s direction certainly plays up the nostalgia for the 1980s, which might be the weakest aspect of his story. Yes, we love VHS movie culture and big hair-dos. However, while her proximity to Hollywood and adult films at the local rental market makes sense for the story, West lays it on thick. When Maxxxine instead showcases the seedy underbelly of a club or junkyard mob activity, it’s better for it. There’s a looseness to these sequences or watching Giancarlo Esposito play super-agent that feels more genuinely of the moment than any of the pandering shots.

Additionally, the use of the Universal backlot makes for entertaining sequences. Many of these scenes, whether on the “Streets of New York” or running past the Bates Motel, are part of the modern Universal Tram Tour. They are undeniably part of film culture to this day and highlight the working studio aspects of the Universal lot. It’s enjoyable to watch these sequences, knowing you, as an audience member, could walk them in the right circumstances. It also adds to the “dress-up” and faux-reality of Maxxxine.

The performances are also quite fun. Goth turns in another good performance, though it’s the least of the three so far in this series. That’s not a knock, considering how good the first two were, but it is a step down. Meanwhile, Bacon, Esposito, and Debicki pump more energy into the story. They’re all playing fun characters and, as a result, get to showcase a gruff side of the industry.

Meanwhile, Halsey and Lily Collins get short but memorable showcases in one-to-two-scene performances. Moses Sumney brings a lot to his role but, unfortunately, does not get the screen time he deserves. He’s amusing but feels tertiary to the overarching story. The final act reveals a performer that should not come as a surprise, but many have already pegged it as a “twist.” That actor brings an incredible energy into the final scenes of Maxxxine, and makes for an excellent foil to the story so far. A pair of Larry Fessenden cameos are incredibly welcomed as well.

Maxxxine subverts expectations in a way that feels organic for the trilogy. Yet at the same time, some will be displeased with the lack of overt horror on display. However, pulling from movies like Maniac or Body Double allows Maxxxine to accomplish its pastiche and still feel wholly unlike any other movie today. It’s a fun experience and one we believe will be highly rewatchable in the future.

Alan’s Rating: 8/10Watch Maxxxine in theaters today. A24 distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: MAXXXINE – A Swerve From Horror Leads To Intrigue appeared first on Sunshine State Cineplex.

View Details

Few life experiences can be as singular and relatable as coming of age. An endless array of situations and circumstances shape these events in life. Despite such variety the coming-of-age film genre rarely introduces new and fresh ideas to the tried-and-true formula. Hummingbirds, however, manages to carve its own special and unique niche in this category.

Directors and subjects of the Hummingbirds, Silvia del Carmen Castaños and Estefanía Contreras, were 18 and 21 during the time of filming, firmly putting them at that transition to adulthood phase. During the brief yet effective runtime, Castaños and Contreras document their summertime experiences. These moments include typical juvenile and mischievous behavior. It is a relatable array of activities where audiences will undoubtedly recall similar moments during these years.

Friendship is the driving force in Hummingbirds. Star gazing while lying on random cars, visiting Walmarts to acquire (and not always pay) for snacks. Attending bingo games with their moms while struggling to keep a straight face, much to the annoyance of the elders, or going bowling are some of the activities included in the daily adventures of the two friends. This confraternization, however, proves to be essential in their quest for survival.

Amid these jovial pursuits punctuated by excessive childhood laughter, an exceptional maturity seeps in between these moments. It is here when Hummingbirds unexpectedly delivers harrowing and tragic tales from the mouths of their subjects, and it becomes evident how necessary their kinship truly is. The coming-of-age experience Castaños and Contreras put on film varies wildly from the typical American experience or anything else put on film before. The otherwise self-indulgent exercise of documenting every moment of one’s life becomes anything but narcissistic as the pair’s search for identity proves complex.

Laredo is the setting for their self-discovery. Castaños and Contreras, along with other friends, frequently find themselves sitting on the US side of the Rio Grande, introspectively looking across towards Mexico. They exchange memories as well as they can, from when their families cross the river hoping for a better life. A sense of cultural pride imbues them as they long to grasp the significance of belonging.

As Contreras waits for her papers, the tired and archaic immigration process holds her in limbo, in an endless purgatory where deportation still exists as an option. Along with Castaños, the sense of wanting to contribute to their community holds its genesis in the realization that immigrants like them are often ignored and are not provided with basic necessities and rights. Contreras and Castaños actively participate in clinics designed to provide healthcare information to the community while also engaging in border politics. Additionally, in one of Hummingbirds’ best scenes, the two, along with another friend, set out to “correct” an anti-abortion sign on a neighbor’s lawn. It is youthful activism at its most admirable and best.

Hummingbirds is a stunning achievement made possible through a collaborative effort with experienced filmmakers. Miguel Drake-McLaughlin (who also serves as cinematographer), Diane Ng, Ana Rodriguez-Falcó, and Jillian Schlesinger share directing duties with Castaños and Contreras while Schlesinger along with Isidore Bethel edit all the material. No less than 18 producers are credited, speaking to the far-reaching recognition of the need to tell this important story. With an ongoing border crisis in the United States, Hummingbirds offers a different look into the immigrant experience. One that is much more important and proves to be more insightful than what American audiences are used to watching.

Although politically charged, Hummingbirds doesn’t limit itself from exploring other aspects that shape the cast’s lives. For the group of friends, coming of age not only means grappling with cultural identity. Bits and pieces of the documentary dedicate time to discuss sexual and gender identity and how these may clash with cultural traditions. Hummingbirds is a vastly layered experience, and how the filmmakers balance and present it all is nothing short of astounding.

The documentary recently won the Generation 14plus Grand Prix for Best Feature Film at the 2023 Berlinale Film Festival. Since then, it has enjoyed a successful festival run that will hopefully garner the widespread attention it so rightfully deserves. At a young age, both Contreras and Castaños have proven their multi-faceted abilities. Hopefully, Hummingbirds will be the first of many future collaborations.

Borja’s Rating 10/10Watch Hummingbirds on PBS, both on television and on the streaming. It releases on July 1 and continues to play in select theaters.Please check out other Sunshine State Cineplex reviews here!The post Review: HUMMINGBIRDS – Vibrant Documentary Offers New Perspectives appeared first on Sunshine State Cineplex.

View Details

While Hughie almost got sauteed by Homelander, the Boys picked up some valuable information. As Neuman and Homelander continue to work together, this spells trouble for the gang. Can they actually push back against this union now, let alone if Neuman wields government power? It’s time to dive into the fallout, and see how Sage looks to upset Annie in the process. Philip Sgriccia directs “Wisdom of the Ages.”

Susan Heyward (Sister Sage)“Wisdom of the Ages” – The RecapIn a science lab, the security cameras go out. Homelander arrives in the bunkered lab and apparently knows everyone on the staff. Scientists named Marty and Frank seem uneasy, but Homelander brought a Fudgie the Whale. He asks for them to call in Barbara, the woman who ran the site.

At home, Billy Butcher collapses in the shower. He hits his head on the way down, but the apparition of Rebecca pushes him to get up. Hugh hears his father is brain dead. The doctors push his mother to pull the feeding tube.

President-Elect Robert Seager watches the bad coverage he’s receiving from VNN. Annie walks into the room, promising she’ll do whatever she needs to help the incoming president pass his Supe Control bill. She believes he’ll need all the help he can. Seager agrees.

Frenchie wakes up to Ray Charles in his boyfriend’s bed. As they talk, Frenchie discovers that the cop was there when his family was murdered. At the Starlighters HQ, Annie tries to rally the troops, but she’s made aware that Vought is live-recording Firecracker’s first episode on VNN from across the street of the Starlighter’s base.

Sage briefs Vought’s influencers and heroes on the plan to take down Starlight in the public eye. They are going to use Firecracker to de extra pressure to the aggressive social media anti-Starlight campaign. She hands some final notes to Firecracker, telling her they’re the two new members of the group. They have to look out for each other. When Deep approaches her about their night together, Sage tells him he’s disgusting.

Tomer Capone (Frenchie)Annie coordinates an evacuation of her headquarters. As she does, Mother’s Milk, Frenchie, and Butcher arrive. She doesn’t trust Butcher, but M.M. tells her it’s happening. Butcher lets them know he has a plan that requires $50k and leaves with M.M. in tow. Firecracker announces she’ll being Annie’s childhood preacher onto the stage.

Homelander continues to spend time with the scientists. He asks Frank if he’s like to shoot hoops with the paper balls. However, Homelander wants to to exact his revenge on Frank- who turned up the heat in an oven until Homelanders skin would burn. After a few jokes, Homelander forces Frank into the oven (after threatening his family) and burns him alive.

Hughie and Kimiko arrive at the docks, and A-Train meets them. Both A-Train and Kimiko are confused, but Hughie tells A-Train he needs a vial of Compound V. When A-Train refuses, Hughie plays the “you killed my girlfriend” card. A-Train says he can do it if they’re good afterward.

Karen Fukuhara (Kimiko)When A-Train leaves, Kimiko tells Hughie he needs to stop. However, someone opens fire on them, and Hughie sprains his ankle. Kimiko realizes it’s Shining Light, who continues to hunt her after she kills some of their members. They have to fight their way to survive.

Mother’s Milk and Butcher walk backstage of Firecracker’s production. The $50k went to giving a Spider-Superhero a “heroin enema.” Butcher asks M.M. to take care of Ryan if Butcher dies. Firecracker comes around the corner and the Butcher reveals they have blackmail (Firecracker slept with a 15-year-old in Florida).

Butcher threatens to send the tweet with the evidence if Firecracker does not tell them what Sage is up to. However, Firecracker hits the send button. She then goes on stage and repents for her crime on TV. Firecracker then reveals that Starlight blinded a woman during her first save. Starlight watches the show with her team and apologizes before running away. M.M. and Butcher return with the keys to Firecracker’s trailer.

A-Train gets into Homelander’s apartment and finds the V. Before he leaves, the marketing lady catches him. However, he asks her why she’s there. It turns out she pooped in his toilet and left a floater. They won’t tell on each other because Homelander would kill them both.

Homelander looks at a measuring stick with his height. He then calls over Marty, and apologizes for Frank. Homelander then reminds Marty of the room the scientists kept the young supe locked in overnight. It was the only “private time” that Homelander would have, and Marty caught him masterbating once. Afterwards Marty laughed and called Homelander “Squirt.”

Antony Starr (Homelander)Marty apologizes but Homelander forces Marty to jerk off in front of the office for everyone else to laugh at him. When Marty struggles, Homelander lasers Marty’s manhood. Barbara arrives and tells Homelander to put Marty out of his misery. He obliges and the two step into Homelanders old room to speak.

Hughie and Kimiko fight their way out of the office building. Among the Shining Light members is a girl that Kimiko lured into their camp. Kimiko appears shaken, and the girl expresses her hatred. Frenchie sneaks into Firecracker’s trailer. While he’s there, Firecracker reveals that Starlighter had an abortion (showing copies of her medical records).

At the same time, Gideon finds Frenchie in the trailer. They begin to fight as Annie interrupts Firecracker’s telecast. Annie proceeds to use her powers and beat Firecracker on live television. M.M. stops Annie, and pulls her off the stage, but the video is already circulating social media. Butcher steps in to save Frenchie and freezes and breaks Gideon’s arm. However, Gideon chokes Butcher with his other arm until Butcher blacks out. When he wakes up, Gideon’s remains are all over the trailer.

Homelander and Barbara discuss his revenge. She tells him to back off the scientists who were following orders because they were terrified of him from birth. Homelander had lasered open the woman who carried him to term when he was in utero and killed several doctors and nurses post-delivery. Barbara tells Homelander he always had the ability to escape, but Vought engineered his need for love on a mental level. He could kill everyone in the lab, and he would still need that attention. Homelander says he’s not human, and he’ll raise his son to know that.

Frenchie wakes up to Corey caring for him. He tells Corey the truth about what he did to Corey’s family. Realizing what’s happened, Corey beats Frenchie and begins to strangle him. Corey lets up and tells Frenchie that they can never see each other again.

Valorie Curry (Firecracker)Deep walks into Sage’s apartment, confused as to why she would call him after their earlier conversation. Sage admits her brain is constantly regenerating, and she asks him to lobotomize her. Deep refuses at first but Sage promises to sleep with him again. He gives her a lobotomy, and she quickly becomes more childish.

At The Boys HQ, Kimiko and Hughie watch Neuman react to Starlight’s attack on Firecracker. Annie arrives, and Hughie apologizes to her for having to go through it. Annie’s mom has gone silent, and she’s afraid people are judging her. Seager calls Annie and tells her she destroyed the Supe Control bill.

A-Train hands off the V to Hughie. A-Train doesn’t believe that Hughie would forgive him, but the two shake hands and Hughie thanks him. However, Butcher watches from the corner, angry at Hughie and tells him to get rid of the V. Hughie offers to use it to save Butcher, but Butcher reveals he’s already used it. He did not get powers, and it just expedited his brain cancer’s growth.

At the hospital, Hughie is about to give his Dad V. However, he hesitates. Hughie’s mother comes in, and Hughie steps out of the room. While he’s out of the room, she gives him the V and Hughie’s dad wakes up. In Homelander’s former cell, he’s killed the rest of the office and leaves in an elevator, covered in blood.

“Wisdom of the Ages” – TakeawaysOnce again Kripke and Co. leave no question about the villain of the story. “Wisdom of Ages” makes it very clear. Yes, Vought has brought evil into the world, without a real sense of how to control it. Their willingness to warp Homelander’s sense of reality, and even change his view on the important relationships in his life shows just how evil corporations as a whole can become. After all, when corporate greed meets a chance to do good with your experiments, corporate greed will often win out. Despite this, Homelander’s petty nature, willingness to hold grudges, and literally kill everyone in sight shows how an out-of-control Homelander is a danger to the planet.

Meanwhile, Butcher’s emerging as his own dangerous threat. Yes, he blacked out, but he clearly killed Gideon. What happened to him with his cancer, and his seeming Lovecraftian creature living inside him? He’s seeing Becca appear at random. He’s killing others, seemingly by accident. We love Butcher, but can we trust him? Again, power gone unchecked seems to be a theme that Kripke and company want to highlight, and Butcher’s power might have even less resistance.

The result of injecting Hughie Sr. with V might show some of that worry. What powers might he have gained, despite being an inch from death? At the same time, how is Butcher still struggling despite the influx of V? Did the Temp-V really damage his body so severely that even V couldn’t fully cure him?

The fallout from “Wisdom of the Ages” will stem from Annie’s attack on Firecracker. Given the blowback she’s already received from the Starlighters’ “violent outbursts,” she’s beginning to lose support. Tack on an actual violent outburst, even a warranted one, and you’ve got support waning from The Boys’ most integral piece. With even her own team stepping away, Annie/Starlight could find herself in a corner really quickly.

Sage and Neuman continue to be the two big winners of “Wisdom of Ages.” Sage’s plan strikes at the heart of what The Boys are hoping to accomplish. She’s breaking off a piece on the side, but if that keeps her effective, it’s hard to fault the results. Finally, Sage clearly knows something’s going on with A-Train. It’s not a question of if but when she’ll expose him. Meanwhile, Neuman continues to add political power while Robert Seager loses it. How that fight comes to a head may ultimately decide the future of the country in this universe.

Alan’s Rating: 9/10Watch “Wisdom of the Ages” on Amazon Prime. The Boys airs every Thursday on Prime. Check out our Reviews, Recaps, and Features on TV here! The post TV: “WISDOM OF THE AGES” – THE BOYS – Season 4, Episode 4 Recap appeared first on Sunshine State Cineplex.

View Details

The fallout from the staged attack on Homebasers proves effective. Can The Boys turn the tide against Homelander and his growing squad? Sage wields a lot of power, and that only seems to be growing. Her abilities alone should be of concern, but combined with Homelander, they make for a monstrous combination. Karen Gaviola directs, and Jessica Chou writes “Life Among the Septics” – Season 4, Episode 2 of The Boys.

“Life Among the Septics” – The RecapA-Train (Jessie T. Usher) delivers drugs for a local boss but is interrupted by his running coach Brink (Will Ferrell). It’s a scene for the “A-Train movie,” and when the director calls to cut, the director focuses all of his attention on Ferrell. However, he criticizes A-Train, who walks to his trailer.

Annie (Erin Moriarty) sits at the bedside for a Starlight injured in the riot. Hughie (Jack Quaid) and his mother, Daphne (Rosemarie Dewitt), fight while sitting next to Hughie’s Sr. (Simon Pegg). Unbeknownst to Hughie, his Dad gave his ex-wife power of attorney for these situations. Frenchie (Tomer Capone) leaves Colin’s (Elliot Knight) apartment, and Komiko (Karen Fukuhara) speaks with a psychologist about her mutism. At The Boys headquarters, Butcher (Karl Urban) comes clean about his cancer. M.M. (Laz Alonso) kicks him out of the group for lying again.

Ryan (Cameron Crovetti), Homelander (Anthony Starr), and Ashley (Colby Minifie) hear a pitch from the writers about Ryan’s future show. Sage tears it apart and sets up Ryan’s first “save.” When she leaves, Ashley chases her down. Ashley warns Sage about Homelander’s temper. As she does, Deep asks to be present for the crime stop. Ashley tells him no and storms out of the elevator, causing Sage (Susan Heyward) to advise Deep (Chance Crawford) to stand up for himself.

M.M. breaks down the security footage from the riot/rally. He informs Annie and Hughie that he had been observing the dead Hometeamers just before their deaths. After briefing the group, he takes Frenchie and Kimiko with him on a mission North. Hughie stays behind for his dad, and Annie will try to ask A-Train what he knows.

The actors, Ryan, Deep, and Noir (Nathan Mitchell) practice his save. When Ryan doubts his abilities, Homelander tells him it’s just practice. Deep confronts Ashley about the way she spoke to him earlier. M.M., Kimiko, and Frenchie arrive at a Hometeamer and Alt-Super movement convention. Butcher is already there and joins the team as they investigate. M.M. and Butcher sit in a panel from Alt-Supe rising star Firecracker (Valorie Curry). Kimiko and Frenchie follow a lead who turns out to be a multiplying man (who is found in a compromising position).

Hughie and Annie wait for A-Train to ask him questions. They see him spending time with his nephews, but A-Train is chewed out by his brother Nathan. After his family leaves, A-Train surprises Hughie and Annie. He hands them the tape that will exonerate the Starlighters accused of murder. A-Train also thanks them for not approaching them when he was with family. At the convention, Sage approaches Firecracker to join The Seven. M.M. fights with Butcher about the way he’s running the team. Komiko fights a Hometeamer, and they rush out of the convention.

Ryan’s save goes poorly when he accidentally kills the stuntman he’s been working with. M.M., Kimiko, and Frenchie try to eavesdrop on Sage & Firecrackers meeting. However, it was a setup, and Sage explains before she leaves. A fight breaks out between Splinter, Firecracker, and the team. Butcher arrives to save the Team. They kill Splinter Prime, which kills all of his copies. Firecracker runs away.

In Vought Tower, Homelander tries to comfort Ryan. After milkshakes do not help, he hugs Ryan and says that his presence will help increase their numbers. Ryan tells Homelander that he’s not sad about the team-up but is sad about killing Coi. Homelander brushes it off until Ryan says he will not try saving anyone again. He compares humans to toys and tells Ryan he’s destined for more and that he needs to accept it.

Outside the precinct, Starlight and Hughie leave the court with the men accused of killing the Homebasers. Hughie asks if she’s sure she wants to embrace her hero name, and she believes she must. Frenchie calls a friend who is aware of his history with Colin’s Dad. She asks what his plan is, but Frenchie cannot answer.

Hughie storms into his father’s hospital room. He yells at his mom and tells her to include him in decisions. If not, he will challenge her for Power of Attorney. At The Boys HQ, Kimiko grows angry about a Shining Light squad in New York. She leaves to catch them when Butcher walks in to ask M.M. and the team to help. M.M. thanks him for saving them but tells him no.

“Life Among the Septics” – The TakeawaysThe Alt-Super movement and convention is one of the funniest things the show has ever pulled off. I’m already cuing up “Life Among the Septics” for these scenes alone. It is not only very gross but poignant in its criticism of the Far Right. Additionally, “Life Among the Septics” showcases Sage as someone always a step ahead. Again, she proves a bit too smart for the M.M., but he rarely makes the same mistake twice. Luckily Butcher arrived to help bail them out this time. However, the relationship between Butcher and the team remains strained. That will need to be addressed and fast.

“Life Among the Septics” gives us two of the most relevant characters to the world today, and they’re scarier than nearly everyone in The Seven. The arrival of Valorie Curry to pair with Susan Heyward provides a great dynamic from the start. The two actresses get to utilize similar skill sets for The Seven and help make it clear to the audience that it’s not only cool powers and braun that make a Supe. Instead, Firecracker’s ability to persuade the masses and Sage’s ability to manipulate make for a lethal combo.

It’ll be curious to see how where A-Train’s actions take him this season. It’s undeniable that he’ll be caught on some level with the tape he gave away. That could make “Life Among the Septics” a true turning point for A-Train. Sage has already seemed to him after he did not kill the Homebasers. Furthermore, A-Train vs. Hughie still shows a lot of bad blood. It’ll be interesting to see if there’s a reason for them to work together, or if there’s a way they can shift the tide in the relationship.

Watching Homelander struggle with the basic aspects of fatherhood is remarkable to watch. It helps add levity to “Life Among the Septics” that does not feel overly dark. At the same time, it’s true to the character in every way. For everything he could do well, Homelander does many wrongs. Most importantly of all, Butcher and Becca’s morality still seems to guide Ryan in some way. His guilt might by the key to fighting off Homelander in the future.

Alan’s Rating: 8/10Check out The Boys on Amazon Prime. “Life Among the Septics” aired on June 13, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: “LIFE AMONG THE SEPTICS” – THE BOYS – Season 4 – Episode 2 Recap appeared first on Sunshine State Cineplex.

View Details

Many artists strive for perfection. Some actually achieve it either through perseverance or sheer talent. Those who find perfection, then, are desperate to hold on to it. I Am: Céline Dion explores this concept with one of the greatest artists of all time as the subject. While the documentary is largely about Dion’s life and private struggles with a rare medical condition called Stiff-Person Syndrome, the theme of what makes perfection radiates throughout.

This elevates I Am: Céline Dion beyond a standard biography. Instead, with the camera following Dion through her day-to-day life, we get an intimate look at how a disease shapes a person’s life. It’s sentimental, raw, and, at times, a harrowing examination that is made even more incredible by its very recognizable subject.

Céline Dion may be one of the most famous voices in music. A powerhouse vocalist known for hits like “My Heart Will Go On” and “All By Myself,” Dion rose to worldwide prominence in the early 1990s after several years of success in Canada and Europe. The film shies away from the standard year-by-year examination of the artist’s career format and instead focuses on who she is now. The choice is a wise one and helps paint her as more relatable.

However, as one segment featuring Dion’s extensive collection of archived outfits and memorabilia displays her massive wealth, we should all aspire to that level of organization. The archived items are interspersed with footage of past performances to give context to those who may be unfamiliar with the singer.

Director Irene Taylor stages her crew in Dion’s home, capturing moments between the superstar and her teenage sons or instances of quiet introspection. We see her meticulous organization and attention to tidiness and order. In close-up confessionals, Dion doesn’t sugarcoat the fact that she is talented. Her voice is her instrument and she’s aware of the power that it has. While some may find the admissions conceited, their inclusion helps illustrate the devastating effects as her condition takes hold. Though clearly struggling, Dion doesn’t allow the disease to consume her life, instead taking control of the things she can. Taylor’s fly-on-the-wall approach captures how that control can lapse in real time.

A segment exploring Dion’s childhood gives context to her mindset. Struggling to put food on the table, Dion’s mother makes a meal of the only ingredients on hand, dough and carrots. The carrot pie, well-received at the dinner table, was her mother’s way of quietly making the most out of their situation without allowing anyone to know she was struggling. The children were none the wiser until years later.

Dion later admits that she refused to publicly reveal her diagnosis, instead using tricks during performances to cover instances when her voice could no longer go on until it was physically impossible for her to continue. These admissions not only shed light on the strength of the performer’s will to continue to perform but also give a unique glimpse into the performances themselves.

Taylor’s third-act narrative shifts the focus from Dion’s life before the disease to how she lives with it in the present. A recording session in which Dion is unable to manipulate her voice to hit notes that were once effortless to her becomes the catalyst for the film’s most heartbreaking and intimate scenes. It is a powerful deconstruction of the perfection that Dion built her life on and a reminder that some things are just out of one’s control. It’s a harrowing message but one that resonates strongly.

I Am: Céline Dion stands out against other biography documentaries because it represents more than simply one individual’s life. Themes of acceptance and perseverance permeate against the backdrop of loss of control. Enough context is given through stock footage to allow Taylor to focus on the present rather than the artist’s past. The unflinching honesty of Dion’s confessionals highlights the challenge she faced in opening up and demonstrates her own quiet strength. She refuses to let the disease define her and accepts that she will never be the performer she once was and the film succeeds in depicting her stepping into that new identity, Céline Dion.

Josh’s Rating: 8/10Watch I Am: Céline Dion on Amazon Prime today. Amazon Studios distributes. Please check out other Sunshine State Cineplex reviews here!The post REVIEW: I AM: CÉLINE DION – A Harrowing Glimpse Into the Life of a Great Artist appeared first on Sunshine State Cineplex.

View Details

Forty years after flying in from Detroit for the first time for to create a headache, police lieutenant Axel Foley (Eddie Murphy) returns to aid his estranged attorney daughter, Jane (Taylour Paige). Threatened for taking on a client who is accused of killing an undercover cop, Axel F is notified by his former partner, Rosewood (Judge Reinhold), and flies back to area code 90210 to assist her. Together with the assistance of a younger detective (Joseph Gordon-Levitt), they follow the trail of evidence, only to hit roadblocks in Chief John Taggart (John Ashton) and a police captain (Kevin Bacon) whose $2000 Gucci shoes reeks of corrupt swagger from the moment you see him.

(L to R) Eddie Murphy as Axel Foley and Taylour Paige as Jane Saunders in Beverly Hills Cop: Axel F. Cr. Melinda Sue Gordon/Netflix © 2024.So, okay, I just gave away the fact that we already know the antagonist and it is clear that it is not whodunit but whydunit. It is very obvious from the moment you see it. Axel F is a film that relies on nostalgia from the first film only (although a joke about 1994 – Beverly Hills Cop III – not being any good is a great reference).

Axel F highlights the return of the original characters and actors, including Paul Reiser and Bronson Pinchot. What is a regular, not over-the-top plot keeps us fairly entertained and happy throughout with the quick back-and-forths and chase sequences full of calamity that is Foley’s schtick. Compared to other long-time sequels, Murphy’s role has aged well and still gives us the laughs.

(L to R) John Ashton as Chief John Taggart, Eddie Murphy as Axel Foley and Judge Reinhold as Billy Rosewood in Beverly Hills Cop: Axel F. Cr. Melinda Sue Gordon/Netflix ©2024Australian director Mark Molloy makes his film feature debut with Beverly Hills Cop: Axel F and keeps it on track. This is not an explosive film with twists and turns. Instead Molloy does his job in keeping it simple. It is a story that took many years to finally get off the ground. It succeeds in scrubbing off the awful taste of the third film, so this series doesn’t end like the Indiana Jones franchise. The addition of Paige and Gordon-Levitt are refreshing and brings in the new with the old and adds the another emotional layer with the father-daughter estrangement, which they don’t go heavy-handed with.

Hearing that legendary theme again is so good throughout the movie, and so is seeing Murphy, Reinhold, and Ashton together, even though it isn’t for a long moment. It quickly reminds us who loved the original film and why it was a massive success. Even with its flatter moments, Axel F is still entertaining, carrying viewers to the end and giving us more 80s-era nostalgia fulfillment.

Brian’s Grade: 7 of 10Follow me on Twitter: @brian_cine (Cine-A-Man)Watch Beverly Hills Cop: Axel F on Netflix today. Netflix distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: BEVERLY HILLS COP: AXEL F – Eddie Murphy Returns to Form As Detroit’s Hilarious Rebel Rouser appeared first on Sunshine State Cineplex.

View Details

With Osha and Mae switching spaces, there’s a good chance we can have fun this episode. The question is how far will The Acolyte push its leads? “Teach/Corrupt” seeks to figure out how much each of their teachers have affected their growth. Will switching their positions allow for a better understanding of themselves? Or will they sway to the other side of the Force? “Teach/Corrupt” is directed by Hanelle M. Culpepper. It is written by Leslye Headland and Jocelyn Bioh.

Master Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“Teach/Corrupt” – The RecapOsha wakes up, confused by her location. There’s food, drink, and some gear left behind. She realizes the clothes and knives are from her sister. She picks up a knife and exits the cave, realizing she’s stranded on a green island. Osha explores the “Unknown Planet” until she sees Qimir collecting items off the beach. She sees a ship off the coast on another hunk of rock.

On Khofar, Sol and Mae board a ship to Corusent. Sol sends a transmission to the Jedi, relaying the death of his team. Mae wanders the ship, hearing echoes of her time in the test. Bazil remains skeptical of Osha. Sol tells Mae, believing her to be Osha, to take the wheel of the ship. In the hull, Sol’s cool exterior breaks, allowing his anger and emotion to release. Bazil wanders the ship with Pip, eventually setting Pip to charge.

The Stranger (Manny Jacinto) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Qimir wanders to a pool and undresses for a bath. Osha watches from a distance, preparing her knife in case she can strike. She sneaks up to his gear, gripping his lightsaber. Qimir asks her how it feels to hold a saber again, making it clear he knew of her presence. He critiques her stance and asks to put his clothes back on.

As he does, Qimir tells Osha that the anger in thoughts betray her intentions. Osha asks why Qimir brought her here and why he took her prisoner. She then quickly asks if he killed Sol and Mae. He tells her no and that the order of her questions is also curious. He makes a snide remark about a master/pupil dynamic and walks away.

On the ship, Sol hugs Mae tight. Still calling her Osha, he tells her that he will tell the council everything. Before he can, the ship’s power goes out. A Senator speaks with Master Vernestra about an upcoming Senate investigation of the Jedi. The hologram blames it on an over-ambitious senator. However, green then hears the news about Sol and his team. She readies a rescue mission.

Master Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Osha and Qimir walk along the rocks, and Qimir reveals that he was once a Jedi. She believes Qimir means to lure Sol to the planet by using Osha. She believes it’s Sol’s power, but Qimir dispels that notion. It’s Osha, not Sol, who is strong with the force. Qimir offers her food before she tries to reach the ship and fly away.

Mae reaches the ship’s engine room, where Pip and Bazil set a trap. They comically attack her, and Bazil runs away. Mae resets Pip and uses him to check the ship’s systems. On the unknown planet, Osha tells Qimir she has not exercised her force power, so it faded. He laughs, telling her that the Jedi wanted her to believe that, but they ignore emotion that allows some greater control.

Osha yells at Qimir for the murders on Khofar, especially Yord and Jecki. Qimir retorts that he was just trying to survive and that she loves people who do not love her back. Osha tells him she’s not as easily corrupted as her sister. Qimir asks her why she hasn’t killed him, and she responds that a Jedi does not kill the unarmed. He challenges her, asking why she considers herself a Jedi if they threw her away. She responds that they did not throw her away, that she failed, and she pins him against a rock with his saber. Qimir tells her that he understands, and she turns off the saber.

Vernestra Rwoh (Rebecca Henderson) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Master Vernestra joins Mog and the Jedi he assembled on a transport ship. While Mog asks her why she’s joining, Master Vernestra tells him she needs to see to the mission personally. Bazil walks through the ship’s vents, and Mae can hear him walking. However, before she can capture him, Sol calls out to her. Sol wonders why he could not sense Qimir’s power on Olega. Mae tells him they were all fooled. Sol notices the compassion “Osha” gives to Pip, and Mae tells Sol that she gave up everything to become a Jedi.

She then asks if Sol told her everything that happened on Brendok. Before he does, the ship powers up. He goes silent, and Mae goes to send a communication. Before she can complete it, Sol blasts her. He knows it was Mae, and while the Jedi tell him to stay put, he engages light speed. A second later, Master Vernestra lands on Khofar with her team. They head into the forests.

Master Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Osha asks Qimir if his pitch to join him was the same as when he recruited Mae. He admits he was wrong, thinking Mae wanted to join a power of two. Instead, she wanted revenge. Osha asks Qimir about his scars on his back. Qimir tells her it was from his Master who threw him away. He tells her the helmet he uses works as sensory deprivation, helping to enhance his connection. He also tells her to try it and trust herself.

Master Vernestra stumbles upon the fight, finding the bodies of Yord and Jecki. Mog tells her what he sees until Mog accuses Sol. She pushes back, but he does not know of a Jedi with so much power. They recover the bodies of their brethren.

Mae wakes up and finds herself handcuffed to a gurney. Sol tells her they have to find her Master. He is going to tell her what happened. Meanwhile, Osha tries on the mask, slowly slowing her breathing within the device.

Bazil (Hassan Taj) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“Teach/Corrupt” – Takeaways“Teach/Corrupt” slows down The Acolyte after an action-packed showdown. It’s a wise move that allows ideologies and guilt to fill the space. The series ultimately comes down to the questions Headland and the team pose here. Who deserves to tell others how they control the force? What actions are honorable people capable of committing? Most of all, are the Jedi above reproach?

Qimir’s lesson does appear simple in “Teach/Corrupt” and in life. If you have the opportunity to grow stronger, you must take it. Only then can you achieve freedom. His temptations lead Osha through every scene, and she slowly moves toward him. It’s possible the Jedi misunderstood her character from the get-go. More so, Qimir wishes Osha to face her own intentions in life. The final moment in the mask felt brilliantly set up over the probing questions from Qimir throughout.

Master Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Meanwhile, Sol slow plays his knowledge about Mae. He seems equally willing to let her play out her intentions before he makes his move. She does not harm him, and that does tell him something about her character. At the same time, her lies and deception are obvious, allowing him to pull more of her pain out of the discussion. It’s pretty clear that Mae’s plan was bad from the start, but at “Teach/Corrupt” allows Sol an opportunity to explore her thoughts.

While the Bazil appearances have been funny, the quirky fight with Mae felt straight out of Hook. This does not fit the tone of the series and instead feels like a corporate mandate for a to-do shift. It seems like Headland would be unwilling to compromise their vision for this, but the rest of the episode is very targeted. In the best-case scenario, the scene feels out of place. In the worst case, it’s an unneeded distraction.

“Teach/Corrupt” is not the best episode of the series, but it does provide a nice bridge into the final two episodes. Perhaps most curious of all is what Master Vernestra knows, compared to what Qimir and Sol know. If the three parties should cross in the next two episodes, we could see some real fireworks.

Alan’s Rating: 8/10“Teach/Corrupt” aired on July 2nd, 2024. Watch The Acolyte on Disney+.Check out our Reviews, Recaps, and Features on TV here! The post TV: THE ACOLYTE – “TEACH/CORRUPT” – Season 1, Episode 6 Recap appeared first on Sunshine State Cineplex.

View Details

The original Mean Girls, released in 2004, became a modern high school classic. Thanks to writer Tina Fey’s sharp wit and memorable performances, it etched the story in pop culture. It was something everyone could quote with and showed Fey’s talent outside of SNL. It made all the sense in the world to see Mean Girls become a Broadway musical and be successful in that as well. Following the trend of movies that become musicals which become movies themselves – ala The Color Purple – Mean Girls is back again with Fey writing the script and playing Ms. Norbury again.

However, the retelling of Mean Girls has some minor differences, but the story is the same. Cady Heron (Angourie Rice) has just moved from Africa back to the United States to attend high school and finds herself befriending outsiders Janis (Auli’i Cravalho) and Damien (Jaquel Spivey). She is then warned about the Plastics, a trio of girls full of (adjectives) led by Regina (Reneé Rapp), who take an interest in their new classmate. But when Cady has a liking for Regina’s ex-boyfriend (Christopher Briney), the claws come out, cruel tricks are played, and the “Burn Book” is revealed.

The film is simple and fun but doesn’t present itself as a new version of the source. For those fans, it is a source of frustration that nothing new was added except the music & lyrics from the Broadway show. Fey’s husband, Jeff Richmond, did the score accompanied by lyricist Nell Benjamin; for those who hadn’t seen the original show (like myself), the songs do snap well, and the cast is sublime. The film is helmed by newcomers Samantha Jayne and Arturo Perez Jr, who direct the movie safely and don’t try to do audacious camera tricks. This is fine, but can make Mean Girls bland.

In the end, it’s the cast with comic timing mixed with those catchy songs that carry the film. If you haven’t seen The Sex Lives of College Girls, you will know who Renee Rapp is after watching her as Regina, which she played on Broadway. The look in her eyes and the sound of her voice make her presence memorable as a star to watch out for. Mean Girls is a nice piece of nostalgia for a new generation who haven’t seen the original, but it’s an excellent return for those who are getting reacquainted with what they first saw twenty years earlier.

Grade: 6.5 of 10Follow me on Twitter: @brian_cine (Cine-A-Man)The post Review: MEAN GIRLS – The Musical Adds Nothing New But Keeps It Fetch appeared first on Sunshine State Cineplex.

View Details

While “Rhaenyra the Cruel” villainized Team Black, it also proved the folly of the Greens as tacticians. Shoving Otto Hightower (Rhys Ifans) out of the council seems destined to have ramifications for Aegon. Additionally, Team Black allowed Daemon to leave the castle, hoping to capture Harrenhal for Rhaenyra. While the two of them might be at odds, Rhaenyra hopes to end the war diplomatically. The men of Westeros want war, but her relationship with Alicent may stop the inevitable march. Much of “The Burning Mill” highlights this pursuit, and if peace is possible in Westeros for those who wish to rule it. Geeta Vasant Patel directs.

“The Burning Mill” RecapBlackwood and Bracken soldiers in the Riverlands. They argue over the line of succession. Before we see the fight between the soldiers, we cut the aftermath of a battle. Hundreds lay dead in the ditches. A windmill burns in the background of the battlefield.

The Targaryens on Dragonstone stand by as the Cargill are buried in a shared grave. Rhaenys tries to counsel Rhaenyra about approaching Alicent. She believes no wars are worse than those between kin and dragons. Alicent sent a Raven, but Rhaenyra refuses to answer her former handmaiden. She holds Alicent responsible. Rhaenys reminds Rhaenyra that others hold her accountable for killing the future King.

Criston Cole attends the small council, passing newly enshired members of the Kingsguard, who also happen to be Aegon’s friends. They are less than impressive. He acknowledges there were mistakes, but it was a bold move. The table argues over whether the battle between the Blackwoods and Brackens means anything for the war, and when they debate, Cole says he will take Green soldiers to capture Harrenhal. Aegon and Aemond both wish to take their dragons with them, but the council talks them down.

Rhaenyra speaks with the Mysaria. She was the one who warned Rhaenyra’s Kingsuard about the attempt on her life. She wishes to hold a place in Rhaenyra’s court. Mysaria knows this is a reach, but she also knows that Rhaenyra might help her achieve true power. Rhaenyra then speaks to Rhaena to help watch over sons in the Vale. She must honor her pledge to bring dragons. Rhaena does not appear pleased, believing herself more valuable in the fight.

Daemon arrives in Harrenhal with Caraxes. As he does so, others sneak up to the castle. He wanders through the castle, eventually coming upon Ser Simon Strong. Ser Simon pledges his loyalty to Rhaenyra and apologizes for the mediocre food. When Daemon questions Ser Simon’s loyalty, given that Larys Strong is head of their house. Simon pushes back, implying they know he killed his father and brother. Daemon wishes to repair Harrenhal and bring the Banner Man with him.

Criston Cole meets Ser Gwayne (Freddie Fox), Alicent’s brother and Otto’s son. After some barbs back and forth, Geayne leaves. As Alicent goes to leave, he asks for her favor. She gives it to him, and the Greens march toward Harrenhal.

Rhaenyra sits at the head of her council, listening to her the council. They propose using dragons and then follow it up by pitching to have her leave the country. She grows furious, accusing them of potential treason. Rhaenys speaks with Corlys about the meeting. She proposes naming Rhaena as heir to Driftmark, and Corlys pushes back, as neither Rhaena nor Joffrey are ready to rule. Rhaenys worries that they do not have time, as war is raging.

Rhaenyra sends Rhaena to The Vale. At first, Rhaena feels rage for being sent away while her family engages in war. However, Baella shows her that Rhaenyra will send four dragons with Rhaena. With those eggs, she trusts the future with her step-daughter. They depart with the eggs and small dragons.

Alicent tries to console her daughter Haelana about her son’s death. Haelana shrugs off her grief and she’s put it out of her mind. Alicent pushes back, telling her daughter she’s allowed to grieve. Haelana tells her mother she is forgiven for leaving them unprotected. Aegon dresses for war, and Larys interrupts the fitting. Larys tells Aegon that Cole only convinced the King to fly out so that Alicent and Aemond could rule. For relaying this info, Aegon names Larys Master of Whispers.

At a pub in Flea Bottom, a man spreads gossip about his parentage. He believes he is dragon-seed, a bastard son of King (grandfather). Aegon has buys rounds for the pub. They leave the pub for the brothel, where Aegon finds Aemond with his mistress Sylvia. He mocks Aemond until his brother leaves.

Rhaenyra reads a note from Alicent. On the road, Cole stops Gwayne and his men from going to a local pub. As he does, Baela flies overhead. Their armor sparks light, and she dives, trying to kill them. Cole realizes they are exposed just in time, allowing them to hide in the woods before Baela can catch them. Baela brings word back to Rhaenyra about Cole’s army. At the council in Dragonstone, the council pushes Rhaenyra to attack. She takes their council, telling them she will consider it.

In Harrenhal, Daemon barricades his door. When he does, a figure stands outside his door. When something tries to get in, he readies his sword. He then follows the sounds down the hall, which lead him to a young Rhaenyra sewing her nephew’s head to his corpse. She mentions she always needs to clean up his messes. Daemon awakens next to the Godswood, having seen the vision. He turns and sees a young woman from Ser Simon’s court. She tells him he will die at Harrenhal and leaves.

In Dragonstone, Rhaenyra approaches Mysaria. She asks for Alicent Hightower’s movements. Mysaria asks if she wants her dead or alive. Instead, Rhaenyra wishes to speak with Alicent face-to-face, so Mysaria proposes sneaking into Kings Landing in disguise. There is a place that Alicent goes that is not within the Red Keep.

A boat makes its way into the harbor of King’s Landing. Rhaenyra walks through the streets in secret with a guard posing as members of The Seven. They find Alicent and follow her into the Sept. Alicent sits at her table, lighting candles, when Rhaenyra takes place next to her. Alicent grows scared when Rhaenyra draws a blade, and she threatens to kill Alicent if she screams. She admits that’s not the best way to start and pleads to stop the war before it begins.

Alicent does not believe that’s possible now, and they throw barbs about the deaths on both sides. Alicent tells Rhaenyra that Viscerys changed his mind on his deathbed. Rhaenyra will not believe it. She asks what Viscerys said at the end. Alicent tells her he mentioned Aegon and “The Prince That Was Promised.” Rhaenyra realizes he was speaking about the story of “A Song of Ice and Fire” passed down from Aegon the Conqueror. Rhaenyra tells Alicent she can stop the War, but Alicent believes it’s too late. She tells Rhaenyra about Cole’s plan and warns her of Aemond. She then departs The Sept.

“The Burning Mill” – TakeawaysNow that Alicent knows that her son’s shared name with Aegon the Conqueror may result in the deaths of thousands, she should be pretty chill in the weeks to come. Obviously, that last sentence was written in jest and makes us question why there was not a will from our Great (terrible) King Viscerys. Once again, it would have solved a lot, but that’s not how things go in Westeros. Instead, the last hopes of stopping a conflict of this magnitude have disappeared, and Rhaenyra’s efforts throughout “The Burning Mill” feel wasted.

However, “The Burning Mill” excels at drawing parallels and dichotomies between the sides. In the Greens’ Council, men continue to push for war rather than restraint. In the Blacks’ Council, men push for war rather than restraint. Aegon adheres to his advisors, urging them to go even further. Rhaenyra rebuffs hers, accusing them of treason. The war will occur, as there would be little point for the show otherwise, but “The Burning Mill” seems to further side the audience with The Blacks. They are not only the more moderate but the more thoughtful ruling at this point.

Daemon’s nightmare gives us an amazing Milly Alcock cameo. It was great to see young Rhaenyra return, even in a cameo, for “The Burning Mill.” It also thematically speaks to how Daemon sees Rhaenyra – a young girl who he once wooed. Even as Milly pushes back against him and chastizes his actions, seeing his wife this way only reinforces how he sees the world.

It’s a rare W for Criston Cole to not get burned alive. His actions in the Small Council further showcase his brash ineptitude. If he does survive this campaign, it does not seem like it will because of his actions. Instead, Aemond was once again dressed down by his brother, and when this happens he becomes unpredictable. It seems likely he will take to the skies and do some real damage. Also, the “Next Week on House of the Dragons” indicates as much.

The character actor and actress wattage also took a jump in this episode. Welcome Simon Russel Beale, Gayle Rankin, and Tom Bennett to the show. All have sizeable roles in the episodes to come (based on book reading, we have not seen further than you at the time of publication). It’s awesome when any series casts performers this talented, but it’s especially great when a series like House of the Dragon can make use of their talents.

One final note on “The Burning Mill.” It truly is astonishing how much better the show looks this season than in Season 1. The visuals, both with and without dragons, are crisp. The cinematography and blocking have been sublime. It’s been a much-needed aspect to address and cannot be ignored. When House of the Dragon looks like this, it earns its place in the halls of prestige TV.

Alan’s Episode Rating: 9/10Watch House of the Dragon on Max. “The Burning Mill” aired on June 30th, 2024. Check out our Reviews, Recaps, and Features on TV here! The post TV: HOUSE OF THE DRAGON “The Burning Mill” – Season 2, Episode 3 Recap appeared first on Sunshine State Cineplex.

View Details

It’s time for a roundup of random films I’ve been watching or rewatching. Two new releases kick off our list, with one of the year’s early blockbusters pulling up the rear. Kinds of Kindness comes off a Cannes premiere and owns its artsy pretension. A Family Affair strives to hit the same audience as The Idea of You but falls a little short. Finally, Ghostbusters: Frozen Empire makes the move to VOD. After Universal Studios announced they’d be including it in their Halloween Horror Nights event for 2024, it became a must-watch for us. Check out all three reviews below.

Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedKinds of Kindness Few directors make the audience question their sanity quite like Yorgos Lanthimos. The European director once occupied a spot in the indie film world as one of the stranger directors alive. However, Kinds of Kindness releases off the back of his Oscar juggernaut Poor Things. The two-time Academy Award nominee for Best Director (five-time nominee overall) returns to an oddball sense of humor. While Lanthimos finds his voice to explore themes deeply rooted in the human psyche, Kinds of Kindness embraces a dark comedy that will surely frustrate many.

Utilizing three stories of control, unappreciated love, and a question of faith, Lanthimos reunites with members of his regular ensembles. Returning to the fold are Emma Stone, Willem Dafoe, and Margaret Qualley. Meanwhile, newcomers Jesse Plemons, Hong Chau, and Mamoudou Athie find their groove with his absurdist dialogue. Using these performers, with check-ins from Joe Alwyn and Hunter Schaefer, the three tales create a darkly comic and violent exploration of control across the lives of his characters.

Emma Stone and Joe Alwyn in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.Lanthimos returns to frequent collaborators behind the camera, primarily Robbie Ryan and Efthimis Filippou. This helps Kinds of Kindness feel like a supercharged version of his earliest works. Rather than scraping together budgets, Lanthimos has carte Blanche to make his characters embrace their proximity to high society. Visually, the houses, offices, suits, and cars are outstanding. Yet the emptiness and vapid nature of each life comes into focus. Further highlighting this trend, the acts of “kindness” and sacrifice rarely work out for the person forced into action.

Plemons once again proves his rising star is far from a fluke. His career-best work recalls the devilish nature of his Breaking Bad performances, with the subtextual violence of his I’m Thinking of Ending Things character. He’s perfectly at home playing awkwardly, and his willingness to make himself the butt of the joke is commendable. Yet the longing for love, connection, and lust makes us feel for his hangdog face.

Emma Stone in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedStone remains one of the bravest actresses alive, with Qualley following just behind her. Both have put themselves into very awkward roles in the last twelve months, yet they shine regardless. Stone gets to headline act three, helping elevate with its interesting depiction of cult behavior. Qualley, meanwhile, plays a more subdued character in each tale. However, she must play into an unusual sexual intimacy that few actresses could payoff. Even crazier, she must maintain four different characters who display this connection in very different ways.

Yorgos and his team taps into our most basic needs as humans. We strive for connection and love, but do so without much direction on what to do once we’ve achieved our goals. While Yorgos’ last two features showcase his newfound prowess as a technical filmmaker, the darkness and cringy comedy of Kinds of Kindness meets his career oeuvre. It’s not his best work, but it proves he truly has a knack for the weird when he chooses that direction.

Alan’s Rating: 8/10Kinds of Kindness is in theaters now. Searchlight Pictures distributes.A Family Affair It’s far from unusual for big names to take a small romcom to help boost their career. However, while some actors use this to capitalize on their buzz, the results can often be mixed. After all, not every performer can play both dramatic and comedic movies credibly. When the actors can actually play the comedy, you’ve got gold. A Family Affair wants to swim in these waters, casting Zac Efron, Nicole Kidman, and Joey King. The Netflix romcom has enough juice to keep the audience invested. However, many missed opportunities within the story lead to a fine but not great movie for the weekend.

Zara Ford (King) cannot decide on her next step in life. She currently serves as an assistant to superstar Chris Cole (Efron), but his frustrating behavior makes it hard to work for him. After the fight, Chris tries to make up with Zara. Instead, he meets Brooke (Kidman), Zara’s very successful mother. When romance sparks between them, Zara protests their relationship. That fight pushes everyone to extreme behavior, leading to surprising hi-jinks.

A Family Affair dives into its premise quickly, but there are issues from the jump. First, this is not a true “affair” in any way. The name sounds cool, but both parties are single when they start. Yes, it’s an “affair of the heart” on some level, but the movie does not deliver the colloquial definition. Second, flashing between characters living in the coolest and most expensive houses ever made immediately highlights the “lifestyles of the rich and the famous” problems. When many are trying to stretch their dollars as far as possible, A Family Affair feels a bit tone-deaf.

Compound this with Zara’s entitlement and selfishness, and you’ve got a problem on your hands. The performers (specifically Efron and King) overcome how their roles are written. However, the crumbling foundation lowers the ceiling on A Family Affair. Instead, everyone comes across as petulant and childish, a deadly combo in a rom-com.

Efron remains a game for anything, and this helps him stand out. Kidman, however, feels like she’s leaking through parts of the movie. Kidman does not fully get there in dramatic scenes, and we know that’s not an issue of talent but effort. She gets blown off the screen by the other actors, especially Kathy Bates as her former mother-in-law. Finally, King does what she can with a selfish character. The movie rightly calls her out on it, but that does little to help her right the ship.

A Family Affair creeks open a door towards subversiveness but never actually steps through it. This ultimately becomes its biggest issue, spiraling into a tired and frustrating story. There are moments when A Family Affair feels like a completely fine movie, but it never rises above that. It’s hard to heartily recommend, though some romcom fans will find their way to it. However, when compared to The Idea of You earlier this year, it’s shocking how basic and poorly shot this one is by comparison.

Alan’s Rating: 5/10Watch A Family Affair on Netflix today. Ghostbusters: Frozen EmpireSometimes, dead is better. The third Ghostbusters film since 2016 hit VOD and got announced for Halloween Horror Nights at Universal this week. Ghostbusters: Frozen Empire features a return to New York, new cast members, and more icons from the original. Like the last two entries, the comedy drops the subversive and downright sexual edge of the original, instead embracing a tamer, family-friendly tone. This shift is possible for some franchises, but at this point, it’s clear that Ghostbusters cannot. Director Gil Kenan does his best with what’s provided to him, but from the jump, Frozen Empire cannot live up to its promise.

The Spengler family moves back to New York City, and they’ve picked up the family business. Phoebe (McKenna Grace) remains the team’s most informed and technical professional. With some reluctance, Trevor jumps into his role but wants to be seen as an adult now. Meanwhile, Callie (Carrie Coon) and Gary (Paul Rudd) continue to date. After a bust goes wrong, Phoebe gets benched until she turns eighteen. While she learns more about ghosts from Stantz (Dan Ackroyd), an odd object comes into his store from Nadeem (Kumail Nanjiani). The evil contained within could be deadly, especially if the ghost inside can escape and unleash its chilly vengeance.

Most franchises have a point where the lore becomes too convoluted for anyone to care. We’ve hit that point in Ghostbusters, as ice demons and fire benders enter integral parts of the story. It’s noble to try to expand the story, but adding magic and fantasy does not scratch the itch that watching a wacky array of socially inept scientists does in previous films. Yes, the supernatural is baked into the franchise, but this feels like it was dropped in from The Last Airbender.

To make matters worse, the CG leans towards the abysmal. Many scenes look bad, especially when blending real-world locales with the computer characters. It grows worse with the ice effects, which sometimes appear cartoonish and then shocking bland the next. Seeing a franchise with brilliant practical effects turn this way in sequels is frustrating. Unfortunately, Frozen Empire joins a parade of once-great movie franchises on this path.

GHOSTBUSTERS: FROZEN EMPIREDespite qualms with the plot, Nanjiani and Patton Oswalt carry the comedy on their shoulders. Without them, it would be hard to find any comedy in this movie. Instead, it would be a very shallow experience delivering fan service and bad CGI. It’s just hard to get on board for another one of these movies when the actors and actresses are only showing up for the paycheck. It’s forgettable, and some of the worst of what franchise filmmaking has to offer in 2024.

Alan’s Rating: 3/10Stream Ghostbusters: Frozen Empire on VOD today. What else are you checking out this week? Read our full reviews of Inside Out 2, A Quiet Place: Day One and Kinds of Kindness here! The post Summer Grab Bag: KINDS OF KINDNESS, GHOSTBUSTERS, A FAMILY AFFAIR appeared first on Sunshine State Cineplex.

View Details

John Krasinski stepped out of the director’s chair (to make IF) and handed A Quiet Place: Day One over to Michael Sarnoski (Pig). Sarnoski’s ability to make us feel emotional watching a man hunt down people who kidnapped his pet swine gave us the confidence that he could deliver again. Sophomore efforts can determine if someone is a one-hit wonder or if they are a legit director who makes multiple good films. The pressure is higher when going into franchises like this one, but Sarnoskli, with a “story by” credit to Kransinski, succeeds again on a bigger stage with the same touch as his debut feature.

Lupita Nyong’o is Sam, a poet dying of cancer who reluctantly goes to New York City to attend a show with the rest of her hospice group. Without warning, the National Guard flies by as something serious is happening, followed by explosions and the presence of aliens who attack people with stunning rapidness. Hiding in the theater with the others, including Henri (Djimon Hounsou reprising his role from A Quiet Place: Part II), it is clear that silence is the only way to avoid getting attacked. However, the military blows up all bridges to keep the creatures trapped in Manhattan, as they cannot swim. However, this also traps any surviving humans, including Sam and Henri.

Like the other two films, the rest of A Quiet Place: Day One‘s breezy 99-minute runtime is about surviving the onslaught of silence and getting to the seaport to evacuate the infested island. With her support cat, Frodo, Sam struggles through the pain of her illness to get from one place to another with the assistance of Eric (Joseph Quinn), an Englishman attending law school here – something I found a little odd, but nothing bothersome – and eventually, to safety. Everything hinges on keeping sound to a minimum and avoiding the senses of the blind aliens who remain terrifying when appearing on the screen.

Nothing is surprising in A Quiet Place: Day One, or anything you wouldn’t have known from the first two films. Still, Day One keeps the suspense high. Nyong’o, as Sam, is someone already dead on the inside from her illness, so he knows what it is like to go through hell. Quinn’s Eric is shell-shocked like a soldier thrown into the trenches. Sarnoski keeps the story within the margins of believability and does not ham it up with every shot he makes. In fact, Sam’s desire for pizza in her native Harlem, the last thing she wants to do before dying, makes it feel more human when facing death on two fronts.

The periods of loud noise in those violent moments (90 decimals is the average sound in NYC, equalling the sound of a scream) with the immediate silence deserve full kudos to the sound team. Putting it with some horrific shots of a scarred city with these creatures inhabiting certain places, the prequel serves slices of a good apocalyptic story. While Hounsou’s story isn’t explored much (maybe a second prequel will?) and a cat that somehow makes less noise than a squeaking mouse, A Quiet Place: Day One answers the bell to the origins of this continuous modern alien invasion.

Brian’s Grade: 8 of 10Follow Brian on Twitter: @brian_cine (Cine-A-Man)Watch A Quiet Place: Day One in theaters on June 28, 2024. Paramount Pictures distributes. Please check out other Sunshine State Cineplex reviews here!The post Review: A QUIET PLACE: DAY ONE – The Sounds of the Apocalypse Remain Terrifying appeared first on Sunshine State Cineplex.

View Details

Seeking to balance life and the duties of parenthood is far from an easy task. One’s love for their child and societal norms about what it means to be a parent create strain on a person. One moment, you have your own feelings, drives, and goals. The next, you’ve found yourself caring for a vision of your youth. Janet Planet takes the incredible emotional nuance of these ideas, spinning them into a tale of love and the growth we hope to achieve. Featuring a brilliant turn from Julianne Nicholson, Janet Planet is an audacious debut from Annie Baker.

A single mother, Janet (Nicholson) tries to find a new stage in her life. Her daughter, Lacy (Zoe Ziegler), remains clingy. Their co-dependent relationship often conflicts with others drawn into Janet’s orbit. As the mother and daughter try to find equilibrium, Janet must confront her internal emotional plight. She knows her decisions have not always been the right choices. However, they each wonder if there’s a way to enjoy life without the other.

Baker’s willingness to pull on small threads in the narrative reveals the most integral emotional beats. Nicholson has long filled her characters with incredible depth, and with Baker’s screenplay and direction, she’s completely unlocked. Baker allows scenes to develop, and ideas to pass over Nicholson’s face to showcase the complexity of a moment or discussion. These long takes force Nicholson to make Janet a complex character, who not only thinks through the consequences of her words, but worries about their effect on her daughter’s life.

A scene where Lacy asks Janet about future romantic partners highlights these complex moments. Janet does not feel any ill will towards her daughter’s question, but the answer may determine the future of their relationship. The beat she takes before answering, and the pauses throughout the discussion say more about the character than the actual lines of dialogue. It’s thoughtful and compassionate, showing more love than one could ever describe with mere words.

Simultaneously, Baker highlights just how frustrating raising a child can be at times. It does not mean that Nicholson’s Janet does not love her daughter. However, you grow frustrated with those you love the most, in part because you want better for them. Nicholson’s sweetness with her daughter shines throughout Janet Planet, but her small frustrations feel even more honest.

Nicholson’s performance adds another excellent performance that makes it hard to ignore her emergence as one of our most talented performers. Last year, she shined in an underwritten role in Dream Scenario. Yet her turns in Mare of Easttown and The Outsider proved she could hold her own with the very best. What Nicholson brings to the table goes beyond the “character actress” designation. You can hand the most emotional beats of your film or show on her, and she will deliver it with heart. Janet Planet lies every one of these scenes at Nicholson’s feat, and a walk from a picnic will stick in my mind as one of 2024’s very best scenes.

Baker’s emotional screenplay drives most of Janet Planet, yet she excels at building the mood as a visual storyteller. Setting her mother-daughter tale in 1991 allows her use of grainy, lo-fi aesthetic to feel natural. Her blocking highlights some incredible camera movement when called upon, but many of her static shots are stunners. A car sitting alone in a parking lot or a God’s Eye image of two friends catching up highlights near-perfect camera placement. Even the setup of Janet’s office and house provide a deeper understanding of Janet and her life.

The relationships with men (Will Patton & Elias Koteas) and women (Sophie Okonedo) shift when you become a parent. Friends come and go, and even when you try to recapture those feelings, they can often feel impossible to replicate. When you live a life unlike those you once considered peers, the struggles to relate to their new life come into play. Okonedo plays this change the best, showing just how frustrated she’s become by Lacy’s inclusion in their life. However, the moments with Patton and Koteas showcase a loneliness that Janet feels deep in her soul but the inability to fill it with those around her.

Ultimately, Janet Planet feels a little long, but it does not overstay its welcome. The pacing could use some improvement, with some sequences not feeling as essential as the long takes that allow the performers to capture the essence of their characters. Perhaps most frustrating are the ways in which Janet Planet treads similar ground to other indie dramas. While the “coming-of-age tale that’s actually about the parent” can be effective, Janet Planet finds ways to differentiate itself from many that are too rigid in the formula. However, doing so makes it clear when Baker and Janet Planet play a scene in ways that are too similar to the norm.

Despite this, a brilliant performance from Nicholson, and Baker’s instincts make Janet Planet better than many movies of its kind. You instantly feel Janet Planet sticking with you, and as a result, it will be one we return to in the years to come. It’s not necessarily an instant classic, but Janet Planet highlights the important of giving the right role to the right performer. Nicholson will undoubtedly become one of the sleepers for awards later in the year, but even if she does not capture some of these prizes, the emotional tour-de-force should make it clear to future directors that its time to cast Nicholson if they can.

Alan’s Rating: 8/10Watch Janet Planet in theaters on June 28, 2024. A24 distributes Janet Planet.Please check out other Sunshine State Cineplex reviews here!The post Review: JANET PLANET – A Poignant Exploration Of Loneliness in Parenthood appeared first on Sunshine State Cineplex.

View Details

To say Yorgos Lanthimos has developed a distinctively unique style to tell a story is an understatement. For subjects of his films, Lanthimos regularly dedicates a special focus to the many different facets of the human condition. Straightforward is far from his preferred approach, instead dipping the narrative in a vat of absurdity and oddness. It is so distinctly identifiable that Lanthimos has entered the elite club where names become adjectives.

Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedKinds of Kindness is being hailed as a return to form for Lanthimos. And whether one uses Yorgosesque or Lanthimonian as a preferred adjective, Kind of Kindness is undeniably one or the other. The director re-teams with his longtime writer Efthimis Fillipou, who had not worked on a Lanthimos project since The Killing of a Sacred Deer. It makes sense then that Kinds of Kindness mimics the tone of that film more than it does The Favourite or Poor Things. However, the wild display of oddities is in the same vein: Kinds of Kindness employs a similar method for telling its stories.

The film consists of three short films, all revolving around people’s desire to be accepted and loved, as well as the abuse and control they are willing to succumb to. However, as with most Lanthimos projects, the story is anything but simple and obvious. The three parts are, at best, loosely related and employ the same performers to play different characters in each.

Only one obvious connective thread exists between the three: a mysterious character simply referred to as R.M.F. (Yorgos Stefanakos), whose initials are the title subjects of each episode. He says no words yet plays an inconspicuous part in each tale. Allowing time for the film to settle in one’s mind or repeated viewings will eventually help decipher R.M.F.’s involvement, as well as aid in figuring out what the hell is going on overall.

Willem Dafoe and Margaret Qualley in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.As with previous Lanthimos projects, Kinds of Kindness is deeply layered. Familiarity with the director’s works makes it evident everything included on screen has a purpose. Things don’t mistakenly find their way into frame. A frequent collaborator with the director, cinematographer Robbie Ryan has experience shooting Lanthimos’ strange vision.

New Orleans serves as the background for the wide shots, inviting audiences to take in the natural beauty. However, several closeups are designed to repel. For example, the most appetizing of meals are meant to look disgusting, while others don’t need a closer look to be deemed inedible. Additionally, the entire film is color-coded, with Lanthimos being beneficent in including a scene where it is evident that colors matter, even if it is unclear what meaning the code holds.

Emma Stone and Joe Alwyn in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.Everything on display is designed to allow discomfort to seep in. The closeups are paired with sudden dissonant sounds born in the mind of composer Jerskin Fendrix and brought to life by the complete range of a keyboard. When Sweet Dreams (Are Made of This) by the Eurythmics fades off, ghastly chorales crescendo with rising tensions only to be interrupted by deafening silence. Nothing about Kinds of Kindness is light, as even the humor flows around dressed in dark veils.

Love and acceptance are common themes in storytelling, particularly in film. With Kinds of Kindness, Lanthimos tackles the subjects with his unique sensibilities. The director’s disquieting and cynical vision has him focus on the devastating consequences such desires can result in as opposed to the endearing qualities they can possess. Parallels can also be made with current world events, as Lanthimos leads the main characters of his triptych tale to succumb to the dehumanizing effects of blind devotion to these or any causes.

To effectively act out his tragicomedy, Lanthimos employs an all-star cast. Willem Dafoe, Hong Chau, Mamadou Athie, and Margaret Qualley all participate in each of the stories. Defoe once again displays unmatched range, while Chau and Athie cover the spectrum between supportive and enablers during their multiple terms. Qualley’s stock continues to rise with her outing here. Her screen time increases as Kinds of Kindness trudges through its 2-hour and 44-minute runtime until she brilliantly takes on two roles in the last chapter. The final shot of Kinds of Kindness focuses on her, as she delivers the film’s resounding tragic essence with aplomb.

Emma Stone and Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedLeading the excellent cast are Emma Stone and Jesse Plemons. Plemons is heavily featured early on, while Stone takes the reins from her costar by the film’s end, with the role reversal occurring gradually in the middle. Nonetheless, whether given the spotlight or not, both actors are astounding.

Plemons demonstrates a keen sense of timing, as he seamlessly shifts from pathetic to sinister and then back again, all while effortlessly delivering on Lanthimos brand of dead pan dialogue and dark humor. These changes are not only evident from tale to tale, but in the characters’ development within each story. The first tale is his own, and Plemons delivers the range that results in a career-best. Halfway through the year, it is not premature to suggest Plemons will be on many best-performance ballots.

Emma Stone and Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedThe same can be said of Emma Stone. Oddly, the two-time Oscar-winning actress feels out of place early on, as her role is diminished to just above cameo. However, this allows Plemons to shine early on. But by the time Kinds of Kindness reaches the last third, Stone has grabbed the film by the you know what’s and has taken over.

Stone is nothing short of perfect, once again fully committing to the aberrant and absurd proceedings Lanthimos has laid out. Stone maniacally drives and dances her way as an afflicted soul, dedicated to a singular movement with no remorse over who she hurts. Even if that means losing oneself and one’s family. Introducing Stone as a three-time Oscar winner soon is not out of the question.

Emma Stone in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights ReservedKinds of Kindness is anything but kind to its viewers. Lanthimos is unconcerned with concocting anything appetizing, instead great patience and resolve will be needed to endure. It is undeniably an unpleasant experience, but it is great in its execution. Whether it deserves its weirdness can be put up for debate, yet the same can be said of most of Lanthimos’ work. Kinds of Kindness will benefit from multiple viewings and elaborate discussions and analysis. As such, it is not a film for everyone. How very Yorgosesque, indeed.

Borja’s rating 8.5/10Watch Kinds of Kindness in theaters nationwide on June 28, 2024. Searchlight Pictures distributes.Please check out other Sunshine State Cineplex reviews here!Check out our other Film Festival coverage here! The post Review: KINDS OF KINDNESS – Abuse in the Name of Love appeared first on Sunshine State Cineplex.

View Details

Throughout the traditional Pow Wow gatherings, Native Americans dressed in the finest regalia celebrate their culture and heritage with traditional song and dance. Moments of solemnity and reflection overtake the ceremonies to perform a dance remembering the murdered and missing Indigenous women in many Pow Wows.

That such a tragic sequence is included in an otherwise joyful convocation speaks to the perpetual epidemic Indigenous women have suffered for decades. The results of Manifest Destiny are still felt today by many tribes. Filmmaker Erica Tremblay uses her latest directorial feature, Fancy Dance, to bring awareness to this faction of the American population that is so often irresponsibly overlooked and ignored.

Roki (Isabel Deroy-Olson) is promised her mother Tawi (Hauli Sioux Gray) will reunite with the family during the yearly Pow Wow. Roki excitedly looks forward to the mother-daughter dance she customarily participates in with Tawi. However, Tawi has been missing for two weeks, which for indigenous people, historically equates to her never being found again.

During her mother’s absence, Roki momentarily lives with her aunt Jax (Lily Gladstone). Jax tirelessly works to obtain any information that might lead to her sister’s whereabouts, repeatedly putting herself in lethal danger. Between that, taking care of her niece, and hustling by any means necessary to make ends meet, Jax is close to the end of her rope, yet remains unflinching in her will.

After a brief stint living with Jax, Roki is relocated to live with her grandfather (Shea Whigham) and his wife (Audrey Wasilewski) putting at risk being able to attend the yearly Pow Wow. With the promise of being reunited with her mother at the Pow Wow, Roki runs away with Jax. Along the way, the two must avoid law enforcement.

Tremblay and writer Micianq Alise have crafted an important story that is deeply affecting, moving, and sometimes tinged with heartfelt humor. Fancy Dance not only speaks to the missing persons plague but also shines a light on the indifference with which societies and institutions treat the issue.

Furthermore, Fancy Dance includes moments that mimic the sentiments of trivialization and white culture assimilation that were prevalent during the Trail of Tears. Such moments as likening the Pow Wow to a school play or referring regalia to costumes are particularly gut-wrenching. Something as naive as gifting ballet slippers also has nefarious results. Fancy Dance makes sure to speak on this, hopefully inducing awareness of the oftentimes covert nature of suppression, whether by ignorance or choice.

Gladstone and Deroy-Olsen are mainly responsible for bringing such an important story to life, and both rise to more than meet the challenge. From their first moments on screen, the pair showcase an ineffable chemistry that carries the film into its final bittersweet moments. As far as up-and-coming actors are concerned, Deroy-Olsen delivers one of the best and most memorable performances by a relative newcomer in recent memory. The precocious Roki is given a naive and hopeful energy that is balanced on a narrow wedge that circumstances threaten to topple over into despair. It is a delicate environment to perform in, yet Deroy-Olsen astoundingly succeeds.

It is difficult to believe Gladstone was one audition away from having pursued a career in apiculture. That industry’s loss is Hollywood’s gain, as Gladstone has quickly cemented herself as one of this industry’s best performers. As she did with her Oscar-nominated role in Killers of the Flower Moon, Gladstone proves to be a master of emoting through her eyes. The pain, sorrow, and disillusionment because of what an indigenous woman has had to endure just to survive is witnessed and felt through Gladstone’s gaze.

Moments where Jax’s ice-cold demeanor is interrupted by fiery outbursts are particularly affecting given Gladstone’s capacities. Gladstone also succeeds in bringing sympathy to a character that may otherwise be considered an antihero at best. It is a superb outing that may unsurprisingly result in another year of collecting awards for Gladstone.

Before the credits roll, Fancy Dance ends on a scene void of any dialogue. The kinetic imagery delivers the final message, both in celebratory and tragic fashion. That juxtaposition serves to deliver on its purpose of honoring the importance of Native American culture and heritage and to bring awareness to the ongoing subjugation of entire tribal nations on American soil. As a result, Fancy Dance places itself among the most important films released this year.

Borja’s rating 8.5/10Watch Fancy Dance on Apple TV+ on June 28, 2024. Apple TV+ distributes Fancy Dance to select theaters. Read Alan’s review from SXSW 2023 here. Please check out other Sunshine State Cineplex reviews here!The post REVIEW: FANCY DANCE – Gladstone Shines in Film Honoring Indigenous Culture appeared first on Sunshine State Cineplex.

View Details

With a battle kicking off to end Episode 4 – “Day” – The Acolyte set up the opportunity to showcase The Acolyte’s stellar action. This means lightsaber battles galore and dueling rule most of “Night” – directed by Alex Garcia Lopez. Questions about whether the mysterious “Stranger” or Sith Lord (or whoever he is), remain in the air. Additionally, a lightsaber battle opens the door for major characters to die. Does The Acolyte have the guts to kill off the focus of the show so far? And will we learn the identity of the antagonist hunting Osha and training Mae? Check out our recap below.

Master Sol (Lee Jung-jae) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“NIGHT” – Episode 5 – The RecapOsha (Amandla Stenberg) awakes, disoriented, but finds Pip. She wanders through the jungle and finds the body of a slain Jedi. Not far away, the masked force user battles Yord (Charlie Barnett) and other Jedi. When the Stranger advances on Yord, Osha fires her blaster. The masked Stranger turns their attention to Osha, chasing her through the jungle. Their pursuit is interrupted by Sol (Lee Jung-jae) blocking a lightsaber throw.

(L-R): Yord Fandar (Charlie Barnett) and Osha (Amandla Stenberg) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Sol tells Yord to get Osha away. They run, and while Osha wants to go back to help, Yord’s injuries require attention. Sol faces off against the stranger, who knows Sol. There’s some familiarity, but Sol does not know their true identity.

Mae (Stenberg) leaves Master Kelnacca’s house, but Jecki (Dafne Keen) grabs her. The two wrestle, as Jecki tries to arrest Mae. Outside, Sol and the Stranger continue to battle. Sol tries to get the Stranger to remove the mask, but they will not. Yord and Osha discuss how the Stranger gets in your head. Osha remembers her mother could do that when the opportunity presented itself.

(L-R): Mae Aniseya (Amandla Stenberg) and Jedi Padawan Jecki Lon (Dafne Keen) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Jecki and Mae continue to battle. Jecki finally gains the upper hand, placing cuffs on Mae. However, before she fully arrests Mae, the Stranger appears from the shadows. As the Padawan and Stranger fight, Jecki grabs a second saber (Mae had stolen Kelnecca’s). However, when the Stranger breaks one of her sabers, Mae runs into the woods. The Stranger pursues.

Osha and Yord wander through the misty woods. They turn off Yord’s saber, as it’s attracting local fauna to them. The Stranger catches up to Mae, aware that she was going to betray them. The Stranger calls her weak, but before they kill her, Sol and Jecki arrive to fight. Mae calls out to Osha, who hears her through the force. Osha tells Yord they need to go back, and turns on a light to attract the creatures as she runs through the forest.

Jecki finally strikes a blow on the Stranger, and their mask falls to the ground. When she goes in for a kill shot, the Stranger breaks their saber in two, revealing a second saber, which they use to kill Jecki with three stabs through the chest. Sol screams out, and Jecki falls to the ground. The Stranger’s identity is revealed: it is Qimir (Manny Jacinto).

Osha (Amandla Stenberg) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Qimir and Sol banter and Mar is stunned by the realization. Qimir force-grabs her and fends off Sol. When Sol questions him, Qimir reveals he doesn’t have a real name, but Jedi would call him Sith. He only wants a pupil, “an Acolyte,” but Mae proves unworthy. Since the Sith cannot exist, according to the Jedi, he will have to kill everyone on the planet.

Yord tries to sneak attack and Qimir counters. He then slays Yord, breaking his neck. Osha shoots Qimir with her blaster, disarming him. Sol gains the upper hand and just before he can kill Qimir, Osha tells him to stop. Qimir acknowledges his darkness, but asks Sol if he can cope with his. He escapes the hold again but Osha attaches Pip to Qimir’s back. The moths attacks from the sky, carrying him away as he fights them.

Osha (Amandla Stenberg) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Osha asks Sol what Qimir meant, but before he answers, Mae stuns Sol using Osha’s blaster. Mae and Osha finally talk, and they each hold resentment. Osha calls Mae a violent person who started the fire. Mae tells her sister that she was brainwashed by the Jedi. She believes she can help Osha return to her old self, and begs her sister to choose their family. They embrace, but Osha tries to arrest her sister. Mae asks her what kind of life Sol gave her, but the two fight. Mae wins, knocking out her sister. She then cuts her hair to appear like Osha.

Qimir escapes the moths, having killed all the creatures. He walks into the woods, and Mae (posing as Osha) finds Sol. She tells Sol her sister escaped and the two return to the ship. Belzin follows her, realizing the difference between Mae and Osha. Qimir wanders through the woods, picking up his helmet and finding Osha.

Mae Aniseya (Amandla Stenberg) in Lucasfilm’s THE ACOLYTE, season one, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.The TakeawaysWell, it’s a good thing we called the Qimir as the Stranger last recap. The tea leaves were there, but thinking back, the most obvious moment came when Qimir knew he was speaking to Osha, not Mae. His character had the ability to disarm his opponents, both literally and metaphorically. Honestly, it was amazing to see Jacinto get a starring role out of the type that some have set for him. For someone who gained a huge fandom for being a loveable goof, his role here should be career-changing. After a brilliant performance here, we’re hoping that the extended screentime heading his way will only reinforce his stardom.

Meanwhile, the episode drastically underserved Stenberg. The actress does not get the best material this time out, despite the emotional toll that could have been placed on either of her characters. Mae gets slightly more to work with, and her choices ultimately will affect the future of the show. If nothing else, it will be interesting to see Stenberg take each of her characters into relationships they’ve never interacted with. However, it could have been more interesting if we spent more time with Sol/Osha or Qimir/Mae. The relationships are defined in the series, but more time in each would have been nice.

In terms of performance, Jacinto steals the episode. However, Keen came close, and losing her feels huge for Star Wars and The Acolyte. There was a chance that her character might have become a fan favorite, leading to potential spin-offs. Instead, The Acolyte and “Night” zagged. While Barnett did not feel quite as essential to the future of the franchise, his character’s death was equally shocking. If nothing else, Headland her team have the guts to make big swings. It opens up the remaining episode to feature some more twists worthy of the foundation they’ve built.

Last but not least, the exceptional action and stunt choreography once again showcases The Acolyte‘s most precious aspect. Without a doubt, the Star Wars formula feels different in terms of the fight choreography. The fight sequences spoke for themselves. With kills like the ones mentioned above, “Night” avoided the pitfalls of just checking off redshirts. Instead, the most memorable deaths in the episode are those focused on characters we expected to become mainstays. It’s a wise move to show The Acolyte has more up its sleeve, and that the stakes are real.

Episode Rating: 8/10Watch “Night” on streaming now. The Acolyte streams on Disney+ on Tuesdays at 9 PM. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE ACOLYTE – “NIGHT” – Episode 5 Recap appeared first on Sunshine State Cineplex.

View Details

The Boys returned this past week, and sure enough, the creators and fandom remain at war. While Kripke remains outspoken about his approach – namely that Homelander (Anthony Starr) is a stand-in for Donald Trump – others have fought for the “character’s honor.” With a lot of resetting to accomplish, as well as a sociopath as its lead, The Boys returns with a violent and funny premiere. Season 4 Episode 1 – “The Department of Dirty Tricks” – is directed by Philip Sgriccia and written by David Reed.

“The Department of Dirty Tricks” RecapVictoria Neuman (Claudia Doumit) steps onto the stage on election night, revealing her ticket with Robert Singer (Jim Beaver), who just won a pair of states. The Boys work to break into the event, with Butcher (Karl Urban), Frenchie (Tomer Capone), and Kimiko (Karen Fukuhara) joining Secret Service agents in an elevator to Neuman’s hotel room. Homelander and Ryan (Cameron Crovetti) are at the party, and M.M. (Laz Alonso) tells everyone to stand down. When Homelander approaches Neuman, she tells him to leave, citing his impending murder trial. Billy approaches Ryan backstage, but Homelander interrupts them. Homelander knows about Billy’s cancer, and he takes Ryan away from the kitchen.

Frenchie, Kimiko, and two secret service guards break into Neuman’s hotel room. Zoey – Neuman’s daughter – walks in. She realizes something is wrong and uses her powers to kill the Secret Service agents and fights Kimiko. Frenchie and Kimiko (left with one arm) escape by jumping out a window. Starlight/Annie (Erin Moriarty) catches Frenchie, and Kimiko regenerates after hitting the pavement. Neuman confronts Hughie (Jack Quaid) in the van. After both Billy and Hughie fail to even put a scratch on Neuman (acid, gunshot to the head), she walks back inside to win the election.

The next day at the CIA, Grace, and Singer chew out M.M. for failing the night before. Billy reconnects with an old colleague – Joe Kessler (Jeffrey Dean Morgan). Joe roasts Billy about losing his command and not killing Homelander. Kessler reveals his true purpose to recruit Billy to his team in the fight against Supes. M.M.’s ex-wife asks him to check in on their daughter after a fight at school.

Homelander struggles with his day-to-day. His nightmares show death, and he drifts through daily events (including his murder trial). The Seven need to add new members, and Homelander has grown tired of the other members being sycophants. Homelander tells Deep (Chance Crawford) to blow A-Train (Jessie T. Usher), but stops him on his way out the office.

The Boys hang out in the office while Annie tests her power set. When Billy leaves the office, M.M. and Annie try to convince Hughie to get Billy off the team. Hughie refuses. Meanwhile, Billy meets Neuman at an old Vought’s Video, offering to team up with her to help separate Ryan and Homelander. She agrees, as long as Billy can steal the blackmail Hughie has on her. At the Boys’ office, Hughie discovers his dad (Simon Pegg) is in the hospital. Annie pushes back when her Starlighter Foundation staff asks her to appear in costume at fundraisers. Frenchie and Colin flirt, but Frenchie leaves before they can act on their impulse.

Homelander finds a gray pube and grows disgruntled. He looks over the potential new members for The Seven and meets up with Sister Sage (Susan Hayward) at her apartment. She impresses him, and they discuss his inability to find happiness. However, Homelander wants more power and invites her to join The Seven.

Billy and Hughie meet in the office. They discuss Hughie’s Dad, who recently had a stroke. Billy offers support when Annie arrives. During their hug, Billy takes Hughie’s multifactor authentication device.

M.M., Frenchie, and Kimiko follow a group of Homelanders, including Todd (his wife’s ex-boyfriend), to an alleyway. Sage brings the men inside, and Homelander thanks them for their service. He then has Deep and Black Noir kill the men with baseball bats. A-Train does not help kill them, but he does not let Todd escape either. M.M. and the team see Homelander emerge, and they hide until he flies to his trial.

Outside the courthouse, Starlighters and Homelanders protest. Sage arrives on the Starlighter side, dressed in their attire. When the Not Guilty verdict releases, she throws coffee at a Homelander, kicking off a riot. In the ensuing violence, A-Train runs the bodies of the three dead Homelanders into the fray. It’s reported on the news that Starlighters killed the men.

That night, M.M. researches Sage. Deep talks with Ambrosius (Tilda Swinton, his Octopus lover). Homelander and Ryan discuss Butcher. Frenchie spends the night with Colin but appears worried about a picture. Hughie spends the night in his Dad’s hospital room. His mom arrives in the doorway. Butcher looks at the material Neuman requested, but he hallucinates speaking to Becca (Shantel VanSanten), who tells him to stop. He listens and sends a picture of a butthole to Neuman instead.

“The Department of Dirty Tricks” Takeaways The Boys returns with a lot at stake and many moving pieces. However, it’s hard to ignore what’s going on with Butcher. Finding himself on death’s door after using Temp-V, Butcher’s deterioration is alarming. Not only do the hallucinations bring back Becca, but he seems to be slipping into conversations. What can the team expect out of Butcher if he can barely stay focused?

It’s also hard to ignore the similarities between Butcher and Homelander. They both appear selfish throughout the episode. They continue to amass power outside of traditional avenues or support teams. Each has Ryan on their mind, but primarily for their own purposes.

Sage also emerges as a strong foil to the team. While A-Train did not like her, she quickly proved her value to Homelander. Some elements of the plan feel off (primarily that she’s present to start the riot at Homelander’s trial). However, she proves savvy in a media ecosystem where results matter more than facts.

Neuman also appears stronger than ever. Her influence and ties to Homelander will always make her a threat. However, people clearly like her, and that magnetic pull proves her political ambitions were on the mark. She was also a hallucination from swaying Butcher. If she remains in league with Homelander, she poses a considerable threat. This is only solidified by her willingness to turn her own child, a moment that seems to destroy any hope for reconciliation with Hughie.

Alan’s Episode Rating: 8/10Watch The Boys, including “Department of Dirty Tricks” on Amazon Prime. Read our full review of The Boys Season 4 here. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE BOYS – Season 4 – Episode 1 – “Department of Dirty Tricks” – Recap appeared first on Sunshine State Cineplex.

View Details

After the “Blood and Cheese” incident, we’re about to see the Dance of Dragons escalate. While the story has shifted from the book, it’ll be curious to see if that approach continues in the following episodes. Additionally, Aegon must name an heir if he’s truly king. This could create beef within the line of succession, especially if he moves away from Aemond. Additionally, the fallout of his son’s death will shake up the political divide between both families. Sara Hess writes, and Clare Kilner directs “RHAENYRA THE CRUEL” – the second episode of the season.

HOUSE OF THE DRAGON – “RHAENYRA THE CRUEL” – The RecapChaos ensues in the Red Keep as lords and servants are rounded up. Criston Cole oversees the rounding up of these people as Aegon destroys Viscerys’ model of old Valeria. Aemond looks over the plans he had discussed with Cole, realizing he has an opportunity to act. Otto tells Alicent Kings Landing has been closed and his daughter mourns for Helaena. Alicent remains distraught, but Otto says it’s time to act.

Aegon screams at the small council, including Criston Cole. Cole lies that he was in bed. Aegon believes Rhaenyra is laughing at him. Larys tells the council that Blood has been captured, but when Aegon tries to go kill Blood, but a council member reminds everyone that the King has more than one enemy. Paranoia spreads throughout the room. Otto believes that the crown can use this moment to strengthen their claim with a funeral. Alicent agrees with her father. The funeral procession will be led by Alicent and Helaena.

Alicent tells her daughter about the plan for Jaehaerys’ funeral. Helaena does not wish to fulfill this duty, but Alicent insists. Alicent then tries to explain her relationship with Criston to her daughter, but Helaena will not hear it. The funeral begins, while Larys tortures Blood for his role. Blood immediately gives up Daemon. Aegon enters the room and beats Blood with a blunt mace. During the funeral procession, the carts grow stuck, and the people voice their support for Queen Helaena.

In Dragonstone, Rhaenyra grows angry at the accusation. However, her council seems unsure about her mental stability. Daemon and Rhaenyra fight after the council has left. She does not believe him when he says he only ordered Aemond’s death. She believes he used her words to take revenge and that he only cares about his own quest for power. Daemon believes that Rhaenyra does not have the strength to be Queen and storms out after she calls him pathetic.

Daemon and Baela pass each other in the halls, but no words are exchanged. Rhaenyra asks Baela to take Moondancer to watch Kings Landing. She needs to know their plans. Daemon flies out for Harrenhal.

Helaena and Aegon pass each other in the Red Keep, also speechless. Criston oversees the Kingsguard breaking down Jaehaerys’ bed. We flash between Dragonstone and the Red Keep. Alicent asks Criston if he’s told anyone about their night. Criston believes there’s no absolution for what they’ve done. Alicent bathes.

The next day, Criston approaches Arryk Cargyll in the Kingsguard dining room. He chastises Arryk for his dirty cloak and then asks Arryk where he was during the assassination. Cole then brings up Erryk’s betrayal. When Arryk asks how he can make up for his brother, Cole orders Arryk to kill Rhaenyra. He can sneak in where no other can, because of Erryk’s presence.

Baela and Jace discuss the upcoming war. Jace misses Luke, and Baela misses her father. Aemond spends his time in a brothel, and he tells his consort, Madame Sylvi, that he feels bad about Luke. He also feels honored that they see him as a rival worthy of killing.

Hugh spends time with his family, and he grows angry the families of King’s Landing are starving. His wife is more worried about the wars to come. Alyn and Addam of Hull reunite, and discuss Lord Coryls Velaryon as a chance to rise. Addam believes Coryls owes them. Coryls and Rhaenys speak about Daemon, and his inability to cope with being passed over for the throne. Rhaenys worries that he cannot accept his current role.

Rhaenyra speaks to Mysaria about her role in the assassination. Rhaenyra asks her who she is, and Mysaria tells her of their deal. She also feels frustrated by Daemon once again breaking a promise and asks Rhaenyra to honor the agreement. Mysaria tells Rhaenyra that she earned her place in Westeros, but men will never accept her. Addam of Hull collects crabs and oysters on the beach. A dragon flies overhead, and he watches with interest.

In Kings Landing, dozens have been hung among the Ratcatchers. Cheese hangs among them. Otto storms in to scream at Aegon for the decision. He reminds Aegon that he’s self-indulgent, and Aegon defends himself. He wants blood, not words, for the death of his son. Aegon then says Criston Cole sent Arryk to kill Rhaenyra. Otto cannot believe how ill-fit he is as King. Otto laughs at Aegon believing he was actually named heir. Aegon then removes Otto as Hand of the King. Aegon then names Criston Cole as his new Hand. Otto tosses the Hand pendant to Cole and leaves.

Rhaenyra lets Mysaria leave. She tells Erryk to help her down to the incoming ship. As they wander down, they pass Arryk as he ascends to Dragonstone. Mysaria realizes who it is and stops.

Arryk makes his way into the keep and wanders through Dragonstone, avoiding his brother. Rhaenyra bathes and receives care from her handmaidens. Arryk spies them through a crack in the door and locks them into the room. He then gets her Queensguard to leave and enters the room.

However, before Arryk can strike, Ser Erryk runs into the room. They battle, chasing Rhaenyra. It appears Erryk wins the battle. However, he kills himself on his own sword when he sees his brother’s body.

Otto speaks to Alicent about Aegon’s actions. Otto leaves for Highgarden, both to counsel his grandson Daeron Targaryen and to steady the Tyrell army. He believes that Alicent can get through to her son. She tries to confess her sins, but he will not listen.

Alicent leaves and finds Aegon sobbing in front of a fire. She does not acknowledge him, leaving Aegon to handle his own emotions. Criston and Alicent meet in her room, where she slaps him. He grabs her, and they embrace once more.

“Rhaenyra The Cruel” The TakeawaysSome of the chess pieces are moving on the board, for good and ill, across “Rhaenyra The Cruel.” Otto Hightower plays the game perfectly, yet still finds himself losing his role as Hand by the end of the episode. King Aegon squanders his power and political unrest against Rhaenyra in an effort to appear strong. Rhaenyra and her husband appear at odds, potentially for the foreseeable future. Each side loses a brilliant knight.

Perhaps the most intriguing fraying of a relationship lies between Daemon and Rhaenyra. Their struggles are integral to the long-term survival of their house, and if no trust exists, they will be unable to rule. Additionally, Daemon could fill a power vacuum as a male heir with power, if being a male heir is all that matters. How Rhaenyra handles his petulance matters.

The relationship between Rhaenyra and Mysaria works as both a strategic move and a metaphorical one for the show. House of the Dragons must showcase the havoc the war creates for other members of the realm. Yet drawing the comparison between Rhaenyra and Mysaria also shows commonalities. They’ve both lost Daemon’s children. Their shared history has been fraught. They’ve each been overlooked and used by the realm because they are women, Rhaenyra to deliver heirs, Mysaria as a literal prostitute. Despite the power they gain, they are seen as unworthy by men. A

Already, Season 2 has fixed many of the issues that plagued Mysaria as a character in Season 1. She’s been more impactful and proves powerful. Yet she’s also more grounded, with more skin in the game. It’s more purposeful and huge upgrade over her role last season. While she’s not framed as an equal to Rhaenyra, she seems integral to House of the Dragon’s future.

Meanwhile, in King’s Landing, Criston Cole and Alicent appear dead set on sleeping with each other throughout the conflict. Once again, Criston proves himself an overconfident and arrogant hypocrite. It may not affect this battle, but it will eventually upset the realm. His inability to successfully utilize his assets and his strengths has actively placed The Greens at a disadvantage while simply adhering to the wishes of the king. They are moves that only benefit Cole, making his new role as Hand even more frustrating.

House of the Dragon continues to make it difficult to cheer for the Greens with these moments. Like the people of Westeros, we should feel incredible sadness at their loss. Yet Rhaenyra is the one showing mercy, and that mercy toward Mysaria may ultimately have saved her life. It’s Mysaria who noticed Arryk, and while we did not see her directly alert the guards, Erryk seemed to know what he was walking into when he entered Rhaenrya’s chambers. It’s moments like this that bend the audience toward a side, which the original series did not do quite as often.

The battle between the Brothers proves every bit as tragic as one might expect. Whether you were team Erryk or Arryk, the actors play the hell out of the scene. “Rhaenyra The Cruel”needed to play them up earlier in the episode, with a severe lack of scenes with Erryk. Really, all of House of the Dragon could have centered them more in the episodes from last season. It would help this moment to make us feel their loss. However, thanks to these two, we still feel it on some level.

“Rhaenyra The Cruel” Performance StandoutsWe have to highlight three groups of performances in “Rhaenyra The Cruel.” Tom Glynn-Carney and Phia Saban beautifully portray grief. Their shattering characters cannot process their emotions, and it’s stunning to see them work. The fireside sob from Glynn-Carney is amazing work, while Saban’s panic attack in the cart brings out her despair. Each rise far above what has been expected of them so far in the series, and “Rhaenyra the Cruel” could prove their turn to becoming great performers.

Meanwhile, Emma D’Arcy’s tour-de-force becomes even better when they pair up with Sonoya Mizuno. It’s Mizuno’s best work yet on the show, and D’Arcy sizing up her prisoner results in some brilliant emotional beats. However, it’s D’Arcy’s destruction of Smith (“You’re pathetic.”) that proves the highlight of “Rhaenyra The Cruel.”

Finally, the brothers Luke and Elliott Tittensor bring emotional power to the final battle. Their duel is not only emotionally devastating but physically unique. They find ways to differentiate themselves in subtle moments of the fight. However, their combination of rage and grief drives the drama. It’s not as exciting as the “Clegane Bowl,” but it feels far more emotionally rich as a sequence.

Alan’s Episode Rating: 8/10Watch House of the Dragon and “Rhaenyra The Cruel” on Max. “Rhaenyra The Cruel” aired on June 23, 2024. Check out our Reviews, Recaps, and Features on TV here! The post HOUSE OF THE DRAGON – “RHAENYRA THE CRUEL” – Season 2, Episode 2 Recap appeared first on Sunshine State Cineplex.

View Details

By the time 1994 rolled around, the Sundance Film Festival had minted stars. One that quickly gained steam at Sundance ‘94 was Kevin Smith. However, much of 1994 at the movies has been defined by one of the graduates. A genre filmmaker by the name of Quentin Tarantino became the name of the year. His debut, Reservoir Dogs, introduced a new kind of crime thriller. Yet Pulp Fiction landed at Cannes 94 like an explosion. An immediate watershed moment shook the festival, and Tarantino would collect the Palme D’Or. The former video store clerk had made good on the promise of his Sundance debut. Thirty years later, we know that Tarantino’s rise helped shift the Sundance boom into the mainstream.

When I Fell in Love with Pulp FictionIt’s a cliche for a teenage boy to fall head over heels for Pulp Fiction. Frankly, it was not my truth. My cinephile credentials were still years away, but the 12-year-old boy was more taken with Jackie Brown and Reservoir Dogs.

Yet, within the last couple of years, I’ve returned to Pulp several times. It’s not a perfect movie, but the Samuel L. Jackson and John Travolta performances sing every time. A 1950s throwback dinner – which itself is sandwiched by other diner scenes – is a riot. Pop culture and hard-boiled crime smash into each other. Tarantino certainly became famous fit his stylized violence. In Pulp Fiction, dirty, grimy, violence becomes infused with Felix the Cat and Bugs Bunny antics. This cocktail is so effective, we almost forget the Bruce Willis sequence is bad.

Ironically, it’s the crossover scene between Marcellus Wallace (Ving Rhames) and Butch (Bruce Willis) that sold it for me. Its the kind of power few characters can showcase in movies. It also establishes just how much of a badass Wallace is simply by talking down to John McClane. After the craziness of the night with Mia, this calm and cool interaction stabilizes the movie for a minute. It’s also got enough visual humor with Jules and Vincent that you get the best of all worlds.

Most Rewatchable SceneA career-defining role found its way into the hands ofSamuel L. Jackson. He’s built an all-time career as a star and actor. However, the first line of every award he should get for the rest of time needs to begin with his portrayal here. Jules remains one of cinema’s most alluring characters to date. Yet for all the bluster and drama he brings to the “Check out the big brain on Brett” opening, his finale leaves the audience buzzing.

Tim Roth and Amanda Plummer are brilliant as the robbers. Despite the fact they’ve been slowly heading our way throughout the movie, their context shifts on a dime when we realize Jules is just a few booths away.

The entire finale has forced Jules into a dark place. He knows a bad gun or an idiot with one could mean the end of your life. While Jules may have been saved by a miracle, he also knows about life’s frailty. Recontextualizing his iconic speech about the shepherd and the Valley of Death, Jules becomes an iconic character for anyone watching. It’s also an impressive emotional and philosophical shift in the character, driven entirely by Jackson’s brilliance. Beyond the movie, it turned Samuel L. Jackson into a superstar overnight. It’s among the best moments of 1994 and still sends chills down your spine.

Best Scene in Pulp FictionWatching Jules and Vincent walk to the apartment in their first segment will always hold a special place in my heart. However, it’s easy to fall out of love with Pulp Fiction no as you dig deeper into the Tarantino filmography. Film bros certainly do not help the cause, quoting the same lines over and over.

However, the moment that refocused me on Pulp comes when Vincent returns to Mia’s house after the overdose. The Uma Thurman role also launched her to superstardom, making her one of the most notorious users in film history. However, as she plays “Son of a Preacher Man,” does blow, and dances the night away, she feels invincible.

That walk of shame home could have been in very different circumstances. Yet she takes a beat, tells a terrible joke to Vincent, and returns to the house. That simple interaction showcases everything that is great about Pulp Fiction in one moment. It’s a funny pop culture-based joke that highlights Tarantino’s love of television, especially the wacky ways the industry changes people. It’s also one of the best-written interactions in Tarantino’s illustrious body of work.

Mia lets her guard down for one minute to provide a moment of levity because life is not all overdoses and wild nights out. It’s the little moments that we remember. Considering where Vincent ends up, and where he was just days before, it might be one of the last lighthearted moments of his life. It’s an extremely human moment in an outsized and Looney Tunes-esque comedy of errors. It also proves the ephemeral highs of our lives should never be taken for granted, an important lesson throughout Pulp Fiction.

Why You Should Watch Pulp Fiction AgainWith Tarantino warning us about his last film coming on the horizon, it’s important to remember why he became an integral voice in film culture. He has better movies, more mature movies, and some so ambitious they detail. However, Tarantino will always be known as the director and writer of Pulp Fiction until the day he dies. Its arrival in the industry shook up the world, and those who ignored it at the Oscars look crazier by the day.

For all the influence and power he now holds over movie culture, there was an era before Tarantino. However, in terms of post-modern filmmaking and challenging what you can do with the medium, there are not many better examples of creativity in existence. Pulp Fiction may not be perfect (the Butch sequence struggles to reach the heights of the others). However, its highs are among the very best in cinema history. What better legacy is there for 1994 than an all-time classic? Cue “wipeout.”

Alan’s rating: 10/10Watch Pulp Fiction at the New Beverly Theater in Los Angeles, or on streaming. Check out JustWatch to find which platform works for you. Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. The post Get Busy Living: PULP FICTION and the Sundance Boom appeared first on Sunshine State Cineplex.

View Details

Few shows are as nimble as Shoresy, despite its formulaic structure. The series spun off from the cult-hit Letterkenny, gives Jared Kesso the floor to be as silly and weird as he wants. The first two seasons provided a nice base for Shoresy to develop its own cult following as one of the only true Hockey shows or movies available. With Kesso’s trademark comedy in place and plenty of other comedians willing to follow him, the show remains one of the most enjoyable shows about community today.

As the National Senior Hockey Championship approaches, the Sudberry Bulldogs face off against Americans in the Northern Ontario Senior Hockey Organization (NOSHO) finals. Riding high off an undefeated season, the Bulldogs seem poised to shine in the tournament. With money on the line for Sudberry, not only as a team but as a community, Shoresy (Kesso) must up his play despite playing with more injuries than ever.

Kesso’s freewheeling, improv, and one-liner comedic pace might be difficult for some at first. However, when you adjust to the joke-every-ten-seconds approach, it’s easy to see why those who love Letterkenny adore the show. There’s no doubt that Kesso can land his non-stop motormouth insults. However, this structure does limit the ceiling for Shoresy‘s storytelling.

This ultimately makes watching Shoresy a choice for audiences. Are you looking for classic sitcom humor with added vulgarity? Then Shoresy definitively scratches that itch. However, if you’re looking for something more serialized, it may not work for you. The writers do draft a basic story, but like It’s Always Sunny in Philadelphia or Curb Your Enthusiasm, Shoresy‘s best aspects come from the individual moments.

The other characters get some showcase moments this season as well. One of the nice things about Shoresy has been its push to actually include indigenous performers. Harlan Blayne Kytwayhat plays the straight man in multiple episodes, yet this season gets more time to step out of the introverted role. Kytwayhat shines throughout the season, especially during an episode where he grows frustrated with Shoresy’s jabber-jawing.

As the team owner, Tasya Teles must go toe-to-toe with Shoresy and the other men. Teles shows her ability to stand out with her leadership, even when it comes into conflict with the opinions and actions of her team. Teles displays the comedic fortitude to keep the humor flying, but at the same time, she adds an element of competence to Shoresy that makes it more than just a bunch of idiots beating each other up and cursing each other out.

While a series like Shoresy might be destined for cult status, there’s a reason its audience loves the show. There are not many comedies today that land jokes at this magnitude. Every episode will showcase one of the funniest things you’ve ever heard, but it does so in a way that feels more brotherly than one might expect. While the wins and losses feel more like the B-plot within the context of the series, you will eventually find yourself rooting for the Bulldogs.

There’s enough at stake to keep us engaged in those storylines, while the humor becomes the show’s best asset. As long as Kesso wants to keep making shows as fun and silly as Shoresy, we’ll keep jumping into his “dudes being dudes” style. It’s rather infectious to watch, and with quick episodes (rarely over 22 minutes), you’ll work your way through the season in an afternoon. Don’t worry, you do not need to watch the last two seasons to enjoy it. However, you may get just a little more heart out of the comedy.

Alan’s Rating: 7/10Season 3 of Shoresy releases on June 21, 2024. Watch Shoresy on Hulu and Disney+. Check out our Reviews, Recaps, and Features on TV here! The post TV: SHORESY – Season 3 Returns With An Anarchist Spirit appeared first on Sunshine State Cineplex.

View Details

“They tend to make weird movies…” That quote, or at least this generous paraphrase, was heard as I waited for the start of Tuesday. This was back during the 2024 Florida Film Festival, and since then, I have had time to ponder if that statement holds true.

The “they” in that conversation referred to A24, the indie production studio. To further investigate the veracity of that statement requires delving into A24’s vast library of features, yet unfortunately (or not), that is not what we are here for. Neither are we here to discuss the subjective nature of weird.

However, as it relates to Tuesday, I suppose a film about coming to terms with the inevitability of death does play in a strange world. Death being personified by a gravelly voiced macaw (Arinzé Kene), at times as large as a behemoth and others small enough to fit inside the minuscule areas of the human body, firmly establishes its place in the realm of unique oddities found in A24’s collection, to say the least.

With her directorial debut, Daina Oniunas-Pusic defies convention by tackling the uncomfortable subject of death. In our reluctance to accept the inevitable fate, humans find ways of bargaining with death, as Tuesday (Lola Petticrew) finds herself doing when visited by the bird. Telling jokes, sharing a vape, and listening to music are among the things Tuesday and Death partake in, as the macaw has reluctantly accepted the bargaining terms until Tuesday can see her mother one last time.

As Tuesday’s mother, Zora, Julia Louis-Dreyfus offers her best dramatic performance to date. Acting out distressing emotions such as grief is no easy task, yet Dreyfus expertly navigates this realm. Recently unemployed as well, Zora handles her grief by distancing herself from Tuesday, spending her afternoons on park benches, or pawning family belongings. Humor and sarcasm are also in her arsenal of coping mechanisms, a trait that can only be achieved perfectly by a performer of Dreyfus’ background and caliber.

While Zora carefully constructs her world of selective ignorance, Tuesday has accepted her fate and waits for her mother’s arrival before parting with the macaw. It is at this point that the fantastical bizarre elements are squared to their maximum potential, as Zora confronts Death.

Bargaining with death is the central theme, and when bargaining can only go so far, then fighting seems to be the next logical recourse. Yet, in the face of something inevitable, this proves to be futile, or in the case of the film, another rather inconvenient result occurs. No matter how much one tries to avoid it, there is no escaping death.

Once Pusic establishes this, she sends Zora and Tuesday on a surreal voyage during the devastating emotional climax. At first viewing, it seems these moments arrive late, and not enough time is spent here. However, given the nature of Tuesday, it is logical in its approach. Moments for bonding are fleeting and must not be put off, just ask the more than patient parrot.

Even though Tuesday preoccupies most of its time with death, it implores us to not forget to live. Just as Tuesday and Zora learn to accept death, Death learns about living through their time with Tuesday. The film offers the unique perspective of seeing things through death’s eyes, and being the harbinger of eternal sleep is rarely amusing. Living is much better, and even as death may loom large or barely make its ubiquity known, such worries cannot consume one and let those feelings get in the way of living. Ultimately, this is the endearing idea Pusic leaves us with how one views death matters, as it will impact our lives.

Since accidentally eavesdropping on the A24 propensity for weirdness conversation, not only has Tuesday grown on me but I can also conclude it is indeed weird, albeit in a devastatingly yet wonderful way. However, Tuesday is far from perfect, as it doesn’t always stick the landing and feels bogged down in some areas. Multiple ideas aren’t always given enough space to breathe, while others are stretched out incessantly. However, its ambitious scope is appreciated.

Adding to the positives, Pusic is confident in her direction. Her imagery of contrasts is often magical. The performances, anchored by a magnificent Petticrew and a never-better Dreyfus excellently portray difficult mother-daughter relationships. It all comes together to produce something quite remarkable.

Borja’s rating 7.5/10Watch Tuesday in theaters today. A24 distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: TUESDAY – Julia Louis-Dreyfus Takes on Death in Bizarre Debut Film appeared first on Sunshine State Cineplex.

View Details

Though it’s often referred to as ‘Die Hard on a bus,’ 1994’s Speed is an action film that stands on its own merits, earning its own place in the hall of fame of action cinema. These days, Keanu Reeves is considered a master of the genre with the hyper-stylistic “gun-fu” of the John Wick franchise; however, his ascent to the adrenalin-fueled Mount Rushmore began in the early 90s and can be traced across three essential films.

In 1991’s Point Break, from future Academy Award-winning director Kathryn Bigelow, Reeves showed he could do more than the contemplative drama and light comedies he’d been known for. In 1999, he wowed audiences by playing the lead in the Wachowski’s innovative, genre-defining blockbuster The Matrix. Directly in between these two pivotal releases was Speed, and while all three are important entries in 90’s action cinema, Speed’s plot is arguably the most simplistic.

Dennis Hopper delivers one of the greatest villain performances of his career as Howard Payne, a deranged madman with a fascination for explosives. He places a bomb on a public bus that will detonate if the vehicle slows below fifty miles per hour. It’s up to Officer Jack Traven (Reeves) to outsmart his foe and save the lives of the innocent riders onboard. While the film is bookended with action set pieces that take place outside of the bus, the film is primarily remembered for the central plot set in the small confines of public transportation.

It’s a testament to writer Graham Yost and filmmaker Jan de Bont, in his feature directorial debut, that the film, just like the bus on screen, never loses momentum. From sharp turns to low fuel and an unfinished bridge, obstacles continue to mount and the tension escalates. The action on the bus is mirrored by an equally frantic search for the bomber by Traven’s partner, Detective Harry Temple, in the relative safety of the streets of Los Angeles.

Ironically, one of the film’s most memorable moments comes from Detective Temple, played by Jeff Daniels, in his pursuit of the elusive Howard Payne. The moment comes when Temple, believing he has cornered the madman in a house, realizes he’s been duped. He’s just entered a home rigged with explosives, and the timer is approaching its final click before detonation and certain death. Daniels’ delivery is subtle yet impactful. It’s the solemn stare of a man who knows he’s going to die and has no time to come to terms with it.

In a recent interview on the Rich Eisen show, Daniels explained that he’d taken inspiration for the pivotal moment from Roy Scheider’s reaction to first seeing the shark in Steven Speilberg’s Jaws. While Daniels has dismissed his role in Speed to being the forgettable “guy back in the office,” his relevance to the film’s success is undeniable. On paper, the story is about a cop versus a villain and an out-of-control bus; however, the smaller characters and their subtle backstories help round out the larger picture and add a layer of realism to the otherwise absurd plot.

Sandra Bullock gives a star-making performance as Annie Porter, a passenger who unwittingly becomes the bus’s driver after the original driver is shot. She’s forced into a harrowing situation and must adapt quickly or face certain death. The bus is populated with characters designed to represent real people from varying walks of life. There is a tourist, a construction worker, and even a wanted felon. By placing backstories and personalities on these background characters, they become more than faceless passengers, and the audience becomes invested in their survival.

Realism is an important aspect of Speed. While it often ventures into the realm of “far-fetched,” more often than not, it remains plausible. When Keanu Reeves leaps from a speeding car into the bus’s open door as it careens down the freeway, it feels real, and the danger is believable.

Unfortunately, in the film’s weakest moment, that realism is shattered. As the bus approaches an unfinished bridge, there is seemingly no chance of survival. The bus is certain to barrel over the edge and crash into the asphalt below, detonating the bomb and killing everybody onboard. Instead, the bus launches into the air and safely lands on the other side. It’s a head-scratching moment that temporarily deflates the film’s escalating tension because it makes the bus and its occupants feel indestructible.

A lot has changed in the thirty years since Speed raced into theaters and became a significant box office success; however, its influences in the films that followed are evident. Would we have the Fast and Furious franchise today if not for this film? After all, the scene in which Paul Walker leaps from his fast-moving convertible onto the semi-truck in the climactic finale of the 2001 original is almost a direct copy of that same moment in Speed. Would Sandra Bullock have become a romcom queen and America’s sweetheart if not for the amazing onscreen chemistry she displayed here?

Apart from a few minor speedbumps, Speed remains a certified action classic that never runs out of fuel.

Joshua’s Rating: 8/10Watch Speed on streaming today. Check JustWatch for its most updated streaming locations. Check out Get Busy Living: A Retrospective for the Movies of 1994. Reviews, retrospectives, and essays will be added to this page. The post GET BUSY LIVING: SPEED Earns a Place in the Action Cinema Hall of Fame appeared first on Sunshine State Cineplex.

View Details

After an “interesting” week from the Star Wars fandom, The Acolyte reaches episode 4. The latest episode, “Day,” brings our protagonists and varying points of view in a race to the Jedi Master Kelnacca (Joonas Suotamo). Mae (Amandla Stenberg) and Qimir (Manny Jacinto) make their way to find the third Jedi on Brendok, while Sol (Lee Jung-jae), Osha(Stenberg), Yord (Charlie Barnett), and Jecki (Dafne Keen) lead a team to the forest planet. Alex Garcia Lopez directs “Day.”

The Acolyte – Season 1 Episode 4 – “Day” RecapOn Kohfar, the Wookie Jedi Master Kelnacca walks through the forest. When he arrives home, he cooks a meal with fresh plants. The camera zooms in on symbols drawn on the wall, seemingly showcasing galaxies and circular objects. On Coruscant, Osha watches Jecki in a training session. Osha thanks Jecki for clearing her name, but the padawan asks why Osha will not stay until Mae is apprehended. Osha believes this problem is the Jedi’s issue, and she cannot be the one to bring her sister in for her crimes.

Mae and Qimir land on Kohfar. They ready their packs, and Qimir tells Mae he risked his life to visit the planet before. He also reminds Mae that she must kill Master Kelnacca as part of her deal.

On Coruscant, the Jedi debate how Mae gained these skills. Sol believes Mae does not know her master. Vernestra Rwoh (Rebecca Henderson) believes Mae’s secret master was trained as a Jedi, and highlights the connection to those who were present on the planet during the fire. After she concludes that the Jedi need to handle the issue in-house before informing the High Council, she privately grows angry with Sol. He asks to bring Osha, and Sol indicates that Mae wants to reunite with her sister.

Qimir asks Mae how she plans to kill Master Kelnacca without a weapon. She points out she killed two Jedi already, but Qimir notes it was not how their master asked her to do it. When Mae asks Qimir how he got involved with their master, Qimir says he was one of those people the Master collects. He also tells Mae that Osha seems over her head despite having a fondness for Sol.

Just as Osha readies to leave Coruscant, Sol asks her to join him on his mission. Sol asks her to come because he believes there is good in Mae. She agrees, but only if she does not have to wear the robe. On the ship, Yord briefs the Jedi. As he does, Osha and Pop are interrupted by a small creature named Bazil.

The ship lands and Jecki asks the locals for Kalnacca’s location. It’s unknown, and while they wait, Yord harasses Osha, saying she’ll have to give up her gun to the order. When there’s no clear lead, the Jedi use Bazil as a tracker to find Kalnacca. Osha asks Yord to take care of Mae if they find her.

Bazil leads the Jedi deeper into the forest while Qimir and Mae hike further. Osha sees what looks like a seed pod on the exterior of the trees. However, the Jedi wandered into a nest of giant insects. Sol kills the creature as it attacks, and they move on from the place. Osha feels guilt over the creature’s death. She also questions how to feel about her sister and if there’s any way she can overcome the resentment she feels towards Mae. Jecki reminds her that we are defined by the things we overcome and survive, not by the trauma we ensure.

Mae and Qimir take a break, and she worries about the test. She knows her Master will kill her if she cannot do it. She doesn’t believe Qimir cares, but he heads out to get her water. The Jedi arrive in the same wooded area, but they cannot find Bazil. They hear Mae scream in the woods. Qimir quickly runs to her aid but gets snared by a trap. While he hangs upside down from a tree, Mae admits to Qimir that she will turn herself over to the Jedi. She leaves him hanging upside down.

The Jedi continue to seek out Bazil, and Osha asks Sol if she can face her sister. Osha believes her powers are slowly returning. Sol seems nervous about Osha facing her past but promises to tell her the truth. Mae arrives at Kelnacca’s but trips over a plant on her way towards his home. Brazil finds her and screeches into the forest. The Jedi run toward Kelnacca’s house, with Osha leading up the rear.

When she steps into Master Kelnacca’s home, she calls out to him. However, he’s been slain by a lightsaber. She realizes her Master beat her to the site and assassinated the Jedi Master first. The Jedi surround the house and tell Mae to come out and surrender. However, her Master descends from the treetops behind the Jedi, coming face-to-face with Osha. They ignite their red saber, and the Jedi sprint to attack. The masked force user throws Mae out of the way with the force and then pushes the remaining down with a second force push. We cut to credits.

The Acolyte – Season 1 Episode 4 – “Day” – TakeawaysIt’s hard to be too enthused with “Day” until the final sequence. While I championed the first three episodes of The Acolyte, “Day” comes in as the weakest episode yet. It’s not bad, but it feels a bit underwhelming after “Destiny.” The primary issue facing “Day” boils down to stakes. While the two groups move toward a common goal, in this case the MacGuffin of finding Master Kelnacca, the character has been killed by the time they reach the location.

This would be excusable if character development occurred in “Day,” but unfortunately, that was not the case. Instead, it not only deprives the viewer of seeing an actual Wookie Jedi, but it deflates the stakes of the choices made in the journey.

Additionally, the one dynamic that seems to work throughout “Day” comes from Qimir and Mae. Their back and forth is the most entertaining and most alluring the watch. However, it also feels slightly underwhelming when Mae makes her final move to betray him. She does so without much urging, although we can see her mind has been shifting throughout the journey.

There are some questions about “who is the big bad” at the end of the scene, and the possibilities continue to dwindle. There’s a very good chance that our mystery dark Jedi is just Qimir, who not only seems extremely wise in terms of understanding the situations but lays some breadcrumbs in his performance. His dismissive and short answers to Mae provide the most intrigue, and we know for a fact that he had already arrived on Kohfar. Mae does not realize her potential master is also watching her up close, but it seems possible in the story’s context.

Once again, this dark force user may stem from the original Coven in question. Some of the witches likely survived, and while it’s possible it’s Mae or Osha’s mothers, it could be one of the group’s other members. Other actresses might take on a dark force user role, including Amy Tsang.

We get some development between Osha and Jecki in “Day,” which might help the series the most in the long haul. Jecki and Osha appear genuinely curious in pushing each other. They create real bonds in a short time together and discuss topics that Osha cannot breach with Yord or Sol. This could set one or both of the women up for a fall, or it could be the relationship that helps overcome the darkness in the series. This relationship showcases the power of platonic friendship that the Jedi can cultivate while also showing that meaningful relationships can be forged outside the Master-Padawan dynamic.

Next week, the episode should pick up during the fight between the Jedi and the Dark Force user. Given that Sol promised to reveal the truth about the past, he likely signed his death certificate. He might as well have bought a boat named “Live Forever” given how these things go against dark force users. Additionally, I do not give much of a chance to the half-dozen red-shirt Jedi who joined the hunting party. A new consolidated group of Yord, Jecki, Osha, and Mae appears likely by the end of the next episode and could prove crucial for the future of the series.

Alan’s Episode Rating: 6/10Watch “Day” on Disney+ now. Keep up with The Acolyte every Tuesday on Disney+. Check out our previous recaps here. Please check out other Sunshine State Cineplex reviews here!Check out our Reviews, Recaps, and Features on TV here! The post TV: THE ACOLYTE – Season 1, Episode 4 – “DAY” Recap appeared first on Sunshine State Cineplex.

View Details

A return to Westeros reminds us just how special the Game of Thrones universe remains. For all the naysaying and frustration with the final season, House of the Dragon Season 1 quickly assuaged many fears. When a George R.R. Martin story finds its way into the correct hands, there are few stories more intriguing to watch unfold. Season 2, Episode 1 – “A Son for A Son” kicks off with one of the most upsetting moments of the Dance of Dragons. It’s a stunning reminder that it’s the characters, not the creatures, that lead to the best storytelling moments of the franchise. “A Son for a Son” is written by Ryan Condal and directed by Alan Taylor.

HOUSE OF THE DRAGON – “A Son For A Son” – The RecapRavens fly through the woods to Winterfell. Cregan Stark (Tom Taylor) discusses the duty to defend the Wall and how the Stark family views this duty as an honor. Jacaerys “Jace” Velaryon (Harry Collett) tries to convince Cregan to join his mother as they wander to the edge of the wall. Cregan thanks Jace for not threatening his people with a dragon. While Jace jests that they defend the south from wildlings and weather, Cregan hints at something darker beyond the wall. He then promises to send “greybeard” troops to the Black’s cause. Jace accepts, but they’re interrupted by a Raven from the South.

Rhaenys Targaryen (Eve Best) returns from patrol, but Daemeon Targaryen (Matt Smith) wants to fly out again. He promises to kill Vhagar and Aemond (Ewan Mitchell) to make it a son for a son. Rhaenys questions if it was the Queen’s command, but Daemon hints that Rehenerya has been gone for done. Rhaenys tells Daemon that she could not accept her own children’s deaths until she saw their remains. Daemon reminds Rhaenys that she could have ended the war if she had acted. She refuses when he commands her to fly with him because he is not king.

Rhaenyra looks over the water alone, stricken with grief. Corlys Velaryon (Steve Toussaint) looks over the fleet and gets a report from Alyn of Hull (Abubakar Salim) about his ship’s ongoing repair. While there, he receives a knife from the blacksmith, which he had commissioned for Prince Lucerys Velaryon. He thanks Alyn for saving his life and pulling him out of the sea.

A dragon approaches, and Ser Arryk Cargill (Luke Tittensor) tells his men to stand down when it’s identified as Vhagar. King Aegon II (Tom Glynn-Carney) asks for his son Jaehaerys from his wife, Queen Helaena Targaryen (Phia Saban). However, his son is in the library. She expresses worry about the rats, but Aegon dismisses her concerns.

Alicent Hightower (Olivia Cooke) and Ser Criston Cole (Fabien Frankel) sleep together. When they’re done, Alicent mentions they cannot continue. Criston reminds them they must go to the Council. In council, Otto Hightower (Rhys Ifans) – Hand of the King – mentions the ravens to Vale, and Winterfell remains unanswered. The Baratheons and Stormlands are ensured with Aemond’s marriage. Other forces are coming together, but Rhaenyra is not answering Alicent’s letters. Jaeherys tries to “ride” Tyland Lannister (Jefferson Hall), but when Aegon goes too far, Alicent gets them back on track.

At the same time, Aemond enters the council, much to Alicent’s dismay. He pitches attacking Harenhal, and Aegon agrees. Alicent reminds them they are not the only ones with Dragons, but again, Aegon dismisses the concern. Criston does not think Aegon should be exposed, and Alicent notes that Vhagar is required to protect the Red Keep because from Rhaenyra’s dragons.

Lord Larys Strong (Matthew Needham) meets Alicent outside her room and tells her that all those who betrayed them have been slain. Her new staff was chosen by Larys. However, as they bathe her, Alicent tells them to leave the room.

Rhaenyra continues searching for Jace. She spots a group of sailors examining the corpse of Jace’s dragon. In the blood and nets, she finds his clothes. Rhaenyra breaks down sobbing, having confirmed his death herself.

Aegon walks into court and meets the people. The first man asks for ten sheep, but when he accepts, Otto steps in. Aegon reverses his decision and ignores the next speaker, who references the blockade. A representative of the blacksmiths announces they’ll require payment in advance. Aegon agrees, and while Otto walks to counsel him again, Argon reminds the court that they are nothing without the small folk supporting him.

Lord Larys awaits Aegon on the stairwell and pulls him aside. Larys worries about Otto’s firm hand on the crown. He does not believe that Otto should remain The Hand of the King.

Alicent awaits Otto in his chambers. When he returns, they argue about their goals and how to keep Aegon on the throne. However, Alicent warns that their bickering is not helping matters and that Otto’s best path forward is through Alicent. She knows she can control Aegon but now requires her father’s support.

At the blockade, Mysaria (Sonya Mizuno) – a.k.a. “The White Worm” – is captured by a boarding crew. She’s brought to Daemon, who grows angry she gave Aegon back to the Hightowers. Mysaria says she has no love for the Greens and has no value. Ser Erryk Cargill (Elliot Tittensor) tries to stand up for her, but Daemon grows angry at him too. Erryk reminds Daemon that his oath was to protect the family and explains why Arryk stayed in King’s Landing.

Rhaenyra returns, and the other plans are laid out for her. However, she demands Aegon’s head. Daemon speaks to the white worm, offering a trade. Jace tells Rhaenyra of his success with The Vale and Cregan Stark. Rhaenyra walks to him and hugs him. In King’s Landing, Alicent lights a candle for Jace. In Dragonstone, Rhaenyra lights a pyre.

Daemon sneaks into King’s Landing, where he hires a Gold Cloak (one of Otto’s men) and a Red Keep Ratcatcher to kill Aemond. They ask for a backup plan if they cannot find him. “Cheese” (Mark Stobbart) and “Blood” (Sam C. Wilson) make their way into the castle via the sewers.

Meanwhile, Aemond and Criston Cole work out a plan to win the war. Aemond shows his displeasure with his mother and grandfather. They are interrupted by Otto, who tells Criston to leave. Otto reminds Aemond that he’s the greatest power in the realm while he rides Vhagar. He would be worried if his grandson was planning military actions without the Hand or the King. He wants Aemond to keep a grip on his impulses because Aegon cannot.

Blood and Cheese walk through the castle. They come upon Aegon and his friends drinking at the Iron Throne. They walk by unnoticed. While Cheese appears unwilling to go upstairs to the royal quarters, Blood’s threats change his mind. Once upstairs, they pretend to set rat traps for appearances. Cheese captures Queen Helaena. Blood grows annoyed as he cannot kill her. “A son for a son” is what Daemon asked for. However, cheese gestures behind Blood, where the children sleep.

Cheese threatens to kill the Queen unless she points him to a son. She attempts to bribe them with a necklace, but they steal it. They demand to know the boy once more, and she points. At first, Blood does not believe he pointed to the right child. However, Cheese sees it in her eyes, and they kill the boy.

Queen grabs her other child and runs. Helaena walks into her mother’s room, where she’s having sex with Criston Cole. Alicent turns around and asks what happened. Helaena responds, “They killed the boy.”

“A Son for a Son” – TakeawaysThose of us who have at least read over the passage about “Blood & Cheese” were likely awestruck by how “A Son for a Son” played out. In Martin’s text, Fire and Blood – George R.R. Martin’s The People’s History of the United States for this era of Westerosi history – part of the story stems from the would-be assassins using Alicent as a lure for Queen Helaena. Additionally, Helaena was supposedly put in a Sophie’s Choice situation, where she was forced to pick the other child, only to have Blood and Cheese figure out she was lying.

“A Son for a Son” plays these events far differently, and it’s rather clear why. The growing relationship between Criston Cole and Alicent distracts her and the Kingsguard from their duties. Both would be killed if it was known in the Kingdom that the former Queen of the Realm was so openly sleeping with Criston. Additionally, he let the heir to the throne die, with no protection.

In the version told in Fire and Blood, there was no way to stop the events. Since Helaena walked in on their intimate moments, Alicent had to devise a story that helped protect them as well. Thus, the story making its way into the history books shows Alicent as an additional victim in the event, and ensures Halaena did not give up the heir to the throne so easily.

The violence within “A Son for a Son” cannot be easily written off. House of the Dragon takes a big swing in this scene and executes it well. While “A Son for a Son” does not make the tale of Blood and Cheese quite as grotesque as the book, there’s still plenty of horror. Additionally, the intrigue around the assassination plot and the way the killing goes sideways adds to the intrigue of House of the Dragon.

Throughout the series, men, women, and families rise and fall again. While the dragon sequences certainly provide spectacle, without the palace intrigue, Game of Thrones and House of the Dragon is another lifeless blockbuster fantasy series. Instead, it’s among the very best shows on television. This is only possible because Condal and his team focus so heavily on the unique aspects of his characters. Even the few who debut in “A Son for a Son” feel instantly charismatic and thoughtful. Winterfell is more of a stop-in this season, but wow, what a first impression.

While these events are the most important of the episode, there was plenty of intrigue as well. The factions within each camp continue to grow. Daemon acts entirely out of his own self-interest and strikes deals behind the scenes without the Queen’s endorsement.

Meanwhile, the Greens have their own disruptions. No one works on the same page, with Aegon, Alicent, Otto, Aemond, and Criston seemingly hatching their plans. Without clear directives, the Greens are just as dysfunctional. Aemond and Criston’s discussion in the dark might be the most dangerous of all. Neither appears able to stay in control, and the events of the episode do little to quell that worry. Still, as Otto seems to realize, Aemond ultimately holds the fate of the Greens in his hands as their most powerful fighter and weapon.

For all the people trying to rise to power in “A Son for a Son,” a logjam is inevitable. Yet the two who have the most power, Rhaenyra, and Aegon, are mostly unwilling to make decisions. Each will lose a child before the end of the episode. Each will believe in their power to rule. Yet both are helpless when the events that scar them most occur. While a war will be waged in their names, the players who move the chess pieces prove poisonous to the realm.

Quick Hits* Rhaenyra has very few lines (our initial count was one) throughout the episode. An incredible emotional performance from Emma D’Arcy. * The “Pact of Ice and Fire” did not feel as fully explored as we might have hoped. Then again, Jace receives his devastating news at The Wall. In the future, we may see Cregon and Jace grow close, and potentially discover Jace’s illicit affairs in Winterfell. For now, an elevator trip will have to stand in for the boys becoming “like brothers” while they hunt and spend time together. * Helaena once again proves prophetic. You’d love for someone to catch on. Instead, her warnings about the rats prove true, just as her odd prophecies have in the past. * Criston Cole is up to no good, playing all sides of the Greens for himself. Our dishonorable favorite once again showcases the dangerous side of sociopathy. * Otto is a dead man walking as the Hand. He does not have the juice, and Aegon does not trust him. Ser Larys is just adding fuel to the fire. * If Aegon had been present for Otto’s positive remarks to Aemond, he would have been furious. After all, it’s Aemond who struck the first blow, Aemond who wields the most power, and Aemond who is most in control. A real one-sided power dynamic that Aegon seems well equipped to misunderstand.

Winner of “A Son for a Son” – Aemond. Unbeknownst to him, he survived an assassination attempt, showed power over most people in his life, and seemed poised to make big moves.

Loser of “A Son for a Son” – Aegon. He appears weak, his heir is dead, and the Greens are in disarray. Having his son assassinated in the Red Keep only further adds to the chaos in the house.

Bye Byes to – Jaehaerys Targaryen

Next Week Eyes are on – Daemon Targaryen. He’s going to have to do something drastic to fix the problems with Rhaenyra. She will not want to be known as a Kinslayer, yet it’s likely to fall on her. Additionally, he will have to pay up on the deal he’s made with Mysaria. What did he promise?

Alan’s Rating: 9/10Watch House of the Dragon on HBO and on Max streaming. “A Son for a Son” aired on June 16, 2024. Stream it here on Max. Check out our Reviews, Recaps, and Features on TV here! Please check out other Sunshine State Cineplex reviews here!The post TV: HOUSE OF THE DRAGON – Season 2, Episode 1 – “A Son For A Son” Recap appeared first on Sunshine State Cineplex.

View Details

Inside Out 2 comes at a time when Pixar seems to be struggling with its identity. What was once the premier animation company, often overshadowing even its parent company, has arguably faltered in the quality and creativity of its storytelling. Granted, many of the films released in the last four years got the short end of the stick due to poor marketing, industry strikes, and global pandemics. The results, however, seemed to suggest that Pixar had lost its spark.

Now, Inside Out 2 demonstrates that not only is the spark still alight but that light is a beacon of a more focused studio. Pixar excels most when it anthropomorphizes characters to shape the human experience. Inside Out succeeded in exploring the tribulations and excitement of growing out of childhood. However, Inside Out 2 matures along with its characters at the age when they develop their identity. Beautifully animated and honestly told, Inside Out 2 improves on nearly every aspect of its predecessor.

Two years have passed in Riley’s (Kensington Tallman) life since moving to San Francisco. Her emotions Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Liza Lapira) and Fear (Tony Hale) have struck a balance to maintain harmony. As Riley prepares to transition to high school, new emotions arrive, blindsiding Joy and the others. When the stress of change rears its head, Anxiety (Maya Hawke) steps in and takes control along with Ennui (Adele Exarchopoulos), Envy (Ayo Edebiri), and Embarrassment (Paul Walter Hauser). As Riley’s personality changes, Joy leads her other emotions on a journey to restore Riley’s core beliefs.

Stepping in for the original director (Pete Docter remains executive producer), Kelsey Mann makes his feature debut. This continues a long tradition of Pixar mining talent from within, as Mann has previously contributed to various Pixar projects for years. His direction demonstrates high competency and a clear vision. Docter had the unenviable task of building a world inside a character’s head and making it make sense. Mann takes that groundwork and runs with it, crafting a more cohesive and mature film that visually delights. The animation stands out as some of Pixar’s best, utilizing different styles and improving on the studio’s trademark textures.

The original was close to a masterpiece however a qualm that held it back was that the emotion characters, particularly Joy and Sadness, were by nature incredibly one-dimensional. This sequel corrects that, and all of Riley’s emotions have developed into fuller characteristics. They’ve changed each other, and by working together each is given a chance to exhibit tendencies of the others. Think of it like an emotional nesting doll.

This, in turn, allows the cast to give more nuanced performances. Poehler, in particular, injects a vulnerability into Joy that was hinted at in the first but more deeply explored here. Lapira and Hale step into their roles after original actors Bill Hader and Mindy Kaling declined to return and do a serviceable job of filling their shoes. However, it is newcomer Hawke who steals the show. Riding the waves of anxiety’s highs and lows, she delivers a tour de force performance.

Strong performances require strong material, and the screenplay by Meg LeFauve and Dave Holstein delivers. Developing an authentic story about the rigors of growing up is difficult, but crafting one that is emotional, funny, and imaginative takes a particular skill few possess. Much can be said about sequels that recycle material, but Inside Out 2 avoids that pitfall. Building on the original concept, LeFauve and Holstein present enough new ideas that Inside Out 2 could easily be the stepping-off point for new viewers. However, skipping the first robs the beauty of Riley’s emotional development.

Any teenager will instantly recognize the hardships she experiences and any parent will relate to the struggle of navigating their child through that time. Anyone else that doesn’t fall into either of those groups will remember going through the changes themselves or else find common ground with the turmoil anxiety plays on a daily basis. They latch onto how every decision and experience shapes who we are and how easily that balance can be disrupted. The feeling daunts, but the writers present it with humor and maturity that keep it from becoming too heavy.

Inside Out 2 holds the distinction of being one of the rare sequels that improves on nearly every aspect of the original. Gorgeous animation brings to life an imaginative world full of light and humor with more mature and developed characters than audiences have seen in the franchise before. Mann reigns in many great ideas to craft a heartfelt and authentic depiction of growing up and developing oneself. A vibrant cast brings the emotions to life in a more well-rounded manner than before. The feeling of viewing such a strong, new Pixar film is nothing but pure joy.

Josh’s Rating: 9.5/10Watch Inside Out 2 in theaters June 14th, 2024. Disney/Pixar distribute.Please check out other Sunshine State Cineplex reviews here!The post Review: INSIDE OUT 2: A Mature Sequel Improves on the Original appeared first on Sunshine State Cineplex.

View Details

The rodeo is a widely untapped market in the film industry. In the 90s, we had 8 Seconds, a biographical drama starring Luke Perry following the life of legendary bull rider Lane Frost. Of course, one of the most memorable segments from Sacha Baron Cohen’s Borat featured the titular foreigner angering rodeo patrons with an unpatriotic anthem; however, outside of these two examples, I can’t think of a memorable cinematic experience centered on the world of bull riding. It’s a very niche market with a passionate target audience that can feel limiting to filmmakers. Ride succeeds in crafting a story that can appeal to a broad audience using its talented cast and strong characters.

When the youngest member of the Hawkins clan is diagnosed with an aggressive cancer, her family desperately fights to gather the money necessary to get her treatment. Her father John, played by veteran actor C. Thomas Howell, scrapes together every scent he can, but is seemingly unable to raise anywhere near the required funds. Her brother Peter, played by writer and director Jake Allyn, returns home after a long stint in prison. He’s determined to help his little sister, but the family is hesitant to accept him back. Peter’s arc serves as the backbone of the story as he struggles to climb out from the hole he’s dug himself.

Guilt is among the heaviest burdens to bear and cleansing oneself of that guilt can seem an impossible task. It’s a dark subject matter that pairs well with the gritty realism and atmospheric tone of Ride. Jake Allyn is clearly knowledgeable about the world he’s crafted, leaning into his Western roots and taking inspiration from the classic neo-noir Westerns that came before him. It’s stylistically reminiscent of early Coen brothers films, building tension through a snowballing chain of events.

C. Thomas Howell stands out as the shining star of the film. He successfully conveys the desperation of a patriarch facing multiple demons. The walls are closing in, the options are dwindling, and time is running out. He carries the weight of the film’s emotional core on his shoulders, and if audiences don’t believe the desperation and agony he’s experiencing, then the film fails. The beautiful use of the film’s score enhances the performances, which amplifies each moment while maintaining the Western aesthetic.

The story is as much a critique of the American Health Care system as it is a character study. The idea that a family would be pushed to such extreme measures simply to afford the necessary care to keep their daughter alive is an absurd and disgusting reality that too many families have experienced. Much like Denzel Washington’s John Q from 2002 or television’s Breaking Bad, we see ordinary people pushed into extraordinary circumstances in order to pay for life-saving medical treatment.

Ride isn’t a perfect film, but its imperfections are well suited to its gruff and gritty world. Jake Allyn proves he’s as talented behind the camera as he is in front of it. His understanding of the cowboy bravado and how it clashes with modern ideals is compelling, and I look forward to seeing what else he has to offer in the genre.

Joshua’s Rating: 7/10Ride releases June 14th, 2024. Pick up your tickets from the Ride website here. Well Go USA distributes.Please check out other Sunshine State Cineplex reviews here!The post Review: RIDE – A Gruff and Gritty Neo-Noir Western appeared first on Sunshine State Cineplex.

View Details

The recent Star Wars trend of bringing in a prominent director for a pivotal episode has paid huge dividends so far. Having seen episodes directed by Lee Isaac Chung, Rachel Morrison, and Deborah Chow has been great for the Star Wars Disney+ shows. The Acolyte follows the trend, recruiting Kogonada (After Yang, Columbus) to helm “Destiny” – an intricate and meditative episode. When the peace breaks, the dark events turn from philosophical to incredible tragedy. It’s time for a flashback and questions about the Jedi order. Kogonada directs “Destiny” – Episode 3, written by Jasmyne Flournoy and Eileen Shim.

(Clockwise from center): Jedi Master Indara (Carrie-Anne Moss), Master Sol (Lee Jung-jae), Jedi Master Kelnacca (Joonas Suotamo) and (second from right) Master Torbin (Dean Charles Chapman) in Lucasfilm’s THE ACOLYTE in “Destiny” exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.The Acolyte – “Destiny” – Episode 3 – The RecapWe flashback to Brendok sixteen years before the death of Indara (Carrie-Anne Moss). Young Osha (Leah Brady) and Young Mae (Lauren Brady) show force sensitivity at the Bunta Tree. The tree is dangerous for those who eat its fruits, but its beauty is undeniable. The Twins express concern over their upcoming Ascension ceremony. They are interrupted by Mother Koril (Margarita Levieva), who tells the girls they are breaking rules for their safety. She ushers them back toward their village, and in the background, Sol (Lee Jung-jae) watches from a distance.

In the village, Koril tells the girls they cannot take sweets from a local vendor. However, the twin’s mother – Mother Aniseya (Jodie Turner-Smith) – tells them they can have a small snack. The girls run off, and Koril and Mother Aniseya discuss their worries about the Jedi around their coven. Mother Aniseya knows that Osha’s power is growing and her discovery could be bad for their village. Koril shows far more fear.

During her lesson with the Twins and other girls, Mother Aniseya shows just how powerful their rituals can make them. When the twins begin to fight, Mother Aniseya causes them to fall with a force push. She attacks them again, and Mae steps in with her own force push to deflect the attack. Osha appears unwilling to use her power, which causes Koril to call her out.

After the lesson, the twins discuss their fears about the Ascension with their mother. Mae is excited to become a witch, while Osha does not want that future. Mother Aniseya understands but wants Osha to realize that joining the Coven means you have become part of something bigger than yourself. She knows that Osha may not want to become a witch, but she also knows the world will try to use Osha’s powers in ways she cannot control. To maintain her power and her unique abilities, she must complete the Ascension.

While other witches braid the girls’ hair, the twins continue their discussion. Mae is comfortable in Brendok. Her family and life are in the temple and alive with their Coven. Osha wants to experience life beyond Brendok. To her, the tribe suffocates her sense of adventure.

(L-R): Mother Aniseya (Jodie Turner-Smith) and Koril (Margarita Levieva) in Lucasfilm’s THE ACOLYTE. Episode 3 – “Destiny” – is exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.A few hours later, the Ascension ceremony begins. Mother Aniseya reveals that the twins are a miracle after their Coven faced extinction. Other groups – presumably Jedi – believe the Coven embraces a dark side of the force. The girls begin their Ascension ceremony, and the witches ask for the Twins to commit to the Coven. Mae does so without hesitation. Osha appears reluctant, and while she says she will protect the Coven, the Jedi interrupt the Ascension before it can conclude.

The Jedi – Indara, Sol, Kelnacca (Joonas Suotamo), and Padawan Torbin (Dean-Charles Chapman) – step into the Ascension. The groups introduce themselves, and Mother Aniseya explains this is her Coven to protect. Indara tells Mother Aniseya that the Jedi presence stems from a mistake, and they were unaware that the planet was inhabited. Mother Aniseya calls her out, mocking her as an all-knowing Jedi.

The Jedi believe the Coven is training children. Mother Aniseya reminds the Jedi that Brendok is not part of the Republic, and they are the ones who arrived armed. Mother Koril refuses to acknowledge that there are children present at all. Kelnacca roars and Indara invites Osha and Mae to step forward. While Osha expresses interest in testing to become a Jedi, Mae does not. Mother Aniseya grips Torbin with dark magic, but Osha’s request to test helps Indara convince Mother Aniseya to let go. The Coven will allow the girls to test the next day.

(Clockwise from right): Jedi Master Kelnacca (Joonas Suotamo), Master Torbin (Dean-Charles Chapman), Jedi Master Indara (Carrie-Anne Moss), Mother Aniseya (Jodie Turner-Smith) and Koril (Margarita Levieva) in Lucasfilm’s THE ACOLYTE. Episode 3 – “Destiny” – is exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.The Coven’s council quickly becomes contentious. Mother Aniseya believes they have to let the girls test, primarily because of Osha’s wants. Mother Koril appears ready to go to war and kill the four Jedi. The rest of the Coven appears divided, In the fight, Aniseya reveals she created the Twins, while Koril carried them to term. Koril also fears that if the Jedi discover how the Twins were made, they could destroy the Coven.

Mother Aniseya tries to convince the girls to fail. Mae wishes to remain with her mother and family. Osha remains unsure and does not know how to fail if she could. Koril arrives, and the girls are taken to the Jedi ship. Mae tells Osha that she has to fail so they can stay together. It’s revealed Mae will test first. While Mae tests, Osha watches Kelnacca work on a speeder bike.

When Mae finishes, Osha goes to her test. She tries to fail the questions on purpose but accidentally reveals that she’s lying about the answers. Sol tells Osha about his test and that the children who become Jedi must have courage. Torbin takes a blood sample, and the test continues. When Osha steps off the ship, Mae knows her sister did not fail the test.

(L-R): Mother Aniseya (Jodie Turner-Smith) and Mae (Amandla Stenberg) in Lucasfilm’s THE ACOLYTE. Episode 3 – “Destiny” – is exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.Mae angrily tells the Mothers that Osha did not fail. Osha tells the Coven she could not lie, but Mae’s hurt that she was lied to. Osha reveals she does want to be a Jedi, not only because she does not want to be a witch but because she wants a life separate from Mae. This infuriates Mae, and Mother Koril takes her away. Mother Aniseya and Osha discuss destiny and that choice is part of the stories we live. If Osha wants to be a Jedi, she can pull that thread, but fear cannot be part of the decision. Osha reiterates that she wants to be a Jedi, and the two embrace.

Osha packs her bags, but Mae will not let her sister leave. She takes her Jedi books and sets them on fire after threatening to kill her. The blaze quickly consumes the primary exit. Osha hotwires an exit through a cave, and the fire consumes the Coven’s council. The girls meet on a destroyed bridge, asking each other what they’ve done. The bridges collapse, and they fall toward a pit. However, Sol saves Osha by grabbing her arm. Mae falls into the pit, disappearing. Sol and Osha run through the temple, coming across the bodies of the Witches and Mother Aniseya.

Osha passes out and wakes up on board the Jedi ship. Sol tells Osha about the horror of Mae’s fire and that they are heading to Coruscant. Sol promises Osha will never feel like this again and offers to become her Master. On Brendok, Mae arrives at Bunta Tree, looking for Osha.

Mother Aniseya (Jodie Turner-Smith) in Lucasfilm’s THE ACOLYTE. Episode 3 – “Destiny” –is exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“Destiny” – Episode 3 *– Takeaways*The performances of “Destiny” come from the witch women. Both Jodie Turner-Smith and Margarita Levieva dominate the screen. They are placed in an impossible position as characters, having to balance the safety of the remaining itches in their coven with the well-being of their daughters. Unfortunately, the women find themselves in harm’s way from the moment the Jedi arrive.

Turner-Smith reveals an empathetic and loving woman. She does not believe the Jedi have the best intentions in mind for her daughters. Yet she respects their agency and willingness to test. Levieva gets the more openly emotional role. Her fiery passion is born from love. Yet, in Star Wars, that passion can lead to destructive and violent ends. It’s incredible to see the dichotomy of the two women, one responsible for creating the twins while the other carried them to term. There’s no clear “ownership” which wanders into additional questions.

The big question swirling after “Destiny” will be around the fire. Yes, we saw Mae start a fire. But did she go on the rampage and kill the rest of the coven? Furthermore, how did that fire spread so quickly? It’s hard to say that the Jedi are clean in all this because they were very focused on collecting the twin girls.

This becomes the most interesting element of “Destiny”, and The Acolyte yet. There’s never really been a question of who authorizes the Jedi to step into cultures and take children. The lack of interrogation of this is not shocking, but now that the question has been raised, it’s hard to ignore. Even if a child chooses to join an order, we’ve seen time and time again that the Jedi teachings have destroyed its disciples.

Furthermore, the choice to train Anakin Skywalker would later be controversial. How was the choice to train Osha not significantly more so? It’s not just that she lost her family, but she lost everyone she ever knew. That level of isolation would be devasting regardless of whether you were trained to be a knight.

Jedi Master Kelnacca (Joonas Suotamo) sitting next to Jedi speeder bike in a scene from Lucasfilm’s THE ACOLYTE, exclusively on Disney+. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved.“Destiny” also opens up a discourse about colonial practices. The separation of children from their parents has always been viewed poorly. Considering the Jedi know that Osha and Mae are too old by post standards, they are actively choosing the risk of removing them from the environment. While there are hints that the Coven practiced on the dark side of the Force, we do not know if they are a threat to the Republic.

Moving forward, there are some big questions in the air. First, were the Jedi responsible for the massacre of the Coven? Given Torbin’s reaction in “Revenge/Justice,” the answer feels obvious. Second, what happened in the secluded room? Finally, how did the Dark Force user meet Mae? Was it another member of the Coven? Or did a wayward Jedi find her?

Alan’s Rating: 10/10Check out our other recaps and pieces on The Acolyte here! – “Destiny” – Episode 3 – streams at 9 PM EST on June 11, 2024.Check out our Reviews, Recaps, and Features on TV here! The post Recap: THE ACOLYTE – “Destiny” – Episode 3 appeared first on Sunshine State Cineplex.

View Details

The power of country music in today’s media environment cannot be understated. To this day, it’s among the most popular genres of music across ethnic, racial, and socioeconomic status. For generations, one political perspective seemed to claim the genre to their ideology. However, since 2019, a new batch of artists has shifted their perspectives on a genre ruled by tradition. Rebel Country follows a handful of these artists, who have only continued to break into the mainstream since the documentary went into production. Serving as an introduction to the changing climate, Rebel Country seeks to open the doors to a larger audience.

Beginning in 2019, Little Nas X and “Old Town Road” felt earth-shattering. As rap and hip-hop blended in a massive hit for the first time in years, a spring of artists appeared ready for the shift. New artists began crossing into country radio, including musicians of varied ethnicities, genders, and sexual orientations. Jelly Roll, Breland, Lainey Wilson, Blanco Brown, Sam Williams, Frank Ray, Lindsey Ell, Rissi Palmer, and others provide their new discourse of the scene.

Pulling from the tradition of Outlaw Country started by Hank Williams (Sam’s grandfather), the genre often spoke to the disenfranchised. Perhaps no one embodied the scene like Johnny Cash or Kris Kristofferson, but during the 1970s, the Republican Party actively courted the genre. This idea was only reinforced after The Chicks were exiled for speaking ill of George W. Bush. While these moments led to a perception of the genre, the new movement looks to push back against the hallmarks of history and tradition.

Director Francis Whately wisely builds the case that the genre is changing by letting the artists speak one at a time. Based on the structure, you can see the shifts in presentation and motivations, driving a straight line from the influence of Lil Nas X to artists like Breland. Having artists like Jelly Roll point out their roots in traditional country also helps Rebel Country feel like less of a stretch.

Rebel Country also has the benefit of interviewing charismatic and funny artists. Jelly Roll hilariously roasts all political parties and the establishment. As he does, he speaks about his past and how it’s caused distrust in the systems meant to keep disenfranchised people down. Pulling this insight from the artists could go the wrong way, but it ultimately helps Rebel Country make its overarching argument. A singular political ideology cannot define the genre. It seems like a moment for more progressive and populist voices to take charge in the scene. If nothing else, the diversity in sound and musicianship is needed.

The infusion of new talent helps improve the song quality as well. It’s not just new ideas in terms of what to sing about. There are new beats and influences working their way into modern country. Rebel Country highlights artists who are not only intellectually curious, but prove willing to push the boundary of what the genre allows. Rather than get scared off their political material because of what happened to The Chicks, many women meet the challenge head-on.

Unfortunately, Rebel Country does fall into too much of a predictable flow. For most artists, we meet the new voice, they explain why they chose to write in the genre, and then we hear a song or two to show their influence. By the fifth artist, we begin to see the pattern, and Rebel Country begins to feel more like a mixtape than an examination of the genre.

This speaks to another issue of note, namely that we are still in the middle of the revolution. As these voices continue to gain power, we do not know the full extend of how this change will change music. It’s only been five years since Lil Nas X, and while these voices seem like they’re here to stay, other subgenres have faded within a decade. Without time to reflect and explore what the new generation of Outlaw Country means to the masses, this feels a little soon for a feature documentary.

While Rebel Country does little to shift the style of the documentary, it’s an excellent way to learn more about Country music today. For a generation raised in the early 2000s, it’s been too easy to write off the music as a whole. Yet its influences from black and Latin artists prove it’s a genre for everyone. Gone are the days of exclusion because, as Breland puts it, “streaming gave me a platform.” Without a doubt, the latest Outlaw Country movement bodes well for the future of music as a whole.

Alan’s Rating: 6/10Check out Rebel Country at the 2024 Tribeca Film Festival. Check for showtimes here. Check out our reviews and pieces from the 2024 Tribeca Film Festival here. The post TRIBECA 2024: REBEL COUNTRY – Welcome to the Latest Evolution to an Ever-Changing Genre appeared first on Sunshine State Cineplex.

View Details

Under the surface of The Watchers, there is a biting commentary on surveillance and identity. On the surface there are a handful of decent performances and effective jump scares. Unfortunately, freshman feature director Ishana Night Shyamalan fails to capitalize on these components to craft a memorable thriller. Instead, the result is a film that occasionally drags but is, appropriately enough, watchable.

Burdened by tragic memories, Mina (Dakota Fanning) drifts through life without much care. When she is tasked with delivering an exotic bird to a client in west Ireland, she finds herself stranded in a mysterious forest where something doesn’t seem quite right. Close to nightfall, a stranger named Madeline (Olwen Fouéré) shepherds her into a bunker inhabited by Daniel (Oliver Finnegan) and Ciara (Georgina Campbell). The sparse bunker features a large two-way mirror that Madeline explains is so that they can be watched. Each night, they can hear terrifying sounds as the unknown monsters gather to watch them. As Mina challenges the rules Madeline set down, the mystery of the creatures comes to light.

Aided by the majesty of Ireland’s woodlands, the film features some striking cinematography. Eli Arenson utilizes the giant two-way mirror to great effect, framing shots to contrast the beauty and horror of the situation. Aerial shots of the woods are both breathtaking and claustrophobic, creating an unsettling paradox of being watched in the most remote place imaginable.

Shyamalan allows the cinematography to build the tension without the need to show much of the creatures. Like Jaws, the beasts are not fully visible until late into the film, and even then, their form remains ambiguous. One benefit of this is that there are no CGI monsters to distract, and the fear is more internalized.

Fanning delivers a strong performance as a broken woman. Reeling from guilt, Mina’s fear doesn’t stem from the mysterious night stalkers but from her own past. She doesn’t want to die but accepts it as recompense for her past. None of this is verbally stated but is conveyed through Fanning’s facial expressions and mannerisms. Fouéré likewise captivates as the bunker’s longest tenant. She exhibits a quiet intensity that heightens the tension. The rest of the cast works with characters that feel underwritten but turn serviceable performances nonetheless.

Despite these strong elements, the film starts to unravel midway through. As the truth about the watchers come to light, Shyamalan hits the gas, rushing toward an ending that feels both abrupt and incomplete. At an hour and forty-two minutes, the film has enough time to not have to short-change the ending. Instead, act two runs long and eventually drags. The inconsistent pacing does not allow for a satisfying climax and the film’s biggest twist seems tacked on as an afterthought.

Fans of the source material by A.M. Shine will no doubt be pleased with a primarily faithful interpretation of the book however the movie has enough to engage casual movie-goers as well. Despite pacing challenges and a clipped ending, Shyamalan’s directorial debut is a solid effort. The cast led by Fanning and Arenson’s brooding visuals help overcome the film’s structural shortcomings to make The Watchers something to watch.

Josh’s Rating: 6.5/10Watch The Watchers in theaters today. It is distributed by Warner Brothers and New Line Cinema. Please check out other Sunshine State Cineplex reviews here!The post Review: THE WATCHERS – Fanning Delivers a Strong Performance in a Forgettable Thriller appeared first on Sunshine State Cineplex.

View Details

Every once in a while, there’s an animated comedy arrives that wants to push the limits on what is possible in the medium. Like South Park: Bigger, Longer, and Uncut or Sausage Party, the controversy around the film may overtake all other aspects. Spermageddon, from directors Tommy Wirkola and Rasmus A. Sivertsen, joins the tradition. Extremely raunchy yet surprisingly great at understanding the awkwardness of teen life, Spermageddon is a very funny parody. At the same time, the animation cannot match the silliness of the storytelling.

Most of the Spermageddon follows the world from the perspective of sperm. Simen and Cumilla are two “school-age” sperm that are hoping to make the journey to an egg. However, when the time to perform comes, Simen loses his nerve. When a second chance arrives, Simen and Cumilla must take an unusual (and unrealistic) journey to find the egg. As they go on their epic journey, a super-powered sperm businessman looks to beat them to the prize.

Your entire enjoyment of Spermageddon might depend on your openness for the humor type. Every sex joke and type of sex is explored through the animation, including spermicide, condoms, and different orifices of the human body. While not as accomplished as Pixar’s Inside Out, much of the structure feels similar. Rather than wandering through the mind, we’re wandering through the lower body and the many “dangers” that exist. There’s also “real world” animation between Jens and Lisa (the humans). If the point has not already been made, we see many of the sex acts take place, meaning this is strictly not for kids.

Wirkola adds another very strange and unusual tale to his filmography. The director became known in America for Violent Night and 2013’s Hansel and Gretel: Witch Hunters. He’s also taken a dive into stranger and more eccentric cult films. A Nazi-zombie horror comedy, Dead Snow, quickly gained acclaim among horror fans. Given Wirkola’s previous movies and parodies, it’s no surprise that he would make a film like Spermageddon. In fact, his taste probably explains why there are Iron Man, Robocop, and Wet Hot American Summer jokes strewn throughout the movie.

Wirkola shares director credit with Sivertsen, who has directed more than a dozen features in the past two decades. His animation expertise does not necessarily lend his eye to a story like Spermageddon, but the animation certainly looks better than one might expect. It’s not going to reach the heights of the American or Japanese studio-produced features, but for what they’re trying to do, Sivertsen and Wirkola land the plane.

Most importantly, Spermageddon walks the line between extremely raunchy comedy and some genuinely sweet moments. It acknowledges that its protagonists are not good at sex, and rolls with their awkwardness. The story feels a bit empty and convoluted at times, but on the whole, it’s a reasonable look at teen sex. Both characters are established to be graduating high school in a few months, making them over eighteen, and there’s no shame introduced into the story.

At a little under eighty minutes, Spermageddon does not overstay its welcome either. It’s helpful that the directors know exactly what kind of movie they’re making, and they know this kind of humor can wear on an audience. By ending the movie when they do, we lessen the chance that the joke is going to overstay its welcome.

If you’re okay with bawdy humor and sex jokes, then Spermageddon will hit. It’s very much in a lineage of overly jokey comedies that utilize the animation medium to feel ever more taboo. Of course, this is a positive development for animation. Spermageddon could not exist in any other genre, and the fact it exists at all feels like its own miracle.

Alan’s Rating: 6/10Watch Spermageddon at Annecy 2024. Check for showtimes here. Check out our other Film Festival coverage here! Please check out other Sunshine State Cineplex reviews here!The post ANNECY – SPERMAGEDDON – A Bonkers and Hilarious Dive Reproductive Comedy appeared first on Sunshine State Cineplex.

View Details

The New York rap and hip-hop scene of the 1990s forever changed music. As several of the iconic rap rose to prominence, the scene began to burst with creativity. It Was All a Dream – from director and writer dream hampton. Editing together her personal and collected home video creates an instant classic in the documentation of the genre. It Was All a Dream is a must-see for anyone who loves music, let alone rap. It’s a stunning vision of the moments before the deaths of the East and West Coast rappers defined the era for white America. Instead, you feel the pulsating energy created by the sounds and personalities of the moment.

Utilizing her home video, dream hampton explores a narrow window in the rap world. From 1993 to 1995, hampton captured the acceleration of money and power into the scene. In the aftermath of Dr. Dre’s The Chronic, Notorious B.I.G., The Wu-Tang Clan, Snoop Dogg, and others provide commentary for the moment. The ambition and drive that shines from the artists is only second to their undeniable talent.

The intimacy from the footage astounds. In one scene, we watch Method Man roll a joint on the Staten Island Ferry while discussing what it means to be a rapper and making fun of Biggie’s astrological sign. That would be the iconic shot of most documentaries. It Was All a Dream is composed of a dozen scenes like this. Epic in its scope and scale, hampton’s documentary showcases the names we know to this day.

To help transition between sequences, hampton blends in narration from her writings at The Source. Her criticism still feels relevant today, especially when discussing the meta-commentary between competing artists. Proving the talent did not come after a hundred takes, we watch the performers over long takes. Even on a camcorder, you can hear the non-stop music in every scene. The talent may crack jokes, but the experimentation never stops. In one sequence, Snoop Dogg talks with Warren G as an organ blares. They’re later interrupted by Diddy asking for a Mary J. Blige feature. Anyone who underestimates the musicianship of rap is in for a rude awakening.

Watching Notorious B.I.G. in his element provides a side of the artist most documentaries white wash. He’s not only incredibly funny but his talent is impossible to ignore. Yet hampton also shows him speaking with Lil Kim, while smoking and offering the director dust (PCP). It’s an honest portrayal of the artist that owns both sides of his story. The documentary also shows that his actions were commonplace in the scene. The years since his tragic passing have shifted to acknowledge his genius. Yet at the time, white America was very much discriminating against artists in the genre.

Another surprising aspect comes from the women of rap. hampton explains that women were forced to overcome even greater odds. She captures artists’ as they voice their frustrations. Rappers Nikki D, Leshaun, Boss, and Hurricane Gloria all provide commentary during a photo shoot. They know their rap pushes back against the derogatory language of gangster rap. Later, we see other women in the West Coast scene push back against rappers trying to speak from a “man’s perspective.” It proves the discussions that dominate much of the genre today were very much present decades ago.

The authenticity of It Was All a Dream shines from the start. The documentary captures an integral moment in American culture, and a music scene that was stained with tragedy. As hampton laments about the music and its vibrancy, she realizes the unique impact of this moment. It’s clear she knew it then, and as hip-hop moves into its fifth decade, the lessons learned in this era are more valuable than ever.

Alan’s Rating: 9/10Watch It Was All a Dream at Tribeca 2024. Check for additional showings here. Check out our reviews and pieces from the 2024 Tribeca Film Festival here. The post TRIBECA: IT WAS ALL A DREAM – The Definitive Film of New York’s Rap Scene appeared first on Sunshine State Cineplex.

View Details

Few shows have embraced the medium of television quite like The Boys. While many high-budget series attempt to tell one long story, The Boys consistently plays with the episode format. Sometimes, this comes in the form of a Christmas special. Sometimes, it’s the launch of the latest Vought TV series. However, this time out, Eric Kripke, Seth Rogen, and Evan Goldberg toss out any subtleties. As The Boys moves into full-blown political commentary, the show continues its character-focused storytelling.

After Homelander (Anthony Starr) murdered a protestor, he stands trial for the crime. However, America has become polarized regarding superheroes. Split into pro-Homelander and pro-Starlight (Erin Moriarty) factions, the anger continues to rise on both sides. Hughie (Jack Quaid) and the other Boys (Laz Alonso, Tomer Capone, and Karen Fukuhara) try to shift the tide against Homelander. However, a sick Billy Butcher (Karl Urban) offers little help. Meanwhile, new members of The Seven Firecracker (Valorie Curry) and Sister Sage (Susan Heyward) stoke extremist flames.

The Boys has always pushed the right buttons to deliver political commentary. The thinly veiled images of fascism on the rise are newish, but the over-capitalist bend to Vought has long been part of the text. As people in-universe tip-toe towards crypto-fascism, The Boys focuses on what people are capable of when they wish to maintain power. The answer is shocking, even if the power rests with others. The proximity to power becomes just as powerful as a drug.

Most effectively, Kripke and company allow fan favorites to stumble this season. A weakened Billy must make difficult choices while handling new pressures. Annie/Starlight’s new role as an “anti-Homelander” makes her a target, and that pressure becomes overwhelming. Even Frenchie must reckon with his past. More questionable ideas and grey lines are drawn through this season. Of course, Homelander and The Seven continue killing and maiming at will. However, the world is not divided into Homelanders and everyone else. Even those on a crusade to help have their demons.

Singer NeumanThe stylized violence has always been a dealbreaker for some, and if that’s been the case, Season 4 is not for you. The sex is just as intense and disgusting as ever, pushing the buttons on vulgarity on screen. It’s frankly impressive to see another bloody display with so much body fluid that you cannot help but ask, “Who pitched this idea?” On one hand, The Boys knows where its bread is buttered. On the other hand, it’s unlikely to gain any new audience members who are even remotely squeamish. Ultimately, you have to love a show that knows what it is and how to get a rise out of its audience.

The performances remain excellent. Starr again shows out in one of the most underrated performances on television. Moriarity brings incredible pathos this season and, thanks to a few twists, really explores her range as Annie. Urban brings his dour attitude and gruffness. There’s a lot of pain in his performance, both physically and mentally. He only continues to get better in the role. The two performances that stood out this season came from Alonso and Jessie T. Usher. Because of the plot they share, we see them interact and adjust to changes in their roles on each squad. Both prove exceptional in the pathos and subtle performances within the performances.

Newcomers Curry and Heyward nearly steal the season. Curry plays a hard right-wing lunatic, engaging in the darkest conspiracies imaginable. However, her scenes away from the cameras are even more devasting and upsetting to watch. Meanwhile, Heyward gets to play a character at the polar extremes. No one matches her comedy, and yet it’s her quiet demeanor that unsettles the most. Both are welcomed additions to a cast already brimming with talent.

The Boys Season 4 removes the subtlety from the equation and, in the process, makes its commentary more effective than ever. The season will surely upset some fans who still believe Homelander is a hero. Yet the show continues to balance his childlike, demagogue-esque tantrums while allowing the rest of the cast to fulfill their own arcs. The ability of The Boys to pair off its characters at a moment’s notice and then reconfigure the group for the following sequence will never cease to amaze. When you’ve collected this many great performers and can use them effectively, it makes The Boys look easy. It’s not, and it’s still one of the best shows on TV.

Alan’s Rating: 9/10All eight episodes of The Boys Season 4 were made available for this review.Watch The Boys Season 4 on Amazon Prime starting June 13, 2024. The first three episodes will stream on June 13th, and new episodes will be released weekly. Check out our Reviews, Recaps, and Features on TV here! The post TV: THE BOYS – Season 4 Returns Without Subtext, But Somehow More Blood appeared first on Sunshine State Cineplex.

View Details

Everyone has their party days, yet some do not know when to ease up on the throttle. When party nights turn into party mornings, the effects can be devasting. Restless looks at a scenario when the party goes too hard, but not on those enjoying the night’s festivities. Instead, we follow the perspective of a neighbor whose life becomes disrupted by the frequent loud music and brash behavior. Director Jed Hart takes the frustrations that everyone’s had with their neighbors at one time and blows them out to show the worst-case scenario. It’s a funny and somewhat dark comedy.

After living in relative peace, Nicky (Lyndsey Marshal) ends up in a nightmare scenario. Her new neighbor, “Deano” (Aston McAuley), loves to party and blasts his music all night. The large parties disrupt Nicky’s life in every way possible, causing her cat to go missing and causing fights in the front yard. As the events quickly escalate, Nicky realizes she must stop Deano, or she’ll never have another peaceful night to herself.

Restless works on several levels. The first is the obvious disruptions to Nicky’s life are inconsiderate, but the second stems from the devolving ways some treat the world around them. The more literal reading speaks to the people in our lives who do not realize the effects of their actions on others. Deano picks fights, screams at his friends, blasts music every night, and frames it as him just living his life.

In his mind, his actions have no impact on others, and because of his physically imposing size, no one but Nicky seems willing to confront him. Even when others try to step into Nicky’s defense, he embarrasses and physically harms them. It’s an air of entitlement that overshadows the unspoken social contracts within most communities and speaks to the character’s arrogance.

When these ideologies reach larger audiences, it speaks to an increased willingness to let the world burn, as long you’re the one having a good time. It’s clearly not a one-for-one, but disruptors in politics, technology, and business all carry themselves with arrogance. In some spaces, these changes to culture and communities are warranted. Even when the actions of Deano and his friends genuinely harm others, they still refuse to accept responsibility.

Restless taps into these frustrations, and Hart builds a screenplay that addresses Nicky’s isolation. As she slowly loses more sleep, the visuals around her change. A scene in which the lights of her apartment change color and vibrate with the pulsing bass stands out, and Nicky’s dreams become horror films. Stylistically, Hart infuses unique sequences into Restless that help us relate to Nicky’s frustrations.

Marshal brings a melancholy to Nicky that quickly transforms into rage. Restless could get by with a performance that plays into the exhaustion her character experiences. However, Marshal adds subtext to the role that communicates a loss of time. There’s an uncurrent resentment over lost youth, but most importantly, there is a rage that her ideal life has been disrupted. As other relationships are affected by Deano’s actions, Restless highlights how a small problem may cause vibrations through different areas of one’s life. The thousand-yard stare from Marshal is both an encapsulation of everything going on in Restless and a highlight of her performance.

With an ever-building sense of tension, Restless delivers on its thriller premise. While some misdirects do not fully pay off, the ending is funny and unique. The dark comedy of the story works well and ultimately provides showcase material for Marshal. Given Hart’s tonal management and ability to ratchet up the stakes, it’ll be curious to see where he goes from here. His visual palette feels sophisticated enough that he should be one to keep an eye on.