Movie Review/ "A Real Pain"

By Anthony Caruso

A Real Pain is a testament to the power of storytelling that seamlessly blends humor, heart, and historical poignancy. Directed by Jesse Eisenberg, who also stars alongside Kieran Culkin, the film is a rich exploration of identity, grief, tradition, and heritage set against the backdrop of Poland—a place steeped in history and resonance for Jewish culture. It’s a striking achievement that manages to be both a personal odyssey and a universal story of connection.

The film follows two cousins - Jesse Eisenberg’s David and Kieran Culkin’s Benji - as they embark on a journey to Poland after a family loss. What begins as a reluctant, quasi-tourist trip soon morphs into a deeper, unexpected confrontation with their own histories, their own personal grief, the lingering echoes of the Holocaust, and how the role the Jewish faith plays in their lives. Eisenberg crafts a screenplay that is both biting and tender, deftly navigating between witty, rapid-fire exchanges and moments of silence that resonate with unspoken pain. It’s this balance between humor and drama that makes A Real Pain truly exceptional. While the humor is sharp and dry, it never feels out of place or disrespectful. Instead, it serves to highlight the contrast between the modern identities of our main characters and the profound legacy of their heritage. The film’s exploration of the Jewish experience—tied to themes of survival, guilt, and resilience—adds layers of meaning that enrich its emotional depth.

The performances in A Real Pain are nothing short of extraordinary. Jesse Eisenberg’s David is a complex figure: intellectual, anxious, and searching for meaning. Eisenberg infuses the character with authenticity and vulnerability, making him relatable yet distinct. Kieran Culkin, on the other hand, shines as Benji, whose more carefree and irreverent personality serves as a counterbalance to Daniel’s introspection. Culkin’s comedic timing is impeccable, but it’s his ability to inject pathos into unexpected moments that cement his performance as one of the film’s standouts. The two of them have incredible chemistry with one another, and it’s easy to believe that the two of them are cousins. The supporting cast, meanwhile, adds further richness to the narrative. Each character contributes to the success of the film and have moments to shine, adding humor, authenticity, and drama to the proceedings.

Visually, the movie is a feast for the eyes. Michał Dymek‘s cinematography showcases Poland in a way that feels both hauntingly beautiful and inviting. Sweeping shots of the country’s cobblestone streets, lush countryside vistas, and somber historical sites juxtapose the film’s lighter moments with its heavier, contemplative ones. This visual storytelling not only enhances the narrative but also adds a layer of richness that invites the viewer to reflect on the passage of time and the permanence of place. The story is also aided by the score, which serves as a subtle yet powerful companion to the story and blends traditional Jewish melodies with modern, emotive compositions. The film’s sound design also plays a crucial role, particularly in scenes set in historical sites, where the ambient noise of footsteps and whispers amplifies the film’s immersive quality.

I could truly go on and on about the themes of identity, loss, and collective memory that the movie delves into. Its examination of the Jewish experience is neither didactic nor overly sentimental, but instead strikes a balance that is both reverent and relatable - even to people, like myself, who are not Jewish. Eisenberg’s direction ensures that these themes are handled with care, using humor to break tension without undermining the film’s more serious moments. It’s the film’s portrayal of grief—not just as an individual burden but as a shared experience that binds people across generations - that is its biggest strength, however; at least as far as I’m concerned. The narrative raises thoughtful questions about what it means to inherit pain and how to honor it without being consumed by it. The result is a film that is deeply personal yet widely resonant, capable of sparking reflection long after the credits roll. It’s truly a triumph on every conceivable level.

In a year full of standout releases, A Real Pain earns its place amongst the best of them. For all of the reasons I laid out above and more, it is sure to be a strong contender during awards season. I highly recommend this film to everyone, and can’t wait to revisit it when it hits streaming.

Movie Review/ "Red One"

By Anthony Caruso

Red One delivers a festive, action-packed romp that breathes new life into the holiday movie genre. While not without its flaws, the film offers enough heart, humor, and inventive storytelling to make it an enjoyable addition to the large stable of Christmas films. Despite mixed reviews and a disappointing box office projection, Red One deserves a second look for those searching for a holiday film that mixes traditional elements with an unconventional twist.

The Red One narrative centers on a unique take on the Christmas mythos, blending action, adventure, and fantasy with a touch of darkness. Dwayne “The Rock” Johnson stars as Callum Drift, one of Santa's E.L.F.s who is tasked with rescuing the famous man with the bag in order to save Christmas from a magical threat. The plot finds its antagonist in the villainous Gryla, a Christmas witch portrayed with icy brilliance by Kiernan Shipka. Her plan is deceptively simple and cleverly understated, presenting a unique twist that doesn’t rely on over-the-top stakes, yet personally affects most people worldwide.

The story surprises with moments that are darker than expected for a holiday movie, lending it an edge that older audiences can appreciate while still maintaining the whimsy that kids love. The blend of classic Christmas motifs with new mythological elements enriches the film’s universe and sets the stage for potential expansions into other holiday tales—a tantalizing possibility that may go unexplored due to poor box office results.

Dwayne Johnson, as expected, plays to his strengths as Callum Drift, bringing his trademark charm and physicality. While Johnson’s persona is beginning to feel a bit familiar, it fits the character well enough to keep audiences entertained. However, it’s Chris Evans and J.K. Simmons who truly shine in their respective roles. Evans brings a surprising depth and comedic touch to his character, making him more than just a sidekick to Johnson’s lead. And while the trailers might have hinted at a modern, gruff reimagining of Santa Claus, Simmons offers a surprisingly traditional, heartfelt take that grounds the story in classic holiday sentiment.

Kiernan Shipka’s Gryla is a standout as well. She portrays her with a compelling mix of menace and allure, making her both a formidable foe and an intriguing character. Her nuanced performance, alongside her character’s deceptively clever plan, brings a refreshing villain to the holiday movie landscape. It's Kristofer Hivju, however, who nearly steals the show as Krampus, playing the part with a mischievous and wild energy that injects humor and unpredictability into the film. His performance adds a delightful layer, making Krampus a memorable supporting character that enhances the movie’s mythology.

The film’s cinematography strikes a balance between the fantastical and the festive. Wide shots of snow-laden landscapes and cozy, twinkling towns blend with dramatic close-ups during tense confrontations. The visual palette is rich with reds, whites, and deep greens, encapsulating the holiday spirit while integrating darker blacks, blues, and purples into the shadowy scenes that signal Gryla’s presence. And though the special effects don’t always hit the mark— some CGI moments are downright bad —they don’t detract from the overall enjoyment. This is, after all, a holiday film, where a little suspension of disbelief goes a long way. The whimsical tone helps the audience overlook these inconsistencies.

The soundtrack features a mix of classic Christmas songs and original score, both of which add warmth and urgency to the film. The music swells appropriately during action sequences and mellows during tender, nostalgic moments, aiding the emotional tone without being overpowering. The makeup team, meanwhile, excels in their portrayal of mythological characters. JK Simmons’ Santa is a blend of traditional looks with a rugged twist, complete with silver-streaked hair and a leather outfit that still feels familiar. The standout, however, is the detailed work on Krampus, making Kristofer Hivju’s character visually captivating. The practical effects on the more fantastical characters shine, contrasting with some of the CGI’s weaker moments.

Red One might not be perfect, but it’s absolutely worth the watch. It’s a film that embraces the magic, warmth, and occasional darkness of the holiday season. Ignore the critics, gather the family, and enjoy this fun, unconventional take on Christmas lore. It might just find its place in your annual holiday movie rotation as I can guarantee you it has mine.

Movie Review/ "Heretic"

By Anthony Caruso

Heretic is a masterstroke of contemporary cinema that effortlessly balances psychological tension with profound thematic exploration. Directed by Scott Beck and Bryan Woods, the film boldly delves into the complex interplay between belief, control, and personal liberation. With standout performances from its star-studded cast, it's easily one of the most compelling films of 2024.

Hugh Grant delivers one of the most mesmerizing performances of his career as the enigmatic and menacing antagonist. Portraying a charismatic and extraordinarily manipulative religious intellectual, Grant infuses the role with a magnetic presence that blurs the line between charm and menace. He commands attention in every scene, showcasing a layered character whose motivations oscillate between altruism and self-serving manipulation. Sophie Thatcher, meanwhile, plays the determined and introspective Sister Barnes, and serves as the movie's emotional anchor. Her performance is raw, heartfelt, and compelling, proving she’s a star capable of holding her own in the presence of acting heavyweights. Then there's Chloe East, who rounds out the cast as Sister Paxton. East complements Thatcher with equal vigor, perfectly playing Paxton’s transformational journey from quiet follower to someone who begins to question everything she once held sacred. East’s ability to express vulnerability and resolve in equal measure adds depth to the narrative, creating a dynamic and authentic on-screen partnership with Thatcher.

The screenplay deftly weaves suspense with moments of philosophical rumination, resulting in a narrative that grips from start to finish, despite many scenes merely depicting three characters standing around debating religion. The dialogue is sharp, with Grant’s character delivering lines steeped in ambiguity and dark humor that leave audiences pondering their meaning long after the credits roll. The directors skillfully construct an atmosphere thick with tension, using dim lighting, deliberate pacing, and close-up shots that amplify the feelings of claustrophobia our protagonists are feeling. Indeed, the cinematography deserves special mention, as it plays a crucial role in conveying the film’s themes. Stark contrasts between light and shadow mirror the dichotomy between faith and doubt, while sweeping shots of the remote and austere, albeit tight, setting evoke an unsettling sense of isolation that accentuates the characters’ inner turmoil.

At its core, Heretic is more than a suspenseful and dramatic horror movie; it’s a meditation on the impact of religious structures on the human psyche. The film poses thought-provoking questions about the nature of belief: When does faith become a prison? When does it serve as a pathway to freedom? Through its characters’ struggles, the film explores how ideology can both uplift and oppress, shaping lives in profound and often unpredictable ways. The story resists easy answers, encouraging viewers to reflect on the influence of dogma in their own lives. This subtle approach ensures that Heretic never feels didactic, but rather like an intricate mosaic of ideas, inviting interpretation and debate.

As I stated above, Heretic is undoubtedly one of the year’s finest films, distinguished by its powerful performances, intelligent script, and skillful direction. It’s a film that lingers, urging reflection on its themes of power, faith, and self-discovery. It's a movie I would highly recommended for anyone who appreciates cinema that challenges and provokes as much as it entertains. It's truly a testament to the power of excellent storytelling, earning its place as an essential watch and an instant classic. I can't wait to revisit it many times in the years to come.

Movie Review/ "Christmas Eve in Miller's Point"

By Anthony Caruso

Tyler Taormina’s Christmas Eve in Miller’s Point is a masterfully crafted, atmospheric homage to holiday gatherings that thrives not on a central plot, but on the intricacies of familial connections. Unlike other films that weave clear story arcs or focus on a protagonist’s journey, Christmas Eve in Miller’s Point is more akin to a collection of living memories, much like Robert Zemeckis' Here from earlier this month. Yet where Here spans decades, Christmas Eve in Miller’s Point anchors itself firmly within one emotionally-charged night—the titular Christmas Eve—and lets the essence of the Balsono family spill across the screen in a vivid, nostalgic tableau.

The film is, at its heart, a series of vignettes capturing moments that resonate deeply with anyone who has experienced the organized chaos of large family gatherings. Set in the early aughts, Taormina’s vision is both specific and universal. Viewers familiar with traditional Italian-American celebrations will recognize every detail: the boisterous conversations that fill a room like a second layer of wallpaper; the glint of mismatched tchotchkes that have seen decades of holidays; the overflow of homemade food that insists love is best expressed through taste; the Christmas lights shining off the snow; etc. This evocative nostalgia can strike viewers in different ways. For some, it is a portal to cherished memories; for others, like myself, it’s a bittersweet reminder of how traditions shift or fade as families spread out, or as members pass on. Watching this movie felt like looking through a frosted window at my own childhood, marked by joyous chaos and laughter—tinged now with the wistful realization that those moments are no longer my present.

One of the film’s most striking elements is its refusal to follow a traditional plot structure. There are numerous threads within the sprawling Balsono family and beyond: the aging matriarch, whose grown children face the painful decision of possibly moving her into assisted living; Kathleen’s strained relationship with her teenage daughter as she reflects on her own mother’s distance; two police officers patrolling a sleepy town, grappling with unspoken romantic tension; an interracial couple navigating subtle familial dynamics; an uncle who channels his creativity through endless cooking; another who dreams of being a writer; teenagers itching to slip away to their friends' gatherings, seeking independence in a night bound by tradition. These narratives unfold like the disparate notes of a holiday song, harmonious but never converging into a single refrain. 

For some viewers, the lack of resolution to any of the above mentioned plot points might be a sticking point. This isn’t a film where everything wraps up neatly by dawn, nor does it try to force epiphanies or holiday miracles. The struggles depicted—whether domestic, generational, or personal—linger without resolution when the credits role, leaving audiences to ponder what will happen when Christmas morning breaks. For me, this worked seamlessly, underlining the fact that real life doesn’t pause for perfectly timed solutions.

Taormina’s directorial finesse is on full display here, blending warmth and an authentic sense of intimacy with just the right amount of melancholy. Co-writing with Eric Berger, Taormina’s dialogue feels lived-in and familiar, effortlessly pulling viewers into rooms that burst with life or settle into quiet, contemplative moments. Every detail—from the shimmering glow of mismatched Christmas lights to the distant carolers outside—immerses the audience in the ambiance of a holiday night that teeters between celebration and reflection. The film’s aesthetics, meanwhile, lean on a cozy, nostalgic palette that amplifies the sense of being cradled within a snow globe. The cinematography captures close-ups that give viewers the sense of being seated at the table, laughing along with the Balsonos or taking a deep breath to soak in the palpable tension of unresolved family disputes.

My biggest complaint about the film? It feels cleaved into two distinct halves: the family-centric narrative and the subplot involving teenagers sneaking out to meet their friends. While the family scenes are rich with emotional depth and familiarity, resonating more powerfully with audiences who appreciate the nuanced dynamics of multi-generational gatherings, the teenage storyline, while not bad, lacks the same level of engagement. This disparity in tone can make parts of the film feel uneven. Additionally, the film ends rather abruptly - even when you consider the fact this is a movie without a real plot - which didn't quite sit well with me. These complaints are the only things stopping me from giving it five stars out of five, though I realize I'm still grading it way higher than most people probably would. What can I say though? Nostalgia is a powerful tool, and this movie brought back a rush of wonderful childhood memories and feelings for me.

In the end, I know that Christmas Eve in Miller’s Point is not a film for everyone. Those who come in looking for a traditional Christmas tale with clear-cut lessons or storylines may leave unsatisfied. But for those willing to be swept up by a patchwork of memories, grounded in details and steeped in sentiment, this movie is a poignant, comforting piece. It serves as a reminder of the fleeting nature of togetherness and how, even in unresolved moments, there’s beauty in simply being with family, however imperfect they may be. This film may leave you smiling or in a state of melancholic wistfulness —embracing the complexity of Christmas past and present, where love, loss, and laughter weave an unending thread through the years - or, if you're like me, it may leave you feeling both. While I know it won't get as much annual play as classics like Home Alone and Christmas Vacation, this is one I definitely see myself revisiting quite often in the future. While I won't recommend rushing to theaters to see it, I do urge you all to give it a chance when it hits streaming - especially if you're an Italian-American who grew up in New York, like myself, and miss the Christmases of yesteryear. I know, I for one, can't wait to watch it again.

Movie Review/ "The Best Christmas Pageant Ever"

By Anthony Caruso

The Best Christmas Pageant Ever is an adaptation that brings Barbara Robinson’s beloved book to the screen with warmth and good intentions. It’s a sweet, family-friendly film that delivers plenty of holiday spirit, though at times it leans too heavily into its religious themes, making its message feel force-fed rather than naturally conveyed.

At its core, The Best Christmas Pageant Ever is a tale about community, redemption, and the true meaning of Christmas, centered around the unruly and chaotic Herdman children. The story unfolds as they unexpectedly take over the local church’s Christmas pageant, upending traditions and challenging the town’s preconceived notions. The film strikes a wonderful balance of humor and heart that manages to evoke genuine emotion and which, having never read the original story, I can only assume is what made it a classic. The movie shines in its moments of levity and chaos, showcasing how the Herdmans’ unpredictable antics push the townspeople to confront their biases and embrace the essence of compassion and understanding. There’s a lot of charm in watching how the worst kids in town manage to change the people around them, transforming the titular Christmas pageant into something surprisingly moving.

The cast delivers solid performances that bring the story to life. The young actors playing the Herdmans manage to strike a balance between wild mischief and underlying vulnerability, making their characters more endearing than just disruptive. The adult cast, meanwhile - particularly Judy Greer's Grace Bradley, who is tasked with directing the pageant - adds warmth and relatability, embodying the frazzled yet well-meaning spirit of people trying to hold it all together during the holidays.That said, while all of the performances are heartfelt, the film’s predictability limits its emotional impact. The characters’ arcs unfold as expected, offering few surprises to seasoned cinephiles. The narrative leans on well-trodden holiday tropes, which, while comforting, make the film feel more like an echo of other Christmas movies rather than something truly unique.

One of the most noticeable aspects of The Best Christmas Pageant Ever is its approach to the religious themes embedded in the story. While the original book is centered around the nativity story and its significance, the film adaptation takes an extremely overt approach in delivering these messages. For all I know, this may resonate as a faithful depiction of the source material’s intentions, but for me, it came across as somewhat preachy. The film could have benefited from a more subtle hand in addressing its spiritual themes, allowing the message to unfold organically rather than hammering it home. This might have helped widen its appeal to audiences who prefer a more balanced approach to holiday storytelling, because in terms of appeal - given the box office tracking - it appears as though this film has none when it comes to the general public.

Despite these drawbacks, the film excels at creating a cozy holiday atmosphere. From the small-town settings to the heartwarming final act, it’s clear that the filmmakers aimed to deliver a feel-good experience that families could enjoy together. The moments leading up to and during the climactic pageant are especially effective, showcasing how chaos and imperfections can give way to unexpected beauty and meaning. Indeed, the entire movie is an earnest reminder that the spirit of Christmas is about community, empathy, and embracing those who may be different from us.

In the end, The Best Christmas Pageant Ever reinforces the notion that sometimes the best holiday stories are the ones that remind us to find joy and compassion in the most unexpected places. It's one that I'll definitely revisit during future holiday seasons.

Movie Review/ "Venom: The Last Dance"

By Anthony Caruso

Venom: The Last Dance is a film that, for better or worse, perfectly encapsulates the spirit of the Venom series: it’s chaotic, messy, full of CGI battles, ridiculously over-the-top, and filled with some awful humor that misses more than it hits. If you've enjoyed the previous two Venom films, you’ll find more of the same here. But if you were hoping for a leap in quality or a redefined tone, prepare for disappointment. Like the first two installments, this third outing feels like a time capsule in many ways. It's very reminiscent of the type of superhero films that dominated the late nineties and early aughts. It's a CGI-fueled spectacle that's flashy but feels dated and has an incoherent plot that's held together mostly by Eddie Brock and Venom's dynamic, which has certainly been the heart of this trilogy.

There’s no question that The Last Dance doubles down on the franchise’s formula. The plot is convoluted if one can piece it together amid all the explosions and monster fights. The film continues Eddie’s journey with the symbiote, Venom, as they face new threats while the inevitability of a looming confrontation with Knull, the symbiote god teased as a universe-ending big bad, lurks ominously in the background. While this setup has potential, it’s sadly bogged down by a lackluster script that prioritizes action over coherence. The result is an entertaining but bewildering final chapter that doesn’t quite know what to do with the cosmic mythology it introduces.

Visually, the movie suffers from over reliance on CGI that, while certainly expensive, lacks polish. The action scenes are chaotic and occasionally thrilling, but the CGI-heavy battles often feel weightless. It’s as though the filmmakers focused on amping up the spectacle without considering the stakes or emotional impact. Knull’s appearance, teased as the “ultimate villain,” is ultimately underwhelming, coming across more as a bland, computer-generated antagonist than the terrifying presence needed to set up future movies. 

The film’s saving grace, once again, is the undeniable chemistry between Tom Hardy's Eddie Brock and his symbiotic alter ego, Venom. Their bickering, bizarre partnership has been the franchise’s signature, and here, it reaches its emotional zenith as the two embark on what is essentially a road trip. There’s an attempt to bring a sense of closure to their story, and while it’s not as effective as it could have been with a stronger trilogy, there’s genuine emotion in their farewell. By the time the credits roll, fans who've followed their relationship from the beginning may find themselves unexpectedly moved. Hardy’s dedication to both the characters of Eddie and Venom has been commendable. He somehow grounds the absurdity with sincerity, making it easier to invest in the story even as it spirals out of control. 

Perhaps the most curious aspect of The Last Dance is its setup for a future crossover within Sony’s Universe of Marvel Characters. With characters like Madame Web, Morbius, and Kraven now floating around Sony’s playground, it seems inevitable they’re building toward some type of team-up event. While logic suggests this will be a mess of epic proportions, it’s hard not to feel a tinge of excitement at the prospect of watching these antiheroes unite to face a common foe. (I mean come on; they're building up Knull as a universe-ending threat for that exact reason, right?) Whether this crossover would be good is another question entirely (though let's face it, it likely wouldn’t be), but there’s undeniable potential for a “so bad it’s good” type of movie, especially if Sony embraces the campy charm that has permeated the "Venom" series.

Ultimately, Venom: The Last Dance won’t change anyone’s mind about the franchise. It’s a far cry from the polished early days of Disney's successful Marvel Cinematic Universe, but it has a certain charm and guilty-pleasure appeal that’s difficult to dismiss entirely. The movie is flawed, to be sure, but it’s still an entertaining romp through Eddie and Venom’s bizarre world. If you’re a fan of the first two Venom films, you’ll likely find something to enjoy here. And while it may not be the best superhero movie of the year, it’s a fun watch for those who’ve grown attached to this unlikely duo. Plus, it's nowhere near as bad as the outings for Madame Web and The Crow have been; and I still enjoyed it more than Deadpool & Wolverine, which was nothing but fan service and didn't even attempt to have a story outside of its multiversal cameos. This is a film I’ll revisit on streaming now and then—not because it’s a cinematic masterpiece, but because it has its own unique brand of chaotic fun.

Movie Review/ "Your Monster"

By Anthony Caruso

Your Monster is the kind of indie gem that quietly sneaks up on you. The trailers may not have sold the film’s unique charm well, but this modern-day twist on "Beauty and the Beast" is much more than meets the eye. With strong performances from its leads, a quirky yet heartfelt story, and a clear message about embracing one’s inner strength, Your Monster emerges as one of the most pleasant surprises of the year. It’s a charming, offbeat, and emotionally resonant film that’s destined to gain a cult following as time goes on.

At its core, Your Monster is a story about self-acceptance, rage, and standing up for oneself, cleverly wrapped in the framework of a dark fantasy-romance. While it draws clear inspiration from "Beauty and the Beast", it’s not a simple rehash. Instead, the film uses the fantastical elements to explore themes of inner turmoil, personal growth, and the complexities of human relationships in a fresh and contemporary way.

The premise follows Melissa Barrera’s character, a young woman struggling to assert herself in both her personal and professional life. Enter Tommy Dewey as the titular “Monster,” a mysterious and brooding figure who may appear grotesque on the outside but is charming and empathetic beneath his monstrous exterior. What follows is a story not only about their unusual bond but also about how Barrera’s character finds the strength to face her inner demons and external obstacles, using the monster (which is literally just named Monster) as both a literal and figurative manifestation of the rage she’s been holding back.

Melissa Barrera is the heart of this film. Her portrayal is nuanced, delivering a character who is relatable, vulnerable, and strong. Throughout the film, she navigates her character’s emotional journey with grace and intensity, making you root for her every step of the way. Barrera has already proven herself as a talented actress, but "Your Monster" shows her at her absolute best - and funniest! She handles both the grounded, human moments and the more fantastical elements with equal ease. It's Tommy Dewey who is the film’s biggest surprise, however. Known for his comedic work in shows like Casual, Dewey channels his sense of comedic timing into his character as he physically transforms into a whole new type of character. Under heavy monster makeup, he manages to bring incredible warmth, wit, and depth to the role. His character could have easily been a one-dimensional "Beast" archetype, but Dewey gives the monster an endearing quality that makes the audience care deeply about him. His chemistry with Barrera is also fantastic, making their unusual relationship both believable and compelling.

One of the film’s strongest elements is how it uses the fantasy genre to explore real-world issues. Your Monster isn’t just a love story, but a tale about embracing the darker sides of yourself and using them as a source of power. The monster, in many ways, is a metaphor for the inner rage Barrera’s character has repressed, and by confronting it, she can take control of her life. The film deals with themes of self-worth, personal agency, and resilience, all while remaining entertaining and visually striking.

While the film’s low-budget indie roots are apparent, that’s part of its charm. The production design gives the film a gothic, fairy-tale atmosphere that feels both whimsical and eerie, while the New York City setting makes it feel particularly modern and contemporary. The monster makeup and practical effects are impressive, adding to the film’s fairy tale aesthetic without ever feeling overly polished or having to rely on CGI. This lends the movie a raw, grounded quality that enhances its emotional impact.

Your Monster may not have had a huge marketing push or the mainstream appeal of a major tentpole feature, but it’s precisely this underdog status that will likely endear it to a dedicated audience. It has all the hallmarks of a film destined to become a cult classic. The film’s humor, heart, and offbeat charm, combined with the stellar performances from its cast, make it stand out in an otherwise crowded movie landscape. This one is truly a must-watch for anyone seeking something a little different, and it’s sure to earn a much wider audience and the acclaim it deserves when it eventually hits streaming.

Movie Review/ "Rumours"

By Anthony Caruso

Rumours is one of those films that leaves you bewildered, yet strangely entertained, unsure whether you're laughing at the absurdity of it all or marveling at the audacity of its premise. It’s a weird movie, but it’s also an immensely enjoyable one. Directed with sharp wit and biting satire, Rumours is a wonderfully twisted commentary on global leadership, illustrating how, at the end of the day, the G7 world leaders are just as cliquey, immature, and childlike as the rest of us.

The atmosphere of Rumours is chaotic and electric, striking a balance between farce and tension. The film is set in a world on the brink of collapse—natural disasters, economic meltdowns, global unrest—and yet the focus remains on the petty squabbles, ridiculous antics, and interpersonal, dramatic relationships of the world’s most powerful leaders. There’s a constant sense of impending doom, but it’s undercut by the bizarre and humorous behavior of the G7, who seem more concerned with impressing one another than with saving the world. This juxtaposition creates an eerie, almost surreal atmosphere where the stakes are simultaneously high and laughably low. The apocalypse looms large, but it often feels like an afterthought to the childish games of our cast of leaders. The world is burning, but they're engaging in their own high school drama masquerading as global politics.

The ensemble cast is fantastic, with each actor bringing a distinct energy to their portrayal of a global leader. The performances here are what make the film as enjoyable as it is, with the actors fully leaning into the absurdity of their characters while also delivering moments of surprising emotional depth. Charles Dance plays the surprisingly underutilized aging President of the United States with a hilarious English accent for some reason, which is called out but never explained, while Cate Blanchett plays the aloof and horny Chancellor of Germany. Roy Dupuis' scandal-ridden Prime Minister of Canada has the most heroic and largest role of the bunch, while Rolando Ravello's Prime Minister of Italy is the surprisingly gentle soul and heart of the film - as well as the biggest source of comic relief. Nikki Amuka-Bird's Prime Minister of the United Kingdom is the "straight man" character of the movie and is the role with the most gravitas, but even she's fun in her own right - as are Denis Ménochet's President of France and Takehiro Hira's Prime Minister of Japan. There's not a weak link amongst the bunch, and their chemistry is out of this world - sufficiently real and awkward. It's truly a hilarious pleasure watching them try to navigate a dangerous landscape with only one another, sans any security or staff. 

The screenplay by Gavin Maddin, Evan Johnson, and Galen Johnson - the same trio that directed the movie as well - is sharp, witty, and at times, downright ridiculous, but all in the best possible way. The dialogue crackles with tension, humor, and clever political commentary. The political satire is biting but nuanced, poking fun at the pomp and circumstance of global diplomacy while also making a poignant statement about the dangers of ego, narcissism, and incompetence in positions of power. There's also something to be said about the fact that no matter how ridiculous our world leaders are, people still turn to them for reassurance during times of crisis.

Our trio of directors does a phenomenal job in steering this wild, satirical ship. It’s a difficult task to balance apocalyptic stakes with over-the-top comedy, but they manage it with precision - downplaying the apocalyptic side of things, and merely giving us hints as to what's happening, which makes the movie stronger. The pacing is brisk, and the film never lingers too long on any one moment, keeping the energy high and the tension palpable. The direction enhances the farcical nature of the story, allowing it to slip into complete absurdity at points which is a wonderful dig at the state of world politics nowadays.

Visually, Rumours is striking. The cinematography is stylish, yet less than polished. There’s an almost dreamlike quality to some of the shots, particularly during the scenes where the film’s apocalyptic undertones creep to the surface. The camera work amplifies the relationships between the leaders, using tight close-ups and rapid cuts to heighten their sense of paranoia as the danger they're in begins to mount. The cinematography allows the absurdity to shine through, with playful framing and exaggerated angles that underscore the childishness of these leaders of the free world. It’s a visually engaging film that feels both stylish and purposeful, adding to the overall surreal tone of the story.

In the end, Rumours will definitely not be a film for everyone—its bizarre tone and offbeat humor may leave some viewers scratching their heads, as it did my friend who I saw this with tonight—but for those who appreciate a biting political satire with a large dose of sometimes nonsensical absurdity, Rumours is a must-watch. It’s a reminder that, at the end of the day, even world leaders are just as petty and childish as the rest of us—just with a bit more power at their fingertips.

Movie Review/ "Apartment 7A"

By Anthony Caruso

Apartment 7A is a psychological thriller that, while intriguing, ultimately struggles to blend its horror elements effectively. Indeed, for a prequel to one of the most iconic horror films of all time, the lack of horror present in this film is both surprising and disappointing. Don't get me wrong - the film offers a decent viewing experience, but it falls short of creating the kind of suspense and dread one might expect, particularly for fans of Rosemary’s Baby. And despite its ambitious goals, it often feels more like a made-for-TV film than the atmospheric horror movie it strives to be.

The acting is undoubtedly the highlight of "Apartment 7A". Dianne Wiest and Kevin McNally as the neighbors from Hell, the Castevets, deliver strong, unnerving performances that are sufficiently eerie. However, it’s Julia Garner as our protagonist, Terry Gionoffrio, who is the real standout of the movie. She turns in a terrifically nuanced and sympathetic performance, and her portrayal of a character under psychological duress who is being gaslit and manipulated is truly compelling. She adds a real sense of gravitas to the film, which is what the story desperately needs but, sadly, is lacking for the most part. The supporting cast also does a fine job of what's required of them, even during moments when the movie falters. That said, none of them are unable to elevate this movie to a level of quality above "fine".

Visually, the film has moments of excellence. The cinematography is slick and often atmospheric, even if it often looks cheap. Arnau Valls Colomer can build uneasy tension via simple camera tricks, as he lingers just a little too long on mundane objects, and moves just slowly enough to keep you on edge. However, despite these all-too-quick flashes of brilliance, the film fails to capitalize on its more unsettling imagery and atmosphere. The pacing issues, particularly in the first half, work against any tension being built, and by the time the supernatural elements come into play, it feels like too little, too late.

While intriguing, the story lacks the punch one might expect from a psychological horror film. The narrative is slow to start, and when it finally kicks into gear, it shifts focus between the psychological drama and the supernatural horror without fully committing to either. The demonic pregnancy plot, which is meant to be the film’s horror centerpiece, feels underwhelming and is one of its weaker points. It lacks the terror and atmosphere needed to make a lasting impact. Oddly enough, the most memorable parts of the film are the musical theater scenes. These moments, filled with energy and creativity, almost seem to belong to a different movie. They bring an unexpected charm that contrasts starkly with the darker elements. However, they also contribute to the film's tonal inconsistency, as it never quite decides whether it wants to be a tense horror film or something lighter and more surreal.

Where Apartment 7A does shine is in its connection to Rosemary’s Baby. The film’s ending ties directly into the original in a way that will please fans of the 1968 classic, offering clever nods and references throughout. But while these Easter eggs are fun for diehard fans, they aren’t enough to elevate the film to the greatness it seems to be striving for.

Prequels are always a challenge, and while Apartment 7A has its moments of intrigue, it falls short of living up to its potential. It’s an entertaining enough film, but it lacks the scares, focus, and tension to stand on its own apart from Roman Polanski's "Rosemary's Baby". Will I watch it again? Perhaps one day. But more than anything, it left me wanting to revisit Polanski’s most iconic film starring Mia Farrow.

Movie Review/ "Woman of the Hour"

By Anthony Caruso

Woman of the Hour is a fascinating true story brought to life as a tense and tight thriller, and it marks an impressive directorial debut by Anna Kendrick. The film is an engaging retelling of the chilling events surrounding real-life serial killer Rodney Alcala, and Kendrick manages to capture both the terror and the bizarre nature of Alcala's crimes in a way that feels fresh and compelling.

Kendrick herself is wonderfully energetic and charismatic in the role of Cheryl Bradshaw, the unsuspecting bachelorette who came face-to-face with Alcala on "The Dating Game". Her "girl next door" charm, which has always been one of her defining traits, works perfectly here, making her portrayal both relatable and sympathetic. Watching her navigate the unsettling tension of the situation keeps the audience on edge throughout. Daniel Zovatto, meanwhile, is equally remarkable, delivering a performance as Alcala that is both unnerving and oddly charming. He strikes a chilling balance between charisma and danger, making Alcala’s ability to deceive those around him all the more terrifying. Zovatto’s portrayal of Alcala as a charismatic predator is one of the film’s highlights, and Zovatto's performance adds layers of suspense to every scene he’s in.

At its core, Woman of the Hour is a gripping and disturbing exploration of how Alcala used his charm to hide his monstrous nature, and the film’s pacing keeps the tension high throughout. It’s an entertaining, compelling, and frightening watch that never feels too exploitative, instead focusing on the psychological dynamics of both predator and prey. Kendrick’s direction is tight, ensuring that every moment serves to either build character or heighten suspense.

In short, Woman of the Hour is a fantastic debut for Anna Kendrick as a director - and proof that she's just as talented behind the camera as in front of it - and a must-watch for fans of true crime thrillers. It's a deeply engaging film, with standout performances and a story about random chance and random encounters with danger that will stick with you long after the credits roll. I definitely recommend this one! (It's even frightening enough that while, not a traditional "Spooky Season" film, is one you can count as one of your annual Halloween watches this year!)

Movie Review/ "Smile 2"

By Anthony Caruso

Smile 2 is a wonderfully unsettling sequel, even if it stumbles a bit with pacing. While the beginning is slower than I would have liked, once the film gets going, it doesn’t let up. In fact, it’s an even more visceral and terrifying experience than its predecessor, taking the haunting concept of the first film and ramping up the intensity in a way that’s both relentless and deeply disturbing.

Naomi Scott absolutely shines in the lead role of pop star, Skye Riley, delivering a performance that’s nothing short of remarkable. She showcases incredible range, taking us on a journey through every imaginable emotion—fear, anger, grief, and despair—while never missing a beat. Her portrayal grounds the horror in genuine human experience, making it all the more impactful as the terrifying entity encroaches on her world. Scott’s performance is the emotional anchor of the film, and it’s one of the best I’ve seen in - and out - of the genre this year.

Where Smile 2 stands out is in its willingness to go darker and more serious than the original. While it’s an entertaining and well-crafted horror film, I wouldn’t call it “fun” in the traditional sense. This movie doesn’t let up, delivering a gut punch of a story that goes beyond jump scares and dives into real emotional and psychological trauma. Like the first film, it’s a meditation not only on mental health but also on addiction and recovery, with the metaphorical elements playing a huge role in how the story unfolds. The beauty of the film lies in its ambiguity. Whether the events are real or a manifestation of the protagonist’s spiraling mental state is left up to the viewer’s interpretation until the horrifying entity’s physical appearance towards the end. (Though even then, you could make the argument it's all a figment of Naomi's spiraling mental state.) And speaking of that ending - I hope this film does well and the next installment capitalizes on the promise of this movie's conclusion. 

Despite how good the film is, its pacing and length keep it from reaching greatness. At times, the film feels stretched a little too thin, and some scenes - specifically the rehearsal stuff - drag on longer than necessary. The slow burn at the beginning could have been tighter, though as I said above, once the tension ramps up, it becomes a relentless rollercoaster ride of fear. Even with all of these flaws, however, Smile 2 is a worthy sequel, delivering a satisfying continuation of the first film’s story, themes, and atmosphere.

I can’t wait to watch this again once it hits streaming and add it to my annual Spooky Season rotation. It may not reach the perfect heights of some horror classics, but it’s definitely one of the better offerings in the genre this year and one that will stay with you long after the credits roll.

Movie Review/ Beetlejuice Beetlejuice

By Anthony Caruso

"The juice is loose!"

Given how successful the original "Beetlejuice" was, how much of a following it's garnered over the past three decades, and what a Halloween staple the film and the titular character have become, it's incredible to me that it's taken thirty-six years for a sequel to be made! But, we live in incredible times. Now here we are in the year 2024 and Tim Burton, Michael Keaton, Winona Ryder, and Catherine O'Hara have finally all returned for the first official follow-up to the beloved 1988 film. As an enormous fan of the original, my expectations for this movie couldn't have been higher, and I'm extraordinarily happy to report that not only were they met, they were exceeded. "Beetlejuice Beetlejuice" was absolutely worth the wait! It's not only a worthy successor to the original film, but it's an amazingly fun film in its own right!

Let me get my one nitpick with this movie out of the way first: it is a busy movie. There is a lot going on here. There are so many subplots that it feels simultaneously overstuffed and undercooked. Given its under two-hour runtime, it's to be expected that not every subplot would feel properly serviced or needed. Indeed, given how fast this film flew by, I wish it had been longer so that every thread introduced here was given the attention it deserved. That said, all of these seemingly disparate threads coalesce beautifully into such a wonderful third-act finale that’s exciting, side-splittingly funny, and incredibly zany that I imagine many, like myself, will walk out of the film extremely forgiving of how stuffed it is.

It's clear that Tim Burton loved making this movie. It's the most Burton movie we've received from the unique filmmaker in years, and his dark humor and morbid sensibilities are on full display here, as is his abundance of creativity. Part of what makes this movie so great, and what makes it feel like such a natural follow-up to the original, is that the majority of effects, sets (which look as though they've been painstakingly recreated), and costumes are done practically when possible. This feels like a movie ripped right out of the eighties, and it's all the better for it! Burton also stayed true to the original film in terms of crafting this story. Picking up in real-time, every original character is exactly where you would expect them to be nearly forty years later. Even Adam and Barbara Maitland, who were so essential to the original movie but are missing here, are referenced and we're given an explanation as to what happened to the lovable ghosts. And, despite Jeffrey Jones not as Charles Deetz due to the actor's personal legal issues, the character is still essential to the plot, and his presence is felt throughout. Of course, the fact that Danny Elfman returns to score the film helps make it feel like a natural extension of the first movie as well. In fact, the man does something I didn't think possible, he makes the iconic "Beetlejuice" theme somehow more epic! The whole score, and the accompanying soundtrack, is a banger though, and it's one I'll be listening to on repeat for a while. The movie does for Richard Harris' "MacArthur Park" what "Beetlejuice" did for Harry Belafonte's "Banana Boat (Day-O)" in one of its best sequences!

Michael Keaton once again dons the black-and-white pinstriped suit as Betelgeuse, the lecherous demon, and he slips right back into the role without missing a beat. He's as disgusting, slick, and fast-talking as ever, and he has even more tricks up his sleeves this time. While some may say it's Batman, I have always argued that Betelgeuse is Keaton's definitive role, and this movie goes a long way to proving my point. The man was born to play the trickster demon, whose backstory we delve into here. And that story is appropriately gruesome. Going into the movie, I was afraid that Burton was going to make the demon more of an antihero this time around, but that's not the case. He's still, without a doubt, a bad guy, even if he can be manipulated into helping the cause of good. That goes a long way toward keeping him so fun and exciting to watch. In addition, Burton shows an incredible amount of self-restraint with the character. Given his enduring popularity, it would have been easy to have him in every scene of this film. But he's used as sparingly here as in the original, which makes him more effective whenever he does pop up. Like "Beetlejuice", "Beetlejuice Beetlejuice" left me wanting more of the demon himself, which is the biggest compliment I can give the film.

Keaton's not the only returning cast member though! Winona Ryder is back as Lydia Deetz, who is still living with ample amounts of trauma following her encounter with Betelgeuse as a teenager. She's channeled that trauma into hosting a hit paranormal talk show, while also becoming a highly over-protective parent. Ryder is fantastic, and she gets far more to do with Keaton this time around. Suffice it to say, their repartee is easily the best part of the movie. It's Catherine O'Hara's Delia Deetz who very nearly steals the show though. O'Hara is a comedic treasure, and she absolutely chews the scenery throughout the film’s brisk runtime. It's wonderful we get so much of her this time around, including in the bureaucratic afterlife! I felt it impossible to tear my eyes from her whenever she was on screen, even when she was sharing it with Keaton's over-the-top demon. In the intervening years since the original movie, Delia has made a fortune via her weird, modernist art, and it's only made her more insufferable, which is a boon for audiences watching the movie! I will say, the relationship between Delia and Lydia is one of the most unexpected aspects of this film, and also one of the most heartwarming; the two have come a long way with their relationship since 1988!

The returning cast is joined by Jenna Ortega, who is perfectly cast as Lydia's daughter, Astrid. Justin Theroux plays Lydia's entertainment manager and love interest, Rory, who is just as slimy (in his own way) as the demon that's stalking her. And Willem Dafoe plays the dead B-List actor who’s become a detective in the afterlife, Wolf Jackson. Dafoe's character in particular is so damn fun, and feels inspired by the beloved Beetlejuice cartoon in particular. So does the final new character, Monica Bellucci's soul-sucking witch, Delores, who in life was Betelgeuse's wife. Bellucci has such a presence here! She’s gorgeous with her pale skin, black dress, and stapled body parts, which pull themselves together in a wonderful sequence set to The Bee Gees' "Tragedy", while her powers are demonstrated in a truly intimidating way. Unfortunately, it's her character who gets the short end of the stick in the movie. Indeed, her character and entire subplot could have been lifted out of here completely and the movie would barely have changed. I do wonder whether Burton should have done that and saved her to be the main focus of a potential third movie. Nevertheless, she's memorable with the little she is given to do here. And though he gets no dialogue, and I'm unsure of who plays him, I must shout out the character of Bob, one of Betelgeuse's shrunken-head employees who is sure to become a fan-favorite given his oddly adorable, silent demeanor, and his bigger-than-expected supporting role.

Is "Beetlejuice Beetlejuice" as perfect as the iconic original? No, but it nearly is. I would rank it a smidge beneath that film, but only just. Regardless, I cannot wait to watch the two back-to-back for many years to come in what's sure to be a wonderfully fun double-feature. "Beetlejuice Beetlejuice" is not just a legacy sequel done right, but one of the best legacy sequels in years. It leans hard into nostalgia and engages in just the right amount of fan service without overdoing it. At the same time, it carves out its own identity and is a wonderful stand-alone movie on its own. And though a sequel to the original movie, it pays a lot of respect to the animated cartoon and Broadway show as well, which fans of the entire franchise are sure to enjoy! Don't walk, but rush to see this film on the biggest screen possible. I guarantee you that there is no better way to kick off Spooky Season this year. I, for one, look forward to seeing it on the big screen at least one more time before we're able to summon it at home whenever we want by speaking the title aloud three times.

MOVIE REVIEW/ AfrAID

By Anthony Caruso

Wow! Blumhouse has had quite the streak this year! Three films released in 2024 - Night Swim, Imaginary, and now AfrAId - and all three have been complete duds. It's a shame considering the fact that Blumhouse used to be a huge powerhouse in the horror space. Now, however, when their company logo pops up, I always end up giving an involuntary shudder and expecting the worst. 

The basic premise of AfrAId is promising enough: a family is chosen to test a new smart home AI called AIA, which ends up become self-aware and dangerously begins to interfere with and manipulate their lives. While it's definitely not an “original” idea, it's normally a solid enough idea that it usually spawns entertaining films. Not AfrAId, however. Despite the kernels of an interesting story about the dangers of artificial intelligence that are buried within Chris Weitz's muddled screenplay, and despite some interesting setup, AfrAId never takes off or lives up to the promise of its premise's potential. Especially not when it comes to its story, its characters, or its direction. Indeed, Chris Weitz - who also directed this film - ends up delivering to audiences what amounts to a Lifetime Original Movie. He tries to nicely gift wrap the dangers of AI in a story about a struggling, if loving, family. Not only does it look cheap, as though it has the budget of a made-for-TV movie, but it's also just boring on top of being bad. There never appear to be any real stakes, nor do you care enough about the film's characters to actually give a damn about what happens to them!

The cast of this movie is trying their best, and is actually quite charming, but they're never quite able to elevate the material they're given. They are unable to deliver memorable enough performances where I could say that the acting was good at the very least. That's a shame, because avid filmgoers will know that this cast is comprised of very good actors! John Chu has really come into his own over the past few years, demonstrating that he's more than just a go-to for stoner comedies but is somebody that’s actually capable of delivering true dramatics. Katherine Waterston is underrated and undervalued in a lot of ways, mainly due to the material she's been given in recent years like the bland Harry Potter spinoff films, Fantastic Beasts and Where to Find Them. Unfortunately, the two, who play husband and wife here, have next to zero chemistry, and their characters seem intent on making the dumbest decisions possible at every turn. Meanwhile, after a star-making leading man performance in Late Night With the Devil, it was absolutely jarring to see David Datsmalchian in such a one-note supporting role as one of the supposed creators of the villainous AI. Speaking of AIA, though, the strongest performer in this film is actually Havana Rose Liu who not only voices her to perfection, but plays Melody - the flirty and mysterious "advance employee" at the tech company that invented her.

Between the cast, which seems to be simultaneously bored with the material while trying their best, and Weitz's uninspired direction and a story, AfrAId is a movie that is made of a bunch of disparate, jarring components that never coalesces into a coherent or satisfying whole. It's also a movie that, at an extremely short eighty-four minutes including credits, feels far longer than it actually is. And while the ending is interesting, and will leave you with a squeamish feeling in the pit of your stomach due to its real world implications, it's not earned at any point over the course of the entire film leading up to it.

In a lot of ways, this was Blumhouse trying to remake their very successful film, "M3GAN", while discarding everything that made that movie work - including its iconic AI doll - and doubling down and expanding upon its flaws. And though "AfrAId" isn't the worst film of the year - it's no "Borderlands", "The Crow", "Madame Web", or even "Night Swim" - it comes pretty damn close to being it. There's nothing salvageable about this movie, and it's not even interesting or fun enough in a "so bad it's good" type of way; it's just bad and boring, which is an even worse sin. Even for fellow A-List members, I wouldn't recommend rushing to see this one, nor would I recommend watching this one when it hits streaming. It's just not worth your time, and is merely another swing and a miss for a once great horror production company.

MOVIE REVIEW / Kali Karate: The 2nd Beginning

By Anita Wills

From The Blair Witch Project to Best in Show, independent filmmakers have excelled in the genre of Mockumentary film for quite some time. Sean Russel Herman’s experimental mockumentary film Kali Karate: The 2nd Beginning is complete chaos, in a good way. In his feature debut, Herman tells the story of Sensai Houston, a very bizarre martial arts enthusiast who manages to ruin the lives of everyone around him while on his journey to get his ex wife back. 

Not only did Herman write, direct, produce and edit the film, he also took on the lead role as Sensai Houston, a character he created himself that came from his own personal passion for martial arts and comedy. Fans of the Eric Andre Show will appreciate the film’s determination to make the audience uncomfortable and as well as question their own moral compass for laughing. 

Kali Karate is overflowing with different editing and cinematography styles, as well as a comic book transition drawn just for the film. On top of that, there is impressive stunt work and an original “rap” score. That being said, there is little room for the comedy to breathe. Many jokes fell flat due to the fact that there was not enough time to process them before the next one. Several small characters were introduced, but never reached any character development that helped move the story along. 

What really carried the film was the comedic chemistry between Sensai Houston and his roommate Shu played by comedic genius Shu Lan Tuan, as well as the gorgeous but sparse HBO Boxing’s 24/7 inspired shots which was interesting to see in a mockumentary film. 

The artsy dark comedy leaves you wondering, is Kali Karate a love letter to filmmaking, an overflowing introduction of Herman’s talents, or a farewell eulogy to the comedic avant garde?   

Kali Karate: The 2nd Beginning is available on Apple TV, Amazon Prime, YouTube, Vudu, and Google Play Movies. 

SOPHIA'S SECOND LOOK: Drop Dead Fred

By Sophia Anita Reyes ( @sophia_toto_girlpower )

I recently rewatched Drop Dead Fred, the 1991 dark comedy/fantasy film for the first time since I was about 11 years old. I am unsure why I had such fond happy memories of this misunderstood box office flop. After watching the film as a 34 year old woman, I was in an immobile physical state of shock. I sat there for about 10 mins alternating from sobbing my eyes out, to staring at the wall with my mouth wide open thinking “What the hell did I just watch?” and “What are these feelings I am feeling?!” 

Drop Dead Fred is about a grown woman named Elizabth whose agent of chaos, childhood imaginary friend Fred, comes back to help her take control of her life. Her life that is very much in the hands of her ultra dominant, power tripping mother who Fred likes to call “the Mega bitch”, and her manipulative weasel like fiancé. The film has many flashbacks of the destruction and ruin that Fred and Elizabth caused, which drove her mother to insanity. 

Drop Dead Fred (Rik Mayall) and Elizabeth “Lizzie” (Phoebe Cates) in Drop Dead Fred.

I have this gut feeling that there is one important question that no one asked on set or during production, not the producers, the actors, or even the director. The question is, who is this movie for? Is it for kids? The whole family? Or the scariest answer.. is it for me? After I was able to come out of my immobile state of shock, I realized that the film is a grotesque but beautiful guide on how to love your younger self by battling your childhood trauma. That’s when I also realized that yes, this film is for me, someone who has had trouble challenging authority since a young age and staying away from manipulative weasels. Along with being a movie that will completely just fuck with your un-dealt emotions, it is kind of a cinematic masterpiece in itself. The story progression, character development, set design, special effects makeup, et cetera, are all flawless. There are no holes in this film, no dull moments. The most powerful scene is at the very end when Elizabeth becomes so overwhelmed with her trauma that she passes out and takes a trip into her imagination and back to her childhood home with Fred, where it is time to face her biggest fears.

Elizabeth “Lizzie” (Phoebe Cates) and Drop Dead Fred (Rik Mayall) in Drop Dead Fred.

The inside of the immaculate house is enormous and dark. Menacing shadows looming everywhere and furniture with edges so sharp they look like they could cut you. Elizabeth uses her imagination to navigate the intimidating home. Standing there as a grown woman she puts her hands on her temples, shuts her eyes. Suddenly a giant beautiful tree grows in the middle of the foyer. This particular moment really gutted me. Seeing a grown woman confidently tap into her imagination to solve a problem was a shocking sight to see. Using your imagination is what children do, not adults. We grew up, we are not allowed to be silly or fantastical anymore. Fred and Elizabeth climb the tree, but unfortunately her mother is waiting at the top of the stairs, guarding Elizabeth's childhood bedroom door, not allowing them to pass. 

Elizabeth fearlessly screams “I’m not afraid of you!” in her mother’s face and after hearing this, the mother bursts into epic flames. At this point, my face is soaked with tears, how could this film get under my skin any deeper than it already has? Well you just wait. 

 In the beginning of the film, Elizabeth's mother has had enough of her tiny daughter’s rebellion and duct tapes Fred back into his jack in the box so he can never escape again. When grown up Elizabth opens the bedroom door that her mother was guarding, she finds her childhood self duct taped to the bed. Elizabeth tears the duct tape away and gives her younger self a big hug, telling her “we don’t have to be afraid anymore”. The duct tape represents the constricting restraint that the mother had over Elizabeth, and the tearing represents Elizabeth using her voice and taking the power back.  Do you understand now why I was in such a state of vulnerability and shock?

Drop Dead Fred (Rik Mayall) and Elizabeth’s mother Polly (Marsha Mason) in Drop Dead Fred.

To be honest, I’m not surprised that his film was a giant flop. No one understood it, but most importantly, no one cared to try and understand it. If they did, they would see that it is a beautifully dark film that challenges its audience to be vulnerable, and to not be ashamed of using your imagination. 

MOVIE REVIEW / Cocaine Bear

By DeeDee Baldwin

** This article contains mild spoilers. **

There is a scene at the beginning of director Elizabeth Banks’ Cocaine Bear when a hiker’s bitten-off lower leg is flung into frame, and the viewer thinks, “Should I be laughing at this?” It’s the first of many such moments to come.

Horror-comedy is, of course, nothing new. Cocaine Bear follows in the bloody footsteps of cult classics like the Evil Dead series, Tucker and Dale vs Evil, and even, in some respects, Fargo. “What is it in the human condition,” asks author Bruce G. Hallenbeck in Comedy-Horror Films: A Chronological History, 1914-2008, “that makes us want to laugh at the darkness around us?” If we laugh in horror at a woman’s foot sticking out of a woodchipper or at a man’s dismembered body falling from a tree, is something wrong with us?

Sari (Keri Russell) in Cocaine Bear.

Not at all. "The common misconception about laughter is that laughter is, for the most part, a response to humor," researcher Diana Mahony told ABC’s Joseph Brownstein in 2008. Rather, laughter is more like “a steam gauge, where a buildup of feelings prompts an outburst.” This is why some people smile or laugh at funerals or when they’re around a friend who is crying. They aren’t sadistic, and they don’t suffer from antisocial personality disorder. In the perceived absence of other outlets—especially because so many people are extremely uncomfortable crying around others—laughter might be all they have left. Most of us have watched horror movies, even ones that are meant to be totally serious, and laughed at an intense death scene. Did young people in your movie theater laugh when Boromir wept in Fellowship of the Ring or when Katniss sobbed and screamed at her sister’s cat in Mockingjay – Part 2? Intense emotions like grief and fear can be too overwhelming for some people to process. The more effectively such intensity is conveyed, the more likely you are to hear giggles in your theater.

But laughter in movies like Cocaine Bear or Tucker and Dale isn’t only an outlet for big feelings. It is the intended response. There is obvious humor like Margo Martindale’s “dusty beaver,” the billboard advertising a glory hole, and the coked-out bear collapsing, exhausted, on top of a man. There is an ambulance sequence that ratchets up both tension and absurdity until the viewer is simultaneously hiding her eyes and laughing like a valve releasing steam. In one wry scene, a character mentions his two friends (both dead, unknown to him), and Banks cuts to a shot of their corpses that looks like a macabre Halloween yard display. 

Stache (Aaron Holiday) and Jr. (O’Shea Jackson) in Cocaine Bear.

While most of the movie’s deaths are comedic in their horror, not all are played for laughs. One character’s death is quiet, dignified, and poignant – and it is well-earned. For another towards the end, Banks goes all-in on the gore, but there’s more schadenfreude than humor in it.

Cocaine Bear is a comedy in the most classical definition of the term: a humorous take on flawed humans—Aristotle’s “inferior people”—and their foibles, with the requisite happy ending. It is also a morality play in which each of our heroes must fall and be redeemed. I use the term “heroes” lightly; one of them is, after all, a hired gun for a drug lord. Children learn not to skip school and do drugs, and career criminals ride off with a cute little dog. If it took some decapitations, stray body parts from legs to fingers, and a disemboweling, isn’t the most important thing that we’re all better humans in the end? Dante would say yes.

Oh, and I’m forgetting the most important part of this comedic, horrific morality play: it will leave you cheering for a coked-up bear family. And that’s the best part of all.

FOUR EYES REVIEW / The Batman

Welcome back to another “Four Eyes” review. We take this moment to share 2 opinions on a single geek topic.

Below both Justin and Dave will each dive into what they thought about Matt Reeve’s The Batman. Join us for a “Fan”-tastic, gushing with praise, recap.

Let us know your thoughts in the comments or on social media using #foureyesreview

MOVIE: The Batman

STARRING: Robert Pattinson, Zoë Kravits, Paul Dano, Colin Farrell, Jeffrey Wright, Barry Keoghan, Andy Serkis

RELEASE DATE: March 4th, 2022

WHERE TO WATCH (as of March 2022): Theaters (Streaming on HBO Max on April 19th, 2022)

FROM JUSTIN POMERVILLE:

Cue the 60’s Batman theme song, because our favorite caped crusader is back again on the big screen. When The Batman was first announced with Robert Pattison as Bruce Wayne/Batman, I was a little hesitant. It wasn’t Pattison’s acting capabilities, but more or less the direction this film was going to go. As time went on and the more information released, it became clear that Pattison (and director Matt Reeves) had a clear vision of what exactly this Batman story would be and how it would stand out from the rest of the pack. Their story, as well as the overall style and feel, was told in a fantastic way that kept you on the edge of your seat.

The main plot focuses on a young Bruce Wayne who has only been Batman for a few years. That is the biggest difference, and because of that, we got a very different kind of Batman. We get a Batman that was still learning what exactly it means to be the hero Gotham needs. His fighting style, detective work, even his gadgets are still being honed and crafted. His interactions with the rest of the characters is fabulous as he learns to form relationships in order to become that better hero. This is the kind of Batman story where we actually get to watch Batman’s growth. With that growth, we learn how it affects Gotham and lays out the beginning rise of his rogue gallery.

Robert Pattinson as Bruce Wayne in Warner Brother’s 2022 release of The Batman.

Bruce’s relationships with both Selena Kyle (played by Zoë Kravitz) and Jim Gordon (played by Jefferey Wright) were meticulously put together. They all intertwine with each other flawlessly and it never felt forced to move the film forward. We got to see the beginning romance between Bruce and Selena as well as the trust and friendship (which is what I would call it) between Bruce and Jim as they work the murder case. Everyone’s role played out great and left me wanting to see the next step in their evolution.

Everyone’s performance was top-notch, but a couple really stood out. Paul Dano’s portrayal of The Riddler was maybe my favorite because they took such a weird villain in the comic whose whole bit is elaborate traps that can be solved by riddles, and they made him dangerous, smart and gave his whole character a fresh direction. He became visually terrifying in his mask, giving him a Zodiac killer vibe, but with the intelligence that is just as scary. The Riddler has been that character in the comics that in recent years has been taken more seriously, but this representation took it to a new level.

Jim Gordon (played by Jeffrey Wright) and Batman (played by Robert Pattinson) in The Batman.

The overall feel of this film is thrilling, Gotham felt claustrophobic and gave you a real sense of how dangerous the place is. The soundtrack is just insane and fits with the tone. Reeves littered this movie with Easter eggs and Batman lore that could make this a solid franchise going froward (if he so chooses to go in that direction). This wasn’t just a superhero movie. This was a thriller detective film that just so happened to involve Batman. That is something we don’t see very often. You can’t really compare it to the others,. If I had to choose, this may have become my new favorite Batman film.

FROM DAVE CLARK:

For as long as I can remember, my two favorite comic book properties have been the X-Men and Batman. I remember my excitement to see Tim Burton’s Batman in 1989. I would have to wait for the VHS but I was still very excited to see this larger-than-life hero played out in movie form. For me it wasn’t about world building or easter eggs. It was about seeing my favorite superhero take it to his most feared enemy on the big screen. It would then lead to the greatest animated series in the history of Batman cartoons. It would define comic book movies for a very long time and we’d set the scale as to who would portray Batman, The Joker, Alfred, Gordon, and so on. They’d be rated alongside the cast of the original film and even Adam West’s Batman. Here we are. We are in the twenty-first century and I’m getting the seventh actor to portray Batman/Bruce Wayne in live action form.

Robert Pattinson as The Batman.

I was extremely apprehensive when they announced the casting and idea behind this film so soon after Ben Affleck’s portrayal in Justice League. It started when Matt Reeves joined as Writer and Director after Affleck dropped from being the Director. Then Affleck dropped out altogether, opening the door for Robert Pattinson. Pattinson was a man I thought as horrible at acting based solely off the Twilight films alone. For the record, I was wrong and the actors are not to blame fully for those films being so bad. So many of them would go on to have amazing careers, including Pattinson. Recently, I loved him in Christopher Nolan’s Tenet. Pattinson taking over the cape and cowl for this potential new take of the story gave me confidence in the capable creative hands of Matt Reeves.

This film is now not only my favorite Batman film, but it may also very well be one of my all-time favorite films ever. It establishes our Batman as a great detective, though not the greatest, not yet at least. He’s still not the polished Dark Knight as it is only his third year on the job. However, right from the title screen, we’re getting a Batman film with narration. We’re treated with an inner monologue from Batman explaining his thoughts and observations, which in turn end up being the vocalization of his ritual of writing in a journal during this Gotham Experiment he calls being the Batman. While there has been Batman narrating before, this felt different. It felt stronger and a more intimate look into the mind of Batman. Without getting too long winded, the portrayal of every character in this film was done with respect and knowledge of the source material.

Robert Pattinson as The Batman.

The music throughout set the tone and was perfectly fit for a Gotham that no person would choose to live in unless they had no other choice. Each character had their own theme and they worked well to establish the tone of their character in the scene. The music and sound production was stellar. You felt every punch, every footfall from Batman as he emerged from the darkness. You felt the car chase with every crash and explosion.

I really could gush about this movie for thousands of words but I’m going to cut myself short and direct you to our podcast we’ll be releasing this week (link to come) with our more detailed review of The Batman. This was a strong Batman movie, and best of all - it’s simply just a great movie overall. It’s a crime thriller about a desperate chase of a maniacal serial killer who has a political agenda to expose the city’s corruption at its core. The inspiration for this film from Zodiac, Seven, and Chinatown can be noticed even after the credits have rolled. It’s safe to say, we’re in good hands for the future of Batman and his Rogues Gallery and perhaps his extended Bat-family. The future is bright in a dark dank Gotham.

REVIEW / Texas Chainsaw Massacre 2022

By Justin Pomerville (2 Broke Geeks)

There has been great success lately with old horror franchises like Halloween, Candyman, and to an extent, Scream. Each movie getting a new film that is a direct sequel to the original. This direction brings fresh life to the films and an easy introduction to those who have never seen the original. Also, they have added a nice bit of legacy by bringing back past characters (ie: Laurie Strode return in Halloween Kills). This helps for both nostalgia and story purposes. This trend has been a great success but I was curious if they could keep the momentum going with this new Texas Chainsaw Massacre?

As a horror fan, I love it all. I enjoy the good and the bad, the suspense and the gore. Sadly, Texas Chainsaw Massacre suffers from a lot of problems. I am not confident I was the target audience. The only real positive for this film is the gore aspect. An audience that thrives on butchery over plot, this update would most likely be a blast. There are a couple fun kills, but beyond that, this film did nothing to make the franchise and Leatherface stand out for me. It comes down to the story. The whole narrative is a group of entrepreneurs selling off the properties of the town of Harlow (the town that the original story was based). They are ironically looking to build a new, safe community. However, Leatherface has other plans and begins to murder every single person in sight.

Lila (Elsie Fisher), Melody (Sarah Yarkin), Ruth (Nell Hudson and Dante (Jacob Latimore) in Netflix’s 2022 Texas Chainsaw Massacre.

The script is barely held together with characters that are unlikeable and hard to get behind. The main protagonist is Lila (played by Elsie Fisher). She has an updated and poignant backstory of being a victim of a school shooting. This film really wants you to remember this group's disdain for guns. We don’t know the reason for the shooting until we are halfway through the film. Even after the revolution, it had very little impact to the plot. Everyone else just has cookie-cutter attributes despite having a competent cast. You get the overbearing sister who is obnoxious (for me), but also a local that you are supposed to hate yet end up liking. On top of those characters, they also brought back a legacy character, Sally (played by Olwen Fouéré) from the original film. I was very excited to see the flashback and how a veteran of the original mayhem would handle things today. Unfortunately, she brought nothing substantial to the film. She is misused and under appreciated. She is just another body on the pile. I feel cheated that she was not allowed even a proper showdown with Leatherface.

Sally Hardesty (played by Olwen Fouéré) in Netflix’s 2022 Texas Chainsaw Massacre.

I believe the other problem with this film is it never felt like a big deal in horror. Halloween, Scream, and Candyman all had huge budgets and theatrical releases (including months of planning and ads) building excitement for their releases. They embraced promoting the return of past characters. As far as Texas Chainsaw Massacre, all I saw in terms of advertisements was one trailer when it was first announced and then forgotten about until the release date. It felt more like an afterthought. After great success with Fear Street and Army of th Dead, I had just expected more from Netflix. I am curious if that impacted the reviews? It appeared everyone online completely forgot this film was coming and thus its reception was lackluster, to say the least.

Leatherface (Mark Burnham) in Netflix’s 2022 Texas Chainsaw Massacre.

I wish they had put more into this film to give it more substance. As it stands, it is near the bottom of the pile of the Texas Chainsaw franchise, and rightfully so in my opinion. As noted, I know others have enjoyed it, which is appreciable. Woefully, I am not one of them.

Movie Review / Black Friday

MOVIE: Black Friday

STARRING: Devon Sawa, Ivana Baquero, Ryan Lee, Stephen Peck, Michael Jai White, Bruce Campbell, Louie Kurtzman

RELEASE DATE: November 19th, 2021

WHERE TO WATCH: Theaters / VOD Rental (Amazon, iTunes, Google Play, Vudo)

By Justin Pomerville (2 Broke Geeks)

As we get into the holiday spirit, it’s only fitting that I watch a new “festive” film to get me into the holiday spirit. As someone who works in retail, one of the more horrific days that basically rings in the Christmas season for me is Black Friday. So, it almost felt necessary to watch the new horror/comedy film starring Bruce Campbell that has the same name.

This film feels like a mash-up of Night of the Comet and Night of the Living Dead but with a Christmas theme. The plot is very, very simple; comets crash land inside toy stores and start turning people into undead aliens. They then merge together to become a giant monstrosity. We follow a small group of retail workers and their horrible manager as they try to survive the invasion.

Stephen Peck as Brian and Bruce Campbell as Jonathan in Black Friday

With a very straightforward plot, I was hoping that the main focus would be in solving the mystery of where the aliens came from and the best way to deal with the threat. To an extent, that is what happens. They did seem to focus a little too much on the side plots of the lives of the retail workers which is fine, except the plots don’t feel like they ever have a resolution of some sort.

You have Kevin (played by Devon Sawa) who is a divorcee that got the short end of the stick when it comes to seeing his kids. Marnie (played by Ivana Baqeuro) is Kevin’s love interest. We also have Chris (played by Ryan Lee) who is a germaphobe whose father is not proud of him. Although we have these storylines, it really focuses on Kevin and how everything just keeps coming up short for him. It never really hits, mainly because of how the whole invasion plays out.

Marnie played by Ivana Baquero and Devon Sawa as Ken in Black Friday

Practical monster effects and gory were pretty decent in this film. There is one monster that kind of looks like The Blob from the 1988 remake, but these aliens felt like cannon fodder overall and second fiddle throughout the film. In my opinion, there wasn’t even a scary scene throughout the film. That’s why this was geared more as a comedy/horror, right? Unfortunately, the comedy feel pretty short as well. The majority of the comedy comes from Johnathan (played by Bruce Campbell), the terrible manager. Bruce plays the role like most of his roles; cocky and dumb. That works in some roles, but in this movie, it feels he was just a name to get people to run to the theater.

With all that said, it was exactly what I needed to recover from the real retail Black Friday (which isn’t too far off sometimes to the movie Black Friday). It’s a mindless fun popcorn movie. Enjoy!

Practical Effects in Black Friday

Movie Review / Lamb

MOVIE: Lamb

STARRING: Noomi Rapace, Hilmir Snær Guðnason, Björn Hlynur Haraldsson, Ingvar Sigurdsson

RELEASE DATE: October 8th, 2021

WHERE TO WATCH: Theaters / VOD Rental (Amazon Prime, Apple, Google Play, YouTube, AMC On Demand)

By Justin Pomerville (2 Broke Geeks)

I have been watching a good amount of A24 films and have shared my praises for films like “Midsommar”, “The Lighthouse”, and most recently, “The Green Knight” (Go read that review HERE if you haven’t yet). This company has a very successful track record of making some of the most interesting films in the last couple of years. However, I do recognize that they are not all great films. Examples that come to mind are The Death of Dick Long and Slice.

Unfortunately, “Lamb” falls into that category.

Noomi Rapace n LAMB

Directed by Valdimar Jóhannsson, Lamb is the story of a childless couple on rural island that come across the weirdest discovery in their sheep barn, a sheep giving birth to a hybrid lamb/human child. They decide to raise her as their own. They give her the name Ada. In all honesty, that’s 90% of the film. Just a couple raising their “child”. This film is labeled as a horror/fantasy piece and I’m sure that someone out there might find the horror of this story, but it doesn’t actually set in till the last 15 minutes of the film.

This film has a run time of 1 hour and 46 minutes and the majority of that time is literally this couple going about their daily lives, while also caring for Ada. From the get go, they recognize her as different for a total of about 10 minutes. The movie only takes a moment before it turns it around as “this is our child now” and they go back to their normal lives. To me, this just doesn’t work. How are these guys not freaking out over it? How come they are not calling anyone? It doesn’t feel natural.

There is a scene where the mother visits a grave that has the name “Ada” on it, so I assume that maybe they did have a child at one point so this new Ada is a coping mechanism. It’s not addressed at all, so the whole act feels hollow and forced. They add some drama as the husband’s brother comes to visit and there is an implication that he had an affair with the wife. However, the problem seems to solve itself in a matter of 20 minutes.

Scene from LAMB

I said this film is labeled as a horror film, and honestly, the trailers made it feel way more horror than what it actually was. Like I said before, the only “horror” comes at the end of the film. It’s an interesting twist for sure, but overall, feels weirdly thrown in.

Overall, this film had an interesting idea, but fell short on what it was trying to accomplish. I give it praise for its interesting usage of making Ada come to life, but beyond that, this film felt like it needed more substance than what was delivered. All the problems felt like after thoughts to the main story of a grieving family that were giving this “gift”, but was it really a gift?

I give this film a 2 out of 5.