Tag: Drama

REVIEW: ‘Sovereign’ is an intense look at extremism on the human psyche

One of the more dangerous movements in America over the last few decades gets explored in great detail during this new drama.

Christian Swegal makes his feature directorial debut with this film, centering on the real story of Jerry Kane (Nick Offerman) and his son Joe (Jacob Tremblay). Jerry was well known in circles of the sovereign citizen movement for his speeches about his interpretation of American law and home ownership rights.

His perception of power that the American government has, and his disregard for the operations of law enforcement and courts, leads to a growing tension with authority. That eventually leads to a fateful 2010 run in with police in West Memphis.

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REVIEW: ‘My Dead Friend Zoe’ doesn’t commit to its bit, to its detriment

The war movie genre benefits overall from films that show the impacts of foreign conflicts back home. This is one of those films, but unfortunately, it’s not one of the category’s best.

“My Dead Friend Zoe” centers on U.S. Army veteran Merit (Sonequa Martin-Green), who’s back home in the United States after serving in Afghanistan. Lately, life has been hard for her, as she’s run into some trouble with the law, and forced to attend group therapy sessions because of trauma, though she can’t bring herself to speak about her experiences.

That trauma revolves around her friend Zoe, who passed away. However, she still sees Zoe often as a ghost who she speaks with regularly. Her life only gets more complicated when she is asked to take care of her estranged grandfather who has early Alzheimer’s. Continue reading “REVIEW: ‘My Dead Friend Zoe’ doesn’t commit to its bit, to its detriment”

REVIEW: ‘Companion’ is an enjoyable frenzy of horror, heart and humor

This is why there was a PSA in “Futurama” with the warning “DON’T DATE ROBOTS.”

The titular companion in this sci-fi feature is Iris (Sophie Thatcher), a young woman who’s going on a weekend getaway with her boyfriend, Josh (Jack Quaid). They’re staying with two couples Josh is friends with, Patrick and Eli, as well as Kat and Sergey.

Unbeknownst to Iris, though, is the fact that she’s actually a robot, built, designed and programmed to be a romantic partner. That fact is eventually revealed to her in the process of the friend group enacting a scheme to get rich, which puts her in danger.

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REVIEW: Celine Song’s sophomore effort ‘Materialists’ disappoints

A film from A24, written and directed Celine Song who helmed the wonderful “Past Lives” from 2023? On paper it looks like a slam dunk. Unfortunately, that’s not quite the case.

In Song’s second feature film, Dakota Johnson stars as a matchmaker in New York City named Lucy. She works for a company that specializes in setting up dates between similar people. Basically, it’s an in person dating app, but the app is a human match manager with an office.

Work is going well enough, but Lucy herself has been single for a while. That changes, though, when she meets the charming and understanding Harry (Pedro Pascal), and the two start dating. At the same time, she meets up and starts talking with former boyfriend John (Chris Evans).

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REVIEW: Wes offers style and substance again in ‘Phoenician Scheme’

Michael Cera’s career has been hitting a pretty good stride in the last few years, starring in solid flicks like “Gloria Bell,” “Barbie” and “Dream Scenario.”

That positive streak continues in his latest appearance, playing a key role in Wes Anderson’s new project. Cera co-stars in the film as Bjorn, alongside Mia Threapleton as Liesl and Benicio del Toro as Korda. The movie centers on Korda, who’s a powerful industrialist staking his empire on an infrastructure project in Phoenicia.

Making it a reality is tricky. Kordo has enemies against him and obstacles to overcome. To navigate the situation, he sets up his daughter, Liesl, to be heir to his throne in case of his demise, and brings her and Bjorn on a wide-reaching journey to make the scheme a reality.

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REVIEW: ‘Warfare’ falters from lack of depth, insight

War is hell, and that certainly is shown viscerally in this 95-minute feature. If only it did more than that.

“Warfare,” directed and penned by Alex Garland, is based on the account of U.S. Navy Seal Ray Mendoza, who shared his story as a co-writer. The movie is more or less a bottle film. There are a few overhead shots from the perspective of military aircraft and a few scenes set on roads nearby, but the great majority of “Warfare” is in a single house.

It’s 2006, and the U.S. military is engaged in the Battle of Ramadi during the Iraq War. The film centers on a group of Navy SEALS who have set themselves up in an Iraqi home to monitor activity across the street. Unfortunately, they’re soon found out and are quickly pinned down by a large group of Iraqi fighters and have to survive until they can be evacuated.

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REVIEW: ‘Last Breath’ is deep on suspense, shallow elsewhere

This film is somewhat paradoxical in that it gets about as low as you can go in terms of depth, but isn’t exactly deep.

In 2019 director Alex Parkinson released the documentary “Last Breath.” The film centered on an incident where a deep-sea diver tasked with repairing pipes was nearly lost when his umbilical cable snapped and he was left on the ocean floor. Parkinson has now followed that up with a feature length narrative film.

The movie showcases how Chris Lemons (Finn Cole) was cut off from the air supply on the seabed and ran out of oxygen. It also shows fellow divers Duncan (Woody Harrelson) and David (Simu Liu), as well as ship Captain Andre (Cliff Curtis) and repair supervisor Craig (Mark Bonnar) making rescue attempts.

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REVIEW: ‘Mickey 17’ is a clumsy creation from Bong Joon-ho

Bong Joon-ho’s follow-up to “Parasite” is unfortunately, no awards contender.

The latest from the South Korean filmmaker is a dark sci-fi action-comedy centered on the character Mickey Barnes (Robert Pattinson). Needing to flee Earth because of a loan shark, Mickey boarded a spacecraft to a new planet, and took a job known as Expendable, where he does repairs in awful conditions.

In the case of death, his memories and personality has been downloaded, and his body can be recreated, allowing him to live on. The movie picks up with Mickey now on body 17 and surviving a dangerous incident where he should have died. As a result, an 18th Mickey is made. In doing so, their combined presence alters the course of the future for the a space colony.

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REVIEW: Angelina Jolie is at her absolute best in ‘Maria’

For the third time in a decade, director Pablo Larraín has helmed a biographical film about a complex woman, and like the other two, it’s one of the year’s best.

Larraín previously directed 2016’s “Jackie” about Jacqueline Kennedy Onassis and 2021’s “Spencer” which centered on Princess Diana. His latest is about the opera singer Maria Callas (Angelina Jolie), though it takes place mainly after her illustrious career.

The movie focuses on the last week of the singer’s life, and explores how she was reflective of a career that she lost. Over time, her voice began to fail her, which caused her to leave her profession, and later her health began declining as well. The film is about the culmination of this, with her still at times trying to sing, while looking at the past and dealing with health issues.

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REVIEW: ‘Hard Truths’ has stirring drama but scope is limited

“Hard Truths” is a title that works for this movie. Others could have been “Mean Truths,” “Pessimistic Truths” or “Negative Truths.”

That’s because the main character in this film, Pansy Deacon (Marianne Jean-Baptiste), is dealing with depression, resentment and grief, which has manifested in aggression. Pansy is often in a state of frustration or anger, and it results in outbursts toward both family and strangers alike.

Much of this stems from conflicted feelings toward her late mother. This has caused a strain in her marriage to her husband Curtley (David Webber) and relationship with her son Moses (Tuwaine Barrett). The one person she still manages to confide in usually is her sister, Chantelle (Michele Austin).

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