Director: Bill Pohlad
Writers: Bill Pohlad
Stars: Casey Affleck, Walton Goggins, Zooey Deschanel, Beau Bridges, Noah Jupe

Synopsis: Musical duo Donnie and Joe Emerson spend everything they have to produce a record in the 1970s.

Sincerity.

Sincerity can often be the biggest strength of a film, and in some cases it’s what saves a movie from any over indulgences. Whether it be melodrama, sentimentality, thematic structure, or performances; genuine sincerity will almost always overcome any potential pitfalls the film has. And that certainly is the case for Bill Pohlad (Love & Mercy)’s latest film, Dreamin’ Wild, starring Cassey Affleck and Walton Goggins.

Dreamin’ Wild is based upon the true story of the Emerson brothers, Donnie (Affleck) and Joe (Goggins), who produced an album in their teens. Upon its initial release in the late 1970s, it came and went without any critical or financial success. It was also the beginning and the end of their musical careers in many respects. Donnie continued to pursue music before realizing it wasn’t going to be as fruitful as he hoped. Three decades after recording their album “Dreamin’ Wild” as teenagers, they are contacted by a record producer who wants to re-release the album and truly market the soundtrack properly. Donnie and Joe didn’t know it, but their album has somehow become popular with the advent of the internet.

For most people, it would seem as if this is the opportunity of a lifetime. It’s a Hollywood story that doesn’t seem real. You make an unsuccessful album in your youth only for it to be revitalized as a big hit in your 40’s? That only happens in the movies, right? That’s pretty much how Donnie reacts to the news. He’s in disbelief. He’s dreamed of this happening his entire life, but never thought it was possible. Yet, as the film unfolds, we start to see that Donnie’s reaction to all of this isn’t incredulousness, it’s something deeper. Something more somber.

Enter in sincerity. In one of the most crowd-pleasing characters of the year, we learn that Donnie’s father – Don Sr. (Beau Bridges) – is a major catalyst behind his musical prowess. When he realized that Donnie was gifted as a kid, he went out of his way to gift him guitars and pianos. He built them a studio on their farm to hone their skills and make music. He guided his boys with wisdom. He loved them at all costs. Don Sr. is the kind of film character that is often saccharine, but Bridges brings a warmth to the character that avoids that pitfall. When we learn of his sacrifices, and how that affected Donnie, it could have felt emotionally manipulative. And in the hands of a lesser filmmaker, it would have. But Pohlad and Bridges, alongside Affleck and Goggins, offer a rich honesty that not only gives the film integrity, but that emotion is felt with earnest relatability.

In one way or another, everyone has experience with grappling with disappointment as it relates to their parents. We understand Donnie’s deep-rooted guilt. Especially when we come to realize the cost of Donnie pursuing his dreams. It was heavy. So, this opportunity to save his musical career isn’t just about him, it’s about his family. His father. His brother. Affleck is perhaps best known for his saddening retrospective style of acting, which makes his casting impeccable. The way he portrays guilt and shame here is quite sublime. Equal to the task is Goggins, who is aware that he’s not the musical genius of the family, but rather someone who just wants to spend time with his brother. The way he conveys love and respect, despite being chewed out a few times, is remarkable. He’s truly the unsung hero of this cast.

Pohlad doesn’t quite reach the same heights as Love & Mercy, but his direction and storytelling with Dreamin’ Wild is still impressive. Structurally speaking, the film echoes what we see in Love & Mercy between one’s past and present, with Noah Jupe playing young Donnie. There are moments in which those editing lines are apparent, and slightly manufactured as we come to find out what’s driving Donnie’s guilt. However, did I mention the sincerity of this film? All kidding aside, those sequences could been seen as cloying, but they aren’t. And it’s not just the performances, it’s Pohlad’s direction and how much he clearly cares about this story.

Dreamin’ Wild may not be winning any Oscars, but it’s one of those movies that often qualify as “Best Surprises” of the year. There’s so much joy to be had here with its ideas on family, sacrifice and love. Even if it is sappy (and I don’t think it is), I ate it up. These performances are very good. The music is captivating. It’s a film worth your time.

Grade: B

Director: Tom Harper
Writers: Greg Rucka and Allison Schroeder
Stars: Gal Gadot, Jamie Dornan, Paul Ready

Synopsis: An intelligence operative for a shadowy global peacekeeping agency races to stop a hacker from stealing its most valuable and dangerous weapon.

Of all the streaming services, Netflix has undoubtedly tried the most to create new action franchises. Extraction seems to be the saga with more financial and commercial success, but it’s too short for an entertainment network capable of convincing the biggest talents in the industry to work on the small screen. Heart of Stone is the latest attempt, with Gal Gadot serving as “bait” for the home audience, although the most significant personal interest falls on Greg Rucka – creator of numerous comics for Marvel and DC Comics, as well as The Old Guard, also adapted by himself for Netflix.

With Tom Harper (The Aeronauts) as director and Allison Schroeder (Christopher Robin) helping with the screenplay, the truth is that Heart of Stone manages to surprise viewers with a fast-paced, captivating first half, packed with efficient narrative twists, and in-location action with pretty convincing stunts. As impartial as I can be, I found the Lisbon set piece genuinely impressive not only due to the long, adrenaline-charged chase but also to Mark Eckersley’s (All the Old Knives) editing, which, for those who know the city, creates a pleasantly logical, easy-to-follow path, in addition to showing some essential tourist points of the Portuguese capital.

Even leaving this more personal element aside, Heart of Stone grabs viewers from the start without treating them disrespectfully. The premise could hardly be more formulaic, following dozens of ideas previously seen in so many other films – including an AI system that allows access to all cameras and uses deterministic calculations to predict the future – but, during the first hour, the time is dedicated to the espionage storyline as well as the relationship between the main special agents.

A revelation at the end of this first half will even raise the eyebrows of more experienced viewers, but after this impactful moment, Heart of Stone strangely begins to lose the energy, general interest, and even technical competence of its action sequences. Unnecessary exposition narrated with equally useless images becomes the main storytelling method. Character and plot developments become exponentially predictable and unimaginative, culminating in an emotionally hollow ending. And finally, the action itself becomes too reliant on noticeable fake backgrounds, inconsistent CGI, and over-the-top stunts.

Heart of Stone also lacks any kind of thematic weight, as well as any character arc not driven by bland personal vendettas. Whenever there’s an ideal moment to deepen some conversation, the movie immediately accelerates to the next location and subsequent action scene. This superficiality is even more disappointing when the cast shares commendable chemistry. Gadot is decent enough as the lead, but Jamie Dornan (Belfast) stands out with the most intriguing role of the bunch.

Unfortunately, Heart of Stone doesn’t justify or induce thought-provoking discussions or complex analysis, but it would be unfair not to mention that it fulfills its primary purpose: simple, straightforward, light entertainment to enjoy at home with family and friends on a weekend without plans. Personally, this type of film usually gets a borderline positive review, but a cultural crime prevents me from doing so. I wholeheartedly appreciate the time dedicated to shooting in Portugal, a country with stunning locations for Hollywood cinema, but mentioning that “eating tapas” is part of its gastronomic culture – in yet another example that contributes to the absurd misconception that Portugal is a province of Spain – demonstrates such highly offensive cultural ignorance that I must not and cannot ignore.

Grade: C+

Director: Matthew Lopez
Writers: Matthew Lopez and Ted Malawer
Stars: Taylor Zakhar Perez, Nicholas Galitzine, Uma Thurman

Synopsis: When the feud between the son of the American President and Britain’s prince threatens to drive a wedge in the U.S./British relations, the two are forced into a staged truce that sparks something deeper.

The novel Red, White, and Royal Blue, penned by Casey McQuinton in May of 2019, swiftly ascended to the ranks of the New York Times Bestseller list. Its rise was additionally propelled by enthusiastic endorsements from prominent TikTokers with a focus on books, collectively recognized as “BookTok,” which cultivated a dedicated and affectionate fanbase. The book garnered acclaim for its authentic portrayal of a gay romance, featuring a diverse cast of characters and gaining renown for its steamy insinuations.

The subsequent announcement of an Amazon Studios-backed film adaptation heightened the anticipation among the book’s enthusiasts. However, the film’s ability to successfully translate the heart of the story onto the screen relies heavily on each viewer’s personal connection to the source material. While the film manages to capture the essence that resonates with fans of the novel, it falters in its overall execution, which might leave general audiences struggling to establish a connection.

Set in an alternative fictional reality where a woman holds the presidency in the United States, and an equally fictional royal family graces the United Kingdom, the story follows the unexpected romantic journey between first son Alex Claremont-Diaz and His Royal Highness Prince Henry. This secret love affair is shrouded in caution due to potential political implications and the risk of creating foreign policy complications.

The narrative of the book unfolds through a series of exchanged emails that exude a delightfully flirtatious quality, adorned with cheeky lines designed to leave readers grinning. However, this charm that’s evident in the novel doesn’t seamlessly transition to the screenplay. The same lines, while charming on paper, lose their heartwarming and endearing touch when spoken by actors, often resulting in unsettlingly awkward moments.

Unfortunately, the distinct essence that defined the original text seems to have dissipated in its transition from page to screen. The adaptation ends up mirroring a commonplace gay romantic comedy, evoking a vibe reminiscent of content typically found on the Hallmark Channel. The majority of the dialogue lacks originality, being heavily imbued with the anticipated clichés of a typical rom-com. The entire screenplay feels akin to patched-together scenes borrowed from other films of a similar genre, with minimal adjustments to fit the narrative of this particular story.

In addition to its lackluster writing, the entire film grapples with a sense of miscasting, yielding performances that range from mediocre to subpar. Uma Thurman, in the role of President Ellen Claremont, attempts a southern accent that, unfortunately, proves painfully difficult to endure whenever she appears on screen. While the supporting ensemble endeavors to make the most of their roles, their limited experience, coupled with a less-than-adequate director, results in an overall presentation that feels dry and lackluster, reminiscent of a community college theater production.

Lead actor Taylor Zakhar Perez, who portrays first son Alex Claremont, seems to have been cast primarily for his striking looks, aligning closely with the physical description of the character in the novel. Regrettably, his acting was certainly not taken into consideration during the casting decision, as he emerges as the weakest link within the ensemble, despite being the character granted the most screen time. On the other hand, co-star Nicholas Galitzine, who takes on the role of his love interest, Prince Henry, delivers an acceptable performance, offering consistent support to the two main characters throughout the entirety of the film.

Fortunately, Sarah Shahi, portraying the no-nonsense chief of staff Zahara, injects much-needed moments of comedic relief and emerges as a standout in the film, easily constituting its strongest facet.

While the acting may not meet expectations, the chemistry between the two leads undeniably blossoms. Their shared tension is palpable, punctuated by an array of passionate make-out scenes and steamy intimate moments that mirror the essence of the novel. Remarkably, the film features a sex scene between the two lovers, executed with impeccable taste and intimacy. It’s bound to leave viewers feeling the heat and longing for a tall glass of water to quench their thirst, as these two actors undoubtedly stoke the flames.

On the other hand, the film’s true downfall lies in its dearth of coherent direction. It never quite achieves a consistent tone, leaving the impression that the director might have been engaged solely for a quick paycheck, devoid of any genuine connection to the source material or the final outcome. Evidently, there was a lack of dedication to providing the screenplay the essential refinement it warranted, or to aiding the actors in delivering credible performances.

Moreover, the film’s style is insipid and tonally perplexing. Numerous intimate moments that ought to be heart-wrenching instead manifest as awkward, or worse yet, unintentionally comedic. Similarly, scenes that should exude endearing charm and humor ultimately fall flat, rendering them stale in the process.

Beyond my personal emotional connection to the novel, I regret to convey that the film offers little in the way of substantial additions. For those devoted to the book, this adaptation is sure to deliver an enjoyable experience, as it did for me. Nonetheless, releasing this film directly to streaming is a prudent decision, as I am inclined to believe that the optimal viewing experience will be a relaxed one, enjoyed at home with differing degrees of focus and cognitive engagement.

Grade: C+

Director: Ben Wheatley
Writers: Jon Hoeber, Erich Hoeber, and Dean Georgaris
Stars: Jason Statham, Jing Wu, Shuya Sophia Cai

Synopsis: A research team encounters multiple threats while exploring the depths of the ocean, including a malevolent mining operation.

Meg 2: The Trench has Ben Wheatley making sure the film lives up to its ridiculous premise, at least for its third act. It is a baffling and self-aware shark movie that, for most of its runtime, doesn’t rely on the titular creatures to its fullest capacity. While the image of Jason Statham on a jet-ski throwing harpoons with bombs attached to a megalodon might be an appetizer to your B-movie craving, you are never fed a full meal. 

Filmmakers have always profited from our fear of the deep blue sea since the beginning of cinema. From The Creature of the Black Lagoon to The Poseidon Adventure, there are various ways for directors to make us buy a ticket for some fear-eliciting cinematic deep-sea experiences. But the ones that have remained a constant staple in pop culture throughout the decades are shark movies (and the sharksploitation movement that came along). This is why Steven Spielberg’s Jaws was the first movie to make us think twice before going head-first into the water. Sharks are some of the most impressive yet gruesome creatures lurking around the sea. Spielberg managed to capture their essence and our fears, even without even showing the beast for the majority of the film, relying on the image of its fin and John Williams’ classic score. 

After such a horror classic, other directors wanted to cash in with their own versions. Some did so by focusing on other marine predators, like Joe Dante with Piranha (and later on the horrid sequel by James Cameron). In contrast, others literally and figuratively jumped the shark and made things more ridiculous just for the sake of it. These films were made to be easy cash grabs that entertained via their over-the-top and cheesy demeanor, as well as filling the craving for the audience’s shark obsessions. But, over the years, these films have gotten even more baffling, hence the likes of the Sharknado franchise, Planet of the Sharks, and the recently released Cocaine Shark. That’s where the Jon Turtletaub film starring action-star Jason Statham, The Meg, comes into play – being one of the best in the bunch of silly and exaggerated shark pictures.

Five years have passed since Statham came face to face with a Megalodon (and won). Has enough time gone by for a rematch? Answers vary, depending on who you ask. I definitely think it is time for man and beast to fight one another once again; this time, anything goes. Whether you were anticipating it or not, a sequel to the underwater cheese and ham parade, Meg 2: The Trench, has arrived with the talented English filmmaker Ben Wheatley (Kill List, Highrise) at the helm. This one is more ridiculous and self-aware than the first installment… at least in its last twenty minutes or so. Unfortunately, it suffers from the same issues that made the 2018 blockbuster miss its B-movie mark: taking too long to get the shark action-slasher elements going, being unnecessarily two hours long, and focusing on the humans more so than the creatures themselves – the latter of these issues is what plagued the abominably creaky Godzilla vs. Kong back in 2021.

Meg 2: The Trench begins with a false statement: a small dinosaur is eaten by an even larger one, who seconds later is eaten by a Megalodon. You would think that with this introduction, the film would make more time for what all of us sitting at the theater want to see: seventy-five-foot sharks eating people for lunch and later seeing Jason Statham fight against them in a brutally illogical battle in the seas. Though, just like the first installment, its first scene promises something it can’t keep. Then it flash-forwards to the present day, where we get one plot exposition dump after the other, with some thrilling sequences intercut between them. Still, none deliver what we all want to begin with – we’d have to wait almost ninety minutes or so for that. 

This movie is set ten years after the first film. Jonas Taylor (Jason Statham) and company are still doing the regular secretive underwater exploration near the Mariana trench in the Mana One operation’s base. Not only are they keeping tabs on the megs lurking near those waters, but they are also researching the areas twenty-five-thousand feet deep. What they find down there is more shocking than a gigantic killer octopus; they spot an unseen base at the bottom of the trench, where some people are mining a rock that contains many minerals and combustibles. And when other fishy scenarios cross their paths, Taylor suspects they have been sabotaged by one of their own just to break the bank with these newly found sea stones.

All of this isn’t explained in full detail. In fact, the writers know that trying to make sense of everything that happens in the film isn’t going to work in their favor. So, they chose to give the implication of a story and go along the journey where we mostly see Statham growling his lines and punching faces left and right. And while I like to see that in the Transporter and Crank films, here it is the most bland and lazy version of such, to the point where it begins to bore the audience. It keeps you alert because the situations get more silly (and convoluted) by the second. Though, you end up laughing more at the movie than with it for its two acts. You start shouting internally: “When is the shark mayhem going to happen?” and “What’s taking so long for a shark to hunt its lunch?” 

What the poster promises arrives during the third act, and it is entertaining, yet it feels too late at this point in the story. After more than ninety minutes of wandering through the seas, Meg 2: The Trench finally begins showing the carnage and rampage, although with the high number of deaths during this closing act, rarely enough, there isn’t much blood being splattered. One of the best moments doesn’t last long, yet it managed to leave an impression on me; it is a POV shot from the megalodon’s mouth as it munches people down. That quick scene was utterly fantastic, leaving me with some bittersweet feelings because it represented what the film could have been and the beauty of B-movie practicality and ingenuity. There are other moments that you could say are pretty cool. However, we got too little for the price of admission because it wanted to use all of its characters (both disposable and so-called “heroes”) to fight some creatures, which leaves less time with Statham fighting megs and a giant octopus. 

Even when you consider Ben Wheatley’s talent, it doesn’t matter because you can barely notice that it was one of his films. He doesn’t have any wiggle room due to the screenplay, which takes its time to “develop the plot” so it can later embrace the craziness of its premise. If you are going to make a B-movie, or something similar, you need the Roger Corman effect – trim everything down to its bare essentials, cut it down to ninety minutes (or less), and grasp the brutality and chaos of its killers. Meg 2: The Trench is held back by its story when it should have ditched that to go all out with its true purpose of creature feature delights. It made me wonder if the people on board this multi-million-dollar ship knew what they were making in the first place. That’s why, despite receiving some gnarly, purposefully schlocky sequences, Meg 2: The Trench feels like yet another missed opportunity both by the studio and the filmmaker attached. 

Grade: C-

Directors: Jeff Rowe and Kyler Spears
Writers: Seth Rogen, Evan Goldberg, and Jeff Rowe
Stars: Ayo Edebiri, Jackie Chan, Brady Noon

Synopsis: The film follows the Turtle brothers as they work to earn the love of New York City while facing down an army of mutants.

There has never been a Teenage Mutant Ninja Turtles film that genuinely captured the original cartoon series’ humor, relatable characters, and innovative concept. One reason for this could be that the original series was ahead of its time and can now be viewed through a more socially conscious lens. Another reason is that the movies were subjected to corporate demands, prioritizing merchandising and product placement over crafting a story that could resonate with both the loyal fanbase and new audiences (especially evident in the rushed one-year turnaround of the sophomore follow-up effort, Teenage Mutant Ninja Turtles II: The Secret of the Ooze). However, the latest iteration, now led by a creative group of Turtleheads who respect and appreciate the mark that TMNT made on pop culture, returns to the roots of what made the Peter Laird and Kevin Eastman characters so special in the first place.

The story follows the four Turtle brothers, raised by Splinter (Jackie Chan), an anxious mutant rat suffering from crippling agoraphobia. Before mutating, however, his life takes on new meaning when he comes across his four sons, a tiny bale of little slowpokes covered in DNA-altering green ooze. He absorbs the stuff through his skin when he picks up the little hatchlings. He becomes a human-sized rat and watches videos to become skilled in ninjutsu by ordering VHS tapes over the phone (kids, this was the original YouTube university).

Raphael (Good Boys’ Brady Noon) is a turtle of action in the group with a rage problem that causes him to act first and think later. Michelangelo (The Chi’s Shamon Brown Jr.) is a charming, loquacious brother who can talk himself out of almost any situation. Then you have the tech-savvy Donatello (Micah Abbey), who constantly questions why his weapon of choice is just a big stick. Finally, you have Leonardo (The Fabelmans’ Nicolas Cantu), the group leader and truly loyal to his father’s wishes. As the little guys mutate and age, their father excuses why they should not interact with the human world.

Remember what Paul Newman’s John Rooney said in Road to Perdition? “Sons are put on the earth to trouble their fathers.” The boys love seeing movies in the park and people-watching. They witness the community and relationships being formed and want more out of this life of theirs, like going to school. That’s when they start to fight crime when they run into April (The Bear’s Ayo Edebiri), who has her scooter stolen by a chop shop operation with ties to an infamous villain named Superfly (Ice Cube), the head of a mysterious crime syndicate. If they help her, they hope to be heroes in the human world and be welcomed with open arms.

What sets apart this new cinematic version of TMNT are the genuine laughs, the message about acceptance and tolerance, and the quirky storytelling freed by the franchise returning to its animated roots. The credit should go to the deep bench of filmmakers and writers behind the production, which includes two sets of talented writing partners and a director known for one of the best-animated films of the decade, The Mitchells vs. the Machines, by Jeff Rowe. Throw in Superbad and Pineapple Express maestros Seth Rogen and Evan Goldberg, who co-wrote the script with The Tick and Detective Pikachu’s Dan Hernandez and Benji Samit’s writing team. With comedy zingers spewing from different angles that are super clever, even smart, and have a direct line to everyone’s funny bone. In particular, Jackie Chan’s Splinter—like Ashley Park said in Joy Ride, he’s a great father—and Raphael’s rage-filled turtle is amusing here. Not to mention Donatello reflecting on what we thought as kids and why we never wanted to play with him.

Also, there are more positives regarding the underlying themes when examining socioeconomic issues and at-risk groups, which accurately reflect the environment in which the cartoon takes place and are more attuned to the race and ethnicity patterns of New York City. For instance, changing the character of April O’Neill from Caucasian to a BIPOC is a refreshing and welcome pivot. (Eastman commented in a recent interview that the original concept of April was someone of APIDA descent but was later changed into a white female character.) Additionally, the script reflects acceptance, inclusiveness, overcoming adversity, empowerment, and even mentorship. This applies to the four main characters and the rival mutants, as they show two sides to every story. Also, the sudden new trend of 3D and 2D animation (Spider-Man: Across the Spider-Verse and Puss in Boots: The Last Wish) used here by Cinesite and Mikros Animation gives the film a sense of grittiness.  One of my mild complaints about the Teenage Mutant Ninja Turtles: Mutant Mayhem is the limitation on how far Rogen, Rowe, and the company were allowed to push the envelope regarding comedy. The simple explanation is that the movie is primarily for families, not adults, despite some dark undertones. (Remember, this is a joint Paramount and Nickelodeon production.) However, the film works because it treats the iconic pizza-loving characters not as comic book superheroes but as teenagers who yearn for acceptance and a father who just wants to keep them safe. Combining these elements with quirky characters, modern storytelling, socially conscious themes, and a unique point of view, there’s something for everyone in the latest TMNT film. It’s truly a “Shell Shockin'” good time for the entire family.

Grade: B+