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Review by Jonathan Berk  It never fails that come December, movie nerds will debate whether Die Hard qualifies as a Christmas movie. Well, director Jaume Collet-Serra's Carry-On feels like a spiritual sequel to Die Hard and Die Hard 2, aiming to be the next holiday action-thriller that frequents screens during the season. While it doesn't quite reach the heights of its inspirations, Carry-On still delivers enough entertainment to be worth checking out. Taron Egerton stars as Ethan, a TSA agent working on Christmas Eve in Los Angeles. At a crossroads in his life, Ethan decides it’s time to get serious about his career — but those plans are derailed when a mysterious traveler (Jason Bateman) coerces him into letting a dangerous package through security. Bateman as a villain works surprisingly well. His trademark dry sarcasm and smart-ass charm translate seamlessly into the role of a mastermind antagonist. Bateman’s character exudes calm control, and his portrayal as the smartest man in the room feels utterly convincing. Egerton, meanwhile, demonstrates once again that he has all the makings of a compelling lead, despite somehow seeming to always be just out of the limelight. Known for his standout roles in Kingsman: The Secret Service, Rocketman, and Eddie the Eagle, Egerton brings innate charisma to Ethan. His American accent is solid, and he sells the cat-and-mouse dynamic with Bateman, making their verbal and mental sparring a highlight of the film.  A robust ensemble cast supports them. Danielle Deadwyler plays an LAPD officer who catches wind of the chaos unfolding at the airport. Her storyline intersects with Ethan’s early on and provides a much-needed reprieve from the airport setting. Deadwyler, who has dazzled in dramatic roles like Till and The Piano Lesson, shines in this more action-driven part, showcasing her versatility.
Sofia Carson plays Ethan’s girlfriend, a fellow airport worker whose encouragement sparks his desire to get his life on track. While her role is initially minor, Carson gets more screen time in the third act, and her chemistry with Egerton makes the relationship and journey between these lovebirds compelling. The supporting cast also features Dean Norris, Sinqua Walls, Logan Marshall-Green, Tonatiuh Elizarraraz, and Theo Rossi, all of whom contribute to the film’s tension-filled airport setting. The chaotic holiday travel atmosphere, mixed with Bateman’s high-stakes machinations, gives this movie its Die Hard 2 vibes, leaning into the airport as both battleground and nightmare fuel. While the performances and story are the film’s biggest draws, its visuals leave something to be desired. At times, the lighting and cinematography feel more akin to a straight-to-TV movie than a cinematic spectacle. The action sequences, while effective, often rely on digital effects that lack polish. The car “chase” scene in particular feels either overly reliant on CGI or distorted by lens choices, creating a focus-breaking distraction rather than an immersive experience. Despite these shortcomings, Carry-On offers enough thrills and holiday spirit to make it a worthwhile watch. Collet-Serra has had his share of hits (Orphan, The Shallows) and misses (Black Adam, Jungle Cruise), and while Carry-On may not be a masterpiece, it feels like a step back in the right direction. Fans of holiday action-thrillers or Taron Egerton’s work will likely enjoy the ride, even if the film doesn’t soar as high as its predecessors. While some may not feel that a Netflix holiday action-thriller doesn’t qualify, it worked for me. Carry-On arrives on Netflix on December 13. Rating: 3/5
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Review by Jonathan Berk  James Mangold made the beloved musical biopic Walk the Line, starring Joaquin Phoenix as Johnny Cash, which was later parodied by Jake Kasden’s Walk Hard: The Dewey Cox Story, forever changing the way audiences view musical biopics. Now, Mangold returns to the genre with A Complete Unknown, an exploration of Bob Dylan, another musical icon of that era. While elements of the traditional biopic formula remain, this film feels more like a tribute akin to the old MGM Studios The Great Movie Ride — a cinematic ride through Dylan's life, full of admiration and allure. Both the audience and many of the other characters seem transfixed by Dylan, gazing at him from one key moment to the next, as we ride the wave of his musical genius. It’s very much a "vibe" movie, and if you click with it, you’ll find yourself completely engrossed throughout its two-hour and twenty-minute runtime. Timothée Chalamet stars as Bob Dylan, who arrives on the New York folk music scene in the early 1960s at just 19 years old. He’s come from Minnesota to visit Woody Guthrie (Scoot McNairy), who is bedridden in the hospital. Dylan sings to Guthrie and Pete Seeger (Edward Norton), and from there, he becomes part of the West Village music scene, rubbing shoulders with the prominent figures of that era. Dylan’s influence grows as the film moves from one musical performance to another, with each sequence depicting the forging of relationships along his journey all while guided by his iconic songs. Mangold portrays Dylan as someone whose magnetic personality effortlessly draws people in, and Chalamet captures that magnetism flawlessly. While I can’t speak to whether Chalamet's Dylan is technically accurate, I can say that his performance is undeniably captivating and demanding attention. Chalamet achieves this without needing to overact, relying instead on subtle gestures, body language, and an unassuming presence that somehow defies the draw he has. Whenever Mangold cuts to Elle Fanning, who plays Dylan's on-again, off-again girlfriend Sylvie, or Monica Barbaro, who portrays the equally iconic musician, Joan Baez, it’s hard not to understand exactly what their characters feel as they look at Dylan — whether it’s love, admiration, jealousy, or frustration — because we feel it, too. Chalamet has a unique way of bringing nuanced depth to his roles, and here, much of his talent comes from what remains unsaid. His enigmatic portrayal of Dylan taps into the mystique surrounding the musician, reminiscent of the many faces of Dylan presented in Todd Haynes’s I’m Not There, but with a more straightforward narrative that lets Chalamet explore those complexities.  The supporting cast is also quite strong, with Monica Barbaro standing out as Joan Baez. Her scenes with Chalamet crackle with tension, providing some of the film's most electric moments. Their chemistry is palpable, and the highs of the film often come when Dylan and Baez are together on screen. Edward Norton delivers as Pete Seeger and gets two memorable scenes that allow him to showcase his talents. Fanning’s portrayal of Sylvie is emotionally compelling, particularly in a moment where her character comes to a crushing realization—a scene she handles masterfully.
Other standout performances include Boyd Holbrook as Johnny Cash, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. They help shape some of the film's pivotal moments, and the scenes with Johnny Cash are particularly unforgettable. McNairy, portraying Woody Guthrie during his period of decline, has perhaps the toughest role in the film. He conveys depth and emotion through mostly nonverbal communication. Despite the challenge, McNairy’s understated performance speaks volumes. Adding to the impact of these performances is Mangold’s stylistic direction. From the way the camera moves lovingly around the musical performances, letting us sink into the songs, to the period-perfect costumes and settings, every aspect of the film’s production design immerses us in the era — and it’s just a joy to watch. It often feels as if we are there, witnessing musical history in the making. For viewers like myself, who may not be well-versed in this particular musical movement, it’s a compelling, almost educational experience. Mangold’s evident love for both Dylan and the era of folk music translates clearly to the audience, making this film feel like a celebration of an important musical moment. Unlike some biopics, A Complete Unknown doesn’t attempt to judge whether Dylan was a "good" person. The film shows questionable decisions and complex relationships, but it leaves room for the audience to draw their own conclusions. The central message is clear: Bob Dylan was an unparalleled musical genius, and his art is worth celebrating, regardless of his flaws. The film's true conflict seems to be that anyone would try to stifle Dylan’s creative brilliance—those who did were clearly misguided or selfish. A Complete Unknown will likely be divisive. It’s long, and diehard Dylan fans may take issue with some of the choices made by Mangold or Chalamet. However, for those without that baggage, who simply love music and vibrant storytelling, this film will be a joy. I connected with its tone early on and never doubted my enjoyment. A Complete Unknown is in theaters on December 25. Rating: 4.5/5 NICKEL BOYS -- A Powerful, Heart-Wrenching Film That Shines a Light on Humanity’s Darkest Corners12/9/2024 Review by Jonathan Berk  The real tragedy of humanity seems to be that every time we think we understand the depths of human horror, we uncover yet another atrocity. Just when we believe that humanity couldn’t sink lower, there’s a reminder of how evil we can be. While some might not turn to cinema for a history lesson that could lead to existential dread, it’s crucial to know what true evil looks like so we can recognize and confront it when it resurfaces. Nickel Boys, RaMell Ross's powerful adaptation of Colson Whitehead’s novel, inspired by the horrific story of the Dozier School for Boys, sheds light on the darkest corners of our world. This is a powerful, devastating film that demands to be experienced. Elwood Curtis (Ethan Herisse) is a young man with dreams of going to college and making a difference through civil disobedience in the ’60s. But an innocent mistake shatters his ambitions and lands him in Nickel Academy, a reformatory school deep in the Jim Crow South. Isolated and disillusioned, Elwood eventually befriends Turner (Brandon Wilson), and together they form an unlikely alliance. Elwood’s enduring optimism, even in the face of unimaginable cruelty, ignites a spark of hope in Turner. There’s no denying the emotional power this film holds. It’s one of the few times at a critic screening that the room was silent once the credits rolled—no murmurs, no whispered reactions, just the weight of the story settling over every viewer. Nickel Boys is a bleak reminder of the horrors we cannot ignore or allow. It’s hard to recommend lightly, as most will leave feeling shaken, but the storytelling and craftsmanship make it a must-watch. Ross makes a bold directorial choice by telling much of the story from a first-person perspective. The film opens with a character gazing at his hand while lying in the grass, and then at oranges on a nearby tree. For several moments, Elwood’s face remains unseen, only appearing in reflections or glances. Initially, this perspective felt challenging, but as the film progressed, Ross’s vision clicked into place, and the unique viewpoint became integral to the story’s impact. While I hope this style doesn’t become a trend, Ross’s use of it here feels entirely justified.  Herisse faces a unique challenge in this role, as he must convey emotion with limited traditional screen presence. Yet, despite these constraints, he brings Elwood’s personality, inner turmoil, and steadfast optimism vividly to life. Wilson serves as a powerful counter to Herisse’s performance. Turner’s confidence and edge contrast sharply with Elwood’s idealism, and Wilson’s screen presence is undeniable, adding depth to their complex friendship. Unforgettable performances and bold direction make Nickel Boys an absolute must-watch.
Aunjanue Ellis-Taylor also stands out as Elwood’s grandmother, offering some of the film’s most memorable moments. One scene, where she quietly speaks while cutting a slice of cake, is a simple act rendered unforgettable through her performance. Meanwhile, Hamish Linklater’s portrayal of Spencer, the head of Nickel Academy, is chilling. He doesn’t play a cartoonish villain but embodies an evil made terrifyingly mundane. Ross wisely leaves much of the horror to the imagination, but Linklater’s towering presence over the boys is enough to convey the unspeakable cruelty of Nickel Academy. Chillingly authentic, Nickel Boys leaves a weight on every viewer’s heart. Nickel Boys is a stark reminder that we cannot afford to be complacent. Stories of prison horrors are not new, but the abuse of imprisoned youths is even more harrowing, especially when society knows and allows it to continue. This film reminds us that allowing such mistreatment is unacceptable and that by ignoring it, we risk becoming complicit ourselves. Nickel Boys will be in theaters on December 13. Rating: 5/5 review by Jonathan Berk  In 2018, fans of metal music and outrageous comedies were treated to a charming cinematic merge with directors Juuso Laatio and Jukka Vidgren's Heavy Trip. After six years, the guys are back with the aptly titled sequel, Heavier Trip. The first film was full of charm and some wild comedic moments that made it extremely memorable. While the second film tries to give audiences more of the same, it doesn’t quite live up to its predecessor. After the events of the first film, the members of Impaled Rektum — Turo (Johannes Holopainen) on vocals, Xyrtax (Max Ovaska) on bass, Oula (Chike Ohanwe) on drums, and Lotvonen (Samuli Jaskio) on guitar — are still serving time in Norway’s nicest prison. The guys are initially content with finishing their sentence until Lotvonen’s parents' reindeer farm is about to be foreclosed upon. If they can land a big gig and get paid some big bucks, they could potentially save the farm — and Lotvonen’s father’s health. After busting out of prison, they set their sights on getting added to the Wacken festival in Northern Germany. It’s not uncommon for sequels to attempt to give us more of the same. Heavier Trip commits the sequel sin of bringing the guys back to what is essentially the same place they were at the beginning of the first film. There is mention of their fame and the demand for their music after the exploits of the first movie — but the plot quickly undercuts this, still leaving them as a group of nobodies. A large part of the film essentially debates whether they should “sell out” or not, and every moment connected to that seems to ignore the fact that they played a major show at the end of the first film. The conflict in this sequel feels contrived, and while the idea of a road trip is embedded in the name, this particular trip just feels like more of the same. If it managed to be as endearing and as funny as the first film, maybe this could be overlooked…but something is missing here that keeps those feelings just out of arm’s reach.  That’s not to say there aren’t elements that work. Xyrtax is still such a fun character. Aside from being the one truly dedicated to the music — at least from his perspective — his interactions with others are often the best moments. The real-life band Babymetal shows up as a recurring joke, with Xyrtax at the center, and it’s an excellent addendum to his character and the clear highlight of the film.
The band as a whole is what makes Heavier Trip worth watching. While it doesn’t quite hit the highs of the first film, the band’s charm remains intact, making it easy to root for these metal misfits the more you’re with them, despite the predictable plot. Turo’s drive to be an epic metal singer is unmistakable, and you genuinely want him to succeed. Lotvonen and Oula have their quirks and are also very likable. The amiability of the band, despite the extreme nature of their music and songs, makes this an easy watch. As every bump along the journey happens, you hope the guys can figure it out. Unfortunately, many of those bumps feel silly, redundant, or too predictable to make the entire journey memorable. There are a few cool set pieces that make the film pop a little more — yet, for a film about a band, it doesn’t feel like there’s enough music. Even when we do get scenes of the band playing, they’re often cut a little too short, only giving us a taste of their talent. The camerawork, costumes, and production all make those scenes visually pop, which only makes it sadder when we realize how brief they’ll be. Heavier Trip feels like it lands squarely in the sophomore slump often associated with a band’s second album. It’s not that the movie isn’t good, but it’s clearly not as good as the first. That comparison makes this one simply feel lesser. Imagine waiting for a band to finally come back to play the encore, only for them to replay some of the songs they played earlier in the night — it’s hard not to be disappointed. Heavier Trip is in theaters and available on VOD on November 29. Rating: 3/5 Review by Jonathan Berk  The concept of “paint-by-numbers” is often associated with biopics. If you’ve seen one, you can often see the pattern in which filmmakers shape the story. That’s why when a filmmaker with a distinct style and approach takes on a film in this genre, they can break away from the status quo. Director Pablo Larraín has done just that with Jackie, Spencer, and now with his newest film, Maria. Maria Callas was once the world’s most renowned opera singer. But in 1977, she is living a life of seclusion in Paris with her butler, maid, and two poodles. Her health is in decline, but a request for her to return to opera for a tour raises an important question: Will La Callas sing again? And if so, for whom? One way Larraín approaches these three biopics that stands out is by choosing to focus on a very narrow portion of their life. He utilizes some flashbacks to explore outside the limited window in which the primary story is told — but for the most part, he chooses an impactful moment of these figures' lives rather than employing the “cradle to grave” format that many other biopics strive for. The sad reality, however, is that most moments in our lives are mundane and uneventful. By choosing to focus on these pivotal moments, Larraín provides a strong sense of who the person was rather than simply documenting the events they experienced. His approach, similar to Danny Boyle’s Steve Jobs, creates a heightened version of reality — one that makes for an enthralling cinematic experience that centers on the heart of who these people were, or what they may have been like.  While the storytelling in Maria is captivating, Angelina Jolie’s performance as the diva is equally impressive. The film chooses to integrate an operatic style into many of the sequences, and Jolie is tasked with delivering these incredible vocal performances. She not only shines in these grand moments — but also in the quiet, introspective ones. Maria’s mental and physical decline is conveyed so poignantly through Jolie’s portrayal. Her performance is spellbinding, bringing both vulnerability and grandeur to the screen, capturing Maria’s struggle to find her voice once again.
Pierfrancesco Favino and Alba Rohrwacher play the two other primary characters in the film — the butler and maid, respectively. Their performances are also incredible, and add depth to the depiction of Maria’s seclusion. There is a recurring motif where Favino’s character has to move the piano for a variety of reasons, despite having an injured back. It’s an element that could feel inconsequential, but instead carries an emotional weight that matches that of a man struggling with the burden of moving such a heavy instrument. The chemistry between the three forms the emotional spine of the film, and it’s in far better shape than the butler’s. The visuals in the film are extraordinary, matching the emotional richness of the performances. Larraín likes to dabble with surrealism, which results in some stunning cinematography. Various stylistic flourishes make scenes feel like documentary footage, while others play with our perception of reality or draw attention to the form itself. A black-and-white close-up of Jolie as she sings is one of those early images that instantly burns into your mind. We are introduced to the character in such an intimate way, locking eyes with the diva who we will be spending the next two hours with. Larraín’s style and voice shine through, demanding our attention, and making this film unforgettable. There is so much to take away from this movie that it is easy to recommend. Maria is a captivating portrait of a legend in her twilight, demanding that we remember her voice, her talent, and her struggle as tragedy fell upon her. This film may not paint the entire picture of her life, but it gives us a sense of who she was. For that alone, Larraín’s film is worth watching. Maria will be in select theaters on November 27 and on Netflix on December 11. Rating: 4/5 review by Jonathan Berk  In many cases, the concept of "show, don’t tell" is the essence of cinema. Every once in a while, though, a movie comes along that defies that principle and proves that — with the right actors — dialogue can be just as compelling as any image projected onto a screen. My Dinner with Andre is a prime example of a talkie that many find endlessly captivating. August Wilson’s previous cinematic adaptations — Fences and Ma Rainey’s Black Bottom — fall into this framework as well. While The Piano Lesson fits into this category, it is by far the most cinematic of all the entries. Fortunately, the cast in director Malcolm Washington’s feature film debut is more than up for the task. Boy Willie (John David Washington) arrives at his Uncle Doaker’s (Samuel L. Jackson) house hoping to sell his father’s old piano. The catch, however, is that it truly belongs to his sister, Berniece (Danielle Deadwyler), who has no intention of letting it go. The two argue over their perspectives on the past, the value of legacy, and their aspirations for the future. Danielle Deadwyler manages to shine the brightest in this incredible ensemble cast. This is not to take away from John David Washington, who delivered his best performance since breaking out in Spike Lee’s BlacKkKlansman. Yet, there’s something about Deadwyler’s performance’s many layers that makes it undeniable. Both actors get equal opportunities to shine, and they succeed in drawing the audience into the emotionally complex world they inhabit.  They are surrounded by a wealth of talent that helps fill out the scenes. Samuel L. Jackson never disappoints, and here is no exception. He delivers some memorable monologues, but comfortably takes on a supporting role, allowing the younger cast members to truly shine. It was a treat to see Ray Fisher flex his acting muscles after his challenging time in the DCU. His character, Lymon, has two particularly powerful scenes that remind us of the talent Fisher possesses. Michael Potts and Corey Hawkins also make the most of their roles, showcasing their acting prowess in key scenes.
One of the highlights of the film that allows it to break away from the intense dialogue is its quasi-musical sequences. One standout scene features Washington, Jackson, Fisher, and Potts gathered late one night, telling stories that evolve into a rhythmic recounting of their shared history. It’s engaging in every aspect—from camera placement to the beat the men create to tell their tale. There are many memorable moments throughout the film, but this initial musical number absolutely stands out and separates itself from the rest. Malcolm Washington employs impactful camera movement and positioning to keep the visuals dynamic, even when it’s often just people talking. The use of flashbacks and cutaways takes us out of the house where most of the story takes place, adding depth to the narrative. The story itself plays with reality and integrates supernatural elements, giving Washington the chance to experiment with creative flourishes that he is more than willing to employ. These components help this stage play adaptation feel more cinematic than Wilson’s two previous works. The Piano Lesson finds its rhythm quickly and never goes out of key. On the surface, the story is compelling, but it's the incredible talent delivering outstanding performances that make it truly resonate. Add in the creative touches of a promising young director, and you’ve got quite a film. It’s the kind of movie that may not work for everyone, but for those who it does, it will be an incredibly rewarding experience. The Piano Lesson will be on Netflix on November 22. Rating: 4/5 review by Jonathan Berk  It’s been 24 years since Ridley Scott brought the world Gladiator, a film that would go on to win Best Picture and earn Russell Crowe the Oscar for Best Actor along with several other nominations. Now, Gladiator II, the long-awaited sequel from the storied director, has finally hit the screen — but despite its star power, it doesn’t quite live up to its predecessor. The performances, while strong, aren’t enough to match the impact of the original, and some of Scott's creative choices seem puzzling. Years after the death of Maximus, Rome is now under the rule of tyrannical twin emperors. While many traditions have changed, the bloody spectacle of the arena endures as a primary source of entertainment. Lucius (Paul Mescal), who finds himself alive but filled with rage after a violent encounter with Roman soldiers led by General Acaius (Pedro Pascal), is given a chance to fight for Macrinus (Denzel Washington). Through this opportunity, Lucius could potentially earn his freedom as a Gladiator. The true reason to see this film lies in the performance Denzel Washington delivers. It's no secret that Washington is an incredibly talented actor, but he is doing something that feels very distinct in this role compared to his previous work. He is clearly enjoying himself, fully immersing in his character, while also bringing tremendous depth to the story. Often, actors are referred to as scene stealers…but in Gladiator II, Washington steals the entire film. He owns every moment he is on screen, and it's impossible not to be captivated.  That’s not to say Mescal, Pascal, Connie Nielsen, Joseph Quinn, and Fred Hechinger don’t deliver on their parts. Each of them turns in a solid performance, but none manage to pop the way Washington does. It’s not a matter of being overshadowed or diminished, but rather that they seem to struggle to connect with the material as effectively as Washington does. Many of their characters are burdened by trauma or tragedy, which forces them to play their roles in a restrained way —and the result isn’t quite as engaging as it could have been.
One notable difference from the original is the film's depiction of its action sequences. Gladiator felt more grounded in its battles, while this film includes moments that lean toward the fantastical. There is one particular scene in the arena that feels almost magical, with a battle that borders on the improbable. It's not a poorly executed sequence, but it feels somewhat out of place, given the gritty tone of the two films. The narrative also suffers from pacing and development issues. Despite the film running over two hours, some plot threads seem to materialize out of nowhere, without buildup. The third act, in particular, gets wild, introducing events and twists that feel unearned and disconnected from the careful build of the earlier scenes. Gladiator II ultimately feels like the mid-card fight that Roman citizens might have watched indifferently while waiting for the main event. Some moments, especially those featuring Washington weaving his plans and integrating himself into the other characters' lives, are truly worth cheering for. However, there are plenty of other scenes that will leave you glancing at your sundial, wondering how much longer this spectacle will go on. Gladiator II is in theaters everywhere on November 22. Rating: 3/5 by Jonathan Berk  If you celebrate Christmas, then you’re probably familiar with the story of Frosty the Snowman. The kids build him, put a magic hat on his head, and Frosty springs to life. The children have a blast with their new friend, the adults are understandably alarmed, and a jealous villain wants his magic hat back. Now, imagine if Frosty were incredibly ripped — dare I say, hot even. Netflix’s newest Christmas movie, Hot Frosty, delivers on that very premise. Kathy (Lacey Chabert) has struggled to care for herself and her home since her husband passed away. Her friends encourage her to start moving forward and to put more effort into fixing up her house. On her walk home from her diner one night, she places a scarf around the neck of a hunky snow sculpture. To her surprise, Jack (Dustin Milligan) shows up at her diner the next morning, ready to thank her for bringing him to life. Chabert has starred in countless Christmas movies since her Mean Girls days, with most of her titles in full Hallmark syndication. While she often brings charm to these Hallmark roles, she rarely seems to fully lean into her comedic potential. For Hot Frosty, however, Chabert taps into the peak of her talents, using her charm and comedic timing to make the movie shine among the available holiday-themed streaming options. Chabert’s wit and warmth are firing on all cylinders, making this movie stand out in the crowded world of Christmas rom-coms. Chabert shares strong chemistry with her co-star Milligan, who brings new meaning to the film’s title as he struts onto the screen with nothing but a scarf (and an eight-pack). The movie leans into Milligan’s unique combination of raw sexuality and genuinely humorous appeal, leading to charming, laugh-out-loud moments. In one of the funniest scenes, Jack startles an elderly couple walking their dog — the husband is frightened, while the wife is thoroughly amused. Milligan’s blend of heart and humor is a delight, turning a frosty figure into a warm Christmas charmer.  Fortunately, Milligan is more than just eye candy. His character brings loads of heart, a touch of Buddy-the-Elf optimism, and excellent comedic chops. He’s a joy to watch, as his innocence and sense of morality are shaped by TV and the people around him. Whether he’s fixing the roof, helping unstick a car, or making pizza, Milligan shines with every scene.
Director Jerry Ciccoritti’s film manages to balance the saccharine sweetness we expect from a Christmas movie with more traditional comedy elements. The film even ends with bloopers, reminiscent of the '90s comedies that we rarely see today. There’s enough romance here to classify it as a rom-com, complete with an extended montage that both cements this idea and serves as a fun homage to the genre. Notably, Lauren Holly, who appears in this film, starred in a ’90s movie that similarly paid homage to the same rom-com classic, which wasn’t lost on me. Craig Robinson and Joe Lo Truglio also bring standout performances as cops, injecting comedic gold into every scene they’re in. One highlight is a sequence where Milligan and Lo Truglio discuss dating. What begins as an innocent chat escalates into a hilarious exchange of compliments, ratcheting up the laughter as the scene continues and we watch these characters bond. That’s not to say Hot Frosty is an instant classic. The ending is a bit predictable, and a few scenes go on a bit too long or feel excessive. Still, the script is solid, with nearly every setup paying off meaningfully. The charm between the characters and the heartwarming holiday message create a feel-good experience perfect for the season. It is a fresh and funny Christmas comedy balanced with just the right dose of much-needed joy and holiday cheer. This might even earn a spot in my and my wife’s annual Christmas rotation. Hot Frosty is streaming on Netflix on November 13. Rating: 3.5/5 by Jonathan Berk  Both Jesse Eisenberg and Kieran Culkin have been cinematic mainstays for quite some time, but A Real Pain feels like the perfect culmination of their talents. Eisenberg shines both in front of and behind the camera, stepping into the director's role for the second time. However, Culkin is the true star here, unequivocally lighting up the screen every time he's in the frame. This is a film that will make you laugh and later cry as it compels reflection on every facet of humanity. David (Eisenberg) reunites with his cousin Benji (Culkin) at the airport as they prepare to travel to Poland. The two have a complex history and are set to tour their recently deceased grandmother's old home. As if the emotional weight of the tour itself weren’t enough, the cousins find themselves confronting unresolved issues from their past with a growing degree of tension. The tour group is filled with compelling characters whose introductions feel organic and endearing. The film allows most of the supporting cast to shine in their moments. Jennifer Grey delivers two remarkable monologues, Kurt Egyiawan shares a harrowing story that’s deeply moving, and Will Sharpe plays the tour guide with a mix of passionate insight and amusingly mild annoyance. Although Liza Shadovy and Daniel Oreskes have slightly less screen time, they manage to leave a lasting impression. The group dynamic between characters and actors truly peaks during a comical scene at a monument of Polish soldiers. As Benji recruits the group to pose with him for photos, the comedy builds, creating one of the film’s most warm and memorable moments. This is but one of many instances that allow us to feel like we truly know who these people are, and the journey that they're all taking.  The real draw here, however, is the interaction between Eisenberg and Culkin. Culkin’s Benji is overflowing with charisma, showing an intense interest in — and love for — people. He listens with such rapt attention you'd think he were hearing a legendary speaker, reacting to stories as though watching a thrilling game. But Benji isn’t always pleasant; when the kind and quirky pendulum peaks and begins to sway back, he can turn unnervingly bitter and vitriolic.
Eisenberg brings a familiar awkwardness to David, but there’s a clear sense of pain beneath his anxiety this time. His love for Benji is evident, though he remains baffled by his cousin's behavior. Despite their opposing natures, their connection is undeniable. You’ll find yourself rooting for them to finally confront the conversation they've both been avoiding. The tension is palpable, even as Benji often defuses it with humor. The chemistry between Eisenberg and Culkin is electric, with Culkin’s magnetic charm and intensity pulling viewers into a warm embrace of laughter and introspection. Eisenberg’s control of tone is what makes this movie truly work. He knows exactly when to push the right emotional buttons, and allows the heaviest moments of the tour to breathe. To his credit, he resists the urge to break the gravity of these scenes with humor, choosing instead to let the emotions resonate. A Real Pain is nothing short of remarkable. Culkin’s charm is infectious, and his naturalistic delivery of dialogue makes viewers feel like a part of the family, or another member of the tour. This is undoubtedly a standout film of the year. A Real Pain is in theaters on November 8. Rating: 5/5 by Jonathan Berk  Fans of the 2017 film American Honey will likely be excited about Andrea Arnold’s latest work, Bird. The raw, grounded quality seen in American Honey returns here, but Arnold’s new film offers a unique perspective, showcasing an evolution in her storytelling. Bird weaves a compelling story, balancing familiar genre tropes with fresh energy, due in large part to the exquisite performances. Bailey (Nykiya Adams) is a 12-year-old on the cusp of puberty, living with her father, Bug (Barry Keoghan), and brother, Hunter (Jason Buda), in a squat in North Kent. When Bug announces an unexpected change, Bailey resists, ultimately seeking adventure and attention elsewhere — leading her to a new friend named Bird (Franz Rogowski). In her feature debut, Adams delivers an impressive performance, appearing in nearly every frame and anchoring the film's emotional weight. The opening sequence finds her riding a scooter with Bug — who is loud and rebellious — creating a dynamic that doesn’t immediately suggest a father-daughter relationship. When they arrive at their squat and Bug delivers his “big news,” Bailey’s emotional reaction is palpable. It’s a tough scene, but Adams handles it beautifully. Andrea Arnold once again demonstrates her knack for guiding first-time actors to exceptional performances, much as she did with Sasha Lane in American Honey.  Keoghan continues to impress, revealing the broad range of his acting talent. Known for playing roles that are quiet, devilish, quirky, or some blend of these traits, he brings Bug to life with a raw edge reminiscent of Shia LaBeouf’s character in American Honey. However, as the film progresses, his portrayal of Bug — a father who initially appears more like “one of the kids” — takes on unexpected depth. A late scene offers Keoghan a powerful moment, prompting viewers to see Bug in a new, more complex light.
Ultimately, Bird is a coming-of-age story that examines Bailey’s search for identity and purpose. The film explores her challenging family dynamics, and how these shape her evolving sense of self. Bailey faces a swirl of instability: her father is a single parent, her mother’s life is riddled with chaos and violence, her half-siblings are exposed to that same chaos, and Hunter seems to be growing up too fast. Watching Bailey navigate these swirling layers of family tension is anxiety-inducing, underscoring why she’s drawn to Bird, her mysterious new friend. Rogowski brings a unique, distinct energy to his role as the titular character. From his entrance into the windy field where Bailey meets him, he exudes an intriguing mix of danger and calm, creating an almost otherworldly character. Rogowski's character is on a quest of his own, searching for a family he lost long ago. As Bailey helps him, she finds a way to process her own turbulent life. Bird is a thoughtful and reflective exploration of family, identity, and societal pressures brought to life by the talents of its young lead. Some elements may not resonate with all audiences, but for those open to Arnold’s deliberate storytelling choices, Bird offers a richly rewarding experience. With a clear voice and unique style, Arnold delivers a film that reinforces the qualities fans appreciated when they saw American Honey. Bird is in select theaters on November 8. Rating: 4/5 |