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Review by Jonathan Berk  Gerardo Reyes as adult Sansón in Rodrigo Reyes' documentary SANSÓN AND ME. Courtesy of Cinema Guild. Sansón and Me is a documentary by filmmaker Rodrigo Reyes exploring the life of a young man named Sansón, an undocumented Mexican immigrant sentenced to life in prison without parole. Reyes met Sansón at his day job as a Spanish criminal interpreter in a small town in California. The director is sad to see someone so young lose the rest of their life because of a choice, and wants to learn his story. Reyes isn’t allowed to interview him because of Sansón’s circumstances, but for years the two exchange letters that morph into recreations of his childhood — many featuring members of Sansón's family. The process of making this movie is at the center of bringing up ethical questions of the genre and the role of art with legacy. Whether it's tiny paintings on a vase, sprawling cave walls, or more modern moving pictures projected on silver screens, our stories have been passed on for generations through visual mediums. The collection and passing on of stories, no matter how big or small, seems to be a fundamental element of humankind. Reyes seems motivated to not let Sansón’s story be lost to the sands of time as another cog in the prison system. However, the film suggests the audience ponder the moral implications and responsibilities that Reyes takes on by telling Sansón’s story. In one of the early letters, Sansón questions Reyes’s motivation to tell this story. Reyes cautions that this film is unlikely to help Sansón get out of jail or help his case. While filming the recreations, Reyes notes the stress it is putting on Sansón’s family for many reasons. The obligation of the filmmaker to help the subject or at least do no harm is definitely at the forefront of this film, as it blends the process with the final product. There is no definitive stance taken, but it leaves the audience with something to chew on as they walk away from the experience.  Miguel Andrade as baby Sansón in Rodrigo Reyes' documentary SANSÓN AND ME. Courtesy of Cinema Guild. Regardless of where you fall on the aforementioned debate, there is no denying the power of storytelling. History teachers across the land are known for saying some version of “those who forget the past are doomed to repeat it.” That phrase is predicated on the idea that we knew things to forget in the first place. However, what if you never knew about it? How many people have walked a similar path to Sansón and ended up with a life sentence or death? Reyes seems motivated by these questions to capture Sansón’s story. He doesn’t seem to want to pass judgment on the actions of the people in the film, but rather etch their existence into the ever-growing tapestry that is human history. He presents the information in interesting ways while turning the camera on himself, and the weight of responsibility in taking someone’s story.
Audiences looking for a true crime documentary won’t likely satisfy that itch with Sansón and Me, but those compelled by the never-ending struggle that is life will. Fans of filmmaking and documentary will appreciate the peek behind the curtain and the ethical debate about a filmmaker’s relationship to the subject. Reyes has an innate kindness about him, and his motivations seem genuine. He can also demonstrate his talent for narrative filmmaking through his recreations, and he is a director to keep an eye on for future projects. Sansón and Me opens in theaters on March 3. Rating: 3.5/5
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Review by Joseph Fayed  Idris Elba as John Luther in Luther: The Fallen Sun. Credit: John Wilson/Netflix © 2023. Continuing a beloved television series as a film carries some risks. In the case of the BBC series Luther, season long mysteries being condensed into just two hours for Luther: The Fallen Sun has its shortcomings, but the heart and soul of the series still feels very much alive. Following the events of season five of Luther, DCI John Luther (Idris Elba) returns in a very different environment than where we have seen him before, as an inmate behind bars. Meanwhile, a sadistic serial killer is on the loose, and when the killer begins to taunt Luther, he hatches a plan to escape prison and do what he does best, bring a killer to justice. At its core, the film feels like how the television series would play out. The main antagonist does the unthinkable, and as their motives get revealed, Luther, aided by his allies who become increasingly wary of him as time goes on, pursues the killer. The running theme between both is that John Luther puts his job before anything else. Luther's commitments and how he can't easily move on from any case are the best part of his character, and allow for a cat and mouse game between him and whichever killer he's facing off against. It is good that the film ultimately stuck to the roots of what worked about the series and didn't try to make a soft reboot of sorts.  Idris Elba as John Luther in Luther: The Fallen Sun. Credit: John Wilson/Netflix © 2023. Idris Elba is as good as always, again donning his signature coat as DCI John Luther. He allows Luther to be afraid of nobody, but he can easily identify and calm the fears of others. Elba's acting serves as a good reminder that John Luther is a detective for a reason. Andy Serkis, who plays the tech billionaire turned serial killer who Luther goes after, unfortunately doesn't lean into how sadistic and unapologetic he could be. It may be due to time restraints of the film, but I wish there was much of him being unremorseful as there was of him committing heinous crimes.
Anyone eager to see the return of John Luther should give Luther: The Fallen Sun a watch. While almost none of the previous plot lines from season five of the BBC series are addressed, the start of this new story is not very different from how each of the previous seasons have begun, with a killer on the loose. Although the tactics and criminal pursuit that normally draw detectives and killers together tend to be overshadowed here, Luther: The Fallen Sun does one thing the series did right: include lots of Idris Elba. Luther: The Fallen Sun is now playing in theaters and hits Netflix on March 10. Rating: 3.5/5 Review by Dan Skip Allen  Michael B. Jordan stars as Adonis Creed in CREED III A Metro Goldwyn Mayer Pictures film Photo credit: Eli Ade. The Rocky franchise is considered one of the most successful franchises in film history, with five sequels to the original film, written by and starring Sylvester Stallone. The inevitable spinoff series was created to capitalize on the popularity, and most importantly, to make money for MGM. Stallone was fazed back into the story, with Ryan Coogler coming off of his breakout hit Fruitvale Station. He cast his young star Michael B. Jordan in the lead role as the estranged son of deceased legend Apollo Creed (Carl Weathers). With Sallone's Rocky as his mentor, and this franchise was off and running. Fast forward eight years later, and Creed III is coming out in theaters, once again starring Jordan as Creed, but this time he's also making his directorial debut. Adonis Creed (Michael B. Jordan) is again fighting the same fighter from the last film, but when he eventually wins another championship fight, he does the sensible thing and retires as the champ. He wants to spend more time with his wife Bianca (Tessa Thompson) and daughter Alana (Mila Davis Kent). Out of the blue, an old childhood friend — Damien "Dame" Anderson (Jonathan Majors) — returns, bringing back memories of a past that he would just rather forget. The problem is Anderson isn't in the forgetting mood because he spent eighteen years in prison and his future is now. This causes a rift between these two childhood friends. The Creed franchise has taken on a life of its own, and with Coogler writing and Jordan directing and starring in the latest installment, there wasn't much room for Stallone anymore. That's not a problem, though. These two have taken what they learned from the previous installments and made another stellar film that pulls on the heartstrings, as films in these franchises tend to do. This movie has a lot of emotional heft that these films are famous for. They are also famous for having contrivances that cause the most dramatic moments in many films in both franchises. This one is no different, with a major contrivance that changes the trajectory of where the story started and where it ended. It's not bad, it's just normal for these films. Fans of the franchise should expect this though. Jonathan Majors has had three films come out in the last four months, with Creed III being his fourth in five months. If audiences haven't discovered him by now from Devotion, Ant-Man and the Wasp: Quantummania, and his indie Sundance film Magazine Dreams, they are missing out. This character might be the most nuanced of the bunch. He uses the anger of being in jail to fuel his rage, and creates an inner-city accent to go along with it. His character is from the Crenshaw section of Los Angeles and has a chip on his shoulder. He feels left behind and forgotten, while Jordan's Creed went on to success. That would fuel anyone's return. Majors once again kills it in this role. He seemed to be born to play this character. With Jordan in the director's chair, there were bound to be some hiccups. He learned the craft from working with Denzel Washington, Destin Daniel Cretton, and of course his previous director of three films, Ryan Coogler. He chose to do a few things that were out of the ordinary with this movie. One of which I think was a lucky mistake, and that was turning the climactic fight into some kind of existential journey of self-discovery for the main character. A timelapse sequence was inserted, maybe by mistake, due to the COVID-19 outbreak creeping its ugly head into the production of the film. This actually worked well for the climax of the film. It showed the binds and mindset of where these two main characters were coming from. A series of flashbacks was another decision that was used to good effect to set up this rivalry. It gave the viewers backstory on these two, once childhood friends, now bitter enemies.  Jonathan Majors stars as Damian Anderson in director Michael B. Jordan’s CREED III A Metro Goldwyn Mayer Pictures film Photo credit: Eli Ade. If the main story taking up the bulk of the film by Coogler and Jordan wasn't enough, they also throw in a few subplots that put the dramatic tension to an all-time high. One of them worked, while the other did the mistakable job of putting the cart before the horse. Many franchises (the Fast & Furious franchise comes to mind) do this, and it's not necessarily wrong to set up sequels or spin-offs, but nobody knows how this movie will do. Setting up more films before this one is released is a mistake. These characters have been proven to be very popular, so I understand trying to capitalize on that popularity. The profitability will surely be there. MGM has to learn from past mistakes of other film companies like Universal, whose Dark Universe we all know the fate of.
One of the things I've always loved about the Rocky and Creed franchises is the emotional weight these films have. As a viewer, they bring out moments that can get a tear or two flowing from the eyes. This movie does that. Whether it's the rivalry of these two once-childhood friends or the relationship between husband and wife, these stories never cease to pull at the heartstrings. We can't help but be emotionally tied to what we're seeing on screen. Many people can relate to the struggle of Majors's character in some way, but they have also gone through similar tragedies and emotional trauma Creed is going through. It's just how life is sometimes. Whether it's Sylvester Stallone or Michael B. Jordan, both actors seem to have been made for these characters. And audiences keep coming back for more and more. With everything else going on in this movie, the thing that almost gets lost in the shuffle is the technical aspect. Jordan filmed this third installment in the Creed franchise with IMAX cameras. He wanted to get the people watching to be invested in the fight scenes. That being said, I wasn't able to see the film in the proper aspect ratio to get the full effect of that. What I saw though was very impressive, and I can only imagine how much better this would have come off had I had the opportunity to see it in an IMAX theater. Creed III is a joyous, thrilling film that pulls on the heartstrings while also being dramatic. Coogler and company balance the story and layer it well. It gives everybody involved many moments to shine. That being said, Majors is again the standout in another big franchise tentpole film. He brings an emotional heft that this movie needed to get the audience behind the title character. His acting lately has been off the chain, and he seems to have no ceiling regarding his acting ability. This movie will be a huge success, and my minor quibbles with a few things won't matter to the layman, who will flock to see this third installment of a franchise that seemingly will never go away. I hope they keep making films like this one, and I'll keep coming back time after time. This is an achievement in popcorn filmmaking by Jordan, Coogler, Majors, and the entire cast and production involved. Creed III hits theaters on March 3. Rating: 4/5 Review by Tatiana Miranda  (L to R) Jahi Winston as Kevin, Isabella Russo as Joy, David Harbour as Ernest in We Have A Ghost. Courtesy of Netflix © 2022. Christopher Landon is notorious for his campy supernatural and slasher films, including Happy Death Day and Freaky. With his new film, We Have a Ghost, he attempts to reach a younger and more family-friendly audience. We Have a Ghost is full of well-known names such as Anthony Mackie, Jennifer Coolidge, David Harbor, and up-and-comers Jahi Di'Allo Winston and Niles Fitch. Inspired by the Vice short story by Geoff Manaugh, the film's plot is more silly than spooky and full of modern social media references. From TikTok to Twitter, social media fame is at the center of this supposedly E.T.-inspired story. As most haunted house stories begin, the film opens as teenager Kevin's family moves into a decrepit old home. Moody and almost perpetually listening to music, Kevin is a clear outsider in his own home. His dad questions his music choices, his brother looks down on him, and his mom tries to stay uninvolved. Between Kevin's inability to fit in and his family's financial issues, the move is seen as a desperate plea to make things right. In some ways, they got what they asked for in discovering a ghost in their attic named Ernest. Soon, Kevin discovers that Ernest doesn't remember his previous life, and they must work together to uncover his past in order for him to move on. This plan is derailed when Kevin's dad and brother find out about the ghost and attempt to monetize his existence. Quickly, Ernest reaches internet fame and is memorialized through memes and fan art. Even after run-ins with famous mediums and government officials, Kevin continues sleuthing so that Ernest can stop living as a ghost.  (L to R) Erica Ash as Melanie, David Harbour as Ernest in We Have A Ghost. Courtesy of Netflix © 2022. In interviews, Landon stated that he connected with the story for nostalgic reasons as it feels similar to E.T. While points can be made for that comparison, We Have a Ghost feels more like a Beetlejuice rip-off as both feature abnormal teens befriending ghosts that their parents try to monetize. While both are about parental relationships, the main difference lies within the more superficial notes that We Have a Ghost tries to hit, such as social media and even race, which is an interesting choice for a movie written by a white guy.
Overall, We Have a Ghost is in the same vein as the rest of Landon's films, as they are often easily forgettable and lack any real personality. Some of the main characters, mainly Ernest, Kevin, and Kevin's father, Frank, have the potential to be interesting, multi-dimensional characters, but instead, they fall flat against the jumble of plot points and action sequences. We Have a Ghost begins streaming on Netflix on February 24. Rating: 2/5
Review by Sean Boelman
Keri Russell as Sari in Cocaine Bear, directed by Elizabeth Banks. Photo Credit: Pat Redmond/Universal Pictures.
The premise of Cocaine Bear is so insane that it became a major news story when this movie was greenlit. The final product is pretty much exactly as one would expect — a fast-paced ninety-minute comedy with plenty of absurd dark humor but not much substance to build beyond its central conceit.
This is the type of movie where the title is very self-explanatory. A bear finds cocaine in the woods, and goes on a rampage, sparing no one who gets in its way. Audiences know exactly what they are signing up for when they purchase a ticket to see this film, and it delivers on the promise of insanity. There’s no denying that the concept of this movie is pretty amazing in a purely campy way. It takes the stranger-than-fiction true story — a headline so wild that it feels like it came out of The Onion, but is somehow actually true — and makes a genuinely enjoyable (if overstuffed and shallow) creature feature out of it. The film is at its best when it embraces the lunacy of the premise. Much of the humor is pure shock value, whether it be from the bear being on cocaine or the younger actors doing something beyond their maturity, but it’s still very funny. Unfortunately, many of the best moments are shown in the trailers, but there are still a few very funny surprises in store. 
Cocaine Bear, directed by Elizabeth Banks.
There are also some horror elements in the movie that are quite well-done. Of course, everything is made with tongue firmly in cheek, but it’s clearly influenced by classic creature features. The gory practical effects, in particular, are used impressively both for comedic and disturbing effect.
Of course, the central bear is made using CGI, and it’s surprisingly very good. In a few of the closer shots, it becomes clear that the bear is fake, and some of the motion is a bit uncannily smooth, but it’s never particularly distracting. In fact, they do a very good job of making the bear emote, giving it more characterization than “bear on coke.” The big shortcoming of Cocaine Bear is that its human characters simply aren’t interesting. Throughout the runtime, we meet several groups of characters that we are meant to empathize with — including the drug dealers attempting to recover the cocaine, the cop chasing them down, a mother looking for her daughter lost in the woods, a love-struck park ranger, and more. Although the ensemble is great — Margo Martindale and O’Shea Jackson Jr. are particularly hilarious highlights — viewers won’t really care about their characters’ fates. Ultimately, any part of Cocaine Bear that features the eponymous creature is pretty great, and anything focused on the human characters is substantially less interesting. Still, it’s an entertaining and fittingly bonkers horror-comedy, and at a brisk ninety minutes, it’s hard not to recommend this for a good laugh. Cocaine Bear hits theaters on February 24. Rating: 3.5/5 |