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Review by Steve Barton II  RZA cemented his name in pop culture as the leader of the legendary hip-hop group, the Wu-Tang Clan. He’s also built up some experience in the director’s chair with films like The Man with the Iron Fists and Cut Throat City. With RZA being very forward about his passion for the old school Kung-fu and blaxploitation films, it comes at no surprise that his newest film One Spoon of Chocolate blends both those genres together. One Spoon of Chocolate follows Unique Johnson (Shameik Moore) as an ex-military convict who's just been released from jail and wants to go back to his hometown in Karensville, Ohio and restart his life. After some unfortunate interactions with a local racist gang, Unique and the other people of color in the neighborhood realize that they’re in more danger than they thought. When it comes to One Spoon of Chocolate, RZA put his entire DNA into this movie and he couldn’t care less if you like it or not. Whether it’s old school hip-hop needle drops, hand-to-hand kung-fu style fights or the overly expressive characters that creep in caricature territory from blaxploitation films that fully round out RZA’s favorites. The plot attempts to make some social commentary about how racism in these small towns across America often runs deep into the whole community and makes life hell for minorities. It does seem to be influenced by Jordan Peele’s Get Out, but the overly explanatory and often silly dialogue keeps it from those heights. When the characters explain their exact motivations in their dialogue, it cuts down all of the interest in discovering more during the runtime.  The visual style of One Spoon of Chocolate is certainly shooting for the grindhouse look of the 1970s, similar to Tarantino and Rodriguez’s joint film from 2007. The artificial film grain and switches from bright colors to black and white gives the film a unique look that sets it apart from the pack. It even grabs a bit more of Tarantino’s look and style, even adding in Red Apple Cigarettes from his universe of films. The film was shot in Georgia, but the set design and prop department did fantastic in making it look like the Midwest. While the fighting would’ve been nice to see on a static camera, the whipping camera and cutting on every punch gave it a Bourne Identity look and will leave the audience with whiplash themselves.
The cast in One Spoon of Chocolate has several people who have worked with RZA in the past in both Cut Throat City and Wu-Tang: An American Saga. Shameik Moore isn’t fully believable as this hardened veteran with anger issues until he’s able to prove it during the fight scenes. RJ Cyler is solid as the comic relief and cousin to Unique, but the biggest surprise was Paris Jackson as Darla (Unique’s love interest). While her role doesn’t have a ton on the paper, she does well with what she’s given. In the end, One Spoon of Sugar won’t be everyone’s cup of tea, but those who get it will enjoy the honor being paid back to past genre greats. It’s purely a genre film that isn’t looking to impress anyone, especially with its gritty and grimy characters in the town of Karensville. If Walking Tall mixed with Shaft and Get Out sounds like an interesting Frankenstein of a movie, strike up a Red Apple Cigarette and check out One Spoon of Chocolate! One Spoon of Chocolate releases into theaters starting May 1st! Rating: 3/5
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Review by Chadd Clubine  The Devil Wears Prada 2 leans into nostalgia and delivers exactly what fans are likely hoping for. It doesn’t try to reinvent the formula—and it doesn’t really need to. The original The Devil Wears Prada ended on such a strong, thematically satisfying note that its legacy as a modern classic was secured from the start. Sequels tend to fall into two camps: they either build directly on what worked before or expand the world in new, deeper ways. This film clearly chooses the former. It doubles down on the tone, character dynamics, and sharp performances that defined the original. While the narrative structure closely mirrors its predecessor, fans will likely appreciate just how faithfully it recaptures that familiar rhythm and energy. The core cast slips back into these roles as if no time has passed. It’s striking how seamless the transition feels after two decades—both in the performances and in how naturally the characters pick up where they left off. There’s a genuine sense of nostalgia in revisiting these familiar faces and seeing where they’ve landed, and that’s ultimately where the film thrives. Where it falters, though, is in its handling of character growth. Anne Hathaway and Meryl Streep effortlessly recapture what made their performances so compelling, but the script gives them little room to evolve. Without meaningful development since the first film, the sequel struggles to justify its own existence or fully answer why this story needed to be revisited at all. It’s evident the story was built around the return of the core cast rather than emerging organically. While the characters are in different places than they were in the original film, the conflict itself feels more suited to a sequel that would’ve arrived just a few years later—not two decades on. Anne Hathaway remains as likable as ever, but she’s largely playing the same version of the character, despite her character’s implied success in the years since. Her willingness to fall back into old patterns—particularly in how she engages with Meryl Streep’s character—undercuts the growth the first film worked so hard to establish, making it seem as though she’s learned very little. At the same time, that dynamic does serve a purpose, allowing the film to land on its themes of kindness and forgiveness, even if the journey there feels somewhat underdeveloped.  Compared to the original film, the sequel aims bigger with its supporting ensemble, fully leaning into early-2000s nostalgia. When it taps into that sense of a simpler, more familiar time, it works—the film’s main cast carries that feeling effortlessly. That same ambition becomes a weakness with the supporting players. The story tries to cover so much ground that many of these characters don’t feel fully justified in the time they’re given. Justin Theroux brings plenty of humor, though his character lacks consistency. Lucy Liu is engaging, even if her motivations occasionally feel unclear. Meanwhile, Kenneth Branagh seems underutilized, and alongside B. J. Novak, there are moments where the performances feel oddly self-aware—almost as if the characters know they’re part of the spectacle rather than fully inhabiting it. The story is fairly straightforward. It’s not a beat-for-beat remake of the first, but it comes close enough that much of it feels overly familiar. Rather than placing these characters in genuinely new stages of their lives, the film largely revisits old ground, which makes several “surprising” moments feel easy to anticipate. A budding romance for Anne Hathaway’s character, for instance, is telegraphed well in advance. While the pairing itself is charming, it doesn’t feel necessary for her growth, as if the film defaults to familiar storytelling beats instead of exploring more meaningful development. Moments like this—along with the way she continues to interact with those around her—suggest the sequel is leaning too heavily on the structure of the original rather than carving out its own identity. In the end, it struggles to justify its existence beyond the pull of nostalgia. Overall, The Devil Wears Prada 2 thrives on its tone and performances, effortlessly transporting you back to the feeling of watching the original film for the first time. There’s comfort in that familiarity, and the cast leans into it well. That said, the story doesn’t quite justify the film’s existence. It clings too closely to the structure and beats of its predecessor, relying on nostalgia rather than carving out a compelling new direction. Still, the film knows exactly what its audience wants—and for many fans, that self-awareness will likely be enough to make the experience satisfying by the time the credits roll. The Devil Wears Prada 2 is in theaters May 1st! RATING: 3/5
Review by Steve Barton II  Disabled people have had a long and storied history within the world of entertainment. Dating back to circus days and freak shows, mentally and physically disabled individuals have been abused and harassed for the entertainment of others. It’s only been in the last 5-10 years that we’ve received such gems as Peanut Butter Falcon and CODA where these folks who were once ousted from Hollywood are now welcomed to share their true, authentic stories. With I Swear, the true story of John Davidson’s life is shared including growing up being told he’s lying and faking while struggling with his undiagnosed Tourette’s Syndrome. After meeting an unlikely friend, John begins to learn how to live with his condition and brightens the world in his own special way. While I Swear may not be at the forefront of the mainstream moviegoer’s agenda, they should fix that and support this incredible project. John’s story takes the audience on a roller coaster ride of emotions, but it’s a ride that you’ll happily take again. You begin the journey frustrated and angry at everyone in John’s life for not trusting him and shunning his involuntary behavior. Once he gets on track with accepting his Tourettes, he begins a hero’s journey with an uncommon protagonist. While he does have stumbles and obstacles to cross, John’s heart and determination never wavered.  As bizarre as it is to admit, I Swear is technically a period piece with it being set mostly in the 1980s and 90s. While being on an independent budget, the filmmakers did a wonderful job at creating sets and costumes that transport you back in time. Between the references in the dialogue and the props that John and others interact with, I Swear will have you dusting off your old CD collection when you get home. It’s also interesting to see how British comedy compares and contrasts with the average American comedy. American comedy leans more heavily on physical and crass humor, while the English are much more creative with witty jokes and jabs disguised with their nice accents.
The cast for I Swear is full of talented English actors, Robert Aramayo is fantastic as John Davidson. While I’ve seen Robert in other projects like Nocturnal Animals and Antebellum, he completely disappeared and became John. His witty dialogue and charming smile helps sell John to the audience and they’ll fall in love with him over his complex journey. The supporting cast filled out the film perfectly with Maxine Peake as Dottie, Peter Mullan as John’s mentor Tommy and Moaning Myrtle herself, Shirley Henderson played John’s mother. In the end, I Swear should be a mandatory viewing for students in middle or high school. Ultimately this a story about acceptance and inclusion of others who have abnormalities or disabilities. John is a perfect example of making lemonade with all the lemons life gave him. His story makes the audience reflect on their past experiences and how they can be a better advocate for others who may not have a perfect voice. With it’s wonderful characters and heartfelt story, I Swear is an indie comedy that you’ll kick yourself for not seeing sooner. I Swear is in theaters starting April 24th! Rating: 4.5/5 Review by Adam Donato  The Sheep Detectives is somewhat of an odd choice for a Mother’s Day release. Not quite as odd of a choice as Mortal Kombat II. Surely, The Devil Wears Prada 2 and Michael will still be dominating for the older female demographic. The Sheep Detectives is more for general family audiences. Hugh Jackman is the front man on the poster with his gang of furry little friends. After a deadly crime is committed, it’s up to the sheep to help solve the case to save the farm. Something like this needs to have a lot of charm to make an impression during a crowded summer slate. Does The Sheep Detectives have the wool to catch families’ attention? On the surface, this looks like a cheesy family flick and it is, but it delivers on the two things most essential to a family film: humor and heart. Director Kyle Balda is one of Illumination’s men as he directed two Minions movies and Despicable Me 3. So it’s safe to say he has his finger on the pulse of what casual families find funny in theaters. There’s silly jokes throughout for those who are game for goofy comedy like this. The movie gets as emotional as something like this can get with themes about community and death. Nothing too heavy for kids, but also not something audiences will be thinking about a week later.  The movie is a whodunnit mystery. The crime wouldn’t have been solved without the sheep, but the real MVP of the investigation and the movie as a whole is Nicholas Braun as the haplessly dimwitted solo police officer of this small town. Braun is recently most notable from the hit series Succession, but 2000’s kids knew he plays an excellent idiot since his days at Sky High. While it looks like Hugh Jackman is the lead of the feature, he really doesn’t get a lot of screen time and the movie is really more of an ensemble because of it. In this absence of someone in the spotlight, Braun takes full advantage of the opportunity and goofball’s his way into audiences’ hearts.
The sheep are all computer generated. They don’t look terrible and aren’t distracting. The movie does a good job at keeping them involved, but also grounded as much as they can. Anybody who has had a positive relationship with a pet or animal will be able to relate to this movie and attach sentiment to these creatures. There’s a sequence when two of the sheep have to cross a concrete road for the first time that is just too funny. The humor can sometimes be screaming goat coded, but on the whole they’re a sweet and innocent little lot. The Sheep Detectives is a wholesome little movie for families to enjoy. It’s interesting Amazon would release this in theaters when it shoves other movies with seemingly more box office potential straight to streaming. Regardless, The Sheep Detectives is good enough that it won’t have audiences counting sheep, but instead caring for them. Just like the sheep in the movie, it also isn’t the most memorable movie for non-family audiences. The Sheep Detectives sheers into theaters May 8th! Rating: 3/5 Review by Steve Barton II  The disaster movie has been a staple of the Hollywood system since the birth of the genre with 1933’s Deluge. Since then, we’ve had countless additions to the genre, each making slight adjustments to the already proven formula. Director Renny Harlin has made previous appearances in the genre, even creating a cult classic with 1999’s Deep Blue Sea. After 27 long years, Harlin makes his triumphant return to the thrilling genre with Deep Water. The film follows Aaron Eckhart and Ben Kingsley as a pair of commercial pilots flying over the Pacific Ocean when they are forced to make an emergency landing in the water. After the chaotic descent, they quickly discover that their nightmare has only just begun. After sitting through the newest Strangers trilogy over the past few years from Harlin, seeing his name attached to a new movie was equally surprising and unexpected. He’s proven himself in the past with films like Die Hard 2 and A Nightmare on Elm Street 4: The Dream Master, but his career since the 1990s has been a series of critical and box office failures. With Deep Water, Renny had the opportunity to make a spiritual sequel to one of his last big successes and did so well. He nails all of the beats needed in this style of film with brief character development to get the audience invested, just before the ripcord is pulled and the chaos ensues!  One of the best aspects of Deep Water is how thrilling and terrifying the plane crash scene is. The slow build into the outright disaster was brilliant and the bloody violence was a shocking, yet welcome, addition to the experience. The editing was quick and jarring at times, but it elevates the tension filled scene to new bounds. While some of the digital blood and injuries looked bad, a few looked extremely realistic and may induce a bit of involuntary squirming in your theater seat. Any seasoned veteran of this genre will be delighted to see a couple twists to the plot from what could’ve been just another plane crash movie. Even if you’ve seen the marketing material, the shark's first appearance (and several afterward) are still shocking and bring thrills. The musical score from Fernando Velázquez also aided in the tension, certainly paying homage to John Williams’ incredible work in Jaws.
While Sir Ben Kingsley may be the biggest name on the cast, Deep Water is Aaron Eckhart’s movie. Aaron may not be the best emotional actor whose tears make the audience’s eyes rain, but he does kick ass in the action moments and drives up the intense drama. In Deep Water, Eckhart portrays a father who has dealt with trauma and you believe him when he sees the lost children on his flight and he rises to the hero’s action. Kingsley is an incredible scene partner for Aaron with his subtle humor and mentoring him into becoming the hero they all need. Deep Water may not be the next huge hit in Harlin’s catalog, it’s a fun ride that could reach a cult following with genre fans. While folks may be focused on Aaron Eckhart the whole time, Angus Sampson steals every scene he’s in with his douchebag antics that make him anyone’s least desirable row-mate on a plane. His continuous cigarette gag felt like a bit from a 90's movie and it fit perfectly. The one-dimensional characters, cheese ball dialogue mixed with the insane visuals and thrill ride of a story makes for a fun ride at the movies. Deep Water bursts into theaters starting May 1st! RATING: 3.5/5 |