Review by Adam Donato
It was recently announced that Big Mouth will be ending with its eighth season and that the spin-off show Human Resources would be ending as well. Before there’s any reception for the second season of Human Resources, it’s already over. At least this gives the writers the opportunity to give it a real ending. Does the ending live up to the potential of a franchise finale? Does this new season justify giving this spinoff show a second season in the first place? What’s new about season two and does it work in the first place?
It’s funny to find out this is the final season because one could watch this season and have no clue the show is ending. This season has a finale, but it’s no grander than any regular season finale. Without spoiling anything, there’s a couple plotlines that are left open. It seems like they’re trying to continue. Whether any of these plot lines will converge with the final season of Big Mouth and be resolved there has yet to be seen. If this is the last we see of the Human Resources characters, it’s not an entirely unsatisfying ending. While there may not be super high expectations for spinoffs, it’s fair to say Human Resources is a success. It was liked enough to garner a second season. There was never a grand plan for the show to last many seasons so ending after two is reasonable and admirable.
As its own season of television, Human Resources season two is generally a good time. Picking up right where we left off in the first season, Maury and Connie have a child and their conflict is that the child doesn’t want to be a hormone monster and instead wants to be a shame wizard. This plot line is interesting in that it fleshes out the world and personal struggles these creatures go through. The love triangle between Pete, Rochelle, and Dante is well developed and doesn’t take the easy way out. The collection of humans being helped by Emmy and the other creatures do a good job of exploring different types of people and situations. The crude humor is in line with what came before, but the bit is starting to wane. It seems like there’s even less songs in this season than the last. It almost makes one think the musical element was obligatory and should’ve been left out of the spinoff.
It’s pretty impressive what new cast members are featured here in this second season. Young hot stars like Miley Cyrus and Florence Pugh lead the way, while older pros like Eugene Levy and Isabella Rossellini carry the weight. Cyrus is pretty recognizable, but blink and you won’t notice Pugh. Levy is a comedy legend and Rossellini tackles one of the more complex human characters in the show. These separate plotlines are given a common theme that wraps the season up together nicely.
Decently funny and well put together, Human Resources season two is a welcome introduction to Pride Month. While it’s not the bombastic finale Big Mouth will probably be, this sequel season brings enough new stuff to the table and wraps things up well to put a bow on this spinoff. It’s a niche audience, but those who are still around will be satisfied. Enjoy Human Resources season two on Netflix.
Human Resources streams on Netflix beginning June 9. All ten episodes reviewed.
Review by Adam Donato
Anybody who follows the NBA knows that the GOAT discussion is non-stop. With LeBron still kicking it in his late thirties, that debate is ever changing. A few years ago, LeBron ended his second stint in Cleveland and decided to take his talents to Los Angeles. Not only are the Lakers arguably the most storied and popular franchise in NBA history, but they’re also geographically in a great spot for expanding business to other industries. LeBron starred in a sequel to Michael Jordan’s Space Jam and has been producing other projects. The latest tells the story of LeBron’s journey to the NBA and his unshakable bond with the friends that helped him achieve that goal. Is Shooting Stars a positive for LeBron’s legacy?
As the title says, this movie is LeBron James propaganda to the highest degree. Not accusing LeBron of embellishing his story, but the movie goes out of its way to paint LeBron in the most beautiful light. Even his lowest lows aren’t don’t reflect poorly on him. One could say this movie is a testament to how great of a person LeBron James is on and off the court. It’s not illegal to be corny, but making a movie about your rise to fame while you’re still playing is corny personified. LeBron is under contract with the Lakers and had previously made his intentions clear that he wants to play with his son. The last thing LeBron said publicly is that he is considering retirement and with surgery on the way, it seems like a realistic possibility. The point is this story would’ve hit harder if it came out after his career as a player is over. Unlike The Last Dance, which was instrumental to maintaining Michael Jordan’s GOAT status, Shooting Stars feels more cheese than anything.
Shooting Stars as a movie is a cute little story about friendship and the keys to success. LeBron and his friends are referred to as the Fab Four and their chemistry together is palpable. The shining star of the group is Caleb McLaughlin of Stranger Things fame. His experience is brought to the forefront as his character struggles with being undersized and therefore doesn’t feel like he belongs amongst his teammates. He has ample personality and has the most gripping narrative thread. When it comes to the coaches, Wood Harris was a much better tone setter than Dermot Mulroney. The boys who played LeBron were serviceable, but it was especially funny when the real life LeBron James voice was modified and played as if it was a teenage LeBron.
As a movie, Shooting Stars is good enough to satiate NBA stans. It’s corny as all hell, but that’s very on brand for LeBron. Cute coming of age tale, but nothing is being added to the legacy with this one. Check it out on Peacock instead of White Men Can’t Jump on Hulu.
Shooting Stars hits Peacock on June 2.
Review by Adam Donato
Jack Harlow is having himself a little moment in the music industry as of late. What a time it is to capitalize on this fame with some exposure in other entertainment industries. Harlow is clearly a basketball fan, even having a song named after Miami Heat star Tyler Herro. Thanks to Disney buying Fox and all their intellectual properties included, Harlow was able to remake nineties sports classic White Men Can’t Jump. While the original sported big name actors like Woody Harrelson and Wesley Snipes, Harlow stands out next to Sinqua Walls in terms of name brand recognition. Over thirty years after the original, does this remake justify its own existence?
This remake is rated R just like the original. Not to give Disney credit, but one wouldn’t put it past them to water this story down to a PG-13 rating to get more eyes on their content. That being said, White Men Can’t Jump loses all of the balls the original movie stands out for. Indoor basketball courts are much more accessible today, but it takes away from the grit of the original. Isn’t it a large part of the story that these two men are struggling with money? This update just makes the story that much less relatable. Not to mention, the ending is softened up Without spoiling anything, the original movie impresses by not letting our protagonists easily off the hook. Here, we take the easy way out for a more standard feel good movie. It’s just sad to see a movie remade to be “safer."
Harlow’s big difference here compared to the same character Harrelson plays in the original is his focus on passivity in conflict. His character is also a big-talking hustler, but his whole goal seems to be not only stealing their money, but pissing them off in the process. He’s also a trainer who is constantly pushing his weird health supplements. His relationship with Laura Harrier of Spider-Man: Homecoming fame seems to be an afterthought, whereas the original goes out of its way to flesh that relationship out. Still, Harlow is cool enough and looks the part of a hooper. It’s a far cry from what Harrelson brought us, but it's clear the goal wasn’t to elevate the original, but to inflate the ego of a famous musician.
It’s interesting the direction they go with Walls's character. Not much of his backstory is explored in the original, but here, it’s the focus from the jump. To any basketball fan in the last decade, it’s clear they’re trying to draw comparisons to LaVar Ball — an overbearing basketball dad, who seems to enjoy the media attention just a bit too much and overdoes it with unwavering confidence in his son’s ability. Walls’s character lost his serious basketball opportunity due to his inability to keep composure when goaded. This aspect of his personality conflicts with Harlow’s character nicely. However, their arguments about race feel nowhere near as genuine as the original and therefore are hollow.
The rap on White Men Can’t Jump is similar to most high profile remakes. It’s completely unnecessary and does nothing to improve upon the original. It’s extremely disappointing to fail to adequately address the racial discussions at the heart of this story seeing as racism is very topical these days. This performance may not garner Harlow any future opportunities in acting, but may add to his street cred and Spotify subscribers. No need to check this one out, but definitely check out the original if you haven’t seen it.
White Men Can't Jump streams on Hulu beginning May 18.
CRATER — Coming of Age… IN SPACE!
Review by Adam Donato
Disney+ is such a strong player in the streaming wars due to their long catalog of classic films and latest blockbusters. Seldom does Disney+ put big money into a direct-to-streaming feature film that isn’t a sequel or reboot of some kind. Crater is an original film from the producers of Stranger Things. It cost just over $50 million to make, but don’t worry about the marketing budget because it’s almost nonexistent. Still, that’s a lot of money to pour into something you don’t have a lot of faith in. For Disney to quietly dump this on their streaming service, this must be a terrible movie, right?
Surprisingly not! Crater is a refreshing change of pace compared to cheap shots like Peter Pan & Wendy, Disenchanted, and Pinocchio. Its strength lies in its likable group of young rebels leading the way. There’s good chemistry all around. It feels like a bunch of teens naturally riffing with one another and some of it is genuinely funny. McKenna Grace previously worked with Stranger Things star Finn Wolfhard in Ghostbusters: Afterlife. She shares most of the spotlight here with Billy Barratt and Isaiah Russell-Bailey. The two play friends on a lunar mining colony who use the girl as an opportunity to break out and explore a crater on the moon. The standout in the group is Orson Hong, who had his own musical number in John Mulaney and the Sack Lunch Bunch. It seems the Stranger Things producers were able to recapture a little bit of the magic that made them famous.
This story is a whole lot of fun. It’s like when your friends would explore abandoned places. The stress of potentially getting caught. The jokes along the way. It’s truly a coming-of-age tale in space. Speaking of the science fiction element of the story, the special effects and production design are both solid. It’s a goo- looking movie compared to most live action family films. This is an extremely positive sounding review because Crater stands head and shoulders among its peers. The pre-teen demographic is the target and they’re sure to enjoy this, but it’s good enough to mildly entertain adults too. These characters, while fun, are not as memorable as peak movies in this genre like the recent It movies. Still, it’s a step in the right direction and it deserves more than Disney is marketing.
Crater is a good-time throwback to hanging out with your childhood friends. Its story and characters are relatable to youths and adults alike. With a solid cast and solid visuals, Crater is worth checking out on Disney+. Audiences vote for what they want more of with what they click to watch. This original feature is worth the risk of a lack of brand recognition.
Crater is now streaming on Disney+.
Review by Adam Donato
From the director of the 2015 Oscar nominee for Best Foreign Language Film of the Year comes To Catch a Killer. Damian Szifron has been quiet for the best decade outside of a television special, Stories that may Happen. Wild Tales was an Argentinian film, but To Catch a Killer is an American film through-and-through. Shailene Woodley plays a rundown police officer who teams up with Ben Mendelsohn’s FBI chief investigator to catch a crazy criminal. This crime thriller has talent in front of and behind the camera, but is it good enough to garner people’s attention?
Almost a decade after tweenybopper movies like The Fault in our Stars and Divergent, Woodley has made more artistic acting choices. She saw the most success by getting nominated for a Primetime Emmy for her role in Big Little Lies. Her performance in To Catch a Killer is more mature and refreshing compared to everything we’ve seen from her previously on the big screen. She’s been jerked around and now she’s not going to take shit from anybody. When the story gives her big opportunities, Woodley takes advantage and carries the movie. Hopefully this can become a trend in her career as she’s definitely got what it takes to be a leading lady.
Mendelsohn has a catalog of solid dramatic performances and this movie is a fitting addition. He’s usually the villain in his more blockbuster fare thanks to his standout performance in Rogue One: A Star Wars Story. There’s still that intestinal in this performance as his character and Woodley’s struggle to work together. While Woodley’s dramatic flash raises the ceiling for this dramatic thriller, Mendelsohn maintains a high floor as his fans know he’s going to bring it no matter what. While he may not be straight as an arrow here, it’s nice to see him playing for the good guys in this one.
This story is filled with violence and doesn’t shy away from the reality of it. There’s intrigue throughout until it reaches its satisfying conclusion. Ralph Ineson, of The Witch fame, plays the terrorist on the loose and shines when given the opportunity. Gritty and full of stakes, this crime thriller is sure to have fans of the genre glued till the end.
Szifron deserves ample credit for directing two unlikely costars and gets the most out of them. To Catch A Killer justifies its two hour run time and is worthy of being checked out, whether that be on demand, streaming, or even a theatrical release. In the wake of the recent onslaught of franchise sequels, it’s refreshing to see an original movie like this.
To Catch a Killer hits theaters on April 21.
Review by Adam Donato
Board game movies are a thing. Anything to slap brand recognition on a generic blockbuster. I can’t wait for the Wonder Bread movie! Anyways, forget everything about the Dungeons & Dragons movie from 2000. Riding off their success making Game Night, John Francis Daley and Jonathan Goldstein are back in the directors' chairs for this new fantasy epic. With a cast of franchise regulars, will Dungeons & Dragons: Honor Among Thieves have the pull to make it the blockbuster success Paramount wants it to be?
Considering Daley and Goldstein have only made studio comedies, the action here is quite the standout. While the cinematography and special effects are lacking throughout the movie, there’s several action sequences that are worth the price of admission. One of the ways the action stays fresh is due to the characters having different abilities — specifically Sophia Lillis’s character as she can shapeshift into animals both real and fantastical. The large dragon heavily featured in the promotional material serves for a surprisingly fresh sequence. Also, there’s a great amount of practical creatures featured in the film. This goes a long way to making the world feel lived in.
Guardians of the Galaxy was quite the risk of a concept, but what helped it work was the likable family that was formed out of these criminals. While it’s also not the most original story, it thrives thanks to its charm and personality. Dungeons & Dragons: Honor Among Thieves feels like the producer assigned someone to make a fantasy version of Guardians of the Galaxy. While Daley and Goldstein try to infuse some of their comedic personality, there’s several archetypes that feel too close to characters like Star Lord and Drax. Like most movies, this movie feels like an amalgamation of aspects from other more popular movies who did it better. It functions and will probably work for casual audiences, but this is clearly nobody’s passion project. The movie ditches the dice rolling and just tells a standard fantasy quest tale. Characters need to band together to find the MacGuffin so they can stop the bad guy from destroying the world.
Chris Pine does a great job at playing Chris Pine. This is a similar role to James T. Kirk in the J.J. Abrams Star Trek films. Michelle Rodriguez is her typical badass self and her dry joke delivery works well. Justice Smith is the same annoying nerd he always plays. Sophia Lillis, while thriving in the action scenes, holds little emotional weight as her deal is that she doesn’t trust humans and Smith’s nerd boy is trying to court her. Rege-Jean Page of Bridgerton fame has a surprisingly small role as the handsome Boy Scout type. Hugh Grant plays a pathetic weasel version of his typical self while acting as the main antagonist of the film. Nobody acts in this movie. All of the actors showed up and played themselves.
While Scream, Creed, Shazam, and John Wick have all had previous movies recently, the Dungeons & Dragons franchise hasn’t seen the big screen in over two decades so at least it feels a little new. Hopefully Shazam! Fury of the Gods didn't quench fantasy lovers' thirst for dragons and this movie sees some success because it’s better than that sequel. Dungeons & Dragons: Honor Among Thieves is generally fun and funny throughout. While it’s not an inspired piece of cinema like the Lord of the Rings trilogy, it’s trying hard enough to make it worth your time at the theater.
Dungeons & Dragons: Honor Among Thieves opens in theaters on March 31.
Review by Adam Donato
A Tetris movie could have easily been The Emoji Movie, but thankfully this story follows the real life makings of the Tetris game as we know it today. Taron Egerton stars as a game salesman who stumbles upon a revolutionary new game and seeks to obtain the rights, but Mother Russia stands in the way. From the director of Filth comes a movie that is closer to The Social Network than it is to The LEGO Movie. With the rise of Apple TV+ in regards to awards recognition, does Tetris hold the brand recognition to gain subscribers?
Egerton has proved that he has the acting chops to be a leading man, but his box office prowess has yet to be tested. Luckily for this movie, it debuts on a streaming service so his day in court will have to wait. The Kingsman franchise and Rocketman are both fantastic and Egerton deserves a great deal of credit. In Tetris, his performance and character is reminiscent of Jordan Belfort in The Wolf of Wall Street. He’s a fast talking, American salesman who can’t take no for an answer. This performance is full of life and personality as he once again makes the movie work. While audiences may come for the game brand, they will find themselves staying to see Egerton. I can't wait for Marvel to ruin him.
This is a video game movie? It’s about a video game, but the story is focused on how the game came to fruition. That being said, its video game roots show through as pixelated versions of characters and settings permeate the movie. This is a cute touch that adds some style to the movie and helps keep what could easily be a dark film somewhat light. There’s a good deal of humor in the film, but with the subject matter being the fall of the Soviet Union and international politics at play, things could’ve gone south quickly.
Speaking of the fall of the Soviet Union, one of the more interesting aspects about the movie is the perspective of the Soviet Union. How giving up the game to an American capitalist may seem like a small transaction, but it goes against the principles of their country and is a slippery slope to selling out entirely. The intrigue mostly takes place in Russia as American audiences can easily see this place at this point in history being a death trap — especially when our protagonist is trying to take something that was invented by a Russian. The business dealing and legal mumbo jumbo never get too out of hand as this movie pulls you in from start to finish. This true story is a rollercoaster with big ideas at play and so relatable as just about everyone has played Tetris at some point in their life.
Apple TV+ continues to make quality content and if you build it, people will come as they say. Apple has a great deal of clout and with movies like Tetris, they’re on the right track. Egerton should be an absolute star as he shines in this leading role. It’ll make you download the Tetris game app, guaranteed.
Tetris hits theaters on March 24 and streams on Apple TV+ beginning March 31.
Review by Adam Donato
Did you grow up with iconic characters like Batman and Superman? That’s too bad because watching Warner Bros. conduct a cinematic universe is like watching a toddler drive on the highway — haphazardly planning their movies and sometimes not even releasing them. DC has been the talk of the town lately as the Zack Snyder divorce is not sitting well with the more aggressive of fans. The new man in the house is James Gunn and going forward, he decides what goes and what stays. During this awkward transitional period, the Shazam! team is trying to keep the focus on its big new sequel. Will Shazam! Fury of the Gods be the hit that it needs to be to live to see tomorrow?
Zachary Levi returns as Shazam after most recently starring in an Instagram Live where he’s on the edge of tears talking about the future of his character. His portrayal in the first movie was quite the revelation in the DCEU as we were graced with a character that was actually excited to be a superhero. He brings youthful joy to a character with the mind of a teenager. In the sequel, the cuteness of the character is beginning to wane. Maybe it was the second time he said “fam” where the realization kicked in that this character is kind of cringe. He faces the usual trappings of a character in a sequel as he doubts his own abilities and self worth. What if Shazam, like recent superheroes Ant-Man and the Wasp, doesn't need multiple movies of his own?
David F. Sandberg has become quite the Warner Bros. regular after the surprise hit Lights Out, the solid Annabelle sequel, and Shazam all saw box office and critical success. Notice the Annabelle doll in the background of the pediatrician scene? That Sandberg is so cute!
Sequels are supposed to improve upon the original. This effort is a lateral move at best. Some things are handled better like the superhero siblings, but other things stay the same, such as how the villain feels obligatory. Mirren and Liu were like bottom tier MCU villains, which would qualify as mid tier DCEU villains (Listen, the change in leadership at DC was warranted.) Sandberg seems like he was able to make the Shazam sequel he wanted to, though, and while this may be his last effort with the character, there doesn’t seem to be any meat left on that bone — especially since Dwayne Johnson was so obnoxious about Black Adam.
Standouts in Shazam! Fury of the Gods include Jack Dylan Grazer once again and newcomer to the franchise, Rachel Zegler. Especially after seeing Grazer’s character become a superhero himself, it’s clear now that he should’ve been the lead. After this and IT, it will be exciting how he continues as an actor now that he’s transitioning into adulthood. Zegler was also an immediate star and has great chemistry with Grazer here. Her powers are weird and her relationship with her sisters make no sense, but Zegler is always full of life on screen and is a welcome addition to this franchise. Djimon Hounsou is also given more screen time here and his character is taken in a more comedic direction.
Shazam! Fury of the Gods is a modest effort, but is more of the same and it’s starting to go stale. It's another clear sign the DCEU is ready for change. General audiences will be satisfied by this family-friendly superhero flick. The jokes are cheesy and the action is plentiful, despite being unspectacular. Fans of the first movie should check this one out in theaters because this could be their last chance.
Shazam! Fury of the Gods hits theaters on March 17.
Review by Adam Donato
Based on the novel by Kate DiCamillo, The Magician’s Elephant is the latest animated feature to land on Netflix. It’s interesting how Netflix has high Oscar hopes for Guillermo Del Toro’s Pinocchio and a few months later, The Magician’s Elephant arrives on the platform as well. Both are based on children’s fantasy books, set during a historical war, and focus on the dream of a young boy who must accomplish impossible feats. The recipe is there, but does The Magician’s Elephant have the creative team to make it a success among the likes of Del Toro’s Pinocchio?
Wendy Rodgers makes her directorial debut with The Magician’s Elephant, having previously only worked in the visual effects department. The cast features some familiar faces, but nobody to write home about. Nothing but love for the genius who casted Benedict Wong as the magician because he is experienced playing a wizard. Brian Tyree Henry and Aasif Mandvi are the other recognizable voices used here. Mandvi is particularly annoying as he plays an irresponsibly eccentric king of this land, who is constantly flaunting his ignorance for those around him. None of the characters really stand out here. In fact, there’s quite a bit of juggling going on as some character threads seem superfluous.
The story here is familiar to the recent Pinocchio adaptation, but obviously doesn’t work to the same degree. The real-world themes about the effects of war on a country’s citizens are not treated with the same amount of weight. Comparing and contrasting The Magician’s Elephant and Pinocchio is unfair to The Magician’s Elephant. In reality, it’s admirable that such a children’s movie would even tread on such dark topics. Pinocchio is arguably more accessible to adult audiences rather than children, but The Magician’s Elephant is clearly more geared towards the young ones. It’s very cutesy and the humor is exclusively for more immature audiences. In the end, the excessive character threads are brought together in a satisfying enough way, even though they reek with cheese. It’s a cute little fairy tale to throw on for children to fall asleep to.
For a straight-to-Netflix animated film, the animation is not that bad. This is likely accredited to the director coming from a visual effects background, having most recently worked on Dreamworks films such as Puss in Boots, Flushed Away, and Shrek. There’s some imagery in the film that cuts deep. One scene features a herd of elephants submerged in water attempting to swim to the top. When one of them can’t keep up, he begins to sink and for those with a fear of drowning, this is an effective sequence. Character design wise, it gives off vibes of trying to emulate stop motion animated characters, which tracks since Flushed Away tried similar tactics. Considering the animation for a throwaway Netflix content was of note, this is a huge win for The Magician’s Elephant.
The target demographic for The Magician’s Elephant is definitely children and there’s nothing here to suggest they won’t enjoy this fairy tale. It’s got good morals and cute characters who are just trying their best to believe in something. The animation is good and there’s some talented people on board. Don’t expect this to get nominated or even be mentioned by anybody above the age of ten, but it’s solid children’s content.
The Magician's Elephant streams on Netflix beginning March 17.
Review by Adam Donato
There’s a tendency for Christian flicks to fit into their own genre and not find widespread appeal. A movie getting a wide release with the word Jesus in the title is quite the bet, especially when it’s a comedy. Jesus Revolution attempts to appeal to young and old with the story of the rise of Calvary Chapel churches. Former television star Kelsey Grammer and the directors of American Underdog headline Jesus Revolution. The film will try to find success at the box office in the wake of Quantumania’s second weekend and will face off head to head with Cocaine Bear, which is the opposite of Jesus Revolution. Does this Jesus movie have the quality to get non-Christians in the theater?
Jesus Revolution tackles the youth takeover of Christianity. The target audience is sure to be old people and it would do some good as it’s fraught with themes about acceptance and tolerance. It’s interesting to see movies aimed at older audiences that touch on issues sensitive to that community. That being said, this is a period piece so a lot of the older demographic experienced this movement in real time, but now they are the old heads. Obviously the movie is about religion so it’s going to be at the forefront, but it focuses on the peace and love aspect of Christianity that everyone can get down with. Jesus Revolution doesn’t necessarily appeal to people who don’t accept Jesus Christ as their lord and savior, but if they were forced to watch this movie, they would have a good enough time.
Kelsey Grammer is a joy on screen always. His role as a pastor gives ample opportunities for him to have juicy monologue scenes. His transition from grumpy old head to spearheading the youth movement in Christianity is rushed, but the movie isn’t really about whether or not he will be changed. His relationship with Lonnie Frisbee is delightful. Frisbee is actually played by Jonathan Roumie, who played Jesus in The Chosen TV series. It’s an instantly funny match up having a guy who looks identical to the image of Jesus Christ the western world has paired up with a jaded man of God. Roumie is also given ample acting opportunities with his speeches in this movie as well. As the movie goes on, their relationship feels like the B story to Joel Courtney’s character. Remember the kid from Super 8? In Jesus Revolution he plays a young man going down a bad path before finding his place and future in the church. This is where we get the main romantic storyline of the movie. This character definitely fleshes out the runtime, but is not as compelling as Grammer and Roumie’s storyline.
There’s nothing to write home about, but Jesus Revolution is an enjoyable viewing experience. The religious crowd will enjoy this whether they’re old or young. Non religious people were not going to see this movie anyways. The trailer sums up the most interesting aspects, which is the inciting incident. Grammer and Roumie have standout performances and the vibe is consistently good. If you’re going to the theater intoxicated this weekend, be sure to check out Cocaine Bear, but if you’re high on life, then have a feel-good time with Jesus Revolution.
Jesus Revolution hits theaters on February 24.