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Review by Jonathan Berk  An emotional story about an estranged father and his daughter is always an easy sell. Toss in a crime drama and a dash of a revenge story, and that's a far richer sauce. Director Nick Rowland’s new film She Rides Shotgun takes a significant risk by placing the emotional weight of the story on the shoulders of its young protagonist, Polly, played by the remarkable Ana Sophia Heger (Life in Pieces, Things Heard & Seen). It is a challenge that Heger is not only up for but one that she absolutely excels in. The film opens with Polly waiting for her mother to pick her up from school, but her father, Nate, played by Taron Egerton (Carry-On, Rocketman, Tetris), shows up instead. Recently released from prison, he's a figure of both apprehension and longing for her. While Polly is rightfully cautious about the circumstances of this reunion, she eventually gets in the car as a result of his persistent urging. As they drive, she slowly takes stock of the situation, her initial wariness transforming into a quiet realization of what is really going on. Much of the film is from her perspective, and Heger’s performance is nothing short of captivating. Egerton has been taking on relatively smaller projects since his breakout roles in Rocketman and Kingsman: The Secret Service. While his last two films, Tetris and Carry-On, went straight to streaming services, his performances in both were excellent. His role here as Nate, however, allows him to flex different acting muscles, taking on a darker, more desperate edge than we've seen from him before. He excels at portraying the various emotions of his and Polly's desperate journey, shifting from tender father to hardened fugitive with convincing ease.  For a movie like this to work, the chemistry between the fictional father and his daughter has to click, and Egerton and Heger are excellent together. Their relationship has a rough start, by design, as Polly's distrust is earned, but a pivotal scene on their first night together changes everything. As Nate carefully helps change Polly’s hairstyle, a subtle bond begins to form. It’s in these quiet moments that the film truly shines, making the experience of the two bonding throughout their harrowing road trip all the more affecting as the story takes its twists and turns.
But make no mistake, this is Heger’s film. Her expressive eyes play a huge part in selling her performance. While she gets plenty to do and say throughout the film, it’s the inner struggle she’s able to deliver through looks and silence that is truly impressive. She carries the film with a maturity beyond her years, grounding the high-stakes narrative in a genuine emotional core. One can only hope that if Heger chooses to stay an actor, she has the right people around her to guide her career. It seems very likely that if she wants to act, there is a great future in the industry for her talent. While the film is largely a two-hander, the rest of the cast is also solid. John Carroll Lynch plays the ruthless heavy with his usual quiet menace, and he always delivers. Odessa A'zion gets a few memorable minutes and uses them well. Rob Yang plays a detective looking to bring down the same gang that is chasing Nate and Polly, and their characters’ intersection plays an important role in the film's second half, making it a compelling section. Overall, I found She Rides Shotgun to be an engaging, entertaining, and emotional experience. I had high hopes for Egerton, but I was blown away by Heger. The film opens and closes with her, and for such a young presence to be able to carry this story so effectively is deeply impressive. It’s a road trip with a lot of heart, and a movie that will stick with you long after the credits roll. She Rides Shotgun is in theaters on August 1. Rating: 4/5
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Review by Jonathan Berk  House on Eden will inherently draw comparisons to The Blair Witch Project (1999), as every found-footage horror film since that seminal classic does. However, in this case, a multitude of similarities warrant the comparison beyond just the stylistic presentation. Where this could have been a strength, it only serves to highlight every aspect where House on Eden falls short — not just when compared to the 1999 film, but in its very qualification as a movie. Playing fictionalized versions of their real-life personas, Kris Collins, Celina Myers, and Jason-Christopher Mayer operate as paranormal investigators… or perhaps just content creators. The trio finds themselves rerouted to an abandoned house deep in the woods on Eden Street. What follows is a collection of random moments, none of which feel fully fleshed out, and often only seem loosely connected to other elements of the story. While there's no strict definition for what constitutes a "movie", there are some general ideas that come to mind when the word is said. Of course, there are extremes of the form from avant-garde horror like Skinamarink (2022), with its random imagery of elements of the house in the film, to the other end of the spectrum with the meticulously crafted films of Stanley Kubrick, and everything else in-between. Despite this broad definition of what a movie can be, House on Eden's presentation makes one question the very premise. Did Collins make a movie or simply assemble random clips into something that slightly resembles one. The intention here seems to be a coherent story, but it possesses the erratic energy of a rookie improv group on stage. Whether it's the repetitive dialogue, the bad jokes, the uninspired "horror" ideas, or the flimsy quest, nothing about this film feels completely thought out. It’s cliché to talk about throwing spaghetti at the wall to see what sticks, but the "writing" here feels more like a wildly aggressive teenager flinging pasta around a room, genuinely surprised to find that some of it stuck. I've seen many of Collins’s social media videos, and much of her short-form content is genuinely funny. There's even a stronger sense of storytelling in those brief clips than in her directorial film debut. It's tough to know a writer's true intentions, and perhaps this was exactly what she aimed for. However, its piecemeal approach leaves the audience scratching their heads, wondering what exactly is going on.  If only the story and characters were the film's sole shortcomings, perhaps it could be salvaged. Unfortunately, the jokes fall flat, and the "horror" isn't scary. There are a few moments that land, but most of it feels empty. Then there are the bothersome stylistic choices with the camerawork, which, despite being tied to the story, quickly become annoying.
The Blair Witch Project caught flak for its shaky camera, but a rewatch reveals the intentionality behind those moments. Here, it’s as if these characters have never held a camera before, right from the outset. It's already a challenge for found-footage films to justify why we, the audience, are privy to the footage. It becomes even more frustrating when that footage is so incredibly terrible. Adding to the absurdity, it's 2025, and the camera technology available to these characters makes the poor quality even more ridiculous. This genre typically thrives on a sense of authenticity, but the movie quickly loses any semblance of it. While not all found-footage films work, I've certainly enjoyed quite a few of them, which is why I reached out to see House on Eden. I was even more optimistic seeing the talent involved, having fond memories of Kris Collins’s TikTok videos with her "little-handed" character. It brings me no joy to write such a harsh review, but as someone who watches a lot of movies, I found very little to enjoy about this one. House on Eden will be in theaters on July 25. Rating: 1/5 Review by Jonathan Berk  Five years ago, Netflix dropped The Old Guard, and it was exactly what the pandemic needed. It was pure escapism with chaotic comicbook action, directed by Gina Prince-Bythewood and starring Charlize Theron, KiKi Layne, and Chiwetel Ejiofor, among others. Five years later, the core cast returns for The Old Guard 2 — but this time, they are joined by Uma Thurman, and Victoria Mahoney steps in to direct. It is Mahoney’s first feature film since Yelling to the Sky (2011), and her first action movie. Five years is a long time to wait for a direct sequel, and this one doesn’t quite reignite the joy the first film brought audiences during those dark times. That’s not to say it’s bad, but it’s not quite as impactful. Andy (Charlize Theron) and her team of immortal warriors have renewed their passion to protect the world. With Booker (Matthias Schoenaerts) — surely you still remember then entire team after waiting five years — still in exile after his betrayal, and Quynh (Veronica Ngô) out for revenge after escaping her underwater prison, Andy grapples with her newfound mortality…again…(a detail surely you remember like it was yesterday) as a mysterious threat emerges which could jeopardize everything she’s worked towards for thousands of years. Both new alliances and old must be forged if the team is to overcome the obstacles placed before them. Of course, the biggest obstacle that Mahoney has to overcome is the sheer amount of lore this property asks of its viewers to process and recall. There are many rules in this world, and if you haven’t seen the first film since it debuted on Netflix during the pandemic, then there is a good chance you’ll be scratching your head trying to remember it all. This movie attempts to bring you up to speed with what happened while introducing the relevant details for the continued adventures of this immortal squad, but it struggles to find the right balance. What it has going for it, however, is that the premise and setting for the story are inherently compelling. Additionally, Theron simply demands you pay attention.  If you’re here for the cast, then you will likely be satisfied. Theron and Ejiofor are always going to yield something worth watching when they are cast in nearly any role. Layne is committed to her performance and stands toe-to-toe with the bigger names around her. Thurman is underutilized, but very solid. I truly appreciated the nod to some of her other iconic roles with her character in this one. Ngô gets more to do in this film, but I honestly didn’t remember her much from the first. The rest of the returning cast takes a little longer to remind me that I liked them in the first film, as they just aren’t as recognizable. The other significant addition to this film is Henry Golding, who I just can’t help but keep rooting for, as his charm and presence are undeniable. He is solid here, but, like Thurman, is slightly underused. The cast isn’t quite enough to push this movie over the edge and return it to the heights of the first. There is enough action present, and a good use of the Immortal's abilities is showcased throughout. However, the noticeably lower budget and difference in the director’s style hurt the overall product a bit. Fortunately, the performances and the drama between the characters with an extensive history are compelling, especially within the fantastical world.  Yet, this film still manages to suffer from a franchise folly that has been the bane of many comic book movies: they forgot to tell a complete, satisfying story. Instead, this film is more concerned with setting up the next entry and expanding the world-building rather than focusing on creating a solid, single-serving movie.
Overall, The Old Guard 2 isn’t able to live up to the original. However, it doesn’t overstay its welcome, and delivers enough of what worked in the first film to scratch the residual itch some audiences may have had. Of course, it’s also possible that, much like masking in public, this franchise is a forgotten relic of the pandemic. I found it overall to be watchable, and not as bad as many other forced sequels have been. The Old Guard 2 is streaming on Netflix on July 2. Rating: 2.5/5 FEAR STREET: PROM QUEEN -- Stepping Back Into the '80s for a Slasher That's a Bit Too Goofy5/23/2025 Review by Jon Berk  Few authors have as much cachet with ‘90s kids as R.L. Stine. Whether you were a fan of Goosebumps or Fear Street, there is a good chance that he was an author that you’ve read. His film and TV adaptations have been mixed over the years, but in 2021, Netflix dropped three pretty solid films inspired by the Fear Street brand. The connected trilogy spanned three decades, but skipped over the ‘80s. Well, Director Matt Palmer’s Fear Street: Prom Queen fully embraces the ‘80s style, hair, music, and slasher films. Teenager Lori Granger (India Fowler) has lived in Shadyside with a bit of a horrible element hovering over her. The “It” girls, led by Tiffany Falconer (Fina Strazza), have made her life a living hell. Lori’s best friend, Megan (Suzanna Son), is the only thing making this existence bearable. However, it's senior year, and Lori has thrown her name into the mix for Prom Queen. As if fighting with the popular girls wasn’t bad enough, some of the nominees vanish as the big day approaches. The film leans into the ‘80s camp a little too hard at times, making it feel quite silly. There are moments early in the film that immediately made this feel like an outlier compared to the first three films. While the original trilogy has some flaws, it felt like a great entry into the horror genre overall. For the most part, the new film feels more like an homage to the genre, rather than a stand-alone entry. Still, there is enough here as the film moves on to justify its addition to the Netflix catalog.  The cast is committed to delivering this tribute to the campy horror films of the past. Fowler, Strazza, and Son are all really great in their roles. Fowler has the charm to carry the film in the lead role. Megan is a horror fanatic, and the movie plays with that in some fun ways. One such way that stood out was this kind of dumb scene that still manages to find a laugh… however, part of that laugh was due to the teacher’s reaction, played by Chris Klein. Rounding out the cast, we find Lili Taylor, an ever-present force in horror, as the righteous principal of the high school, Katherine Waterston as Tiffany’s mother, and Ariana Greenblatt as one of the other surprise prom queen nominees. All of the performances work for the story being told, but that’s the other part that doesn’t fully connect.
As noted, the film leans into the '80s slasher tropes. There is a murder, and it’s a solid enough kill scene. Despite these elements, the motivation and the following aftermath don’t really work. In fact, the motivation and pacing are part of the problem. The film takes a while with a few too many montages before establishing the mystery or any additional killings. While the audience is aware of the murder, the characters just shrug off the missing character as an unusual thing. However, it takes them quite a while to realize there is something worth investigating. The 90-minute film manages to drag on for a stretch before it really gets going. Fear Street: Prom Queen finally comes into the genre. The mystery mostly works, and the finale is solid enough. There are a few story elements that feel a little unresolved by the time the credits roll. The fact that it felt like it dragged too long, and yet leaves story elements unfinished, is bothersome. Fortunately, there is enough here to make it worth investing a view in, especially if you were a fan of the first three. Fear Street: Prom Queen is on Netflix May 23. Rating: 2.5/5 Review by Jonathan Berk  Wes Anderson's new film, The Phoenician Scheme, is full of his familiar style and flair. Despite the similarities his twelfth film shares with its predecessors, Anderson takes the time to experiment with the addition of new elements to liven up his impeccable production design. Much like his style, the film is full of familiar faces, but even there, we discover the inclusion of a new actor among his usual suspects that feels like a long-lost love. Fans of Anderson should find his newest film to be a triumph, and walk out feeling satiated. Zsa-zsa Korda (Benicio del Toro) has survived many plane crashes. The latest one felt a little too close, and he decides it's time to embrace an heir. He looks to his estranged daughter, Liesl (Mia Threapleton), to take over his vast empire. However, her eyes are set on a different kingdom: that of heaven, as she plans to take her vows in the coming weeks. The two set out to acquire funding for his greatest plan to date, which will secure his legacy and wealth for years to come. While Anderson is often praised for his set design, costumes, staging, and overall camerawork in his films, he rarely tackles action. Often settling for witty dialogue between characters, the few moments of action in his new film apparently opened the path to some new ideas. On multiple occasions, a POV camera is utilized to show the impact of some hits that have a similar comedic tone to the often biting sarcasm found in the dialogue. It was fun seeing the established auteur try some new things. Anderson clearly has a strong rapport with many actors who have worked with him over the years, based mainly on their frequency of return. Del Toro's section of The French Dispatch was one of the stronger elements of that anthology-style story. He fits into the quirky spaces that Anderson builds perfectly, and this pairing really finds its footing here. The deadpan delivery and odd timing fit del Toro's style perfectly. Not only is he a compelling screen presence easily able to carry the film, but he's just a total blast as this character.  Threapleton is a new player in Anderson's troupe, but feels like an instant fit. The chemistry – or intentional absence of it, in moments – with del Toro truly works well. Their relationship is the centerpiece of the story, and if you didn't buy their connection, the film would fall apart. Fortunately, they work together perfectly throughout the film, and they are dynamite on screen together.
While Threapleton is incredible, the true shock was seeing that Michael Cera had never worked with Anderson before. If ever there was a match made in Heaven, it is this one. Cera's natural awkwardness feels like it is the mold in which Anderson used to craft many other characters in his oeuvre. Cera is the tutor that Zsa-zsa keeps around, who gets a promotion to assistant when the journey begins. He is ever present and used perfectly to interject a variety of emotions. It's great seeing Cera flex his comedic chops and acting prowess in a Wes Anderson world. There are many familiar and famous faces sprinkled throughout the film. Some are clearly visible in the marketing, while others may be a welcome surprise. The film is a globetrotting epic set to a svelte 102 minutes. Some of those faces show up for mere seconds, while others play integral moments that people will walk out talking about. It's likely everyone will have that one scene that really clicks because you just couldn't stop laughing. Similar to Asteroid City, Anderson employs a B-story that is black and white. It's by far one of the most layered elements of the film, and will require some true reflection to decide what, if anything, Anderson was thinking about. The scenes have the potential to have deep, existential meanings, but also offer some of the best cameos. The Phoenician Scheme is Anderson's best film since The Grand Budapest Hotel – and I liked Isle of Dogs, The French Dispatch, and Asteroid City. This film is so propulsive and full of laughs, it’s undeniable. The characters have depth, the jokes pay off, the cast is on point, and Anderson's aesthetic is immaculate as ever. There are allusions to films of the past and a world long forgotten; yet, at the heart, it's about a father and his daughter. The Phoenician Scheme will be in theaters on May 30. Rating: 4.5/5 |