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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
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Reviewed by Jonathan Berk  Our expectations of a movie can be influenced by a number of factors. If you’re only familiar with a few details, like the lead actor and the few selected moments shown in the trailer, it’s easy to be led astray into thinking what the actual film will be about. Recently, Lorcan Finnegan’s film, The Surfer, subverted my expectations. In this case, the trailer and the inclusion of Nicolas Cage led me to expect more of a revenge movie, but I made the mistake of overlooking a key detail, not realizing that Finnegan’s directed the 2019 film Vivarium. The Surfer was far more abstract and metaphorical than I’d expected. A man (Cage) returns to his childhood home, hoping that buying his father's old house will resolve many of his problems. The beach by his soon-to-be home is where he started surfing, and he brings his son to experience the beauty of the surf. However, he’s met by the “Bay Boys,” who really emphasize their credo of “Don’t live here; don’t surf here!” His pride is hurt during this interaction, pushing him into an ever-rising conflict that threatens to shatter his picture-perfect plan. Cage excels at portraying the absurd. While his character has moments of relatability, he also takes the performance to the extreme. This is something that Cage has proven to excel at time and time again, and that’s no exception here. Similar in some ways to his character in Dream Scenario, he is a normal man with hopes of making sense of his life, but finds himself in an ever-spiraling situation. Every time it seems things couldn’t possibly get worse, they do. Cage sells the descent his character must fall into before he is able to start to fight his way out, better than almost any actor can. What Cage brings to a film like this is quite interesting. His performance feels so big and over-the-top at times, but he manages to bring in these little nuanced elements that blend together in such a way to keep everything balanced. It wouldn’t work if the film itself were semi-grounded in reality, but that’s not what is happening here. This element of the story is made clear not only by Cage’s performance but also by how it is depicted on screen.  Finnegan’s film establishes early on that it’s not going for realism. There are technical flourishes with the cinematography that imply things are not as they seem. Is it the heat wearing on the character? We see close-ups and heat waves that imply the character’s psyche is in peril. There are rapid cuts to images that could be memories, premonitions, or something else altogether. We are shown through film language that this is not just another beach movie about surfing. As the film reveals more about the characters in this ironically confined setting, it becomes clear that it aims for a deeper meaning.
Scally (Julian McMahon) is the leader of the beach, with his shack acting as a clubhouse for the group of teens. There are various elements at the beach in play: a homeless man living out of his car, the coffee shop employee, the various surfers, a police officer, and a few nearby residents who frequent the beach. Their interactions with Cage help to establish that things aren’t exactly what they seem. Scally is at the center of all of it, and McMahon delivers an equally balanced performance, being equal parts welcoming and menacing throughout. These questions of reality are hinted at with those flashes of images, but the film keeps some of its mysteries close to its chest. Yet, astute film viewers will see the potential premise as it plays out. At times, The Surfer doesn’t fully connect, and its direction feels somewhat too silly. However, this is a film with much to appreciate, and its overall experience is a satisfying one. The uniqueness of Finnegan’s style also delivers an abundance of joy, as he has a distinctive voice. While the film generates tense moments, it maintains a brisk pace. It explores its ideas with a zany bit of anxiety, and it’s all held together by Cage’s performance. If you like Cage’s more odd films, then you’ll likely find joy in this one as well. The Surfer will be in theaters on May 2. Rating: 3.5/5 Review by Jonathan Berk  Ryan Coogler looms large in terms of modern-day directors to the point that it seems impossible that his new film, Sinners, is only his fifth. From his debut with Fruitvale Station, and the first of four collaborations with Michael B. Jordan, to Creed to Black Panther, and its slightly divisive sequel Wakanda Forever, Coogler has continued to demonstrate his understanding of the form. Sinners is his first truly original story, and he flexes his skills to incredible levels. This film should silence any doubters and secure Coogler as one of the most important voices in cinema today. Set in Mississippi during the 1930s, twin brothers Smoke and Stack (Jordan) return to establish a juke joint. They are fleeing their immediate past and returning to a past they left behind. Their young cousin Sammie (Miles Caton) helps them establish the team they need to make their grand opening a big success, with his own guitar playing being paramount to the entertainment. While they are setting about to achieve their dreams, a new evil lurks just outside their walls. It doesn’t take much research to learn that Coogler is a student of the art form. Like Quentin Tarantino and Edgar Wright, Coogler is able to rise above imitation and pastiche to synthesize the films that inspired him into something personal and authentic to his voice. Film nerds will spot the inspiration and the homage embedded in the frames as they burst onto the silver screen, but you’ll hear Coogler’s voice. His story, style, and aesthetic are clear and feel immensely original while managing to also feeling familiar. These elements of his craft lend themselves to the viewing of the film as well. Every aspect of this film is immersive and equally impressive. The film looks incredible in its cinematography, costumes, and production design. These elements bring the audience into a world that feels so lived-in. The characters are crafted in such a way that they don’t have to dump tons of backstory for you to truly know who they are. While the frameworks of archetypes are there, it doesn’t feel like cookie-cutter clichés dancing on screen. These people have lived lives, and we are joining them at a crossroads. The stakes are clear, and Coogler makes all of that an unbelievable cinematic adventure that keeps the audience hooked from minute one.  Jordan is always watchable as a screen presence, but he is always at his best with Coogler. The same actor playing twins is often a risky choice by filmmakers, and from the first time he is on-screen with himself, Coogler wants to show off a bit. The two light a cigarette and pass it back and forth seamlessly in the same frame. Smoke and Stack are similar yet distinctly different, and a lot of that is due to Jordan’s dual performance. His charm goes a long way, but there is something to his performance that stands out.
Caton makes his feature film debut here, and that detail was shocking. Nothing about his performance feels like a debut. Yet, his character, Sammie, is ultimately making his debut to the world. He has existed, but this night is pivotal to the life he will lead. He has ambitions of his own, but the people in his life all seem to believe they know what is best for him. A familiar role, but the way it plays out in the film feels incredibly original. The cast as a whole is completely incredible. Fans of Delroy Lindo will be ecstatic when he shows up and owns every scene he gets. Wunmi Mosaku is incredible as Annie in this film. Hailee Steinfeld has been an incredible screen presence since her debut in True Grit (2010), and gets to show her evolution as an actress here. Then Jack O'Connell continues his 2024 momentum and stealing scenes and playing an incredible villain. Of course, one could argue that the real breakout of this movie is music. The songs and score written by Ludwig Göransson take inspiration from various genres, but center around the blues. The trailers allude to many things about the film, which I’ve mostly left out in case a reader doesn’t want to know the details, but almost nothing about the role music plays in this. While not quite a musical, Coogler again demonstrates his love of cinema by paying homage to the Hollywood musical and its framework. The importance of music has on this story and its characters will likely resonate with audiences. If nothing else, it elevates an already incredible genre movie. Sinners may be Coogler’s opus. It delivers in every aspect and shows why creative people should be given creative license. What’s lost on the Hollywood executives who are constantly chasing existing IP because of the built-in audience is the idea that, at some point, all of those IPs were new. They started with nothing, and fans flocked to them, likely because there was something genuine about them. This film is a great example of that. Sinners is in theaters now, and you should see it on the biggest screen possible. Rating: 5/5 Review by Jonathan Berk  The Penguin Lessons is a new film that, despite being set in the past, feels somehow extremely current. I found this movie to be a pleasant surprise for a multitude of reasons, namely because of Jeff Pope's incredible script, Steve Coogan's astounding performance ( which combines drama and comedy), and Peter Cattaneo's solid direction. Of course, the cute penguin and the fact that the story is inspired by true events help to make it quite compelling. This feels like one of those quiet films that may not work for everyone…but if it does, it’ll leave you gob smacked. Inspired by a true story, Tom (Coogan) moves to Argentina in 1976 to work as an English teacher at a private school. He is very content living life on the sidelines, doing just enough to stay afloat. However, Tom discovers he lives in a divided nation, and teaches a class of unteachable students. It’s not until he rescues a penguin from an oil-slicked beach against his better judgment that his life starts to change. Fans of Coogan will not be too surprised at his ability to nail this role. Tom exudes a dry sarcasm mixed with cynicism from the moment he first arrives in Argentina. He keeps most people at a distance, seemingly interested in nothing more than just skating by. An early scene shows him taking a nap on a bench when he is supposed to be coaching rugby. He overhears a conversation between the local fishmonger and Sofia (Alfonsina Carrocio), a school custodian, about the change in government. Sofia inquires whether her conversation disturbed his nap, but he pretends he heard nothing. It’s a keen insight into Tom's psychology. He is very much interested in people, and clearly has ideas about the way things should be — or at least the way things could be. However, he opts for the passive role in life. The way the story plays out in Pope’s script forces Tom to have to make some tough choices. Coogan not only can bring levity to many of the scenes but is capable of effectively delivering the emotionally powerful ones. He can maintain the facade of his outward persona while his eyes betray the true emotional turmoil boiling underneath. It’s a powerful performance inside a captivating story.  The supporting cast is also deserving of praise. Jonathan Pryce plays the school’s headmaster, who is a tough nut to crack — but eventually, he warms up as well. Björn Gustafsson plays a Finnish co-worker who is desperate for a friend and a shoulder to cry on, with no sense of personal space. Carrocio is great as Sofia, and her grandmother is played by Vivian El Jaber, who has incredible moments with Coogan. Several of the students give solid performances, with David Herrero being the standout. Despite all the solid performances from the human cast, there is a clear co-star that is undeniable…the penguin.
Technically, it was a couple of different penguins, but every moment that there is a penguin on screen is just wonderful. Coogan is able to bounce off the bird as if it were Rob Brydon during any of the moments from The Trip franchise. That’s not a shot at Brydon as much as it is a credit to both Coogan and the penguins. There is so much chemistry with this pair that it makes the movie a pure joy to watch. However, the penguin gets moments with other characters — and they all work. An unexpected element of this story is one that parallels with the Oscar-winning I’m Still Here, as the new government is making people disappear. It’s a plot point that greatly impacts Tom and his fear of getting involved. The fear of government retribution also creeps into the classroom, and what he is allowed to teach. The students at the school are mostly spoiled kids of wealthy Argentinians with various connections to the new regime. The idea of doing nothing while so many others' lives are being impacted is a major source of conflict for Tom and one that many may relate to right now. There is no denying that movies about teaching usually connect with me. Tom doesn’t start as a teacher that I would support. However, as the film went on, I found Tom to be a kindred spirit. The connection to the unexpected pet only felt all the more relevant for me, having just lost a dog of over 15 years and then immediately gaining a new puppy. I say all this to make sure it’s clear that this film felt like it was made for me at this specific moment. Your mileage may vary. Despite my predisposition to connect with this film, I still think it is quite exceptional. Pope’s scripts for Stan and Ollie and The Lost King worked for me as well. Coogan is usually a reason to give a film a chance if he has more than a few scenes. There is much at work to make The Penguin Lessons a standout; and yes, the penguin is also a metaphor. The Penguin Lessons will be in theaters on March 28. Rating: 5/5 Review by Jonathan Berk  There was once a time when seeing Joe Russo and Anthony Russo’s names attached to a film would spark true excitement. Captain America: The Winter Soldier and Captain America: Civil War were two early favorite Marvel films, which serve as great examples of this. Then, they were given the keys to the two biggest Avenger films – Infinity War and Endgame – that were major box-office successes and fan favorites. However, since then, they've had two directorial failures in both Cherry and The Gray Man, with neither being well-received. While the brothers have no problems pulling talent into their projects, there does seem to be something missing in the execution. Their new film, The Electric State, has many familiar faces treading through even more familiar genre tropes that never truly spark. In an alternate '90s, the Sentre corporation's drone program led to human victory in a robot-versus-human war. Now, humans escape into a virtual world and live vicariously through drone robots. Michelle (Millie Bobby Brown), an orphaned teen, encounters a mysterious robot who claims to have information about her brother, whom she believed had died with their parents. They must venture into dangerous territory and seek help from a smuggler named Keats (Chris Pratt) and his robot ally, Herman (Anthony Mackie). Of course, the dangerous terrain is not their only enemy, as Ethan Skate (Stanley Tucci) and Colonel Bradburry (Giancarlo Esposito) each seek to stop them from finding what they seek. Rounding out this robust adventure setup is Woody Harrelson, who plays Mr. Peanut, the leader of the robot revolution. The plot is a bit convoluted, yet straightforward. A young girl believes she has lost everything that mattered to her, only to find out that there is a chance her brother is, in fact, alive. She also rejects the virtual reality that the rest of humanity escapes into, but she doesn’t hate robots like everyone else. Her family wasn’t killed by robots, as one might predict, but rather by a freak car accident. These "character traits" are ultimately tied to the film's theme about being connected and not becoming isolated by the virtual world—a clear allegory for our smartphone-centric world. While there is a big preachy monologue wedged in here to ensure that the audience gets the point, it doesn’t feel as authentic or insightful as it seems to think it is. To be fair, audiences probably aren’t coming to a film like this with the hope of finding a new philosophical paradigm that they can subscribe to. Instead, they are likely hoping to enjoy some laughs, be awed by action, and be enveloped by a unique science fiction landscape. Those elements are present this movie, but have been done better in several others. For example, The Hitchhiker’s Guide to the Galaxy would be a far better use of one’s time than checking out the latest Russo joint. Furthermore, Blade Runner, I, Robot, Real Steel, and even Chappie offer better takes on human and robot relationships. While there is always room for new interpretations of a topic or genre in film, The Electric State feels more like a patchwork quilt that only serves to remind the audience that potentially better things that would satisfy their cravings already exist.  Pratt is doing what Pratt does best. He is self-deprecating while also somewhat egotistical. He has sidekicks that he both talks trash about but also clearly cares for. Keats is essentially a Diet Star-Lord, and also serves as a reminder that you can get a better version of this character elsewhere. Mackie is doing a pretty great Kevin Hart impression, and works well as a sidekick here. It is a true voice performance as well, which earns him some extra points. Millie Bobby Brown is trying hard to break out of her Stranger Things typecasting, but never can quite escape her role as Eleven. She is, however, once again playing an angst-filled teen who has trust issues with the adults around her. Everyone is against her, and she is railing against the system. The performance isn’t bad, but the character’s motivations never feel fully understood. She loves her brother, who was shown in flashbacks to be a genius – but many of the elements around her actions don’t add up.
Harrelson, Esposito, Tucci, and Ke Huy Quan all deliver solid enough performances. They do kind of exactly what you expect these guys to do. Harrelson is the snarky elder who imparts wisdom in subtle barbs. Esposito is doing his stone-faced serious style rather than his scenery chewing, which he leaves for Tucci. Quan is playing on his nerdy typecasting as well—which is all fine, inside a mediocre script. Many other celebrities appear in this film, to varying degrees. Some provide the voices of robots, and others just show their faces on the TV screen of a drone. It’s clear the Russos have at least made friends with many Hollywood names, so they can get people on board for small parts. It’s worth mentioning that there are a few action sequences that are solid enough, and the visual effects are also better than some of the recent Marvel films. I liked the design of Herman and the robot that helps Michelle start her journey. It’s all fine…but nothing feels too impactful to make the film stand out. Ultimately, The Electric State is a little overwrought, and about thirty minutes too long. It may whet one’s appetite for a sci-fi action comedy, but it will likely only make you hunger for something better. The Electric State will be on Netflix on March 14. Rating: 2/5 Review by Jonathan Berk  The Western continues to exist in our storytelling for a multitude of reasons. It's the origins of our country. It's the fundamental story of good versus evil. Furthermore, there is something inherently compelling and undeniably cool about cowboys. Director Brian Skiba's new film, Guns of Redemption (2025), dabbles in the familiar tropes of the genre — but it ultimately feels similar to enduring a hungover friend attempting to recap the events of another drunken weekend. The details are there, but they aren't in the right order, and they don't really add up to anything riveting. A stranger, Luke (Casper Van Dien), offers his services as a carpenter to a small town and its church, led by Parson Dyer (Sean Astin). Luke is clearly haunted by his experiences in the war but is seeking redemption. His hope for a second chance is dashed when old enemies arrive in the town, and he feels the need to return to his violent past. When broken down into its simple parts, this story sounds quite familiar. The old gunslinger who is ready to find peace is forced to kill yet again. Shane (1953) is probably the best example of this story structure. That film is a master class that inspired the structure of Logan (2017). Unfortunately, the script leans heavily into melodrama, overcomplicating its premise. Most notably, Luke's background isn't just a mystery to the characters in the town, but also to the audience. We don't really know what motivates him, or that he is even seeking redemption. Without getting into spoilers — when we do finally find out what exactly he is seeking redemption from, the audience may find it hard to be wholly sympathetic towards him. However, if we are to root for a character to be redeemed, we must understand that there is, in fact, something to be redeemed for.  The story becomes more convoluted when Anna (Siena Bjornerud), and her younger sister, Charlotte (Kaitlyn Kemp), are introduced. They are being sold to the men of the village by the notorious former Union soldier General Bork (Jeff Fahey), who has gathered a reputation of traveling from village to village, providing vices for the citizens to blow all their money on. The girls are imprisoned for a debt, and are seeking any way to escape. Luke takes note, and sees them as his opportunity to prove himself redeemed. The performances of the cast are uneven, but Fahey kind of nails the villain role. He is most definitely the highlight of the film. He brings a cold, calculating quality that makes him feel quite dangerous, even when he is doing very little on screen. Van Dien is a familiar hero, but is often relegated to B-movies like this one. His square jaw goes a long way to make him a hero figure, but it ultimately feels a bit vanilla. Astin always delivers a solid performance; however, the accent he is aims for comes and goes a bit too frequently. The two sisters are fine, but the dialogue they're given doesn’t do much to help their case. Still…it's not really the performances that bring the movie down as much as it is the story. To have a successful western, we need to know who the good guys are, and who the bad guys are. If there is a character straddling the line, we need to understand that — and see why he is leaning one way more than the other. This film dances with that idea, but never truly nails it. Every time the stakes are elevated, it feels more like a joke than a general attempt at good storytelling. All one needs to do to see this point is to read the included synopsis for Guns of Redemption that says “he must strap on his gun before he bleeds to death or dies from the bullet lodged in his spine”. That spine bullet isn't just an old injury that is a reminder of his troubled past, but rather one from his first attempt at redemption that doesn't quite go his way. If that sounded a bit like a mess, then you'd be right. Guns of Redemption is on VOD on March 7. Rating: 1.5/5 Review by Jonathan Berk  2024 was the first year that there wasn’t a proper MCU film, with just Deadpool & Wolverine being the sole release coming from Marvel Studios. The big question left to answer now was this: could the MCU find its footing once again after many felt the films, post-Avengers: End Game, had dropped off in quality? Director Julius Onah returns audiences to the MCU with his film, Captain America: Brave New World. Captain America makes his cinematic return but with Sam (Anthony Mackie) wielding the iconic shield. After meeting with newly elected U.S. President Thaddeus Ross (Harrison Ford), Sam once again finds himself in the middle of an international incident. He must now discover the reason behind a nefarious global plot before the true mastermind has the entire world seeing red. While Falcon and the Winter Soldier didn’t quite convince everyone that Mackie could fill in as the lead, he won enough people over to get his first solo movie. Mackie is the clear highlight of the film. He is able to uphold the mantle while bringing something new to the iconic character. The new suit also looks very cool, as it preserves his origins as Falcon while effectively melding it with the red, white, and blue of Captain America. That concept plays into the themes of the story through patriotism, being true to oneself, and American values. Also returning from the show is Danny Ramirez. Ramirez is the unexpected joy of the film. The chemistry between him and Mackie is stellar — when the two share scenes where they are working together, those scenes truly pop in a satisfying way.  The big casting change was adding Ford to replace the now-deceased William Hurt, who had played Ross in a few other MCU films. Ford is a tremendous talent and inherently presidential. It's been a while since Air Force One or Clear and Present Danger, but Ford still has it. However, his star power and screen presence aren't enough to save the film from what will have you really seeing red…the script.
There is no better way to describe the story of Captain America: Brave New World than clunky. Unfortunately, there are far too many scenes of exposition. What makes those scenes even worse is that a majority of the exposition is either uninteresting or downright a little dumb. In many ways, this movie feels the most “comic book” in the derogatory sense of the word. It felt silly and over-the-top, which could be a direction the MCU is looking to move to…but it could push away its already waning fanbase. It’s not totally surprising that this film gets saddled with tying up some loose ends in the MCU. For fans of all of the content, they will likely take some pleasure in spotting all the well-placed easter eggs. For people coming to this 35th entry without all of the passion for the obscure pieces left in prior entries — they may find the experience daunting. While there is plenty about this film to complain about, Captain America: Brave New World delivers enough to spark that familiar enjoyment these films tend to bring. In many ways, the MCU seems to be making this a midpoint movie that will lead audiences to the next phase. Will we ever get back to the highest highs of the Marvel Avengers: End Game? It seems less and less likely. However, maybe we can get to the point when the movies stop trying to connect them all and focus on making one good one. Captain America: Brave New World will be in theaters on February 14. Rating: 3/5 Review by Jonathan Berk  The world of professional wrestling seems like the perfect topic for cinematic exploration. Films like Iron Claw or The Wrestler provide examples where this works to tremendous effect — while other films, like Ready to Rumble or the Hulk Hogan-led No Holds Bars fall short of achieving this feat, or simply don’t quite work for everyone. Even horror has used the squared circle and the costumed contestants for its setting. Well, making its way to the ring is director Lowell Dean’s new film, Dark Match, which blends the world of professional wrestling and horror for 90 minutes of in-ring mayhem…sort of.
The movie begins in the ring with a few matches that culminate with Miss Behave (Ayisha Issa) versus Kate the Great (Sara Canning). After Miss Behave hits Kate for real, she’s punished by the small-time wrestling company’s promotor through a pay cut. Thus, when she and several of the other wrestlers are given an opportunity to earn some extra money by wrestling a ”dark match” by a private party, none of them are really in a position to refuse. It’s not long before the wrestlers take notice to the fact that there is something very wrong with these people and that the stakes are much higher than they expected. The problem with this film which appears to be intently focused on wrestling is that there is a pretty substantial section of the film that is completely devoid of wrestling. Sure, the film starts there, and once it kicks back in it becomes a centerpiece of the finale. However, the moments in between aren’t nearly as exciting or compelling. Fortunately, Issa and Steve Ogg have significant chemistry, and when they’re on screen together, there is enough to keep you on the hook. Unfortunately, there just isn’t enough horror or wrestling for a good thirty minutes — and that feels like a bit of a waste. Fans of wrestling may nitpick some of the sequences. They are edited to death and thus don’t quite emulate the feeling of watching wrestling on TV. What’s probably worse than those edits is the use of jargon and in-ring conversation that feels like someone is only vaguely familiar with the industry. For the casual wrestling fan, these elements may be easy to ignore, or may even spark enough recognition to be meaningful on a basic level. The film is set in the late 80s — which is a prime era of professional wrestling — and kayfabe was the law. One thing that announcers never did was refer to wrestlers as “heels” or “faces”, which this film throws out the window pretty early on. Modern fans will know those terms, as the concept of kayfabe has fundamentally changed, and fans are allowed to peek behind the current more and more. While these details may seem inconsequential, it just makes you wonder why wrestling was chosen for the subject matter. The horror elements that take a minute to truly kick in are solid enough, once developed. The types of matches the wrestlers are put in vary, and only partially utilize their unique premises. The most frustrating was the water match, which ultimately didn’t do anything with its premise. However, the violence that erupts lives up to the genre. Still…for a film that goes very into the genre, it seems like there was quite a bit of room to be more creative with the types of matches presented. Dark Match moderately, at best, lives up to its name. It’s not something everyone should see, but there is enough here for fans of the style to enjoy. One would think that the inclusion of AEW’s Chris Jerico (billed as Chris Irvine) should have added even more credibility to the wrestling…but it kind of doesn’t. Despite some of the film's weaknesses, it’s an easy watch. Dark Match will be on Shudder starting January 31. Rating: 2.5/5 Review by Jonathan Berk  It’s very likely that you've looked in the mirror at some point in your life and wished you could change something about yourself. Those feelings of self-doubt are often potent, and exponentially worse when you’re young. As a teenager, it can be immensely difficult to find comfort in your skin. If your father’s life work was to develop a scientific marvel that would allow skin grafts to organically grow and help “heal” scars — with the primary motivating force behind this development being not only his scars, but the one on your face…well, it probably makes it even harder to find comfort. Sasha Rainbow’s new film Grafted grapples with this very idea. Wei (Joyena Sun), a Chinese student who is left orphaned after a tragic accident in her father’s lab, moves to New Zealand on a scholarship to live with her aunt and cousin Angela (Jess Hong). Uncomfortable in her skin and awkward to boot, Wei attempts to fit in while working to complete her father’s experiments. She takes a job as a lab assistant with her brilliant professor (Jared Turner), where she will have access to the equipment she’ll need. The mad scientist and body horror elements of this film are the clear highlights. Wei exhibits a strong element of obsession with her work, driven to “fix” the scar that she hides under a scarf for the majority of the film. It feels like a throwback to films like Re-Animator or From Beyond in that way, especially when it gets a little silly. Every time Wei seems to begin getting a grip on her life, something else happens to escalate the drama surrounding her. Despite her brilliance, she’s not always capable of making the best decisions.  Sun is nothing short of excellent in this role. Her performance convincingly sells the awkward qualities presented early on but takes on new flourishes later in the film after her character has had to transform. Hong and Eden Hart are asked to do even more with their characters. It would be a spoiler to explain why, but their performances deserve some well-earned recognition. Considering this was the first film for most of the young cast, it is relatively impressive. In some ways, they’re behaving exactly as you may expect high school students to act. Yet, when the film’s story gets going and the crazy starts to unravel, they have to take their performances to another level.
While those elements stand out, something is lacking in the film overall. The story noticeably starts to drag,, and several beats just repeat themselves. Wei finds herself at odds with many of the various people she’s encountered throughout the film. It sometimes feels a little convoluted, and the phrase “less is more” kept creeping into my mind while watching this film. Sometimes, it is very hard to sustain a good idea for 93 minutes…and that seems to be the issue here. Nonetheless, Grafted is a solid horror film to start the new year. The performances, body horror, and nods to similar films that have come before make it enjoyable overall. There is quite a bit of room for improvement, but it should ultimately scratch that itch for horror fans. Rainbow shows potential, and it’ll be interesting to see what her follow-up movie will be. Grafted will be on Shudder on January 24. Rating: 2.5/5 Review by Jonathan Berk  (from left) Charlotte (Julia Garner), Blake (Christopher Abbott) and Ginger (Matilda Firth) in Wolf Man, directed by Leigh Whannell. There are plenty of werewolf movies at this point, and the lore behind the creature has shifted in multiple ways. Universal brought us the monster in the 1941 film The Wolf Man, which has since become a major element of its stable of monsters. After several failed attempts at rebooting the Universal Monsters – which concluded with The Mummy – Blumhouse and writer-director Leigh Whannell's Invisible Man finally found a formula that worked. Thus, the second entry, Wolf Man, had a lot of hype around it. While it is by no means the trash that Blumhouse is known to drop in January, it doesn't live up to the quality of The Invisible Man or many of the werewolf movies that came before it. Blake (Christopher Abbott) finally gets closure when a letter confirms that his estranged father has been declared dead after going missing in the Oregon woods. In an effort to fix his marital problems and tighten his family bonds, Blake suggests that Charlotte (Julia Garner) and their daughter Ginger (Matilda Firth) travel to his childhood farmhouse in rural Oregon. What begins as a potentially relaxing getaway from the big city quickly sours as the family is attacked by an unseen animal, and is forced to barricade themselves in the home for what could be the last night of their lives. The script by Whannell and Corbett Tuck is admirable for attempting to craft a character-centered story. Abbott and Garner give tremendous performances that help carry the emotional weight of the narrative. The problem is that the script is a little weak in terms of logic and dialogue. There is a lot of expository dialogue that almost feels like the characters are simply reading stage directions, as it is so blunt in its messaging. Even the idea that their marriage is on the rocks is simply told to us in an awkward scene before their trip to the farmhouse. It would have been fairly easy to suggest that their relationship was in jeopardy without having an awkward conversation. There is no visible evidence of it other than this kind of generic argument followed by his suggestion that they leave town. Their relationship status also doesn't feel necessary. The payoff of this setup element never quite hits in a way that makes sense of its inclusion in the story.  (from left) Ginger (Matilda Firth) and Blake (Christopher Abbott) in Wolf Man, directed by Leigh Whannell. Firth and Abbott also have great chemistry. You believe their father-daughter connection, and that helps make many of the scenes pay off. Unfortunately, the film also features one of the clunkiest line deliveries one could imagine, punching audiences in the face with the theme so it would be impossible to miss. Other than that line feeling so painfully on the nose, it also raises the issue of the choice to have it in a werewolf tale.
The lore of werewolves varies from film to film and story to story. However, the reason the story has existed so long is the visceral nature of our inner beasts breaking out and running amok. The metaphor behind that transformation has taken on a variety of forms — from puberty, as in Teen Wolf and Ginger Snaps, to the emergence of the id, as in An American Werewolf in London or Wolf. In this instance, the transformation component of the tale doesn't feel as focused as many others. There is a reason, but it feels underdeveloped in comparison to other versions. Much of the movie feels like a series of brainstorming concepts that never quite got worked through to their conclusion. Everything that is set up gets some kind of payoff, but it often feels like it takes major leaps to get there. The pacing of the film helps cover up some of these gaps as it rushes you to the next beat — but looking back, it is easy to notice how rushed certain elements feel. Despite those story hiccups, the tension and overall feel of the film manage to help it limp to an overall satisfying experience. The cast and the world they inhabit are compelling. Some innovative POV shifts play on the werewolf mythology in interesting ways which also help set it apart from previous iterations of the story. Rarely do we get to experience the world through the perspective of the werewolf, and it is used to great effect here. It doesn't do a great job of handling the specific rules for this version, but the ones that are established are at least maintained. Wolf Man is a mostly entertaining and watchable film for a January release. Yet, it doesn't deliver the same impressive quality as Invisible Man. Thus, it's hard not to feel a little disappointed. For every original element in this film, there are a few generic horror tropes that ultimately hurt the overall experience. If the actors weren't capable of carrying the weak script with their performances, the film would likely not work at all. Wolf Man is in theaters on January 17. Rating: 3/5 |