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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
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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 Review by Jonathan Berk  It never fails that come December, movie nerds will debate whether Die Hard qualifies as a Christmas movie. Well, director Jaume Collet-Serra's Carry-On feels like a spiritual sequel to Die Hard and Die Hard 2, aiming to be the next holiday action-thriller that frequents screens during the season. While it doesn't quite reach the heights of its inspirations, Carry-On still delivers enough entertainment to be worth checking out. Taron Egerton stars as Ethan, a TSA agent working on Christmas Eve in Los Angeles. At a crossroads in his life, Ethan decides it’s time to get serious about his career — but those plans are derailed when a mysterious traveler (Jason Bateman) coerces him into letting a dangerous package through security. Bateman as a villain works surprisingly well. His trademark dry sarcasm and smart-ass charm translate seamlessly into the role of a mastermind antagonist. Bateman’s character exudes calm control, and his portrayal as the smartest man in the room feels utterly convincing. Egerton, meanwhile, demonstrates once again that he has all the makings of a compelling lead, despite somehow seeming to always be just out of the limelight. Known for his standout roles in Kingsman: The Secret Service, Rocketman, and Eddie the Eagle, Egerton brings innate charisma to Ethan. His American accent is solid, and he sells the cat-and-mouse dynamic with Bateman, making their verbal and mental sparring a highlight of the film.  A robust ensemble cast supports them. Danielle Deadwyler plays an LAPD officer who catches wind of the chaos unfolding at the airport. Her storyline intersects with Ethan’s early on and provides a much-needed reprieve from the airport setting. Deadwyler, who has dazzled in dramatic roles like Till and The Piano Lesson, shines in this more action-driven part, showcasing her versatility.
Sofia Carson plays Ethan’s girlfriend, a fellow airport worker whose encouragement sparks his desire to get his life on track. While her role is initially minor, Carson gets more screen time in the third act, and her chemistry with Egerton makes the relationship and journey between these lovebirds compelling. The supporting cast also features Dean Norris, Sinqua Walls, Logan Marshall-Green, Tonatiuh Elizarraraz, and Theo Rossi, all of whom contribute to the film’s tension-filled airport setting. The chaotic holiday travel atmosphere, mixed with Bateman’s high-stakes machinations, gives this movie its Die Hard 2 vibes, leaning into the airport as both battleground and nightmare fuel. While the performances and story are the film’s biggest draws, its visuals leave something to be desired. At times, the lighting and cinematography feel more akin to a straight-to-TV movie than a cinematic spectacle. The action sequences, while effective, often rely on digital effects that lack polish. The car “chase” scene in particular feels either overly reliant on CGI or distorted by lens choices, creating a focus-breaking distraction rather than an immersive experience. Despite these shortcomings, Carry-On offers enough thrills and holiday spirit to make it a worthwhile watch. Collet-Serra has had his share of hits (Orphan, The Shallows) and misses (Black Adam, Jungle Cruise), and while Carry-On may not be a masterpiece, it feels like a step back in the right direction. Fans of holiday action-thrillers or Taron Egerton’s work will likely enjoy the ride, even if the film doesn’t soar as high as its predecessors. While some may not feel that a Netflix holiday action-thriller doesn’t qualify, it worked for me. Carry-On arrives on Netflix on December 13. Rating: 3/5 Review by Jonathan Berk  James Mangold made the beloved musical biopic Walk the Line, starring Joaquin Phoenix as Johnny Cash, which was later parodied by Jake Kasden’s Walk Hard: The Dewey Cox Story, forever changing the way audiences view musical biopics. Now, Mangold returns to the genre with A Complete Unknown, an exploration of Bob Dylan, another musical icon of that era. While elements of the traditional biopic formula remain, this film feels more like a tribute akin to the old MGM Studios The Great Movie Ride — a cinematic ride through Dylan's life, full of admiration and allure. Both the audience and many of the other characters seem transfixed by Dylan, gazing at him from one key moment to the next, as we ride the wave of his musical genius. It’s very much a "vibe" movie, and if you click with it, you’ll find yourself completely engrossed throughout its two-hour and twenty-minute runtime. Timothée Chalamet stars as Bob Dylan, who arrives on the New York folk music scene in the early 1960s at just 19 years old. He’s come from Minnesota to visit Woody Guthrie (Scoot McNairy), who is bedridden in the hospital. Dylan sings to Guthrie and Pete Seeger (Edward Norton), and from there, he becomes part of the West Village music scene, rubbing shoulders with the prominent figures of that era. Dylan’s influence grows as the film moves from one musical performance to another, with each sequence depicting the forging of relationships along his journey all while guided by his iconic songs. Mangold portrays Dylan as someone whose magnetic personality effortlessly draws people in, and Chalamet captures that magnetism flawlessly. While I can’t speak to whether Chalamet's Dylan is technically accurate, I can say that his performance is undeniably captivating and demanding attention. Chalamet achieves this without needing to overact, relying instead on subtle gestures, body language, and an unassuming presence that somehow defies the draw he has. Whenever Mangold cuts to Elle Fanning, who plays Dylan's on-again, off-again girlfriend Sylvie, or Monica Barbaro, who portrays the equally iconic musician, Joan Baez, it’s hard not to understand exactly what their characters feel as they look at Dylan — whether it’s love, admiration, jealousy, or frustration — because we feel it, too. Chalamet has a unique way of bringing nuanced depth to his roles, and here, much of his talent comes from what remains unsaid. His enigmatic portrayal of Dylan taps into the mystique surrounding the musician, reminiscent of the many faces of Dylan presented in Todd Haynes’s I’m Not There, but with a more straightforward narrative that lets Chalamet explore those complexities.  The supporting cast is also quite strong, with Monica Barbaro standing out as Joan Baez. Her scenes with Chalamet crackle with tension, providing some of the film's most electric moments. Their chemistry is palpable, and the highs of the film often come when Dylan and Baez are together on screen. Edward Norton delivers as Pete Seeger and gets two memorable scenes that allow him to showcase his talents. Fanning’s portrayal of Sylvie is emotionally compelling, particularly in a moment where her character comes to a crushing realization—a scene she handles masterfully.
Other standout performances include Boyd Holbrook as Johnny Cash, Dan Fogler as Albert Grossman, and Norbert Leo Butz as Alan Lomax. They help shape some of the film's pivotal moments, and the scenes with Johnny Cash are particularly unforgettable. McNairy, portraying Woody Guthrie during his period of decline, has perhaps the toughest role in the film. He conveys depth and emotion through mostly nonverbal communication. Despite the challenge, McNairy’s understated performance speaks volumes. Adding to the impact of these performances is Mangold’s stylistic direction. From the way the camera moves lovingly around the musical performances, letting us sink into the songs, to the period-perfect costumes and settings, every aspect of the film’s production design immerses us in the era — and it’s just a joy to watch. It often feels as if we are there, witnessing musical history in the making. For viewers like myself, who may not be well-versed in this particular musical movement, it’s a compelling, almost educational experience. Mangold’s evident love for both Dylan and the era of folk music translates clearly to the audience, making this film feel like a celebration of an important musical moment. Unlike some biopics, A Complete Unknown doesn’t attempt to judge whether Dylan was a "good" person. The film shows questionable decisions and complex relationships, but it leaves room for the audience to draw their own conclusions. The central message is clear: Bob Dylan was an unparalleled musical genius, and his art is worth celebrating, regardless of his flaws. The film's true conflict seems to be that anyone would try to stifle Dylan’s creative brilliance—those who did were clearly misguided or selfish. A Complete Unknown will likely be divisive. It’s long, and diehard Dylan fans may take issue with some of the choices made by Mangold or Chalamet. However, for those without that baggage, who simply love music and vibrant storytelling, this film will be a joy. I connected with its tone early on and never doubted my enjoyment. A Complete Unknown is in theaters on December 25. Rating: 4.5/5 NICKEL BOYS -- A Powerful, Heart-Wrenching Film That Shines a Light on Humanity’s Darkest Corners12/9/2024 Review by Jonathan Berk  The real tragedy of humanity seems to be that every time we think we understand the depths of human horror, we uncover yet another atrocity. Just when we believe that humanity couldn’t sink lower, there’s a reminder of how evil we can be. While some might not turn to cinema for a history lesson that could lead to existential dread, it’s crucial to know what true evil looks like so we can recognize and confront it when it resurfaces. Nickel Boys, RaMell Ross's powerful adaptation of Colson Whitehead’s novel, inspired by the horrific story of the Dozier School for Boys, sheds light on the darkest corners of our world. This is a powerful, devastating film that demands to be experienced. Elwood Curtis (Ethan Herisse) is a young man with dreams of going to college and making a difference through civil disobedience in the ’60s. But an innocent mistake shatters his ambitions and lands him in Nickel Academy, a reformatory school deep in the Jim Crow South. Isolated and disillusioned, Elwood eventually befriends Turner (Brandon Wilson), and together they form an unlikely alliance. Elwood’s enduring optimism, even in the face of unimaginable cruelty, ignites a spark of hope in Turner. There’s no denying the emotional power this film holds. It’s one of the few times at a critic screening that the room was silent once the credits rolled—no murmurs, no whispered reactions, just the weight of the story settling over every viewer. Nickel Boys is a bleak reminder of the horrors we cannot ignore or allow. It’s hard to recommend lightly, as most will leave feeling shaken, but the storytelling and craftsmanship make it a must-watch. Ross makes a bold directorial choice by telling much of the story from a first-person perspective. The film opens with a character gazing at his hand while lying in the grass, and then at oranges on a nearby tree. For several moments, Elwood’s face remains unseen, only appearing in reflections or glances. Initially, this perspective felt challenging, but as the film progressed, Ross’s vision clicked into place, and the unique viewpoint became integral to the story’s impact. While I hope this style doesn’t become a trend, Ross’s use of it here feels entirely justified.  Herisse faces a unique challenge in this role, as he must convey emotion with limited traditional screen presence. Yet, despite these constraints, he brings Elwood’s personality, inner turmoil, and steadfast optimism vividly to life. Wilson serves as a powerful counter to Herisse’s performance. Turner’s confidence and edge contrast sharply with Elwood’s idealism, and Wilson’s screen presence is undeniable, adding depth to their complex friendship. Unforgettable performances and bold direction make Nickel Boys an absolute must-watch.
Aunjanue Ellis-Taylor also stands out as Elwood’s grandmother, offering some of the film’s most memorable moments. One scene, where she quietly speaks while cutting a slice of cake, is a simple act rendered unforgettable through her performance. Meanwhile, Hamish Linklater’s portrayal of Spencer, the head of Nickel Academy, is chilling. He doesn’t play a cartoonish villain but embodies an evil made terrifyingly mundane. Ross wisely leaves much of the horror to the imagination, but Linklater’s towering presence over the boys is enough to convey the unspeakable cruelty of Nickel Academy. Chillingly authentic, Nickel Boys leaves a weight on every viewer’s heart. Nickel Boys is a stark reminder that we cannot afford to be complacent. Stories of prison horrors are not new, but the abuse of imprisoned youths is even more harrowing, especially when society knows and allows it to continue. This film reminds us that allowing such mistreatment is unacceptable and that by ignoring it, we risk becoming complicit ourselves. Nickel Boys will be in theaters on December 13. Rating: 5/5 review by Jonathan Berk  In 2018, fans of metal music and outrageous comedies were treated to a charming cinematic merge with directors Juuso Laatio and Jukka Vidgren's Heavy Trip. After six years, the guys are back with the aptly titled sequel, Heavier Trip. The first film was full of charm and some wild comedic moments that made it extremely memorable. While the second film tries to give audiences more of the same, it doesn’t quite live up to its predecessor. After the events of the first film, the members of Impaled Rektum — Turo (Johannes Holopainen) on vocals, Xyrtax (Max Ovaska) on bass, Oula (Chike Ohanwe) on drums, and Lotvonen (Samuli Jaskio) on guitar — are still serving time in Norway’s nicest prison. The guys are initially content with finishing their sentence until Lotvonen’s parents' reindeer farm is about to be foreclosed upon. If they can land a big gig and get paid some big bucks, they could potentially save the farm — and Lotvonen’s father’s health. After busting out of prison, they set their sights on getting added to the Wacken festival in Northern Germany. It’s not uncommon for sequels to attempt to give us more of the same. Heavier Trip commits the sequel sin of bringing the guys back to what is essentially the same place they were at the beginning of the first film. There is mention of their fame and the demand for their music after the exploits of the first movie — but the plot quickly undercuts this, still leaving them as a group of nobodies. A large part of the film essentially debates whether they should “sell out” or not, and every moment connected to that seems to ignore the fact that they played a major show at the end of the first film. The conflict in this sequel feels contrived, and while the idea of a road trip is embedded in the name, this particular trip just feels like more of the same. If it managed to be as endearing and as funny as the first film, maybe this could be overlooked…but something is missing here that keeps those feelings just out of arm’s reach.  That’s not to say there aren’t elements that work. Xyrtax is still such a fun character. Aside from being the one truly dedicated to the music — at least from his perspective — his interactions with others are often the best moments. The real-life band Babymetal shows up as a recurring joke, with Xyrtax at the center, and it’s an excellent addendum to his character and the clear highlight of the film.
The band as a whole is what makes Heavier Trip worth watching. While it doesn’t quite hit the highs of the first film, the band’s charm remains intact, making it easy to root for these metal misfits the more you’re with them, despite the predictable plot. Turo’s drive to be an epic metal singer is unmistakable, and you genuinely want him to succeed. Lotvonen and Oula have their quirks and are also very likable. The amiability of the band, despite the extreme nature of their music and songs, makes this an easy watch. As every bump along the journey happens, you hope the guys can figure it out. Unfortunately, many of those bumps feel silly, redundant, or too predictable to make the entire journey memorable. There are a few cool set pieces that make the film pop a little more — yet, for a film about a band, it doesn’t feel like there’s enough music. Even when we do get scenes of the band playing, they’re often cut a little too short, only giving us a taste of their talent. The camerawork, costumes, and production all make those scenes visually pop, which only makes it sadder when we realize how brief they’ll be. Heavier Trip feels like it lands squarely in the sophomore slump often associated with a band’s second album. It’s not that the movie isn’t good, but it’s clearly not as good as the first. That comparison makes this one simply feel lesser. Imagine waiting for a band to finally come back to play the encore, only for them to replay some of the songs they played earlier in the night — it’s hard not to be disappointed. Heavier Trip is in theaters and available on VOD on November 29. Rating: 3/5 |