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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
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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 |