IN THE SPOOKLIGHT: CHAMBER OF HORRORS (1966)

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“Beware the fear flasher! And the horror horn!”

If you’ve seen CHAMBER OF HORRORS (1966), you know what these words refer to, a gimmick used in this 1966 film to warn its audience of upcoming scenes of violence that were so horrific that you just had to turn away!

Except that they weren’t. None of the violence is shown on camera. Shhh!!!

When I was a kid, CHAMBER OF HORRORS showed up on television quite a bit, both during the day and in the wee hours of the night. It was one of my favorite horror movies back then, and it still is today, even with its silly fear flasher/horror horn gimmick, where the picture would freeze, and the screen would flash red while a loud sound effect blasted. Even as a little kid, I never averted my eyes, so I saw pretty quickly that this was just a gimmick, and the violent murders were not shown. But I still loved it!

CHAMBER OF HORRORS was actually meant to be the pilot for a TV series called “House of Wax” in which the proprietors of the wax museum, the dashing Anthony Draco (Cesare Danova), the very British and intellectual Harold Blount (Wilfred Hyde-White), and the diminutive dwarf Pepe (Jose Rene Ruiz, or as he was billed in the film, Tun Tun), who were all also amateur detectives, would solve various crimes. In this movie, the villain is Jason Cravatte (Patrick O’Neal, in a devilishly scene-stealing performance) who chops off his own hand to escape the police and returns to Baltimore months later to seek revenge on those who sentenced him to prison, including our hero, Anthony Draco.

The film received a theatrical release rather than play on television because it was considered too gruesome for TV back then, How times have changed!

CHAMBER OF HORRORS is wonderfully atmospheric, and while it takes place in 19th century Baltimore, it has the look and feel of a Hammer Film. And while the murders aren’t shown on camera, they are lurid and creative, as Cravatte purchases a series of unique attachments for his missing hand, including a hook, an axe, and even a gun. Yup, Cravatte is an imaginative killer and even whistles while he works in this dark little thriller with a good sense of humor.

Most of the humor comes from Patrick O’Neal’s performance, in a role which would have suited Vincent Price quite nicely. O’Neal is terrific here, and while he did appear in other villainous roles, mostly on television, it’s a shame he didn’t star in more horror movies. He’s really, really good, and for my money, he’s the best part of this movie.

Cesare Danova is the handsome hero, and the film does a nice job pitting the two leads against each other. I mentioned Hammer Films, and there’s a Peter Cushing/Christopher Lee vibe throughout, as Danova’s Draco is in pursuit of O’Neal’s Cravatte but remains one step behind the killer, until the film’s final reel, which plays out in exciting fashion as the two battle it out on the floor of the wax museum.

Speaking of the museum, CHAMBER OF HORRORS utilizes many of the same wax museum sets used in the Vincent Price movie HOUSE OF WAX (1953).

Wilfred Hyde-White and Tun Tun are also very entertaining as the two other members of the crime solving team. It’s a shame this movie didn’t catch on and spark the TV series, as it would have been a lot of fun. Not really sure what happened, because supposedly CHAMBER OF HORRORS did very well and made a lot of money back in 1966.

Future M.A.S.H. star Wayne Rogers is also in the cast as police sergeant Jim Albertson, and he turns in a memorable performance. The leading lady is Laura Devon, who plays Marie Champlain, a young woman hired by Cravatte to lure his intended victims to their doom.

There are a lot of neat scenes in CHAMBER OF HORRORS, directed by Hy Averback, including the opening scene where Cravatte forces a trembling minister to perform a marriage ceremony between Cravatte and a woman he murdered; the confrontation between Cravatte and Sgt. Albertson, and the climactic battle between Cravatte and Draco.

Stephen Kandel wrote the screenplay based on a story by Ray Russell. It has an exciting plot, contains memorable and oftentimes humorous dialogue, and also creates neat characters.

The film has an atmospheric and energetic music score by William Lava.

CHAMBER OF HORRORS may not have spawned a follow-up TV series, or gone on to be a classic of the genre, but it is more than just a gimmick movie, in spite of the fear flasher/horror horn. It’s a damn fine horror movie, one of the more atmospheric thrillers from the 1960s not made by Hammer Films.

It was one of my favorite horror movies as a kid. It remains so today.

Looking for a museum to visit? Check out CHAMBER OF HORRORS. But remember, when you see the fear flasher and hear the horror horn, look away! Yeah, I know. There’s nothing to look away from. But it still makes for a bloody good time!

—END—

65 (2023) – Adam Driver Dinosaur Adventure Dead on Arrival

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65 (2023), a new science fiction adventure starring Adam Driver as a space pilot who crash lands on Earth 65 million years ago smack in the middle of some menacing dinosaurs, has a fun premise, but then does nothing with it.

At all.

65 is the story of Mills (Adam Driver), a pilot who is about to leave on a two-year mission which will pay him well, money he needs to treat his ailing daughter Nevine (Chloe Coleman). But enroute, the ship is struck by a meteor and crash lands on an unknown planet, which happens to be Earth in the age of the dinosaurs. There is only one other survivor besides Mills, a young girl named Koa (Ariana Greenblatt), and so, thinking of his own daughter, Mills vows to get her back home. The specifics of that endeavor include climbing a mountain to reach the ship’s escape pod, which is on the mountaintop because Mills’ ship split in two and that’s where the half with the pod landed. In their way, a jungle filled with hungry dinosaurs.

And oh, by the way. This is also the day when the catastrophic meteor strike which wiped out the dinosaurs is about to occur. So, if Mills and Koa don’t get off the planet, they will be pulverized by the doomsday meteor blast.

There are a lot of thought-provoking roads this movie could have taken. Sadly, however, there just isn’t much that is thought-provoking about this film.

Let’s start with the characters. Mills and his people come from a planet different than Earth, and yet they all look human, and they speak English. But they are about to crash land on Earth during a time before humans existed, and so, I thought, might there be some PROMETHEUS (2012) ideas floating around, that perhaps these folks would somehow become the parents of the human race? But that’s not what this movie is about. And I know, in the STAR WARS universe, they look human too, but STAR WARS is also more fantasy/adventure than science fiction. So, why is it worse here in 65 than in the STAR WARS movies? It’s not. It’s just that in a standalone film about aliens who crash land on Earth who look and act exactly like humans, well that stands out a little more here, and not in a good way.

The screenplay by Scott Beck and Bryan Woods, both of whom also directed the movie, struggles from the outset with this exciting premise. The plot here seems like a no brainer for suspense and excitement, yet the film labors to generate any, especially at the beginning. The ship crashes, and Mills is alone for a while trying to figure out what happened, and all I could think about is, we the audience know what happened: they crashed on Earth in a place full of dinosaurs! Had this ship contained a group of people who were alive, we could see them all dealing with these dinosaurs immediately! Instead, the script makes the dubious decision to kill everyone on board in the crash, except for Mills (and then later Koa when he discovers her alive), and so when Mills looks about the jungle, you know he’s not going to be killed because the movie would then be over after about ten minutes, and so there’s no suspense and no excitement.

The screenplay also struggles with time. At the beginning of the movie, it’s stated that Mills will be gone for two years. Yet, on the trip, everyone is in stasis, which seems odd for a mission that will have them back home in two years. It’s not like they’re traveling for decades. But I can buy that perhaps they were saving on food and other things, so it would make sense for them to be asleep for the voyage. However, after the crash Mills learns news about his daughter, and while it’s not specifically stated, it just seems like more than two years have passed since he left.

The movie also employs some of what I like to call LOST IN SPACE logic. Now, I love the original 1960s science fiction TV show LOST IN SPACE (1965-68) and I’m a big fan, but the logic on that show was always silly, and science was never at the forefront of their scripts, unlike STAR TREK. Here, you have Mills sending out distress calls to his home planet, and he seems to believe they will send help immediately. One, he’s on an uncharted planet, so they don’t even know where it is, and two, he must be far from home. What kind of ships do they have? Can they navigate worm holes? Does he really expect them to just show up and rescue them? Apparently, he does. Which makes little sense.

Then, he believes that the escape pod/ship will save them. Yes, it will get them off the planet, but then what? What about fuel? Food? And where are they going to go once they’re flying in space? No one here is asking these questions. It’s all very lazy writing.

The movie isn’t interested in any of these things, but it is interested in dinosaurs. So, how are the dinosaurs in this movie? Not bad. There are some decent sequences here, my favorite involving a T-Rex towards the end of the movie. But a lot of the scenes are derivative of stuff we’ve already seen in the JURASSIC PARK movies. In short, the dinosaurs here are decent, but they don’t make or break this movie.

Screenwriters Beck and Woods also worked on the screenplays for THE QUIET PLACE movies, which told much better stories than the one told here in 65. THE QUIET PLACE movies took an interesting premise and ran with it. 65 takes a neat premise and drops the ball.

The acting, however, is fine. Adam Driver is really good as Mills, and he turns in an athletic, driven performance as he will stop at nothing to get Koa home. Driver’s performance, as expected, is one of the better parts of the movie.

Ariana Greenblatt is also excellent as Koa, but the sad truth is there’s not a whole lot for either of these two actors to do other than react to scary dinosaurs.

My favorite part of 65 is that they used the same sound effects from the Martian machines in the classic 1953 WAR OF THE WORLDS for Mills’ ship’s warning system. It was fun to hear it on the big screen, even if only for a few seconds.

65 is pure fluff, but not very thought-provoking or exciting fluff. Its tale of dinosaurs attacking people who have crash-landed on Earth 65 million years ago could have been intense and exciting, but it’s not. It’s superficial and sadly mediocre.

But because I like dinosaurs… and who doesn’t?… I give it two stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

OPERATION FORTUNE: RUSE DE GUERRE (2023) – Jason Statham Leads the Way in Fun Spy Adventure by Writer/Director Guy Ritchie

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I’m kinder to writer/director Guy Ritchie’s work than most.

And that’s because I enjoy most of his movies, which are not always critically acclaimed. They are generally upbeat energetic adventures, with lots of witty comedy thrown in, films like the Robert Downey Jr. SHERLOCK HOLMES movies, THE MAN FROM U.N.C.L.E. (2015) reboot, and THE GENTLEMEN (2019), which starred Matthew McConaughey.

Now comes OPERATION FORTUNE: RUSE DE GUERRE (2023), which Ritchie both wrote and directed, a spirited spy thriller starring action star Jason Statham as a British agent who is tasked with preventing the sale of an unknown stolen item to an unknown buyer. Huh? See, the British government knows that something top secret and of high value was stolen, but they don’t know what. They do know that it has attracted the attention of many dangerous buyers. They also know who is brokering the deal, the eccentric billionaire Greg Simmonds (Hugh Grant).

So, handler Nathan Jasmine (Cary Elwes) hires superspy Orson Fortune (Jason Statham) to assemble a team to find out what Simmonds is selling, to whom is he selling it to, and then to retrieve it in order to prevent the sale. The team includes tech whiz Sarah (Aubrey Plaza) and all-around expert at everything JJ (Bugzy Malone). To infiltrate Greg’s super secure surroundings, Orson blackmails famous actor Danny Francesco (Josh Hartnett) into helping them, because Francesco is Greg’s favorite actor, and he practically loves the man. With Sarah posing as Danny’s girlfriend, and Orson as his new manager, they infiltrate one of Greg’s parties and begin their work. Complicating matters is another better financed team is also on the job, helmed by Orson’s main competition, a spy named Mike (Peter Ferdinando).

The ruse is on! May the best team win!

While I do enjoy Guy Ritchie’s movies, and I did enjoy OPERATION FORTUNE: RUSE DE GUERRE, it’s a little less spirited and a bit sloppier than some of Ritchie’s other movies, which usually are very slick and polished, and that’s not the case here. While there are plenty of exotic locations, the type you expect to find in a spy movie, Ritchie’s direction and the editing seems a bit off. There are some awkwardly edited scenes, a fight sequence for instance, which ends abruptly, and then is shown again later as a flashback to explain what happened, a decision which was odd to say the least. Just show the fight when it happened. There’s also a scene that ends right in the middle of a line of dialogue.

Speaking of dialogue, the screenplay by Ritchie, Ivan Atkinson, and Marn Davies struggles to get the humor right. The writing just isn’t as sharp as it needs to be, and the laughs aren’t always there. The situations are there, the characters interesting to watch, but the dialogue isn’t up to the task. Many of the jokes simply don’t land. What you end up with is a movie that is more amiable than humorous. And it is amiable. I did have fun watching it, but it’s just not as witty as it tries to be.

Of course, the most awkward thing about the movie is its title: OPERATION FORTUNE: RUSE DE GUERRE. Really? What a mouthful! The French “Ruse de guerre” means “ruse of war.” Yes, these spies are using trickery to wage war against the enemy. I get it. But it’s still an awful title.

But what’s not awful is the cast, which is really the best part of this movie. Jason Statham is always fun to watch, and he remains one of my favorite action stars working today. I don’t think I’ve ever seen a Statham performance I haven’t liked. He’s always believable, he always has an edge about him, and he possesses a charismatic screen persona. He also has an awesome spy name: Orson Fortune. You can build a series around a guy with a name like that!

Here, Statham is rock solid once again, and he does enjoy some humorous moments, one of which is when he confuses the front door with the back door of a building and exits the wrong one, leading to an unexpected encounter.

And then you have Aubrey Plaza as Sarah who gives it her all in this movie. Like Statham, she’s also a lot of fun, and she gets one of the best lines in a movie I’ve heard in quite a while, a memorable quip involving a cocktail. Of course, if you really want to see Plaza at the top of her game, you should see EMILY THE CRIMINAL (2022), one of my favorite movies last year, and a true showcase of Plaza’s acting abilities. She’s fine here, but her character plays second fiddle to Statham’s Orson Fortune.

The best performance in the movie, however, belongs to Hugh Grant as the eccentric Greg Simmonds. Grant has a field day with the role, a gay man who is attracted to actor Danny Francesco but who is equally at home wooing and trying to steal his girlfriend from him. And while Grant excels at humorous quips, my favorite part of his performance is when he shows his serious side, which is far more subtle but far more intriguing. When he goes from warm witticisms to cold calculations, like in the scenes where he comes on to Aubrey Plaza’s Sarah, there’s a sense of ruthlessness and menace that seeps to the forefront of his character.

Josh Hartnett is also fun as actor Danny Francesco, who at first is terrified at having to enter a real life dangerous situation, but later embraces it, and uses his acting skills to help with the ruse. My favorite Hartnett role remains his lead performance in the violent hard hitting horror movie 30 DAYS OF NIGHT (2007). And of course, he made his acting debut as Jamie Lee Curtis’ Laurie Strode’s son John in HALLOWEEN H20: 20 YEARS LATER (1998).

At the end of the day, while not my favorite Guy Ritchie movie, OPERATION FORTUNE: RUSE DE GUERRE is still a fun and entertaining spy adventure, with a terrific cast, led by Jason Statham, Aubrey Plaza, and Hugh Grant, and in spite of a script that isn’t quite up to snuff, still manages to make for very satisfying action-comedy thrill ride.

I give it three stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

LUTHER: THE FALLEN SUN (2023) – Intense, Worthy Follow-Up to Superb LUTHER Television Series

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As a fan of both the TV show LUTHER (2010-2019) and of Idris Elba, I was excited to watch LUTHER: THE FALLEN SUN (2023), a new Netflix original movie and follow-up to the TV series.

I was not disappointed.

Sure, the movie isn’t perfect, but there is a lot to like about LUTHER: THE FALLEN SUN, especially for Idris Elba fans.

The plot is pretty straightforward. When a young man disappears under mysterious circumstances, DCI John Luther (Idris Elba) promises the man’s mother that he will bring her son back to him, but serial killer David Robey (Andy Serkis, in a deliciously over-the-top performance) has other ideas. Robey is more than just a serial killer. He’s also a master of technology and uses this mastery to find compromising material on seemingly anyone he wants, as there is so much information available out there in the cloud. He uses this information to blackmail people into doing what he wants, in this case making sure that John Luther is taken off the streets, which isn’t difficult because Luther has always been a problematic detective, often taking the law into his own hands to solve crimes. This time with Robey pulling the strings, the law strikes back, and Luther is arrested and sent to prison.

But Robey being the showman that he is, doesn’t leave Luther alone and sends him a recording of the young man’s death to taunt the detective. Not a bright move, Mr. Serial Killer, because Luther decides that he has to break out of prison and track down this man on his own, which is exactly what he does.

The rest of the movie follows Luther as he not only tries to track down Robey but also has to evade the police who are aggressively hunting him down, led by DCI Odette Raine (Cynthia Erivo). Along the way, Luther turns to his old boss, the retired Martin Schenk (Dermot Crowley) for help. As Luther closes in on Robey, the depths of the serial killer’s plans become known and the stakes rise as Raine’s daughter is also kidnapped.

LUTHER: THE FALLEN SUN gets off to somewhat of a rocky start, as the plot point of Luther going to prison is sloppily and quickly told with very little detail provided. Robey tells his police contact he wants Luther taken care of, and the next thing you know the detective is in prison. I also thought this was largely a wasted plot point. Andy Serkis creates such a despicable character in David Robey, that a straight story pitting Luther against him would have worked for me just fine. I know having Luther break out of prison adds the additional story element of Luther also evading the police, but this didn’t really add all that much to the story. The most interesting part of the plot is having Luther take on Robey.

Plus, Luther’s escape from prison is also quickly handled. And neither of these plot points, Luther going to prison and then easily escaping, are all that believable.

However, once Luther is out of prison, the film takes off and just gets better and better. It’s anchored by two solid performances, by Idris Elba and Andy Serkis, and it has a very exciting story.

What’s fun about Idris Elba’s performance as John Luther, both in the TV series and here in this movie, is that he plays Luther as a guy who has no qualms about breaking the law to get the job done, but he is not a ruffian. He’s a sincere, soft-spoken man who is able to reach people and earn their trust. Of course, his strength, and the center of his brilliance as a detective, is he possesses the ability to see people, to read them, to know their intentions. But when it comes to hunting down criminals, he’s ruthless. It’s an interesting dynamic for a character, and Elba nails it.

Elba is also still very convincing as a tough guy cop who can fight and take down multiple threats at a time.

Andy Serkis has a field day as serial killer David Robey. It’s an over-the-top performance, the type where he makes Robey love what he is doing, and he takes great delight in hurting people. It ends up being an immensely disturbing performance, one where you will be rooting for Luther to hunt down and stop this guy. Serkis, who’s most famous for his motion capture roles, from Gollum in THE LORD OF THE RINGS movies, and Caesar in the PLANET OF THE APES reboots, has also been in a ton of other movies and seems to show up everywhere these days, from the STAR WARS TV show ANDOR (2022) to playing Alfred in THE BATMAN (2022). He’s been in the STAR WARS movies and in the Marvel superhero films, but seldom has he played a character as abhorrent as David Robey. In addition to Idris Elba’s performance, Serkis’ work here is also a major reason to see this movie.

Cynthia Erivo is also very good as DCI Odette Raine, who finds herself tasked with the double whammy of having to track down both Luther and Robey, and in Luther’s case, knowing that by stopping him she may be losing her best chance to catch Robey.

I liked Dermot Crowley when he played Martin Schenk on the show, and he is just as good here in the movie, enjoying a lot of memorable scenes. He makes no secret to either side about what he is doing. Luther knows that Schenk is also helping Raine, and Raine knows that Schenk is also helping Luther. It’s a really interesting dynamic that these three characters share in this movie, and Crowley has fun playing this sly, wise, and ultimately very important character. Crowley is a veteran character actor who has also been notable in such films as THE WONDER (2022) and THE DEATH OF STALIN (2017).

With the exception of the plot point of sending Luther to prison and then having him escape from prison, I really enjoyed the screenplay by Neil Cross, who created the LUTHER TV series. As I said, he makes Robey such a horrifying character that you just can’t wait for Luther to catch him, and he’s so formidable that you’re not even sure that will happen. There are some truly dark and horrifying scenes in LUTHER: THE FALLEN SUN, from the way Robey taunts his victims’ families to a very unsettling sequence in Piccadilly Circus. It definitely earns its R rating. And it doesn’t rely on a lot of CGI blood and guts, which often look fake and detract from the horror. Instead, it relies on emotions and watching people react to the horrors, which is very effective.

There are also a couple of very exciting and intense chase sequences, some notable fight scenes, and lots of tension and drama. Director Jamie Payne handles all of it well.

And Robey’s master plan is quite disturbing and sadly, incredibly realistic. It’s not difficult to believe something like this really happening in this day and age of people’s access to technology and willingness to spend money to watch what Robey was offering. The ending also really works. It’s been a while since I’ve been on the edge of my seat as much as I was during the final reel of this one. Intense stuff!

I really enjoyed LUTHER: THE FALLEN SUN. It’s a worthy follow-up to the successful LUTHER TV show, and yet another showcase of the talents of Idris Elba, with fine supporting work by Andy Serkis as one very despicable villain.

I give it an enthusiastic three stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

THE STRAYS (2023) – Underwhelming Thriller’s Unusual Premise Only Takes It So Far

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THE STRAYS (2023), a new thriller now available on Netflix, has as its greatest strength an unusual premise, one that held my interest for two thirds of the way through the movie, but where it ultimately goes with its plot is a major disappointment.

The story told in THE STRAYS can be separated into three parts.

In the first part, we meet Neve (Ashley Madekwe), a Black woman who is so overwhelmed by her family life, two young children and an abusive husband, that she just up and leaves. The story finds her years later with a new family, a white husband Ian (Justin Salinger) and two teenage children, Sebastian (Samuel Paul Small) and Mary (Maria Almeida). They are an affluent family, and so unlike her previous life, Neve is doing quite well, and she has a good job at the private school her children attend. Neve works hard to put her past behind her, including seemingly disowning her blackness, as she tries exceedingly hard to fit into the white culture found in her wealthy British neighborhood.

Life is good for Neve, until she spies two strangers watching her at various times in the day, and these same strangers also take an interest in her children. At this point, the film takes on a creepy vibe and begins to work more as a thriller than a drama. Once these strangers identify themselves, the film reveals their backstories, and it’s here where the vibe of the movie changes yet again, and honestly where it becomes most intriguing. Amid the revelations made about these two characters, the story is set to go to some very dark and sad places, and the potential is ripe for some serious drama.

Which brings us to the third part of the movie, and by far, the weakest part, because it’s here where THE STRAYS goes full blown thriller, which doesn’t really work. The movie offers a thought-provoking premise but then resolves everything in the final reel in the least thought-provoking way. On one level, it makes sense for these two characters to act this way, because they are acting out of raw emotion, but there were so many more impactful ways this story could have gone, so many other conversations and situations. But the film settles for the easiest way out.

And the ending is both predictable and a letdown. Because really, the conflict presented here is not really resolved.

THE STRAYS was written and directed by first-time director Nathaniel Martello-White, and what he is saying in this movie almost works. The undercurrent in this story is the disowning of one’s race and culture, as Neve buries her past and focuses only on fitting into the new white culture she has married into. The story also examines the fallout such a choice has on the people left behind. I liked all of these aspects of the story, but the third act doesn’t handle the material satisfactorily, and settles for a straight-forward violent conclusion.

The acting is all fine. Ashely Madekwe is superb in the lead role as Neve. She captures the duality of the character, and she possesses the ability to turn facets of her personality on and off at will. She also gets one of the best lines in the movie, where she is explaining what she did, leaving her family behind, and she asks why she should be held accountable when it is something that men do all the time and society accepts it. And early on before leaving her first family, she laments that this wasn’t how she expected her life to go, that she worked hard and did all the right things, and she didn’t deserve this. She is told to be patient. Instead, she shakes her head and leaves. Madekwe gets many powerful scenes and handles them all well.

The first two thirds of THE STRAYS are compelling, but the final act is a letdown.

I give this underwhelming thriller two stars.

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

CREED III (2023) – Solid Yet Unsurprising Ninth Movie in the ROCKY Universe

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I know. I’m a sucker for boxing movies.

Especially those in the ROCKY movie universe.

And so I enjoyed CREED III (2023), the third film in the CREED series, and the ninth film in the ROCKY universe, and not just because I’m a sucker for these movies. It’s a pretty darn good movie in its own right. That being said, it’s also the ninth movie in a series, and so one knock against the film is it is exceedingly predictable.

CREED III is the first movie in the ROCKY movie world not to feature Sylvester Stallone as Rocky, and the movie is strong enough to keep Rocky from being missed. But it does feature Michael B. Jordan once again in the lead role as Adonis Creed, the son of Apollo Creed, who was Rocky’s first opponent in the first ROCKY movie back in 1976. Apollo and Rocky eventually become best friends, but then Apollo was killed in the ring in ROCKY IV (1985) by Soviet fighter Ivan Drago. In CREED II (2018), Adonis defeats Drago’s son in a title match that was very personal for Adonis, as he was fighting for his deceased father.

Jordan has been excellent in all three CREED movies, and here he works behind the camera as well for the first time, as he makes his directorial debut with CREED III. And in what is probably the best part of the movie, he is joined in the cast by Jonathan Majors who plays Adonis’ childhood friend and now opponent, Damian Anderson. Jordan and Majors are two of the more dynamic actors working today, and their combined presence in this movie lifts it to a higher level.

In CREED III, Adonis Creed (Michael B. Jordan) has retired from boxing, going out on top as heavyweight champion, his thinking being to step away from the sport to enjoy his life with his wife Bianca (Tessa Thompson) and their young daughter Amara (Mila Davis-Kent). Adonis also runs the local gym with his former trainer Stitch (Jacob “Stitch” Duran), where they train and represent the current champion Felix Chavez (Jose Benvidez). Life is good.

But things change when Adonis’ childhood best buddy Damian (Jonathan Majors) shows up at the gym, having just been released from prison, where he has spent the past eighteen years of his life. When they were kids, they both boxed, and Damian was the better of the two and as a teenager was already considered a boxer with high promise. But prison changed all that. While Adonis offers to help Damian any way he can, Damian makes it clear he wants only one thing: a shot at the title, a shot he says he was denied because of his prison sentence.

Adonis tells him that’s impossible, as he’s not even a pro, but Damian reminds him that one, Adonis himself got the title shot by unconventional means, and two, his own father Apollo, gave a nobody fighter named Rocky Balboa a title shot out of nowhere. Adonis can’t deny that this is true, and he begins to be open to the possibility. Making things even more complicated, and driving Adonis to help Damian, is the fact that he is plagued by tremendous guilt. He was there the night Damian was arrested, and he too, was involved. But only Damain got caught. And Adonis, wanting to forget that traumatic chapter in his life, never reached out to Damian.

When a freak accident injures Felix Chavez’s next opponent, Adonis suggests that he fight Damian instead. He tells Felix to do his job, and if he wipes the floor with the much older Damian, so be it. And he is also doing right by his friend, Damian, by giving him his much sought after title shot.

Of course, as expected, Damian shocks the boxing world and wins, and amid some more revelations, becomes somewhat less of an admirable person, publicly taunting and insulting Adonis, who realizes there is only one true way to shut his friend up and restore his own honor, which is to get back into the boxing ring and take on his former friend.

As stories go, as I said, the one told in CREED III is pretty predictable. There are no surprises. The screenplay by Keenan Coogler, Ryan Coogler, and Zach Baylin offers a by-the-numbers boxing story. You know who is going to win every time. But on the plus side, away from the boxing elements, the personal story of Adonis and Damian’s friendship is well-done and is the best part of the movie, and it’s well-acted by two phenomenal actors, Michael B. Jordan and Jonathan Majors. Adonis is burdened by heavy guilt, and rightly so. He ran away and let his friend get arrested. Other characters in the story continually tell Adonis that he’s not a bad person, that he can’t be held accountable for decisions made before he was an adult, which is true, but it’s a bitter pill for Adonis himself to swallow. He knows what he did, or in this case, didn’t do.

This part of the story works well, not only because it is well-written and well-acted, but because in this ninth movie in the ROCKY universe, it’s pretty darn refreshing! It’s new territory! But sadly, the boxing parts aren’t refreshing at all. The movie doesn’t make any bold decisions in that department. Which is too bad because the ROCKY series began with a bold choice. It’s easy to forget that in the first ROCKY, Rocky lost, and what he takes away from that title bout was that he stood toe to toe with the champion for fifteen rounds. But he lost.

Zach Baylin also wrote the screenplay for the much-heralded KING RICHARD (2021).

The other strength on display here are the two performances by Michael B. Jordan and Jonathan Majors. Jordan has been excellent as Adonis Creed in all three CREED movies, and he’s very good here yet again. Jordan is a fun actor to watch. He exudes sincerity, intensity, and authenticity.

We just saw Jonathan Majors as the villain Kang the Conqueror in ANT-MAN AND THE WASP: QUANTUMANIA (2023), a role he’s set to reprise in the upcoming AVENGERS movies. Majors has also made impressions in the movies THE HARDER THEY FALL (2021) and DA 5 BLOODS (2020). He’s formidable here as Damian, and he and Jordan interact well together. They share many fine moments in the movie, and one of the best moments is their conversation after their title bout at the end of the movie.

Tessa Thompson plays Bianca Creed for the third time, and she’s fine once again, although the movie largely focuses on Adonis and Damian. Young Mila Davis-Kent is excellent as Adonis’ and Bianca’s deaf daughter, Amara.

As a director, Michael B. Jordan acquits himself well. The boxing sequences, as predictable as they are, are well done. In fact, he gets metaphorical during the final bout between Adonis and Damian, as at one point we see them fighting in a giant cage inside a cold empty nightmarish stadium. The imagery here works really well. Jordan also makes the wise decision to keep this one from being overlong, as it clocks in at just under two hours. These days when so many movies are unnecessarily pushing the three-hour mark, Jordan’s decision to keep this movie at a respectable length is a good one.

In terms of the three CREED movies, the first one CREED (2015) remains the best, but CREED III is better than CREED II (2018), and so CREED III ranks in the middle of the Adonis Creed trilogy.

Overall, CREED III is a very good movie featuring two strong performances by two very talented actors, Michael B. Jordan and Jonathan Majors and a decent storyline involving two childhood friends who square off against each other in the ring as adults. The only thing preventing this from being a knockout is its predictability.

Before you sit down to watch this one, you probably have a good idea as to who is going to win the fights in this movie.

And you’d be right.

I give CREED III a solid yet unsurprising three stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

JESUS REVOLUTION (2023) – Very Vanilla Take on Historical Religious Movement

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JESUS REVOLUTION (2023) is based on the true movement in the early 1970s when hippies discovered Jesus Christ, which would make perfect sense, since hippies were all about peace and love, concepts which mirror Christ’s message.

The film obviously contains a heavy Christian slant, no doubt intended to be more inspirational than historical, but the truth is it has little to offer in the way of inspiration because the story simply preaches to the choir, and if you aren’t Christian, there’s nothing in this movie that is remarkable or telling. As such, it fails to portray this revolution as something that was real. The story and characters just go through the motions.

JESUS REVOLUTION gets off to a solid start, focusing on frustrated minister Chuck Smith (Kelsey Grammer) who laments that his church is mostly empty and struggling, and that he doesn’t understand the youths of today, who he sees as lost and disrespectful. He tells his teenage daughter Janette (Ally Ioannides) that he wishes God would send a hippie to his house so that he could understand them. And so, when Jannette meets a hippie named Lonnie (Jonathan Roumie) who speaks of Jesus, she brings him home to meet her father, who isn’t thrilled by having this stranger in his house.

But after a rough start, Chuck finds himself impressed with Lonnie, and he invites him and his friends to his church. Suddenly, more and more of Lonnie’s friends arrive, and after Lonnie preaches at the church, the building becomes packed with hippies, which causes a stir among some of Chuck’s more prominent parishioners. In a sermon, Chuck speaks of the open door at his church, which is both an invitation for everyone to come in, and also an exit, for those who no longer feel comfortable by the younger folks who have now become part of the community.

The story follows Lonnie’s rise in the church where he also becomes a healer, and this storyline early on works. However, the film also follows another young man searching for answers, Greg (Joel Courney), who along with his girlfriend Cathe (Anna Grace Barlow) join Chuck’s church. Greg and Cathe are two of the least interesting characters in the movie, and their stories, Greg’s dealings with his ailing mother and with Cathe’s overprotective father, are the weakest in the movie, yet as the film progresses, these storylines become the focus of the film. Which is no surprise, because the screenplay by director Jon Erwin and Jon Gunn is based on the book by the real-life Greg Laurie.

Lonnie, after an argument with Chuck, disappears for the latter half of the movie, which is too bad because he’s the one character who brings the most conflict with him. In one of the better conversations in the film, Chuck tells Lonnie that he mistakenly thinks that the movement can’t proceed without him, and he tells Lonnie that the movement is bigger than just one man.

But unfortunately, most of the rest of the movie is without conflict. The screenplay by Jon Erwin and Jon Gunn is largely superficial. For example, in the big baptism in the ocean sequence, we see characters baptized and immediately afterwards experience a religious epiphany, but no one in the movie says why or how. No character explains what just happened to them. We just see it, and we take their word for it that they are now saved.

The pacing to this one is also dreadfully slow. The movie runs for 120 minutes and feels longer. Director Jon Erwin seems to be content with telling this story without a sense of urgency or history. The characters remain superficial, the conflicts nonexistent.

Strangely, the Netflix horror TV mini-series MIDNIGHT MASS (2021) — a horror tale, mind you! — did a better job of capturing the religious beliefs of the characters in its story than anything shown here in JESUS REVOLUTION.

I enjoy watching Kelsey Grammer, as I’ve always been a fan of his hit show FRASIER (1993-2004) back in the day, and he was the main reason I went to see this movie, and as expected, he turns in a solid performance here as minister Chuck Smith. He gets some of the better scenes in the movie. There’s a notable conversation between Smith and his wife, when he’s worried about offending the big vocal donors in his church, where she tells him that truth is always quiet, and that it’s lies that are spoken out loudly, a sentiment which rings true. He says it’s complicated, and she reminds him that truth is simple. Truth usually is simple, but unfortunately, this movie doesn’t do a good job of speaking to truth.

Jonathan Roumie is quite good as Lonnie Frisbee, and Ally Ioannides has some nice moments as Chuck’s daughter Janette, but the rest of the cast is as bland as the overall story told in this one.

At the end of the day, JESUS REVOLUTION is a very vanilla take on a historical religious movement. There’s no dark side, no ugliness, no pain, and that certainly gets in the way of successfully trying to tell a story of light. Now, the plot has these moments, as we see the negative effects of drugs on some people, and we see Greg upset about his mom, but these interpretations are all so weak and bland, like a scoop of vanilla ice cream.

Also, whether intentional or not, JESUS REVOLUTION works against its own main message of religious inclusion in that there isn’t one person of color who is a major character in this movie. Not one.

Not the best decision for a movie that is supposedly about inclusion and the welcoming of all.

I give this one a bland two stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

COCAINE BEAR (2023) – Campy Horror Comedy A Dud

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Killer bear movies are a thing.

Probably the most famous is GRIZZLY (1976), which in spite of being a complete rip-off of JAWS (1975), is a highly entertaining and gory killer bear on the loose horror movie, and it made a killing at the box office back in the day. Before that you had NIGHT OF THE GRIZZLY (1966), a well-made western about a family trying to protect its farm from a marauding bear, and there have been many others over the years, films like INTO THE GRIZZLY MAZE (2015) which tried and failed to be a more contemporary killer bear horror movie.

Now comes COCAINE BEAR (2023), which is loosely based on a true story from 1985, when bags of cocaine were dropped from a plane by a drug dealer who died when his parachute didn’t open, and the cocaine which landed in the forest was ingested by a black bear. This movie is very loosely based on that story, as in real life the black bear promptly died, which is what you would expect to happen to an animal after overdosing on massive amounts of cocaine. Here, the film imagines what the bear would have done had it not died, which is, go on a murderous rampage.

The movie follows a set of quirky characters as they converge in the Georgia forest and have to contend with the cocaine bear.

Two children, Dee Dee (Brooklyn Prince) and Henry (Christian Convery) skip school and decide to spend the day in the forest. Dee Dee’s mom, Sari (Keri Russell) goes into the forest in search of the children. Drug dealer Syd (Ray Liotta, in his final film role) sends his son Eddie (Alden Ehrenreich), who’s still grieving over the death of his wife, and fellow drug dealer Daveed (O’Shea Jackson, Jr.) into the woods to retrieve the cocaine. A cop named Bob (Isiah Whitlock, Jr.) is also in the woods searching for the drugs, and then there’s a forest ranger Liz (Margo Martindale) who is more interested in her boss Peter (Jesse Tyler Ferguson) than helping Sari find her daughter and her friend. There are more characters as well, and they all have one thing in common: the cocaine bear!

COCAINE BEAR, as its title suggests, has all the makings of campy comedic horror classic, and that’s what I hoped this one would be.

Unfortunately, that’s not the case. Try as it might, COCAINE BEAR isn’t much of a black comedy. It works a bit better as a horror movie, because there are some gruesomely gory bear attack sequences, but the rest of the film isn’t serious enough for it to work completely on this level, and it doesn’t work as a comedy either because the humor isn’t even close to being sharp.

The screenplay by Jimmy Warden fails to bring any of the wide array of characters to life. They’re not well-written, we know little about them, nor is the dialogue memorable. Most of the characters are caricatures of characters we’ve seen in other movies, the generic drug dealers, a mom searching for her daughter, precocious children, etc.

Elizabeth Banks’ meandering direction doesn’t help. COCAINE BEAR has very little pacing and no momentum. Rather than building to a climax, the story just moves from one bear incident to another. Characters come and go and have their encounters with the bear, but the film doesn’t build on any of it. There’s also not a likable character in the entire movie because the characters we are supposed to like are not fleshed out, and the characters we could love to hate are dull.

Jimmy Warden also wrote the screenplay to the horror sequel BABYSITTER: KILLER QUEEN (2020), which I thought was pretty dreadful. COCAINE BEAR is equally as dreadful.

Elizabeth Banks, whose work as an actress I enjoy, also directed the reboot CHARLIE’S ANGELS (2019), which most people hated, but I actually enjoyed. Banks’ work here with COCAINE BEAR is a mixed bag. The bear sequences are intense and scary, while the rest of the movie which was aiming for dark comedy misses its mark by a long shot.

The cast is also a combo of hits and misses.

Young Brooklyn Prince who was amazing in THE FLORIDA PROJECT (2017), doesn’t get to do a whole lot here as Dee Dee other than be scared. Christian Convery fares better as Dee Dee’s friend Henry. He is able to inject a lot of personality into the role and has some of the better lines in the film, which he handles very well.

Keri Russell as mommy Sari plays things straight and as such makes very little impact here, even with her heroic stand at the end. Alden Ehrenreich, who played Han Solo in SOLO: A STAR WARS STORY (2018), makes drug dealer Eddie a sympathetic character, but he’s also a rather dull sympathetic character. O’Shea Jackson Jr. makes more of an impact as Eddie’s buddy and fellow drug dealer, Daveed. The scene where he’s jumped by three teens in a restroom is one of the more entertaining scenes in the movie.

Isiah Whitlock, Jr. has a thankless role as Bob the policeman, in a case where he is simply let down by the writing.

The same can be said for Ray Liotta as drug dealer and main villain in the movie, Syd. It’s a terribly written role, and it’s kinda too bad that this was Liotta’s final movie role. He died a week after completing work on this movie, in May 2022.

There are other quirky characters here as well, but none of them are developed. They show up for one sequence with the bear, and that’s pretty much it. Some of these sequences include a tense standoff inside the ranger’s cabin, a scene where the bear actually chases an ambulance, and a sequence where characters climb trees to escape the bear which doesn’t end well. All of these sequences have their moments, but none of them work as well as they could.

The bear itself is pretty frightening looking for a CGI creation, and the fact that it moves so quickly also helps make it scary. Interestingly, the killer bear movies I mentioned above were all about grizzly bears, while COCAINE BEAR is about a black bear, which traditionally does not attack humans, but this one does, because it’s high on cocaine.

I thought I was going to have a fun time watching COCAINE BEAR, but that simply wasn’t the case.

There’s certainly a story here to be told, an imaginative one about what might happen if a bear high on cocaine didn’t die and went on a crazy killing spree in the forest…

But sadly, COCAINE BEAR isn’t it.

I give it one and a half stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

ALL QUIET ON THE WESTERN FRONT (2022) – Netflix German Original Relentless in Its Depiction of Brutalities of War

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I finally caught up with ALL QUIET ON THE WESTERN FRONT (2022), a Netflix original which hails from Germany and is currently nominated for Best Picture.

It’s a worthy nomination. ALL QUIET ON THE WESTERN FRONT is an excellent movie.

Released in October 2022, ALL QUIET ON THE WESTERN FRONT is based on the book by Erich Maria Remarque, a novelist who based the book on his experiences as a German soldier in World War I. This is the third time Remarque’s novel has been filmed, the previous two were in 1930 and in 1979. This 2022 version is an all-German production, and you can watch it on Netflix in its original German language with English subtitles.

Directed by Edward Berger, ALL QUIET ON THE WESTERN FRONT tells a story of the horrors of war that transcends generations. While the horrors shown here are specific to World War I, the case can be made that the horrors of war remain consistent regardless of time or place.

Here the plot follows young German soldier Paul Baumer (Felix Kammerer) who is so excited to enlist and join the war effort that his wide-eyed expressions resemble a child opening gifts on Christmas morning. It doesn’t take long for Paul and his friends to realize that fighting in the trenches is anything but enjoyable and is an experience that has his friends shrieking that they want to go home once the battles start.

Director Edward Berger holds nothing back in the battle sequences. The ever-present mud is thick and relentless. When they’re not fighting, the soldiers are using their hands and helmets to dish out the cold water from the trenches. And when they are fighting, they are shot at, stabbed, hacked, and more. We see soldiers burned alive with flame throwers, trampled upon by tanks, and blown up by grenades. The action here is bloody, brutal, and relentless, and these sequences come in waves, at the film’s beginning, in the middle, and at the end.

Between battles, Paul bonds with some of his fellow soldiers, including Stan Katczinsky (Albrecht Schuch). We’re privy to conversations where they discuss their lives back home, and their fears that they will never return, which pretty much turns out to be true. The film also depicts the negotiations between German diplomats and the French for a ceasefire, as the Germans realize they are losing the war. They quickly learn that the French want total and unconditional surrender, and when the Germans protest to the conditions, claiming that they are too harsh, and the people will not like this peace, the French pretty much respond with a big fat “too bad.” And of course, it’s this approach that led to the rise of Adolf Hitler, as he was able to take advantage of the despondent German population to build his nationalistic Nazi regime.

The German military also bristled at this peace, believing the diplomats were giving everything away, and they ordered soldiers to fight right up until the 11:00 armistice.

Director Edward Berger also co-wrote the screenplay with Lesley Paterson and Ian Stokell. The story told here describes in vivid detail the absolute horrors of trench warfare in World War I, and what war does to soldiers. Its message is also timeless, as here in 2023 the world continues to be at war in some place or other.

Not all of the movie works. It’s rather long, clocking in at two hours and twenty-eight minutes, and when the film isn’t showing in-your-face scenes of warfare, it’s less compelling.

The film will no doubt draw comparisons to another recent superior movie about World War I, 1917 (2019), by writer/director Sam Mendes. The two films are comparable, and in terms of quality and impact, ALL QUIET ON THE WESTERN FRONT certainly holds its own against 1917.

Overall, ALL QUIET ON WESTERN FRONT is a superb movie, one that delivers its message that war is hell, and that soldiers pay a high price for decisions made by generals and leaders not on the battlefield.

I give it three and a half stars.

—END—

—Ratings System—

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

If you enjoy my reviews and would like to read my latest horror novel, then feel free to check out DEMON AT THE DOOR at the link below:

https://www.amazon.com/Demon-at-Door-Michael-Arruda/dp/1637898932

ANT-MAN AND THE WASP: QUANTUMANIA (2023) – Third Ant-Man Movie Visually Striking and Lots of Fun

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It’s no secret that Marvel has been in a slump since its much-heralded AVENGERS finale, AVENGERS: ENDGAME (2019). Since that movie, Marvel has suffered through some missteps, misfires, and mediocrity. However, their recent sequel BLACK PANTHER: WAKANDA FOREVER (2022) was a terrific movie, a perfect testament to both the late Chadwick Boseman and to the Black Panther character. Heck, it even earned a well-deserved Best Picture nomination!

Now comes ANT-MAN AND THE WASP: QUANTUMANIA (2023), Marvel’s latest superhero movie and their third Ant-Man flick. I’ve always enjoyed the ANT-MAN movies, and this third installment is no exception. ANT-MAN AND THE WASP: QUANTUMANIA is high quality entertainment and adventure, enjoyable throughout, and probably the most ambitious ANT-MAN movie yet, as the story takes place inside the quantum world.

Not that ambitious is necessarily better.

I still yearn for an old-fashioned superhero movie where the hero is fighting a supervillain in the here and now, but nowadays we’ve got stories involving the multiverse, the quantum realm, time travel, gods, and faraway worlds across time and space. Yep, superhero tales are becoming more entrenched in the world of science fiction and fantasy. I’m not saying this is a bad thing. It’s just a more difficult thing to get right. You need exceptional writing to pull off these kinds of stories, otherwise you’re left with just striking visuals and no story. The good news is that the writing is up to snuff here in this third ANT-MAN movie.

So is the cast. Marvel superhero movies almost always sport fantastic casts, as they feature A-list actors in both lead and supporting roles. With the ANT-MAN films, it starts with Paul Rudd in the lead role. He’s made it his own, and he carries the fine supporting cast on his back for this fun adventure.

ANT-MAN AND THE WASP: QUANTUMANIA is a family affair. Scott Lang aka Ant-Man (Paul Rudd), his now teenage daughter Cassie (Kathryn Newton), his girlfriend Hope Van Dyne aka The Wasp (Evangeline Lilly), her father and brilliant scientist Dr. Hank Pym (Michael Douglas), and her mother, another brilliant scientist Janet Van Dyne (Michelle Pfeiffer) are all having dinner when Cassie reveals that she’s been dabbling with the quantum realm herself, and she has developed a method of mapping out the entire quantum world. To do so, she’s been sending a beacon there to retrieve information. When Janet hears about this, she demands Cassie turn it off immediately. But before Cassie can do so, Janet’s worst fears are confirmed, and the five are pulled into the quantum world.

There, they discover a remarkable world of bizarre living creatures and civilizations which, of course, are at war because of a certain being who rules the realm with an iron fist, and he does so because he is intent on escaping the quantum realm and is building a war machine to help him do just that. It turns out that Janet knew all this already because during the thirty years that she spent in the quantum realm, she had met this ruler, but the whole experience had been so horrible for her she wasn’t able to tell her family.

The ruler is Kang (Jonathan Majors), and before Janet left, she had stopped him from leaving, because she believed he was too dangerous, and now that she’s back, Kang not only still wants to escape, but wants vengeance against Janet and her family.

Kang the Conqueror describes himself as master of the multiverse, as a being who understands, controls, and manipulates time. Yet, in spite of this, he still needs Ant-Man to get his power core for him so he can escape. Which had me scratching my head, because if he’s so powerful, why does he need Ant-Man’s help retrieving his much-needed power core? Couldn’t he do it himself?Hmm, not so all-powerful, are you Kang? Apparently, he is, as he’s going to be the focus of the next AVENGERS movie.

Anyway, that’s the plot of ANT-MAN AND THE WASP: QUANTUMANIA. As plots go, it’s okay. Honestly, I’m growing weary of stories about rebels and fights against oppressors, which we see all the time in STAR WARS and in the AVATAR movies. But that doesn’t stop this movie from being entertaining.

It has a fun script by Jeff Loveness which features just the right amount of well-timed humor without becoming entrenched in full blown and misplaced silliness. The laughs were genuine.

As I said earlier, Paul Rudd has owned the role of Ant-Man and made it his own. He’s the perfect ordinary guy— actually, he used to be a thief— who had no business becoming a superhero, yet he did. He embodies the recurring theme in the story that life doesn’t make sense, and that you just have to roll with the punches.

As good as Rudd is in the role, he’s actually outshined a bit by some of the other players in this one. Kathryn Newton brings a tremendous youthful energy to the role of Lang’s daughter, Cassie. It’s Newton’s first time playing the role, and she’s awesome.

And on the other side of the age spectrum, Michael Douglas and Michelle Pfeiffer add class and experience to their roles as married scientists Dr. Hank Pym and Janet Van Dyne. Douglas has been in all three ANT-MAN movies, and his supporting presence has been a constant. He has a few memorable bits here. Pfeiffer joined the ANT-MAN cast in the second movie, and she’s a joy to watch here in the third ANT-MAN adventure. And when she shows off her fighting skills and takes on the bad guys, it brings back memories of her Catwoman days in BATMAN RETURNS (1992), still the screen’s finest Catwoman performance to date.

Marvel has also been on a roll with its villains of late. I thought Tenoch Huerta’s Namor in WAKANDA FOREVER was one of the better Marvel villains in recent memory, and Jonathan Majors’ Kang the Conqueror is equally as impressive. Majors definitely gives Kang a Thanos-type vibe, as he’s the sad and somber all-powerful villain who is capable of instilling so much harm and damage to the universe. I’ll be looking forward to seeing Kang in future Marvel movies.

Jonathan Majors is an impressive actor who has made his mark in recent movies such as in Spike Lee’s DA 5 BLOODS (2020) and in the western THE HARDER THEY FALL (2021) which pitted him against a gunslinger played by Idris Elba. He will also be starring opposite Michael B. Jordan in CREED III (2023) due out on March 3.

Evangeline Lilly returns for the third time as Hope Van Dyne/aka The Wasp, but even though her character’s name is featured in the title of this movie, her character seems to take a back seat to young Kathryn Newton’s Cassie character here. Heck, Cassie even has her own suit!

Bill Murray shows up in a glorified cameo as Lord Krylar, Janet’s former lover in the quantum realm. While Murray is fine, his scene is most memorable for giving Michael Douglas some of his best moments as he plays off Murray’s Lord Krylar, jealous that his wife had a relationship with the man.

Director Peyton Reed creates a memorable quantum world that is a visual feast for the eyes. Reed has directed all three ANT-MAN movies, and he does a fine job here. Of course, he’s also bailed out by the script, which gives this one a story and decent characters in order to prevent it from being just a visual experience. Technology in films has reached superior levels, where it is possible to create unknown worlds and bring them to life in ways that they seem real. And as long as the film has a decent script to go along with it, I have no problem with it. ANT-MAN AND THE WASP: QUANTUMANIA has such a script.

It also has two post credit scenes, one in the middle and one at the end, so if you’re interested in the hints Marvel likes to give regarding their future movies, you might want to stay till the end.

I had a good time with ANT-MAN AND THE WASP: QUANTUMANIA. I enjoyed the visuals, the action, the characters, and the frequently funny dialogue. It also features a heck of a villain.

ANT-MAN AND THE WASP: QUANTUMANIA is another excellent Marvel superhero movie, their second in a row. Here’s hoping their slump is over.

I give it three stars.

—END—

RATING SYSTEM

Four stars – Perfect, Top of the line

Three and a half stars- Excellent

Three stars – Very Good

Two and a half stars – Good

Two Stars – Fair

One and a half stars – Pretty Weak

One star- Poor

Zero stars – Awful

If you enjoy my reviews, you might enjoy my latest horror novel, DEMON AT THE DOOR, available at the link below: