Eagan at the Movies

Image: "Now I want this to be a clean fight....Save some for the next sequel."

In a sense, it's odd that Rocky himself is nowhere to be seen or heard from in this spin-off of the long-running franchise. However, in another sense, it's fitting that these films are no longer going to be stuck in the original's shadow. "Creed" has always been about forming your own legacy, honoring what came before, and creating your own story. This is where this series should continue if this decides to continue. 

Taking place years after the previous 2018 film, "Creed III" follows former boxing champion, "Adonis "Donnie" Creed" (Michael B. Jordan), now retired, famously successful, and living a happy life with his wife, "Bianca" (Tessa Thompson) and their adorable daughter, "Amara" (Mila Davis-Kent). However, his happily ever after might be completely disrupted by the return of once boxing prodigy and former childhood best friend, "Damian "Dame" Anderson" (Jonathan Majors). Having spent almost two decades in prison, Damian seemingly just wants to make up for lost time, trying to reconnect with Adonis and even ask him for a chance to box again. Feeling guilty about an incident in the past (Which led to Damian's incarceration), Adonis agrees to help his old friend, while also trying to arrange for an anticipated match between "Viktor Drago" (Florian Munteanu) and the current champ, "Felix Chavez" (Jose Benavidez). When Damian interferes and soon finds himself the center of attention, his true intentions to bring down everything that Adonis holds dear become apparent. Now Adonis must come out of retirement to face off against his most brutal opponent yet, and finally put the past behind him once and for all. 

From star turned first time director, Michael B. Jordan, with a screenplay by Keenan Coogler (Brother to "Creed" director, Ryan Coogler) and Zach Baylin ("King Richard"), "Creed III" comes into its own, taking with it whatever ingredients that have made these sports dramas cinematic icons. It's funny how most of these movies, no matter how crazy ("Rocky V" is a trip!), always have a certain formula to adhere to and yet, have continued to captivate audiences over forty years later. It's no different here, with the film often falling into some typical trappings (Almost intentionally), but either making sure not to dwell on them or at least finds ways to elevate them. Michael B. Jordan turns out to be a rather fascinating filmmaker in how he tells the story, keeping the film slick, well paced, and even poetic in places. It's most evident during the fight scenes, which are shown to be hard hitting, painful, and full of so much raw power, that regardless of how much damage you question a normal person can take, you're too far on the edge of your seat to care. At times, he films certain scenes like if they're an epiphinac dream, with stunning imagery and a great use of visual storytelling. (You don't always need dialogue to deliver on commanding drama)

Of course, we already know Michael B. Jordan has an immensely talented presence in front of the camera, but he shows a lot of promise behind it as well, and I'm curious to see where else he can take this if he chose to. Tessa Thompson continues to shine in a role that could easily be pushed to the side, through solid writing and her charismatic charm. Phylicia Rashad (as "Mary Anne Creed", Adonis' emotionally and physically struggling mother) is absolutely wonderful once again and Wood Harris (as "Tony "Little Duke" Evers", Adonis' trainer) is given a much bigger role this time (And proves to be quite excellent too. Why was he always in the background this whole time?). Mila Davis-Kent is an endearing little scene-stealer with personality to spare, while Florian Munteanu, who himself was scene-stealer in the previous film, doesn't really pop up enough. Now we have to take time to acknowledge Jonathan Majors, who is on quite the role this year (with apparently more to come). Much last he did with "Ant-Man and the Wasp: Quantumania" a couple weeks ago, Majors shows a remarkable amount of range. He's certainly menacing and you know, impressively jacked to a frightening degree, but is also shown in a sympathetic light, where you can see how easily this kind of instability can be created. Every scene between Jordan and Majors is, pardon the pun, a total knockout, right down to their final, epic confrontation.

There are some dramatic conveniences (It shouldn't be too much of a surprise when a second act death occurs) and maybe one or two leaps in logic (Granted, you gotta convey a lot in under two hours), "Creed III" features some earth-shattering performances, compelling characters, and impressive direction from Michael B. Jordan (Who I hope really takes this success to heart). It's a crowdpleaser with depth, which is what the "Rocky" movies are supposed to be, except this time, it doesn't feel the need to adhere to name recognition or legacies. It's become its own thing, and makes for a grand spectacle, except on a human level. 3 Stars. Rated PG-13 For Mature Moments, Sylvester Stallonelessness, And Michael B. Jordan's Intense Anime Influence. That Man REALLY Loves Him Some Anime, Doesn't He? 

Image: Film Twitter unleashing those "MCU is Dead!" tweets all at once.

The nearly fifteen year old "Marvel Cinematic Universe" begins "Phase Five", introducing us to a new villain, hinting at threats to come in the future, and reveals even more of the growing multiverse in creative ways. I can say off the bat for my fellow true believers that this new act in the MCU's Multilateral Saga features some of my absolute favorite moments in any Marvel movie so far.......and yet, it's still their weakest film since "Thor: The Dark World".  

Quite a while after the events of "Avengers: Endgame" (And the Disney+ series "Loki", if you're keeping track), "Ant-Man and the Wasp: Quantumania" reunites us with former criminal, turned shrinking Avenger, "Scott Lang/Ant-Man" (Paul Rudd), who spends his free time being beloved by the community, selling his autobiography, and spending time with his partner/love interest, "Hope van Dyne/Wasp" (Evangeline Lily). However, his daughter "Cassie" (Kathryn Newton), frustrated with her dad's lack of current hero work, repeatedly finds herself getting into trouble, and even has her own super suit. Cassie also works with Hope's dad, "Hank Pym" (Michael Douglas), with his various ant projects and attempting to create a device to make contact with the mysterious "Quantum Realm", despite protests from Pym's rescued wife, "Janet" (Michelle Pfeiffer). Turns out that there is more to Janet's time in the Quantum Realm than she let on, and before she can reveal more, everyone is sucked inside and separated. 

While Janet, Hank, and Hope attempt to traverse the treacherous environments, Scott and Cassie discover an entire microscopic world, becoming wrapped up in a resistance movement against a mysterious, all powerful, and unforgiving tyrant, "Kang the Conqueror" (Jonathan Major). Kang has his plans for the multiverse, intending to force Scott to help him escape the Quantum Realm and fulfill his dark destiny. To save Cassie and reunite with his friends, Scott has to make a deal with the devil, along with his heavily deformed, tiny limbed, big headed minion, "Mechanized Organism Designed Only for Killing" aka "M.O.D.O.K". 

Directed by the returning Peyton Reed (Known for more comedy films and shows, along with the first two "Ant-Man" films and "The Mandalorian"), with a screenplay by Jeff Loveness ("Rick and Morty"), "Ant-Man and the Wasp: Quantumania" sets out to change the course of where the MCU is going, while also continuing the franchise currently more experimental phase and keep delivering to audiences what they've grown to expect at the same time. It's odd to say that despite the film's lofty ambitions, it's also shockingly (And fittingly?) small scale. It's ironic considering how already slice of life the first two "Ant-Man" films were, being good hearted, family comedies that just so happened to be set in the superhero world. While this one isn't without humor and charm, it's darker in places and serious for a good chunk, abandoning the more modest settings for grand visuals and otherworldly places.

The film is very heavy on the CGI and green screen, and you can obviously see why considering that literally everything in the film is meant to look surreal and strange. I've come to expect it and there are plenty of moments where the visuals standout in beautiful ways, from the elaborate character designs to some gorgeous landscapes. However, when it doesn't, it's pretty distracting, looking more like last year's "Strange World" meets "Overwatch", rather than a big budget blockbuster (Basically "Avatar: The Way of Water" if it didn't take a decade to come out). The story is also fairly safe, at least for the first act, that only becomes something bigger once we are introduced to the highly anticipated big bad himself. This is also where the film's more out there comic roots take center stage, bringing about more thought provoking themes of what lies beyond our very universe and the frightening implications that could come. 

Paul Rudd remains just as likable as ever, playing as well with the comedy as you would expect, yet also showing off more of his dramatic acting chops (Reminding us why he is one of the MCU's most relatable and down to Earth heroes). Rudd has some wonderful chemistry with Kathryn Newton, who brings something new to the character (And refreshingly doesn't overplay the family drama in an annoying way). Evangeline Lily is good, though she really doesn't get much to do (Probably because the film's decision to focus more on Scott and Cassie this time), while Michelle Pfeiffer and Michael Douglas remain professionally great. We get some alright, though not exactly memorable new additions, from Katy O'Brian (as "Jentorra", the Quantum Realm resistance leader, who I could have sworn was Michelle Rodriguez up until now), William Jackson Harper (as "Quaz", a telepathic member of the resistance), and the always welcome David Dastmalchian (as "Veb", a slime blob, with an obsession with um, holes), who you might remember appearing as a different character in the first two movies. Bill Murray (as "Lord Krylar", a deceptive figure from Janet's past) pops up for a glorified cameo (Maybe he had a bigger part that was trimmed down due to his recent, er, activities), and I would be lying if I didn't say that one does miss some of the other supporting characters from before (Those Michael Peña ramblings are Marvel iconic!). 

Then we get to Jonathan Majors, who is shaping up this year's most versatile actor and is a terrifying villainous force. Having already appeared as another variant of the character in the first season of "Loki", Majors is quick to show us just how different this one is and why everyone should be afraid. He's calm, collected, and intimidating as Hell, hiding an even more bloodthirsty and violent sense of menace behind his vulnerable facade. Majors commands every scene he's in and makes one stand in attention when his character's apparent "reasonable" demeanor becomes less so (Thanos really looks tame compared to this guy). Another major scene-stealer for me is M.O.D.O.K, himself, who I dare not reveal too much about. All I can say is that what they do with this iconic comic character needs to be seen to be believed. Based around a design that's too preposterous, bizarre, and thoroughly hideous, you could never see him making an appearance in the MCU. However, they did it and are proud to display his hilariously grotesque and baffling form with pride. The absolute balls on Marvel to think that they could get away with this is applaud worthy and I loved every second this abomination was on screen. (Plus it leads to some of the film's funniest gags)

After firing on all cylinders from 2014 to 2019 (Critical and financial hits one after the other), "Ant-Man and the Wasp: Quantumania" doesn't reach the heights of what's possible (And deep down, we all know it should have). It still has solid action, a cool score form Christopher Beck (A recurring Marvel collaborator), good humor, and heart, boasting enough charm to get through the most basic story they've had in some time (Not to mention somewhat cops out in the end after a very intense climax). Despite some memorable villains and plenty to get excited for in the future, the inconsistent visuals, messy screenplay, and high ambitions colliding with low stakes, the film continues a noticeably worrying trend with some of the recent MCU ventures (Why have so many of the recent films been barely two hours. Pretty short considering so much that happens). Throw in some weird, yet undeniably entertainingly wild post credits scenes (The final one in particular made me smile. Hard), you leave anticipating where this Kang Dynasty is going to lead, even though the cracks might be starting to show more than you would like. 3 Stars. Rated PG-13 For Sci-Fi Violence, Broccoli Beings, And Kang's Massive, Bulging Biceps (Might Be One Of The Most One Sided Fights In Movie History). 

Magic Mike's Last Dance                                                                                    ★★ out of ★★★★

Image: "Who's my ticklish widdle' man?

The "Magic Mike Trilogy". I don't know why, but that just sounds weird to me. Almost unnecessary if you will.

"Magic Mike's Last Dance" reunites us with former stripper, "Mike Lane" (Channing Tatum), aka "Magic Mike", who is down on his luck more than ever, now working as a bartender. He meets wealthy socialite "Maxandra Mendoza" (Salma Hayek Pinault), and the two share an intimate night together. Maxandra then convinces Mike to return with her to London, providing him with the new job of directing a stip-tastic re-imagining at a major theater owned by Maxandra's soon to be ex husband, "Roger" (Alan Cox). Getting this show going though proves to be difficult as both Mike and Maxandra face many obstacles that threaten to shut everything down, as well as their own romantic tension.

Directed by the returning Steven Soderbergh (The "Ocean's Eleven" series, as well as the original 2012 "Magic Mike") with a screenplay from the also returning Reid Carolin ("Dog"), "Magic Mike's Last Dance" follows in the footsteps of its predecessor, "Magic Mike XXL", in which I'm not exactly sure why this is continuing. The first works solidly on its own, yet a franchise was developed, with the first sequel going for a more comedic tone (And the playful fanservice for the ladies), while this one focuses more on the dramatic (And less of the fanservice for the most part). It ends up being too far in the opposite direction unfortunately, feeling like a course correction that never quite sticks the landing. It's certainly a glossy, slick, and very oily looking film, but it's the script and story that don't add up the way it's intended to. It's clearly meant to serve a conclusion to the franchise, but nothing all that new feels added in the end. You can see how this could have possibly served as something poignant and worthy of a continuation, though gives off the vibe of being a first draft, focused more on the idea of the film (And obviously, it's inevitably showstopping finale). 

Channing Tatum (As Channing a Tatum as he can possibly be) once again brings an understated presence to what at first seems like just a toned and well chiseled personality. Salma Hayek Pinault is also very good, playing a conflicted character, who hides her insecurities behind the glamour, proving to be an equally longing soul. (Also, can we take a moment to acknowledge that this woman is in her late fifties, and is still absolutely stunning beyond all reason? Respectfully, she's still hot!) They're great, but sadly, the film completely hinges on their relationship, which oddly never quite clicks. The chemistry is there, yet nothing about the screenplay actually makes one buy the romance. Considering the love interests in the previous were long gone and forgotten by the time we reached each sequel, I never got invested enough to see how this would be any different. Other characters from the previous two films either get ignored or only make a brief zoom cameo (Hey Joe Manganiello!), while there isn't much development given to the newer ones. Some standouts include Ayub Khan Din (as "Victor", Maxandra's snarky, yet loyal butler) and Jemelia George (as "Zadie", Maxandra's adopted daughter), though I would like to hear the reasoning behind having her pretentiously narrate the film. None of the new dancers brought in have much to them other than to dance and look pretty, with possibly the exception of Juliette Motamed (as "Hannah", the one woman of the group, who doesn't have a filter), and even then, she too kind of fades into the background. 

Originally meant to be released exclusively through "HBO Max" instead of theatrically (I can see it the more I think about it), "Magic Mike's Last Dance" is an underwhelming feature that only shines once we reach the final (And only, for the most part) dance sequence, which is admittedly spectacular. It's quite the elaborate show to behold and it's almost like the entire film was just built around it. Not to mention, the film just stops, resulting in one of the more confusing endings I've seen in a while. Despite the best efforts of our terrific leads, the romance isn't near believable enough and the plot is half-baked, thanks to an unremarkable script that doesn't justify itself. I can even see the target audience (So many regressed mothers) tuning out. The magic just isn't there. 2 Stars. Rated R For Language, Adult Content, And Slippery Sensual Sweaty Slithering.

Image: "On the bright side, I can recommend a great tattoo artist."

Say what you will about M. Night Shyamalan, but the man has obviously taken his many, many, many (And deserved) criticisms to heart. However, you still have to respect the man for retaining his unique style of storytelling, regardless of how accepted it will end up being. Like it or not, you're going to get something that you'll be talking about for a while. Something different. Something Shyamalan, if you will.

Based on the book "The Cabin at the End of the World" by Paul G. Tremblay, "Knock at the Cabin" opens with "Wen" (Kristen Cui), and her adoptive fathers, "Eric" (Jonathan Groff) and "Andrew" (Ben Aldridge), vacationing in a secluded cabin in the woods. Their wholesome vacation becomes an unimaginable nightmare due to the arrival of the very apologetic, yet hulkingly huge, "Leonard" (Dave Bautista), along with his companions, "Redmond" (Rupert Grint), "Sabrina" (Nikki Amuka-Bird), and "Adriane" (Abby Quinn). The four strangers proceed to tie up both Eric and Andrew and prevent the family from escaping. Leonard explains that they've been shown visions of an apocalyptic event that will result in the end of the world, and the complete decimation of humanity. To prevent this, Eric, Andrew, and Wen, will have to make an impossible choice, which is to sacrifice one of each other to save the world. Whether or not this is true, it's clear that these attackers aren't going to let any of the family go unless they choose. 

Directed by M. Night Shyamalan ("The Sixth Sense", "Signs", "Split", "The Happening", etc. Big filmography), who also co-wrote the screenplay with Steve Desmond and Michael Sherman, "Knock at the Cabin" hits the ground running immediately, once the opening titles finish. We're instantly dropped in the middle of an unspeakable and almost nonsensical situation. The tension is constant, tightly compressed into a brisk runtime, and serves as a reminder that Shyamalan can be a really good director in the right circumstances. He uses the film's modest budget to its advantage, letting you only see so little, leaving you to question so much, similar to our main characters. It's wonderfully shot and choreographed, keeping you uncomfortable through a series of unique perspectives (Sometimes the camera will randomly focus on a close up of a character's eyes and mouth, or will even give us the POV of a weapon as it's about to be used to its full, bloody effect). 

Jonathan Groff and Ben Aldridge make for an excellent pair, and despite only getting glimpses into their ongoing relationship with a couple brief flashbacks, you know just enough to care about them. (Especially once we get closer to the end, in which these two actors give it their absolute all as if it was their Oscar moment) Kristen Cui is also terrific, being this adorable light within such a dark film, while also being a smart, capable young character in her own right. Nikki Amuka-Bird, Abby Quinn, and an especially unhinged Rupert Grint, are sympathetic, human, and frightening, feeling like average people that you might have even met before, becoming a source for confusing horror. Dave Bautista, constantly proving himself to be one Hell of an actor worthy of various kinds of roles, makes his screen presence known as a force of nature, that just so happens to be a very respectful, even remorseful guy. He does keep you guessing if he truly is the villain of the story, a misguided lunatic, or something more tragic. Even with the occasional Shyamalan awkwardness (Which is honestly depending on the context, kind of charming), it never feels out of place. It's almost as if Shyamalan is more in his comfort zone here.

"Knock at the Cabin" isn't something that I can see everyone getting behind, but it does offer an intense, often brutal and heart-wrenching ordeal. It leaves you with many thought provoking moral questions, that you might find yourself repeatedly going back and forth on in your head. (No simple answers here) It's easily one of M. Night Shyamalan's best work in some time, resulting in an uncomfortable thriller that will leave you shifting in your seat throughout, and possibly broken once it's over. 3 1/2 Stars. Rated R For Suspenseful Situations, Disturbing Images, And Brutish Bautistas. 

Image: "Pirates....Why does it always have to be Pirates?"

The debate on theater vs. streaming has somewhat fizzled out a bit. With "Avatar: The Way of Water" having made a whole lotta of the monies and all that, it looks like with the right movie, audiences will flock over to the theaters. Thankfully though, some films, that would be a chore for someone like me to make time to see on a big screen at a designated time, have had the right mindset to not make me take time out of my day to do so. This movie had no business playing in a theater and it knew it. If anything, streaming via Amazon may have actually guaranteed more of a profit in the long run.

“Shotgun Wedding” follows a soon to be married couple, “Darcy” (Jennifer Lopez) and “Tom” (Josh Duhamel), preparing for a luxurious wedding on an island retreat. However, it might be a little too big, with both sides of their wacky families showing up together, such as Darcy’s separated parents, “Renata” (Sônia Braga) and “Robert” (Cheech Marin), Tom’s strange mother “Carol” (Jennifer Coolidge), and an unexpected visit from Darcy’s ex, “Sean” (Lenny Kravitz). Now while Darcy and Tom are both starting to reconsider their engagement, the wedding is crashed by some more unexpected visitors.... Pirates (Sure, why not). With their families and guests taken hostage (And unfortunately zip-tied together), Darcy and Tom have to find a way to save everyone, as well as their relationship.

Directed by Jason Moore ("Pitch Perfect", "Sisters"), with a screenplay by Mark Hammer and a producing credit from Jennifer Lopez herself, "Shotgun Wedding" is like a combination of other romantic comedies to come out of last year, like "Ticket to Paradise" or "The Lost City", except just a lot lamer. For rom-com fanatics, it's got all the trademarks that might be a deal breaker for some, yet also exactly what others come for in the first place. The film is overall just kind of a mess of ideas, a charming cast, and an inconsistent sense of self in terms of tone. The film wants to be a lot of things that don't always mix even under the best of filmmakers, struggling to find balance between romance and laughs, along with a more actionized plot and a surprising amount of both raunchiness and violence. It's oddly normal one moment, then completely preposterous the next. Both could work and it's not like you don't get a good chuckle in places, but the end result is too chaotic for its own good. 

Jennifer Lopez (Always absolutely beautiful) and Josh Duhamel (Beautiful too! You know, if you're into that!) are a solid couple, with enough chemistry to make any of this remotely work. While the romantic conflict between the two is a bit contrived, they bounce off each other rather well, especially since they're literally stuck together for a good chunk of the movie's runtime. (Something that makes for more than a few clever gags, such as having to hold onto a pinless hand grenade in hopes that it doesn't blow) Most of the rest of the characters are rather one note, playing specific types, with Jennifer Coolidge being weird, Cheech Marin being uh, Cheech Marin, Lenny Kravitz (Who does appear to be having fun) getting a pretty thankless part when you think about it, Callie Hernandez (as "Jamie", Darcy's sarcastic best friend) being just the sarcastic best friend, and some disposable/interchangeable villains. One of the standouts would be Selena Tan (as "Margy", the island host), who only makes sporadic appearances, yet is quite an amusing presence.

Beautiful locations, likable leads, and some noticeable laughs, "Shotgun Wedding" is a silly romp that gets down business very quickly and should be enough for the target audience to enjoy at home on a rainy day, even if it does ratchet up the silliness too far towards the last act. (It basically becomes a live-action cartoon around this point, despite seemingly semi-based in a sitcom-like reality) I can't get bent out of shape about it, especially since I didn't have to wake up early to get to an 11:00 am showing for it in an almost completely empty theater (Where sometimes the projector won't even start on time because the employees didn't think anyone was there). There is some good to come out of the streaming method. 2 Stars. Rated R For Language, Adult Content, And Unexpected Amount Of Bloody Violence. 

Image: "No....I DON"T want to change my service to T-Mobile!"

Producer Timur Bekmambetov ("Wanted", "Abraham Lincoln: Vampire Hunter", "Profile"), is really obsessed with this premise of "Screenlife" (Computer screen style visual storytelling). From horror films like the "Unfriended" franchises, to 2018's surprise success "Searching", this concept hasn't quite caught on the way he's wanted, yet there has been something quite brilliant about it if you ask me. Even when it hasn't always worked completely, it's a compelling and relevant way of filmmaking, that most of all, can prey on some of our greatest fears. The ones that we have only allowed further to become integrated within our lives, knowingly or not. Personally, I think we're all screwed.

With the story playing out over a computer screen, "Missing" follows a teenage girl named "June Allen" (Storm Reid), having grown apart from her mother, "Grace" (Nia Long). Never having recovered from losing her father at a young age, June has become rebellious and distant from Grace, who has found a new boyfriend, "Kevin Lin" (Ken Leung), planning a romantic vacation together to Columbia for a week. While Grace and Kevin are away, June has her own plans to party the week away with her friends. However, a week later, neither Grace or Kevin return. An investigation into their whereabouts begins, led by "FBI Agent Park" (Daniel Henney), though June is able to conduct her own investigation, with help from a local, "Javier Ramos" (Joaquim de Almeida) via "WhatsApp". While doing some digging, June discovers some disturbing revelations about Kevin, as well as some secrets that her mother has been hiding from her. It turns out there is much more to this mystery than a simple disappearance, leading to June to question just how much she actually knows about her own mother.

Written and directed by first time directors, Nick Johnson and Will Merrick (Editors for films such as "Searching" and "Run"), with a story credit to their frequent collaborator, Aneesh Chaganty, "Missing" is a pleasant surprise of a movie, in which nobody knew it even existed until a month ago. The film, while nowhere on par with "Searching", still makes for an effectively intense and puzzling mystery, thanks in part to how much the film is intertwined with its premise. You get so much character simply from a character's actions via computer screen, with their texts, messages, and searches, all on full display, providing just as much insight into their mindsets as the performances of the actors. The way we see how the internet can be used in such a situation is both compelling and very suspenseful, where you feel the frustrations and anxieties of our main character. It especially works because many of these fears are based in reality, such as what personalities people hide online, among other secrets that they've attempted (And even partially successfully) buried. Now sometimes how the film gets to its conclusions can be a little convenient, but the film is under two hours, so corners have to understandably be cut. (I mean, how lucky can you be for there to literally be cameras everywhere?)

Storm Reid, who no matter the movie always finds herself in a distressing parental situation of some kind, is terrific, while the always good Nia Long makes up for her limited screentime with motherly warmth. The two don't have much time together, yet you do buy their estranged, though still loving relationship. Ken Leung does a good job keeping you guessing as to what his true motivations and goals are and the same goes for Amy Landecker (as "Heather", an agent friend of Grace, who tries to help June in finding her), while Joaquim de Almeida is wonderful, playing the comic relief, as well as adding a good amount of heart to the film. There is still a sweet story at the center that should resonate with families, playing off our own familial worries. 

Packed with intrigue, chills, and twists that are genuinely hard to see coming (Although maybe a few too many twists come to think of it), "Missing" is a solid follow-up to "Searching", not quite reaching the first film's originality and greatness, yet still proving to be a tense drama. With strong characters, and even a little humor in places (A running gag involving Netflix true crime docu-dramas is just too accurate), it's a brisk, somewhat family friendly (It's a tame PG-13), and quite poignant cyber thriller. It doesn't match what came before it, but it also proves the lasting effect of this style of filmmaking. 3 Stars. Rated PG-13 For Suspense, Terrifying Technology, And Improper Internet Use.    

Image: "This chart shows how Lebron has scored at least 10 points in every game since the Bush administration!"

I know comedies aren't supposed to dwell on little things such as plot and story, which are in the end, completely secondary to the jokes and the laughs that will hopefully follow. It's nice when you get both, resulting in something special to draw you into repeat viewing, but if you still get some chuckles, you can't hold it too much against a film that's not particularly focused on storytelling.

A reboot of the 1990 film, "House Party" follows the broke and soon to be jobless, "Kevin" (Jacob Latimore) and "Damon" (Tosin Cole), a pair  of house cleaners/party promoters. They discover that the large mansion that they just so happen to be cleaning is owned by "LeBron James" (Played by himself. As he should be.). With nothing else to lose, Kevin and Damon decide to throw a wild party, hoping to make some large amounts of cash. Of course, chaos is about to ensue. 

Directed by music video director, Calmatic, "House Party" is one of those movies that offers an occasional laugh, ranging from chuckle worthy to actually pretty hilarious, yet is stuck in a film that has zero story structure and plot relevance. It's less a narrative and more of a series of gags that are supposed to culminate in a theatrical runtime (Or streaming, considering that this was originally meant to be released on "HBO Max" last year). Does this still provide a laugh or two? Well, yeah. More than that actually. Does this also work as a well made movie? Hell no! Obviously no! Calmatic's direction is pretty basic, especially when the film has to take a break from shenanigans to move what we are labeling as a plot forward. A good chunk of the second act is just characters being goofy and getting into absurd situations, with an occasional dance number and many, many cameos from some familiar faces. Then there's some conflict and absurdity to rocket us towards a climax. It's all interspersed with padding which also leads to something amusing, but certainly not enough to warrant a theatrical viewing. 

Jacob Latimore and Tosin Cole are good together, though you never truly buy their relationship as best friends who've known each other their entire lives. With Latimore as the straight man and Cole being the more overtly wild one, they both work for what they are (And the third act breakup is an almost non-entity, being glossed over rather quickly). We got some standard archetypes, such as the love interest (Karen Obilom), the very white and dorky neighbor (Andrew Santino) and his koala, some bad guys, and the stoner (DC Young Fly, who gets some of the film's funniest bits). One of the film's biggest scene-stealers is Scott Mescudi aka Kid Cudi (as himself), who is absurdly funny in the movie's most nonsensical role, while LeBron James looks to be having a good time poking fun at himself. 

From an overzealous security/SWAT team to a detour involving the Illuminati of all things, "House Party" is at its best and funniest when it's weird, and every so often, completely jumps into total insanity. However, the laughs are far too sporadic, and they're sprinkled over something that's barely even connected in a watchable fashion. It's barely even a screenplay, with constant ad-libbing to fill the gaps. It's the definition of a watching at home kind of movie, possibly even with a group of friends, and then forget about it the next day. Think of it as your own little house party in that way. Minus the booze and the drugs. 2 stars. Rated R For Strong Language, Debauchery, And Surprisingly Gruesome Violence. Cudi Carnage If You Will. It's A Long Story. Even In Context. 

Image: "Hey Gerard....How about you handle, oh, say, maybe 300 of them?"

I know we're quick to jump to conclusions when it comes to January. Can you blame us though? It's usually such a dumping ground of lame horror, forgettable comedies, straight to DVD action films, and cheap ass animation. So apologies if we jump to conclusions when a fairly typical looking action movie called "Plane", because it has a plane in it, comes out at a time when we expect the worst. We're sorry. I'll never assume anything ever again. 

"Plane" opens with longtime commercial pilot, "Brodie Torrance" (Gerard Butler), preparing for what should just be your run of the mill late night flight, though a surprise passenger in the form of a prisoner being extradited for murder, "Louis Gaspare" (Mike Colter). Piloting through an intense storm, Brodie is able to crash land on a remote island in the Philippines, which is run by violent militias. When the passengers are taken hostage, Brodie must partner up with Gaspare if they're going to rescue the prisoners and find a way back home.

Directed by Jean-François Richet ("Blood Father" and the remake of "Assault on Precinct 13"), with a screenplay by spy fiction writer, Charles Cumming and J. P. Davis ("Fighting Tommy Riley), "Plane" has the makings of a January throwaway, yet has a little extra something to separate from lesser films like it. There's more drama and character (To a degree), much like last year's "Beast", attempting to develop its main characters more, and giving the audience a little extra incentive to see them survive. It doesn't really become a full blown action thriller until almost halfway through, first showcasing the initial plane crash and our characters trying to figure out what to do before our disposable villains pop up. The crash is actually a genuinely intense, well thought out sequence that should definitely play on the anxieties of anyone afraid of flying. 

Gerard Butler plays a bit more against type, being a more vulnerable action hero, who wants to avoid confrontation, yet will do what he has to when put in a dire situation. It's a surprisingly emotional performance that just showcases how good of an actor he's become and will give it 110%, even for a film like this. Mike Colter is very intimidating (I mean, he'll always be freakin "Luke Cage" to me), and keeps a mysterious presence throughout (Not to mention he knows how to use a sledgehammer to the best of its abilities). There are a few standouts from the supporting cast, such as Daniella Pineda (as "Bonnie", a flight attendant, who attempts to keep the peace), Yonson An (as "Samuel", Brodie's loyal co-pilot), and a delightfully professional, yet snarky Tony Goldwyn (as "Scarsdale", a Special Forces officer, who arranges for a rescue effort). As for our villains, they're acceptable for what they are. Just foreign baddies, with no redeeming qualities and intense bloodlust. 

"Plane" has some solid action, and uniquely takes its time more than your run of the mill thriller usually does, making for perfectly suitable, okay entertainment. It's a quick sit, that doesn't ask for much from its audience, but also thankfully doesn't half ass it at the same time. It does its job well enough, works as a serviceable matinee movie, and even makes certain unpaid film critics take a moment to stop assuming that certain movies are going to be bad. I promise I won't do that ever again. For the rest of this week. 2 1/2 Stars. Rated R For Strong, Brutal, And Bloody Violence, Along With Ferocious Filipinos And Hardcore Hammer Time.

Image: Elizabeth Olsen, in the performance of a lifetime!

So how did we start off 2023? Let's see here. In a rather modest auditorium, with a sizable crowd, mostly consisting of groups of young people, the lights can't seem to decide if they're going to go down or not, and Maria Menounos wasn't coming on screen like she usually does (The screen during this flicked off and on too). We got some giggly girls behind me, a friendly and very gay man in front of me (Who I can assume really wanted to talk), and some guy letting out a loud, bellowing burp near the first row. Eventually lights go down, trailers start (Weirdly only a couple of them, and even those were odd too), and we get this crazy ass movie, with an even crazier audience watching it. Girls behind me laughing and screaming, the guy in front of me clapping or yelling "Yaaaaaasssss!" while snapping his fingers, and the guy at the front burping three or four more times. This is all going on throughout the film's entire runtime. I feel like this should signify what the rest of the year is going to be like. Only at "M3GAN". 

"M3GAN" opens with a young girl, "Cady" (Violet McGraw), losing her parents in a car crash, now having to live with her unprepared aunt, "Gemma" (Allison Williams), a roboticist for a large, top of the line toy company. Gemma has been working on a lifelike doll, called a "Model 3 Generative Android", or codenamed "M3GAN" (Played by Amie Donald in costume, while voiced by Jenna Davis), which through artificial intelligence can in theory, become the bested friend that any little kid could ask for. (Even if she is already kind of creepy even before she actually does anything murderous) Gemma uses the prototype of the doll to bond with Cady, with the two becoming an instantly inseparable pair. This also pleases Gemma's boss, "David" (Ronny Chieng), who plans to release M3GAN to the public, using Cady's relationship with her as a means of further evolving. However, M3GAN's ability to adapt and learn slowly leads to her taking extreme measures to protect Cady by any means necessary, even if it means that Gemma herself won't be part of the equation. Or anyone else for that matter. 

Directed by first timer, Gerard Johnstone, and written by Akela Cooper ("Malignant"), "M3GAN" is the latest from "Blumhouse Productions" and producer James Wan (Creator of the "Saw" and "Conjuring" franchises, among others), and is fully aware of just how batsh*t it is. The film, much like what you would expect from James Wan and the writer of "Malignant", is purely unapologetic in its campy horror and dark sense of humor. It's silly and wildly entertaining, that's also doing a lot more with its clever premise than you would even ask of it. It's a January released, intentionally goofy horror movie. Considering how terrible we're used to things being around this time of year, we don't expect much. While the film is certainly still plenty preposterous, it's not remotely stupid. The film goes all out with its premise, utulizing crazy scenarios and scares, intended to make the audience jump and react to. Johnstone's direction is quite solid, with the screenplay incorporating some humor throughout to show how the filmmakers aren't taking any of this too seriously. 

Just because the film itself isn't exactly dramatic, doesn't mean that there isn't anything worth caring about. Allison Williams and Violet McGraw are playing the film straight, and are both great at it. Their relationship does lead to some effective drama and heart, along with how terrific they are at looking absolutely terrified of something that looks quite goofy from a distance. Some of this is also helped by M3GAN herself, who is full of personality and all kinds of twisted. She's a brilliant creation, from the movements, the excellent voicework, and a surprising amount of genuine menace, making for a horror villain that you find yourself wanting to see more of in the future (You know they got those sequels planned right?). Much of the supporting cast, while all good in their parts, such as an enjoyably snide Ronny Chieng, are there just to make for future victims of M3GAN's killing spree. Despite the film's PG-13 rating, it's still pretty gruesome, making for some rather unique horror deaths. M3GAN ripping off a bully's ear and chasing him down like a wolf into traffic, or popping and locking before cutting up a guy, this is the kind of insanity that other horror films don't near enough embrace.

While never particularly scary, "M3GAN" is delightfully unhinged, yet is actually quite intelligent about it. The film actually makes for solid commentary on our overreliance and dependence on technology and AI to solve our problems, right down to having them raise children in place of actual parents. Not to mention, even with how purposely outlandish the film gets, you know somebody somewhere has been spitballing this idea to a bunch of socially inept board members. It's campy, yet the kind of campy that you want in your January releases and should please the most crowded of audiences. (Although, don't completely lose your sh*t like mine did, burping all over the place and whatnot) Then again, with stuff like "Cocaine Bear" coming out this year, 2023 is shaping up to be the year of the crazy. 3 Stars. Rated PG-13 For Jumpy Scares, Bratty Boys, Sick Dance Moves, And B*tchy Bots.