TRON: ARES (2025)

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Directed By: Joachim Ronning 

Written By: Jesse Wigutow

Story By: Jesse Wigutow and David Diglio

Based on characters created By: Steven Lisberger and Bonnie Macbird 

Cinematography: Jeff Cronenweth 

Editor: Tyler Nelson 

Cast: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Gillian Anderson, Jeff Bridges, Arturo Castro, Cameron Monaghan, Hasan Minhaj, 

A highly sophisticated program, Ares, is sent from the digital world into the real world on a dangerous mission.

Now I was prepared to really dislike the movie.  As I have seen the previous two TRON’S and liked them, but I wouldn’t say I’m a fan of the franchise so when another one was announced to come out, I was shocked and I really didn’t understand why because I know that the last film had gone way over budget and was not seen as a hit, even if the soundtrack by Daft Punk was

Though I have to say watching this film, it feels a little simplistic, but I surprisingly found myself entertained. I’m not going to say that the film is great, but it is entertaining enough to keep your interest as majorly. It is more style over substance and it’s a film that looks great and the special effects look seamless. The action scene is the ones that they are are pretty clean. Get well shot.

Even though I’m not the biggest fan of Jared Leto as many times though method, he seems like how I describe this movie style over substance. He does what is needed as the lead of the film. Greta Lee, as the co-lead of the film deserves better material than this, especially as a best actress nominee, though I am a fan and understand hey, this might be the best that she got out of the scripts offered and she does what she needs to do in her role.

This is the type of film that would’ve came out in the late 90s and early 2000 and seemed kind of basic but watching it here this is truly a film that is more spectacle than storytelling as instead of dealing with the Tron world inside of the computer like the last two films it explores Tron coming into the real world which helps keep the budget down, but also explores new territory, even if not as wondrous.

The fountain definitely feels more in debt to the 1980s of the evil corporation head, wanting to control all instead of using the technology to help or just to open up the world. 

Now the history of this film was that originally there was supposed to be a sequel to the 2010 movie Tron Legacy in 2012 called Tron Ascension, which was more of a direct sequel but due to the budget and the Tron legacy not doing as well as expected the film was shelved while Jared Lido was attached to play a role. What ended up happening is that the writer strike happened in Disney needed a tent pole film for 2025 just in case depending on how long the rider strike went on so they dusted off the old Tron ascension script, and once the writer strike ended quickly rewrote that script to be more of a kind of continuation, but also standalone not really needing to repeat any characters from the previous film and Jared Leto got a career high payment of 15 million to star in the film.

I don’t know how the die hard of the franchise will feel about this film, and truthfully, it is quite disposable, but the two things that stand out from the film or the soundtrack by Nine Inch Nails, so continuing in the tradition of memorable soundtracks of the Tron films, and also the look while it doesn’t break new ground and special effects the style of the film is just so beautiful and delicious to look at that even if you don’t like the film, you can’t deny it’s looks. As it is as sleek, slender and, conditioned as the leads.

Two of the reasons for the Sharp look is cinematographer Jeff Cronenweth known for dark beautiful visuals and director Joachim Ronning is a director of range but constantly sharp visuals. 

This comes off as a guilty pleasure and the technology shown off seems advanced, but yet behind as far as on-screen tech innovation goes. 

The film isn’t as smart as it likes to think it which isn’t very, but works as a kind of mindless popcorn science fiction movie. So if looking for check your brain at the door entertainment this is perfect for you. 

Grade: C+ 

DIE MY LOVE (2025)

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Directed By: Lynne Ramsay

Written By: Enda Walsh, Lynne Ramsay and Alice Birch

Based on the book by: Ariana Harwicz 

Cinematography: Seamus McGarvey 

Editor: Toni Froschhammer 

Cast: Jennifer Lawrence, Robert Pattinson, Sissy Spacek, Nick Nolte, Sarah Lind, Lakeith Stanfield, Gabrielle Rose, Clare Coulter 

Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.

Jennifer Lawrence gives a phenomenal performance that is raw animalistic and amazing more physical than verbal as that is what the script calls for so she just morphs into the role and is a sensation

Though sadly, she is more interesting and truly the highlight of the movie as the movie is not bad, but she is clearly the star in the heart of the film, even with a stacked cast she’s the only one who makes an impression and stays memorable

Now be warm this film is very dark and very depressing throughout. There are very few if any moments of joy and none that I can truly remember. 

Now I knew what I was getting into when it came to watching this as most of Director Lynne Ramsey‘s movies are intense sad and mostly joyless. I’m not saying that is a bad thing. It’s just that, that is the mood and vibe that they give off they can be quite depressing and this film is no exception. They like the main character and maybe this was intentional. The film also feels a little lost.

As it plays, this feels like the film NIGHTBITCH with Amy Adams strive to be or at least make the audience feel like, whereas, even though that film is more of a satire that involve postpartum depression this film is definitely a drama showing the ravages of postpartum depression only revealing through flashbacks that not only to this character might have had mental problems already, but it seems like everyone around her is also breaking down in their own way. They both have many similarities as both protagonists are artists of some kind. Who begin to exhibit animal type behavior.

We see that the relationship seemed kind of rushed from the beginning, and that both characters were always impulsive and now that they are need to be more responsible Lawrence his character does not seem prepared or ready for it or as Robert Pattinson‘s character does but doesn’t want to take on all the responsibilities either

As like in the film night, bitch, he comes across as careless and not at all helpful and expecting her to take on everything

Just as with the main character film plays with time where sometimes we’re not sure exactly where we are in the timeline of their relationship exactly where they are and sometimes if what we’re seeing is real, we’re all in her head

Which is shown to be faulty as in a scene when she sees her neighbor who always rides a motorcycle at a supermarket with his wife and disabled child at first, we believe she’s going to talk to him to help her with a flat tire. Then we realize nose, some weird fantasy that she had of talking to as he represents temptation even though doesn’t really have any lines throughout the film.

Speaking of which Nick Nolte is in the film as Robert Patterson‘s father, who is slowly losing his cognizance and seems to be in a film for only five minutes before he’s gone, which is a shame as he has a screen legend and was hoping that he’d have more time on screen and more things to do, though  Sissy Spacek as Lawrence‘s mother-in-law is powerful in her scenes

As she seems to be having her problems after her husband‘s recent death, but still can hold it together and seems to understand what Lawrence‘s character is going through, but wants her to take responsibility and kind of snap out of it even while having sympathy for her

One can’t see who this film’s audience really is as it got a very low cinema score, but it is good filmmaking that is more experimental and doesn’t hold the audience‘s hand. What’s the where it goes and leaves them to interpret it however they will as the last 15 minutes of the film, which so far has been a buildup is truly worth the film. Let’s loose and becomes all the more powerful.

As even though the film does offer some surprises before we reach that point, it’s never as strong as the ending just as a strong and deeply felt Jennifer Lawrence‘s performances. The rest of the film just isn’t as strong as you constantly wonder where it’s going.

Grade: B- 

OH HI (2025)

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Written & Directed By: Sophie Brooks 

Story By: Molly Gordon 

Cinematography: Conor Murphy 

Editor: Kayla M. Emter

Cast: Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, David Cross, Polly Draper, Desmin Borges, Jim Gary Jr. 

Iris and Isaac’s first romantic weekend getaway goes awry in a most unexpected way.

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This is a disarming and strange film only because at first you think you know where it’s going, and while it plays that way, for the most part, it offers different directions mindsets and present us with characters rather than relying only on its plotting 

Originally thought this would be more of a two hander. 

the first half of the film Is really enjoyable Which was more conventional, by the second half it starts to fall apart a little. As it becomes Less conventional and while not expected it works on it’s Own Even if not necessarily fulfilling in the way that you had hoped 

Would have liked it, if it was more ambiguous at the end, but it is a romance after all so has to have that kind of ending. No matter where the film goes 

So much so, that you care what actually happens and will this resolve itself. While wondering what will happen? Even the supporting characters only add to the films charm. 

While the two leads played with wit by Molly Gordon and Logan Lerman are such a cute couple, who are hiding issues and deep, dark secrets that they have to take a look at themselves. As well as each other to truly move forward in general. Though who knows if this would’ve even happened if not for the films inciting incident.

This is the type of romantic comedy. They don’t make anymore. It’s a little bit more formula, but you can identify with the characters you’re rooting for the characters. it’s not overly cute nor painstakingly unbelievable that feels more like a dream scenario. It deals with real issues minor and mighty that actually come up in more modern relationships. 

The stakes aren’t that mighty,  but there enough for you to pay attention and care. Where you  want to see what’s going to happen. where this is gonna go and how will this resolve itself and while the film isn’t a star showcase. One has to give props to star Molly Gordon, who also came up with the story for the film. As she continuously keeps making projects that give her a showcase for her range and talents in leading to supporting roles, just as she did with the film THEATER CAMP, which she co-wrote and Co-Directed 

This is-one of those films that is subtle enough that you admire it for what it is and really taking a deep look at these characters plus the relationship. As well as what might be in the future for each of them.

The visuals of the film are broad with a single location. It’s almost a two hander. The only thing that keeps it from being that way, is quite a few supporting characters, though this could’ve easily been a play and that’s not a bad thing.

Then again, maybe one was just blinded by the mood and the actors. With a film that can be cynical, but chooses not to be most of the time 

Grade: B 

THE LONG WALK (2025)

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Directed By: Francis Lawrence 

Written By: JT Mollner

Based On The Novel By: Stephen King 

Cinematography: Jo Willems 

Editor: Peggy Eghbaliant and Mark Yoshikawa 

Cast: Cooper Hoffman, David Jonsson, Ben Wang, Charlie Plummer, Mark Hamill, Judy Greer, Josh Hamilton, Garrett Wareing, Tut Nyuot, Jordan Gonzalez, Joshua Odjick, Roman Griffin Davis 

In the near future, where America has become a police state, 50 boys are selected to enter an annual contest where the winner will be awarded whatever he wants for the rest of his life. The game is simple – maintain a steady walking pace of at least three miles per hour without stopping. Three warnings, and you’re out – permanently.

This film announces itself as a slow burn and then has the nerve to earn it. From the outset, a dark cloud hangs overhead, but what makes the experience so quietly devastating is how much warmth, camaraderie, and fleeting hope exist beneath that shadow. You know purely from the premise that this is going to hurt. A dystopian march for survival, a grim prize dangled in front of young men with nothing else to cling to. And yet, against all odds, the film keeps reaching for something gentler: connection, shared humor, the fragile optimism of youth.

The storytelling is intentionally cut and dry, almost austere. There’s nothing flashy or sensationalized about the way we move through this bombed-out vision of Middle America. Streets feel hollowed out, spectators feel desperate rather than celebratory, and the so-called hope this march offers the world feels cruelly abstract. The film doesn’t exaggerate its dystopia; it lets the emptiness speak for itself. That restraint is precisely what makes it so unsettling.

At the center of it all is the chemistry most notably between Cooper Hoffman and David Jonsson, who anchor the film with a bond that feels lived-in rather than written. Their relationship becomes an emotional spine, but the real achievement is how the entire ensemble locks together. This is a movie where the heart lives in the group, even if it’s a bruised, dark heart. Each character’s elimination lands with a genuine sense of loss. Early on, the executions feel shocking, almost confrontational, as if the film is forcing you to understand the rules of this world in the harshest possible terms.

As the march continues, something subtler and more painful happens. The violence recedes into the background not because it matters less, but because it hurts more. You begin to avert your eyes the same way the characters do. The film places you inside their exhaustion, their grief, their numbness. It’s an odd, devastating alchemy: the suffering deepens, yet so does your emotional investment. You don’t just watch the film, you endure it alongside them.

As a Stephen King story, it fits perfectly within his particular brand of Midwestern dread. There’s no supernatural evil lurking here, which somehow makes it scarier. The horror is human, systemic, and banal. It’s also tinged with nostalgia. a throwback to a kind of youthful camaraderie where people from wildly different backgrounds can form instant, meaningful bonds. That sense of shared experience, of learning from one another before time runs out, gives the film its aching soul.

Francis Lawrence deserves real credit for the direction. Known for handling large-scale studio spectacles, he proves here that he can scale things down without losing intensity. The film could easily have been an intimate indie drama, yet it still carries the propulsion of a thriller. It’s juggling multiple tones at once emotional, political, suspenseful and somehow keeps them all spinning.

Yes, on paper, the story sounds simple and even predictable, and for the most part, it embraces that simplicity. But within that framework, it offers something far richer: a meditation on endurance, youth, and the quiet brutality of hope weaponized. It’s the kind of film that breaks your heart slowly, thoughtfully, and without apology.

The ending is likely to divide audiences. I’m still not entirely sure how I feel about it and that uncertainty feels intentional. It lingers, gnaws, and invites interpretation long after the final frame.

This is not an easy sit, nor is it meant to be. But it’s a deeply admirable piece of filmmaking. one that deserves discovery, discussion, and reevaluation. It may not have found its audience at the box office, but one can only hope it finds a longer life beyond it. If studios made more films like this somber, human, and unafraid of sadness. we’d all be better off, even if we walked out a little heavier than we walked in.

Grade: B

MOVIES/MEDIA WATCHED in DECEMBER (2025)/JANUARY (2026)

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MOVIES/MEDIA WATCHED in DECEMBER (2025)/JANUARY (2026)

ROBIN HOOD: PRINCE OF THIEVES (ACTION)(ADVENTURE) 7/10 

DIRECTOR’S CUT (HORROR) 5/10

YOU ARE NOT ME (THRILLER)(HORROR)(INTERNATIONAL)(FOREIGN)(SPAIN) 7/10

NOVOCAINE (ACTION) 7/10

OH HI (ROMANCE)(COMEDY) 7/10 

OH WHAT FUN (HOLIDAY)(FAMILY)(COMEDY) 4/10 

TRAIN DREAMS (DRAMA) 8/10 

WOLFS (COMEDY) 6/10

F1 (DRAMA) (SPORTS) 7/10 

LARCENY INC (CRIME)(CLASSIC) 7/10 

KEY LARGO (DRAMA)(THRILLER) 7/10

WAKE UP, DEAD MAN! (MYSTERY)(THRILLER) 7/10 

THIS IS SPINAL TAP (COMEDY) 7/10 

HAG (HORROR) 6/10 

TAPAWINGO (COMEDY) 6/10 

KILL THE JOCKEY (DRAMA)(THRILLER)(FOREIGN)(INTERNATIONAL)(ARGENTINA) 7/10 

REFLECTION IN A DEAD DIAMOND (THRILLER)(FOREIGN)(INTERNATIONAL)(FRANCE) 7/10 

*COHEN & TATE (THRILLER) 7/10 

*NEVER BEEN KISSED (COMEDY) 7/10 

CARS (FAMILY)(ANIMATED) 7/10 

ROOFMAN (DRAMA)(COMEDY)(ROMANCE) 7/10 

MURDER IN MONACO (DOCUMENTARY) 7/10 

EYES WIDE SHUT (DRAMA) 8/10 

CAUSEWAY (DRAMA) 6/10 

LITTLE CAESAR (CRIME)(CLASSIC) 7/10

BLITZ (WAR)(DRAMA) 6/10 

INFLUENCERS (HORROR) 7/10

*ONE BATTLE AFTER ANOTHER (COMEDY)(DRAMA) 9/10 

QUEENS OF THE DEAD (COMEDY) 8/10 

A MERRY LITTLE EX-MAS (HOLIDAY) (ROMANCE) 3/10 

IF I HAD LEGS I’D KICK YOU (DRAMA) 8/10 

IT WAS JUST AN ACCIDENT (FOREIGN)(INTERNATIONAL)(DRAMA)(IRAN)  8/10

HIM (HORROR) 5/10 

THE NAKED GUN (COMEDY) 7/10 

MARSHMALLOW (HORROR) 8/10

BEST WISHES TO ALL (FOREIGN)(INTERNATIONAL)(CULT)(JAPAN) 7/10

THE LONG WALK (DRAMA)(THRILLER) 8/10 

MARTY SUPREME (DRAMA)(COMEDY) 8/10 

CODE 3 (COMEDY) 8/10 

THE TOXIC AVENGER (REMAKE)(CULT) 4/10 

CHAIN REACTIONS (DOCUMENTARY) 8/10 

BONE LAKE (THRILLER) 5/10 

THE SMASHING MACHINE (DRAMA) 7/10 

STONE COLD FOX (THRILLER) 6/10 

ARGYLLE (ACTION)(COMEDY) 5/10 

HOW TO LOSE POPULARITY CONTEST (TEEN)(ROMANCE)(COMEDY) 5/10 

*BEYOND THE LAW (DRAMA)(THRILLER) 6/10 

28 YEARS LATER: THE BONE TEMPLE (SCIENCE FICTION)(HORROR) 7/10 

BLACK PHONE 2 (HORROR) 6/10 

SOVERIGN (DRAMA) 7/10 

HEDDA (DRAMA) 7/10 

TWINLESS (DRAMA) (COMEDY) 8/10 

THE ROUNDUP: PUNISHMENT (ACTION)(THRILLER)(FOREIGN)(INTERNATIONAL) 7/10 

THE ALABAMA SOLUTION (DOCUMENTARY) 8/10 

THE RIP (THRILLER)(CRIME) 7/10 

DIE MY LOVE (DRAMA) 7/10 

TRON: ARES (SCIENCE FICTION)(ACTION) 7/10 

THE WRECKING CREW (ACTION) 6/10 

TELEVISION SERIES, TELEVISION MOVIES, STAND-UP & SPECIALS

LOOT (SEASON 1) 7/10

SEAN COMBS: THE RECKONING (LIMITED SERIES)  7/10

LOOT (SEASON 2) 7/10 

IT: WELCOME TO DERRY (SEASON 1) 8/10 

THE AFTER PARTY (SEASON 1) 7/10 

CREEP TAPES (SEASON 3) 7/10 

MR. SCORSESE (LIMITED SERIES) 9/10 

THE STUDIO (SEASON 1) 9/10 

THE CHAIR COMPANY (SEASON 1) 6/10 

STRANGER THINGS (SEASON 5) 7/10 

ADOLESENCE (LIMITED SERIES) 8/10 

DAVE CHAPPELLE: THE UNSTOPPABLE (STAND-UP) 7/10

WONDER-MAN (SEASON 1) 6/10

HEDDA (2025)

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Written & Directed By: Nia DaCosta

Based on the play “HEDDA GABLER” by Henrik Ibsen

Cinematography: Sean Bobbitt

Editor: Jacob Schulsinger

Cast: Tessa Thompson, Nina Hoss, Imogen Poots, Tom Bateman, Nicholas Pinnock, Finbar Lynch, Mirren Mack, Saffron Hocking, 

In a provocative, modern re-imagining of Henrik Ibsen’s classic play, Heather finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Over the course of one charged night, long-repressed desires and hidden tensions erupt-pulling her and everyone around her into a spiral of manipulation, passion, and betrayal.

This is a film that understands atmosphere before it  worries about plot. It looks great deliberately gray, restrained, and textured. Which is impressive especially considering how much of it stays in a single location. The art direction, costumes, and camera work all do quiet but confident heavy lifting, turning limited space into something moody, elegant, and faintly suffocating in the best way.

Tessa Thompson is very good here, even if her affected accent initially throws you off. At first it feels like something you’re constantly aware of, but as the film settles into its rhythms, so does she. Once again, Thompson proves her range and commitment, leaning the character with a confidence that ultimately outweighs any early hesitation. She knows how to command stillness, and this film gives her plenty of room to do exactly that.

I’ll admit I went in blind, unfamiliar with the original play, and for much of the runtime I wasn’t entirely sure where things were heading. The narrative keeps its cards close, and clarity doesn’t fully arrive until the end. At which point it confirms what you may have suspected from early on. That slow reveal can be either intriguing or frustrating depending on your patience, but it feels intentional rather than careless.

One of the most interesting aspects is how the material is reframed around African American characters, along with more openly LGBTQ+ identities and the politics surrounding them. What’s notable is how relaxed the film feels about this. Instead of leaning into heightened tension or historical accuracy, it presents these dynamics as part of everyday life. Even if that ease may feel more modern than the period itself. That creative choice gives the film a looseness and accessibility that invites the audience to engage with the material from a fresh angle.

Though as shame as they’re are only three African-American characters, and by the end two will try to attack and kill each other. 

This isn’t an especially exciting film in the traditional sense. As period pieces rarely are, but the shifting power dynamics within relationships and the sharp, biting dialogue keep things moving. Conversations matter here. They keep the film alive and keep the audience leaning in, especially as everything circles around a lavish, almost dreamlike dinner party that feels both glamorous and quietly ominous.

Most importantly, this stands out as one of Nia DaCosta’s more original-feeling projects. While it’s still an adaptation, it’s not tied to sequels, franchises, or existing cinematic universes. You can feel her breathing a bit easier here, letting her style emerge more clearly and trusting the audience to follow. It’s a reminder of her talent as a filmmaker rather than a caretaker of someone else’s vision.

Hopefully, this leads to more projects where she has that kind of control. where she can fully flex her artistic muscles instead of feeling like a placeholder executing someone else’s plan. There’s a strong filmmaker here, and films like this suggest she’s at her best when she’s allowed to lead rather than follow.

As even after the film, one still is thinking about it

Grade: B-

BONE LAKE (2025)

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Directed By: Mercedes Bryce Morgan

Written By: Joshua Friedlander 

Cinematography: Nick Matthews

Editor: Anjoum Agrama

Cast: Alex Roe, Maddie Hassan, Marco Pigossi, Andra Nechita

A couple’s vacation at a secluded estate is upended when they’re forced to share the mansion with a mysterious couple. A dream getaway spirals into a nightmarish maze of sex, lies, and manipulation, triggering a battle for survival.

Bone Lake, this film keeps flirting with what it thinks is naughty or what a more mainstream audience or studio exec does. As it seems to keep trying to test the waters of why it thinks it can get away with and is rather tame. Especially after a provocative graphic opening 

Though it could have done without a cliché of having a female of color character be killed in the beginning though at least she’s not first. 

Even if not going big for a more erotic thriller horror film it should be somewhat titillating and this plays more like an Adam and Eve couples instructional intimacy tutorial or at least that is how it plays stale. 

It’s like it wants to be naughty but is afraid of going too far. Like a beginner at a swingers club (I imagine) this film isn’t even horny it is more of a tease. It psych’s itself out before it even really begins.

There is so much talk not showing. Th main couple don’t seem to act like a long term one. More like they just meet and speak so matter of factory and cerebral in their dialogue that table sitting through a couples therapy session. You desperately want out of, So if looking for physical erotic charms this is not the film for you. since that is all there is until the violence really starts. you feel stuck and waiting for it to begin for some actual action to happen. 

This film is missing all the sensuality and sexuality that even a simple movie like the recent sexual thriller DEEP WATER (Starring Ben Affleck) had, though this has more potential rather than seeming to equal a porno fantasy set-up. This one actually has a story that could work as couples therapy and a tale of lust and trust. 

Like the antagonists the film tries to come across as cool and something to see, but in reality it’s quite basic and doesn’t offer anything new. it even come across much as standard fare in the gene that offers up see as it’s gimmick but while it peppers it with it. It doesn’t get I too deep winter it is more a garnish. It’s like a film that feels like it was cut up by the MPAA and this is what was left either that or the original script must’ve been really wild and graphic and they just took out what they thought the MPAA or studio wouldn’t like and this is what we’re left with.

By the third act the action finallly starts and the fimmtrally gos into overkill with the violence all of a sudden. Which at least makes up for most of the film playing to safe. As this ends up being the only gratuitous element the film offers. As it will crimp on the erotic, but here it goes full blast.

It’s also where I am guessing most of the film’s budget went also 

The film needed to provide more truth in advertising as that is the damaging aspect of the film. As what is promised comes in glimpses but seem somehow constricted and there for plot conveniences and to keep it’s word. Though if choosing a couple to be tempted by, the casting was spot on. 

It shows how lust and greed can lead one astray and it’s important to have open communication and that sex can drive you crazy. Then it seems to end like a joke. Maybe it all is and the joke is on us. for this amped up more graphic lifetime TV movie story. That tries to be naughty, but reads more like a manual. It actually has the goods for a 90s thriller, but takes all the fun out of it until the third act.

Grade: C- 

TOMCATS (2001)

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Written & Directed By: Gregory Poirier

Cinematography: Charles Minsky 

Editor: Harry Keramidas 

Cast: Jerry O’Connell, Shannon Elizabeth, Horatio Sanz, Jamie Pressly, Jake Busey, David Ogden Stiers, Bernie Casey, Travis Fine, Amber Smith, Marisa Parker 

At the wedding of a friend, the remaining bachelors bet on staying single. Seven years later, one of the two remaining loses $51,000 in Vegas. He must get the other guy married to cash in and pay his debt or die. A cute female cop helps him.

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this at the time seemed like one of the lower budgeted Apex movies of the frat bro type of comedies. One feels like they would more fit in with a male teenage audience as this film comes across as more of the sex comedy T & A film that most kids would have wanted to try and catch late night on cable.

That ends up being one of the most misogynistic movies released by a major studio past the 1980s and pretty much sold as such. Though more advertised as an outlandish comedy.

This was one of the few films of Jerry, O’Connell‘s leading man, big screen career, and he tries his best and throws himself into the role and stays believable throughout.

The same with Shannon Elizabeth, and one of her first starring roles after AMERICAN PIE became a surprise hit.

Shannon Elizabeth’s career was riding high from SCARY MOVIE and AMERICAN PIE when she made this film. It’s a shame if this was one of the better scripts offered as she is dazzling in this in looks and talent, but is so much better than the film. And it’s material. It seems she wouldn’t be used to better extra until JAY AND SILENT BOB’s She is actually one of the main reasons for my interest in watching the movie in the first place.

These are the types of films that were playing weekly when I used to work at a movie theater and is probably one of the reasons I have actually watched this film more than once.

This is an ugly movie, sure as usual it has hot women, but only one seems to be a real fleshed out character the rest are either shrews, whorish, dumb fantasies or sexual playthings or all of the above.

Shockingly for such a heavily sexual film there is barely any nudity also

This film is about Jerry O’Connell, who is one of the last bachelors amongst his friends. They all decide to make a bet that the last bachelor would win a pot of money they all contribute to over the years. After a trip to Las Vegas. O’Connell finds himself in debt. So he figured the only way to pay it off is to win the pot, but his competition Jake Busey is nowhere near getting married even though he is more successful with the ladies. He only way Jerry figures to win is to find the girl who broke Jake’s heart and have her seduce him at least into a quickie marriage and they will split the money, but of course Jerry falls for her.

Other then the heavy misogynistic attitude this film has with scenes where women are repeatedly abused and used as trash. Is that Jerry O’Connell our protagonist is so dumb it’s hard to feel anything for him or about him and his plight and Jake Busey is so loathsome not only is it hard to believe that he is so successful with women. It’s hard to believe any woman would want to be with him. There are no redeeming values that he possesses.

The film is also gross out humorous for no reason, Extremely. For instance the ball scene in the hospital. Where Jerry has to chase and retrieve Jake’s just removed ball.

It’s a shame as the film has a good cast. It would have been good to use Janie Presley more as she is actually funny in this film.

What is truly painful is that this is one of the last theatrical films that actor Bernie Casey ever appeared in. He might have played in some bad movies, but he deserved better than this to cap off his career. Who knows working on this film might have inspired his retirement

While the films main cast seems game for the material. The Veteran actors seem here only to cash a paycheck as they realize how poor the material is, yet this might be the best opportunities they are getting and it’s a quick paycheck.

Can’t really tell if this was a lame attempt at a updated sex comedy, or just a typcal straight to video (at the time) material that got a bigger name cast then it dererved, As it plays like the crowd for it would be a frat house or a bro-culture film.

The film works as a romantic comedy, the problem is the story and most of the characters are so repulsive. Half the situations the lead finds themselves in are stupid and worse uninspired where it always seems like a worst case scenario taken to another extreme level that makes no sense and one can understand that this film is not one that was made to have depth or even think while watching, it’s supposed to be entertainment though you should also respect your audience to a certain extent or maybe it does. It just knows its audience who will find it amongst all that is this film was unleashed upon.

The film stays entertaining throughout as long as you’re not too sensitive or seeking political correctness. Though it’s also film you only need to see once.

One of the reasons saw this film is that it played at a movie theater I worked at and it seemed like there were a rash of these types of films came and went and were in fashion. Sophomoric comedies that all feel like sitcom side stories combined to try and make a 90 minute film

Even the Horatio Sanz’s side story as O’Connells sidekick is obvious, though a bit more humorous, but has to be stretched throughout to truly pay off. Which leads to another problem with the film is the fact that you have Jamie Pressly in a supporting role and she could’ve been given more to do as she gives one of them more stronger performances in the film.  as most of the cast is game, but they all could’ve just used a better script as it seems more like they are slumming, even though they are given some of their biggest roles to date at the time and being released by a studio. Though at least the film has some unpredictable cameos.

This is a film. You can definitely skip unless you’re into juvenile humor sex comedies that end up having a roughly romantic comedic angle.

Grade: D+

IT WAS JUST AN ACCIDENT (2025)

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Written & Directed By: Jafar Panahi

Cinematography: Amin Jafari

Editor: Amir Etminan

Cast: Vahid Mobaseseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Madjid Panahi, Mohamad Ali Elyasmahr, Delmaz Najafi, Afssaneh Najmabodi, George Hashemzedah 

An unassuming mechanic is reminded of his time in an Iranian prison when he encounters a man he suspects to be his sadistic jailhouse captor. Panicked, he rounds up a few of his fellow ex-prisoners to confirm the man’s identity.

It’s Best to go into not knowing too much about the film I only went as it was so highly recommended and rated. Though now there are spoilers in this review.

I was not prepared for what I saw, though that was half the fun of it was discovering the characters the film the story as it went along as we’re not given that much initial information we have to go with what we are being shown and wondering where this is all going to go and then once the story does set itself up, we follow with bated breath

As the film is a morality tale overall, in which there is a central mystery to everything and as it goes along, we’re introduced to new characters who have their own stories and show us different ways of dealing with grief, but also raise the mystery even deeper and thankfully are not just types. They might be representations of different moods, but overall they do feel like real characters.

The film ask you as a revenge tale what would you do and to look at humanity your morals, your sense of justice in finding peace and could you ever with questionable or maybe purely circumstantial evidence?

If the film does have, I won’t say a weakness, but a problem is in the third act the confession so easily given just felt a little too easy. It would’ve been better if we are left questioning if this character is giving a confession only so they can escape or be let go and be with their family, but it’s made pretty clear that is who they are or who they were and the reasons why.

after the admission, when telling why they did this, that was also could be felt as a false note but it also kind of works because that is where I feel like they’re really trying to explain themselves make excuses and try to plead so that they can see their family again

What one can appreciate mostly about this film is that it isn’t done in an intricate thriller way it’s done in a matter of fact every day type of fashion. There was no grand plan. It’s as in pest as the initial act itself and it’s adults dealing with emotions and a ticking time bomb of a situation who act in the same way, not like experts field technicians, soldiers, cops, career criminals, or anything like that just normal people trying to decide what to do and that feels like a breath of fresh air, especially in modern cinema, as you can only usually find this, unfortunately, in either Indie productions or foreign films. There seems to be a lack of adult storytelling in filmmaking in major cinema, but this is no surprise to anyone reading.

It’s a thriller that plays as a drama or a drama that tries to play like a thriller, either way it’s engaging, and it takes its time to tell its story rather than feeling rushed. There’s a film. You might wanna watch more than once and that you might feel a different way watching the second or third time and you did the first when you’re privy to more information.

 I was surprised to find out that I had seen one of the director Jafar Panahi’s films before he’s directed many but I’ve only seen one of them which was the film OFFSIDE which still deals with a serious situation and is dramatic but it’s a little bit more lighthearted and dare I say a little indefinite has a happier ending that feels all encompassing. As this film is heavy, though thankfully not as depressing as it could’ve been. Nor quite as down trodden that goes for the characters also. 

By the end, you understand the title as you wonder was it fate for this to happen or was it just one of those random coincidences?

It has one of the most tension filled and scary endings, especially in a drama that one has felt in quite some time

Grade: A 

INFLUENCERS (2025)

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Written & Directed By: Kurtis David Harder 

Cinematography: David Schuurman 

Editor: Rob Grant 

Cast: Casandra Naud, Emily Tennent, Georgina Campbell, Veronica Long, Lisa Delamar, Jon Whitesell, Dylan Playfair, Liam James Collins, Nalani Wakita 

In Southern France, a young woman’s chilling fascination with murder and identity theft sends her life into a whirlwind of chaos.

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A sequel to the 2022 movie INFLUENCER, I will honestly say I didn’t see coming back for a round two.

At times, the film could easily be seen as a female version of THE TALENTED MR. RIPLEY  only less tortured and more about the method less about the past or the characters history. Only lacking the depths or literary origins in history while being more modern.

As both involve main characters constantly having to change their identities and operate in foreign locals and are not above murder to get what they want.

This film is like HOSTEL 2, Where it’s more about the main characters methods and work. Rather than necessarily, adding too much to the game.  As we are still dealing with the main characters from the last film, but throw in a few new characters to complicate things a bit and also level up.

This at a heart is a socially conscious commentary slasher. Where we get the survivors of the last film, facing each other again by the end, in a knockout drag out fight, that feels like it releases all the tension that the film builds up in the first place. Which it seemed to be holding back from until this moment. 

This is a franchise that gets less intricate, but gets bigger with each addition. As this is a proper sequel offering an opening. That is a little bit random and shocking wondering how we got there in the film fits it all in piece by piece.

As we don’t even get the opening credits until 30 minutes into the film. As everything before, it is a kind of where are they now prologue of people from the previous film and how they are continuing their legacy. 

The sequel definitely raises the stakes, but doesn’t make it feel far-fetched or ridiculous.  As it is just as layered and diabolical as our slasher, though not a bit above some exploitative means. 

This is a smart thriller that dabbles in the tawdry, but plays like a chess match. a basic one that rises to the top and goes overboard in the last 15 minutes. 

Where it just ends up being fun where you root for the villain. as well as other characters. it’s kind of like the horror film SMILE, where the first one comes out and it’s in one style and then the sequel comes out, and raises the stakes, as well as the bar. but is just as good if not better than the first film, even though you kind of need the first film to fully understand the stakes in the characters and the situations in full. Then towards the end, just chooses to go off the wall, but it still feels within the realm a reality of the film.

Now, this is a film that Many could get behind it as its victims are usually influencers as a kind of DEATH WISH or FALLING DOWN for the next generation. Is the kind of dark vengeful which fulfillment.

Grade: B