Author: jbg

ELLA MCCAY (2025)

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Written & Directed By: James L. Brooks

Cinematography: Robert Elswit

Editor: Tracy Wadmore-Smith 

Cast: Ella Mackey, Woody Harrelson, Jamie Lee Curtis, Albert Brooks, Julie Kavner, Ayo Edebiri, Kumail Nanijani, Jack Lowden, Spike Fearn, Rebecca Hall, 

An idealistic young woman juggles her family and work life in a comedy about the people you love and how to survive them.

I really wanted to enjoy this film. As I have grown up watching James L. Brooks films or productions, not to mention Emma Mackey in one of her first big screen leading roles after making such an impact on the series SEX EDUCATION

but this was a film that was hard to take.

It might be as it is so idealistic. It would have worked in the 1950’s or before, but in today’s political climate. It comes across as more of a dream. A high concept movie that might have come along or been passable in the 1980’s but feels grating and off rhythm in today’s cinema. 

While it’s nice to watch a film that is idealistic and not so cynical in today’s climate. It can still be interesting, which unfortunately this film isn’t. It lacks an ingredient even though it has plenty of energy .  

The film feels overwritten. As one of the characters says in the movie “You don’t have to articulate everything” one wishes the movie had taken its own advice.  

As the film plays like more of a theatrical piece for the stage, especially with the characters saying their feelings out loud to one another. Theme there are so many plot threads that luckily revolve around the main character. So that they lead into one another. 

It ends up feeling way too scripted an never natural. So that the characters have all these neurosis. Though they never Come across as natural or believable. They are slaves to the directions of the screenplay

One can understand Writer/Director Brooks is doing what he does best and aiming for an old school classic dramatic comedy that is more grounded and adult. Like the One’s he might have grown up with. Which is similar to his last big screen film HOW DO YOU KNOW. Though as that film was star studded but a bomb. This is truly worse than that film. As it is questionable what he saw in this story or film.

The film feels endless and boring after awhile. Where you get to the point where you don’t care what happens, you just want the film to end. 

There Also seems to be some scenes missing as it sets up a romance for two characters. Which is obvious, but we never actually see them pursue it or watch it grow to show their chemistry. It’s implied and then in the end even them being a couple is presented in the same way. Was it controversial as it would be interracial? It’s just strange especially in a film that fees the need to over explain Everything else. That it gets modest there or leaves the audience to figure it out. As maybe the filmmaker feels he has been there way too many times before.

It plays like a romantic comedy but then tries to present itself as a comedic character study?

It’s ultimately like the film isn’t sure in which direction it should be or even wants to go. 

Though luckily it fits into James L. Brooks filmography pedigree. Just not up to the quality of his previous works. 

Grade: D

EASTER SUNDAY (2022)

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Directed By: Jay Chandrasekhar 

Written By: Jo Koy and Kate Angelo 

Cinematography: Joe Collins 

Editor: Steven Sprung 

Cast: Jo Koy, Brandon Wardell, Eva Noblzada, Carly Pope, Tia Carrere, Tiffany Haddish, Lou Diamond Phillips, Lydia Gaston, Eugene Cordero, Jimmy O. Yang 

Set around a family gathering to celebrate Easter Sunday, the comedy is based on Jo Koy’s life experiences and stand-up comedy.

This movie lives up to it’s title as a lightweight family comedy the only difference is that the main character in the family is Filipino so that we learn more about Filipino culture in general and the humor that can be found in it.

If you are a fan of the comedian, Joe Koy, this is kind of his big screen debut as a lead and he’s OK even if it seems majorly written around him and even allows him certain scenes to do some of his stand-up in 

The film takes place over one day mostly and all the situations he finds himself getting into while trying to please his family and handle a financial problem that his cousin has gotten him into.

That is where the strength of the film comes in is his chemistry with different characters and his one-on-one dialogue and interactions with them 

And also the family scenes of everyone either getting along or trying to run up one another .

The film is fairly and offensive, though it’s never quite exciting and comes across pretty basic as each character is more defined by their quirk half the time than feeling real even the film so-called villains feel more run of the mill something you see in a sitcom and quirky rather than dangerous

Though the film does allow for some interesting cameos from comedians and recognizable actors throughout even Tia career playing a supporting role, proving she is truly ageless as she is still quite beautiful 

The film also tries to be Meta with Joe Koy playing the lead and find some humor and Hollywood executives and business as well as San Francisco’s neighborhoods and neighbors by the end it comes across it’s so cute that you really don’t wanna hurt its feelings or it in general

It will find its audience and those who are seeking a nice inoffensive family film. That might be a little more mature or for adults, though kids can innocently watch it too. This might be the film for you.

Grade: C- 

THEY WILL KILL YOU (2026)

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Directed By: Kirill Sokolov

Written By: Kirill Sokolov And Alex Litvak

Cinematography: Isaac Bauman

Editor: Luke Doolan

Cast: Zazie Beetz, Myha’la, Patricia Arquette, Tom Felton, Heather Graham, Paterson Joseph, Willie Ludik, Angus Sampson 

A woman takes a job as a housekeeper in a NYC high-rise, unaware of the building’s history of disappearances. She soon realizes the community is shrouded in mystery.

Zazie Beetz is clearly a star and hopefully this leads to not only more roles but more action leading roles. I wish I could say a star is born, but she has been working for quite a while and always had the talent. Though here she has finally gotten a role to show it and prove it 

This film Reminds one of the director Kirill Sokolov previous film WHY DON’T YOU JUST DIE! (Which I was a big fan of) though not as good. This one has a bigger budget, cast and star power. 

It has the Same contained action and single location though working with a much bigger canvas and the space offering more inventiveness. 

While Not as action packed as expected. It still has thrills all through the film and it feels like a rollercoaster ride. So that it stays fun for the audience. 

The film’s  first half is awesome then it calms down. it keeps trying to stay captivating but seems to run out of steam halfway through. it stays entertaining but seems to Keep saying or presenting the same thing. Even as we learn more about characters and motivations through flashbacks.

The film is  Obvious in its Quentin Tarantino influences. As it does feel like a combination of other movie influences. Though making itself an original. 

The film is Very over the top violent. As Each new scene adds some layers to th film. As we get flashbacks that fill in the background 

We need to get more films like this, that are genre mixed but also have an excitement about them that you can tell by the filmmaking. That audiences are hungry for that feels Familiar but original and not an extension of a franchise. That can also have some depth to back them up and be more than artistic genre exercises. Though also adds some fun into it all while having a craft 

It feels like a film made for film fans and general audiences alike and both can appreciate fo various reasons.

Watching the film it. Makes me kick myself for not taking to Zazie Beetz or at least acknowledging I knew who she was and saying hello to her in the comic book store FORBIDDEN PLANET years ago right around the time she was announced to be in DEADPOOL 2, As the character Domino. She is as beautiful and awesome Im Person as she is on screen. Her and Nathalie Emmanuel are needed in more leading roles stat.

Extra Points: for the Playing Ryan Gosling’s band DEAD MAN’S BONES song LOSE YOUR SOUL on the soundtrack, Still hoping they do another record, love the album. 

GRADE: B-

THE LUCKIEST MAN IN AMERICA (2024)

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Directed By: Samir Oliveros 

Written By: Samir Oliveros and Maggie Briggs 

Story By: Amanda Freedman 

Cinematography: Pablo Lozano 

Editor: Sebastian Hernandez 

Cast: Paul Walter Hauser, Walton Goggins, Maise Williams, David Straitharn, Shamier Anderson, Johnny Knoxville, Brian Geraghty, Shaunte Renne Wilson, Damien Young, Patti Harrison, Haley Bennett, Genesis Rodriguez 

May 1984. An unemployed ice cream truck driver steps onto the game show Press Your Luck harboring a secret: the key to endless money. But his winning streak is threatened when the bewildered executives uncover his real motivations.

I know most of the story just from articles and watching the short documentary on the case and the character on Netflix. BIG BUCKS: THE PRESS YOUR LUCK SCANDAL. The only truth it seems to keep is the memorizing of the patterns of the game board to win.

The story that this film tells has been in development hell since 2000. When bill murray was attached to the film, before aging out and dropping interest in it. 

The film of course didn’t have enough time nor the budget to tell the whole story in multiple events and days that this actually happened during hand on different shows so instead condenses it mostly all into one day and the film taking place in one studio do more to probably the production constraints

The film has a very impressive cast of actors all likable they hear they seem thrown into this production that means well, but ultimately comes across like a TV movie on the subject only with foul language allowed in.

As the film keeps going along at first you wonder is this supposed to be more of a character piece or what is his motivation truly and what it all about while the film shows the slippery politics have not only show business but also production as we see the reaction to his winning from the exact to the behind the scenes production staff to the other contestants, the host and partly the audience, and finally where the film really gets emotional at its heart is in the final 10 to 15 minutes of the film

It’s great to see Paul Walter Hauser have another leading man role as a kind of lovable misfit out there who has tons of get rich, quick schemes, and this one finally might actually pay off that he believes will help solve everything, but only seems to help rip it apart even more.

You only wish the actors had a better film or were given a better script overall or at least a slightly bigger production to be in

It’s a satisfying story, especially if you’ve never heard it before and will induce you to do your own research more into the story but other than that, it’s one of these stories that you feel should’ve been done better or been at least illustrated a little bit better. it’s none of the actor‘s fault who all rise in the occasion. It’s just that by the end it doesn’t quite feel as satisfying as it should, though by the end, it does hit an emotional level. That is unexpected.

Grade: C+ 

SWEET DREAMS (2024)

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Written & Directed By: Lije Sarki

Story By: Eric Gross

Cinematography: Sing Howe Yam

Editor: Ken O’Keefe

Cast: Johnny Knoxville, Mohammed Amer, Gata, Bobby Lee, Brian Van Holt, Theo Von, Jay Mohr, Kate Upton, Beth Grant, Jon Park, Anderson Paak 

The film Follows Morris, who must coach a misfit softball team of his fellow housemates during his mandatory stay at Sweet Dreams sober living in order to get his life back on track.

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This is one of those films where you love the message and the characters more than the film or the filmmaking 

There isn’t much to this film. It’s pretty straightforward. It’s a film about a man was reach the end of his rope who has gone to rehab many times before and this is truly his last chance. The only difference is that the character is played by Johnny Knoxville (which truth be told is what attracted me to watching this film as I do have a soft spot for him as an actor and otherwise) 

Meanwhile, this film is a comedy drama. This is so far the most dramatic. I have seen him in a film and he is believable.

Though most of the rest of the cast that seem to be his roommates at this halfway house, rehab are mostly played by stand-up comedians in podcasts who have very few dramatic moments and are more there to lean into the quirks of their characters that makes them lovable losers.

It feels like a film that was made with a bunch of friends on weekends and trying to tackle a serious subject with humor and more of a homespun philosophy. As the cast seems more made up by someone signing onto the film and slowly recruiting comedians and their friends to appear in the film.While filming at what looks to be the same house, they filmed the television show 6 FEET UNDER in. 

The film is predictable yet. It’s fun. He tries to take a hard look at addiction and really, the aftermath the high, the lows the pains of recovery, especially freshly recovered. Also shows you that it’s a small world. We’re all trying to get over something. There is no ultimate answer . All you can do is just like in life take a day by day. See you where it takes you and deal with it as it comes.

The only difference here with this film is that as an activity they all focus on a softball tournament that will give them prize money that will of course help save the house so while the story rings of convenience, it is an interesting character study as far as the lead goes It has a 3 act structure is kind of a crowd pleaser and more focuses on the lead.

It’s watchable and it’s fun and affecting while you’re watching it. It’s not great filmmaking but it’s table filmmaking and it’s a cute little film. No, it’s not anything you haven’t seen before. It’s worth a watch, though. I can’t really say there’s anything special about it. 

Grade: C

100 YEN LOVE (2014)

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Directed By: Masaharu Take

Written By: Shin Adachi

Cinematography: Hiromitsu Nishimura

Editor: Chieko Suzaki

Cast: Sakura Ando, Hirofumi Arai, Yozaburo Ito, Miyoko Inagawa, Saori, Yuki Okita, Kaito Yoshimura, Shohei Uno 

32-year-old Ichiko lives at home with her parents, passing the days in self-indulgent grunginess. Ichiko’s recently divorced younger sister Fumiko has moved back home with her young son. One day, after a particularly heated argument, Ichiko charges out of the house for good. With few employment options to support herself, Ichiko works the night shift at a 100 yen shop (dollar store). On her way home each day she passes a boxing gym where she watches Yuji Kano silently practice, developing a crush on him. The pair starts seeing each other and things change for Ichiko… At last, the bell rings and longtime loser Ichiko’s rematch with life begins!

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This is a coming-of-age tale that comes later in life for our lead character. Who simply has not only dropped out of college, but seems to have dropped out of life as all she seems to do is smoke play video games eat badly and take up space rather than actually do anything that helps anyone else or might even help herself.

Once she is thrown out, she has to grow up and little by little she does at first it seems like it’s gonna go easily, but along the way it gets tougher and things never quite work out the way you expect

The film also shows how hard it is to be a woman in society at times. as even a scene of sexual assault in the aftermath isn’t sensationalized it’s dealt with matter fact, but more low-key than anything. This is also a movie about motivation. We watch this characters and it can be infectious for the audience also as a kind of feel good film that is a bit more realistic, and therefore identify.

Throughout the film, she’s disrespected by her coworkers, even by her boyfriend, but as she gains more confidence in herself and learns to take care of herself, she also gains more respect .

The film Isn’t sentimental.

Not going to lie. This is a slow burn of a movie so if you’re looking for something more fast paced and more of a conventional comedy you’ve come to the wrong place. As this film more goes along with kind of a dead pan vibe whereas at times. It’s more comedic and other times it plays more dramatic and even at times it’s even over the top. No it does manage to keep surprising you for the better and more realistic. Though it is awkward throughout. 

That what keeps you going is to watch the main characters journey and her adventures. 

As you wanna see her conqueror and duo, especially as we have witnessed so many loads, she has had to go through just to re-bottom and finally start fighting for herself.

as this is essentially more of a hangout movie and that moves a little more often than those films do and deals with more locations.

This Japanese movie even ended up being remade in China to a much bigger box office. I haven’t seen the remake but just from the trailer. It looks a little more conventional and motivational than this film, which comes across more as an independent comedy drama.

Grade: B-

PEAKY BLINDERS: THE IMMORTAL MAN (2026)

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Directed by: Tom Harper

Written By: Steven Knight

Cinematography: George Steel and Ben Wilson 

Editor: Mack Eckersley 

Cast: Cillian Murphy, Tim Roth, Barry Keoghan, Stephen Graham, Rebecca Feguson, Sophie Rundle, Packy Lee, Jay Lycurgo

During World War II, Tommy Shelby returns to a bombed Birmingham and becomes involved in secret wartime missions based on true events, facing new threats as he reckons with his past and rising national stakes.

For me, this is the first cillian murphy movie and performance. I’ve seen in which he’s played the lead so while there is more action, it still seems like he’s going with that moody cerebral acting with less dialogue and more everything is told through physicality in his facial expressions and seeming melancholy

It’s dipped into atmosphere and history thst helps shape it and enriches the material that makes it feel deep.  It sure if it’s as satisfying for the audience as it feels more for the creators. Very few characters from the show return which is a bit of a bummer.

If looking more for the gangster aspects of the characters and show or in general. You might be disappointed

All this emotion and dread fits yet gets to be overbearing. As it seems to be more what Cillian Murphy seems to enjoy and be into

with some elements of an underworld story. 

More about the machinations behind the scenes with double crosses and betrayal more at the heart of things. That as slays has a twist at the end. That makes up to how long it took to get there. 

It’s not bad to just expect bigger and better. Rather than settling for the same almost. Only like a shortened season with less of the original cast members. Though some good gust stars to help you forget and it ends the character of Thomas Shelby’s story.

No, I will say this is more made for fans of the show rather than people just coming into the characters. As it doesn’t quite exactly work as a gangster film on its own, especially when it has such a huge history, six seasons of it really.

this seems to be the ultimate series finale that at least part of me could’ve done without as I liked how the show ended for the most part. So in unless they plan on doing the next generation, I believe this might be the end of it all even though they made it seem like there would be a bunch of movies. At least we got six seasons and a movie. Which currently the show COMMUNITY is trying to fulfill that promise

Give the film a chance, but if you’re going to wait around for action, you might be disappointed

Grade: B- 

WOLFS (2024)

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Written & Directed By: Jon Watts

Cinematography: Larkin Seiple

Editor: Andrew Weisblum

Cast: George Clooney, Brad Pitt, Amy Ryan, Austin Abrams, Richard Kind, Poorna Jagannathan, Zlatko Buric, Sergio Cota Jr. 

Two rival fixers cross paths when they’re both called in to help cover up a prominent New York official’s misstep. Over one explosive night, they’ll have to set aside their petty grievances and their egos to finish the job.

This is George Clooney and Brad Pitt making another buddy comedy together and involving crime. This should have been a slam dunk and while the film Has its Moments. They are far and few in between. 

This is another film that seems like they are having more fun than the audience is watching it. As it tries to be formulaic and offer surprises and slights of hand. That by the end will Make the audience think the film Is smart and has an ace up It’s sleeve. Like the OCEAN’S TRILOGY the stars have been in before, but if that movie is calculus this is math 102.

It doesn’t help that the movie stays small scale

Throughout. Which would be great with lesser stars but keeping it small hinders the film and shows how thin the screenplay is. As we have to not only stay with the characters and their various arguments, but somehow find humor, charm and tension. Which the film doesn’t really Offer.

So it comes off as muddled and not a bad recipe, but like someone followed the recipe and shorted some ingredients and added too much of other ones to make up for it. 

Watching the film also makes one come to understand why these movies aren’t Memorable. You have a big name cast, a big name director Jon Watts (SPIDER-MAN: NO WAY HOME) and yet it feels stale, Small Scale and basic, because while it has locations and action. These films obviously are Made For streaming and they have little if any visual Flair and feel compacted. Director Watts even seems to include an inside joke of a Spider-man eque stunt by a young man for those in the know. Though it also leave you

Wondering was this film an audition for an ocean’s sequel. 

The stature seems shrinked then one would expect. Like making a feature film but with the limits of a television movie. Not to mention the villains are all stereotypical with an added dance sequence. 

This is similar to what the Russo brothers 350 Million movie THE GREY MAN with Ryan Gosling and Chris Evans felt like any other Netflix movie. Other then a basic script, but the directors aren’t Trying to be subtle or visually Brilliant. They are doing just enough to tell the story and do what it takes without any passion or extra Effort. Sort of like assembly room and like weathermen there are Consequences or punishments.

So it just keeps happening. As Apple+ is no better or worse then any other streaming service. Except they are newer and this feel like when the studio DREAMWORKS SKG. Everyone wants to work with them and they have stars at their disposal and seem to green light anything. As long as a big star is attached, but never seem

To bother to read the script or develop them to be better. So that they come off as basic and the only pull is the stars.

George Clooney hasn’t truly starred in a good movie in awhile. Nor has he made a hit but is still

Treated like an A-lister. When he does choose to be in a film.

Leaving the audience to only marvel at Austin Abrams. Who is the only one in the film Who feels alive and like he is trying.

It feels like the film is disrespectful to the audience by going them, but so much and not giving it their all and feeling like just enough is what the audience deserves and should be honored to get. 

As the leads seem more interested in being cool. The filmmaker seems to want to offer some kind of polished grit. That tries to make things more serious, dangerous, dark and action packed. That never comes across other than polished and dark. Nor does the screenplay come off as smart as it thinks nor as cute. 

Grade: C- 

MANODROME (2023)

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Written & Directed By: John Trengove 

Cinematography: Wyatt Garfield 

Editor: Julie Monroe and Matthew Swanepoel

Cast: Jesse Eisenberg, Adrien Brody, Ethan Suplee, Odessa Young, Lamar Johnson, Philip Ettinger, Sallieu Sesay, Evan Jongigent, Caleb Eberhardt 

Conflicted about his girlfriend’s pregnancy, Ralphie’s life spirals out of control when he meets a mysterious family of men.

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Manodrome is a film with a cast far too good for the material they’re strapped to. What begins as though it might tackle the incel phenomenon, the so-called male-loneliness epidemic, or even the seductive pull of male-only cults, quickly turns into a character study of a protagonist we’re never truly allowed to know. Instead of insight, we get glimpses, most of them involving Jesse Eisenberg screaming or pumping iron under red-headed territory. so glaring it almost feels like an emotional shortcut. Are we supposed to feel sympathetic simply because he’s a ginger giant now?

The film flirts with psychological depth but never commits. It gestures toward big themes: masculinity vs. femininity, queer repression, emotional stunting in men, but abandons each just as quickly. There are moments where it feels like the film might actually be about a closeted man’s struggle for comfort in his own skin; then it swerves back into gym-bro asceticism. It raises the question of what the film thinks its own subject is: toxic masculinity, queer panic, vulnerability, male bonding, or just the world’s most intense Fitness recruitment video?

Eisenberg’s character seems written as a case study in emotional volatility, desperate for attention, terrified of receiving it, pushing away anyone who offers care, and ultimately betrayed by the one person he lets in. But because the script avoids true psychological exploration, these behaviors drift into abstraction. They happen, but they’re never grounded. We observe him, but we’re not invited to understand him.

Technically, the film is competent sometimes striking. The cinematography aims for a chilly, Lanthimos-adjacent precision, but without the thematic or tonal control to justify the comparison. Scenes play out with an almost clinical frankness, hinting at a sharper, more daring film beneath the surface. 

You can’t help but wonder what Manodrome might have become under the guidance of a director truly adept at blending psychological discomfort with stylistic purpose. Yorgos Lanthimos comes to mind simply because he excels at exactly the things this movie only imitates.

Meanwhile, the supporting cast feels underused. Adrien Brody, who once won an Oscar for throwing himself into the void emotionally, seems here to be collecting an easy paycheck. Eisenberg, a former nominee himself, does admirable work inside a role that ultimately gives him little to explore besides a ringtone so annoying you begin to suspect it’s the film’s real antagonist.

Every twenty minutes the movie seems to reinvent itself, without ever improving. The plot wanders, the tone shifts, and by the end you’re not sure the film knows what it wanted to be in the first place. For all its supposed psychological weight, Manodrome proves surprisingly hollow, a film that demands interpretation but offers little reward for the effort.

these are some of the thoughts I had while watching the film…

It would be brilliant if this whole man cult plan was just a financial scheme to build a members only gym

I don’t know if it’s the movie or how many times we hear it. Jesse Eisenberg’s character has the most annoying ringtone 

In the end, it’s a puzzle that doesn’t feel worth solving. You’re free to skip it; you won’t be missing anyone’s best or even notable work.

Grade: D+

TAPAWINGO (2023)

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Directed By: Dylan K. Narang 

Written By: Dylan K. Narang and Brad Demerea

Cinematography: Jarrod Russell

Editor: Rex M. Teese 

Cast: Jon Heder, Jay Pichardo, Kim Matula, Gina Gershon, Sawyer Williams, Amanda Bearse, John Ratzenberger, Billy Zane, Chad Dukes 

An oddball becomes the bodyguard for a misfit teenager and finds himself in the crosshairs of the town’s family of bullies.

This film plays like a sequel, continuation or feels like it takes place in the same world as the feature film NAOPLEON DYNAMITE. As well as THE SASQUATCH GANG (which felt like a live action Beavis & Butthead inspired film, only with a lot more innocence) which having John heater starring the film only helps fit into that framework

This film is slightly crazy, but still kind of innocent and clean with Ernest characters passing time in a kind of Arrested Development. It all feels

A bit dated and that they are slowly Catching up but still stuck.

Feels like it could’ve been from Greg Garcia, the creator and show-runner of shows like MY NAME IS EARL and RAISING HOPE. Where it feels a little episodic, but comes together in the end, but you watch these characters who seem kind of stuck in a kind of child like innocence, no matter how adults the behavior.

Though unlike those other films and characters. They might be odd and quirky but here at laws the characters feel a bit more lived in a the filmmakers. As well as the actors have a soft spot for them.

With a main character who is living a relatively normal life and then made into a misfit.

Rather than starting off that way. 

Where it feels like it’s not a fantasy, but it feels like a world that has been built and you’re wondering through and you can’t help but be charmed even with a kind of crime tale set in the middle you still can’t really tell what’s gonna happen next, but you can’t wait to see.

It’s a harmless film

Grade: B-