Author: jbg

LETHAL WEAPON 4 (1998)

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Directed By: Richard Donner

Written By: Channing Gibson 

Story By: Jonathan Lemkin, Alfred Gough, and Miles Millar 

Based On Characters Created By: Shane Black

Cinematography: Andrzej Bartkowiak

Editor: Dallas Puett, Kevin Stitt, Eric Strand and Frank J. Urioste 

Cast: Mel Gibson, Danny Glover, Jet Li, Rene Russo, Joe Pesci, Chris Rock, Kim Chan, Steve Kahan, Darlene Love, Traci Wolfe, Eddy Ko, Jack Kehler, Richard Riehle, Michael Chow, Roger Yuan, Mary Ellen Trainor 

With personal crises and age weighing in on them, LAPD officers Riggs and Murtaugh must contend with deadly Chinese triads that are trying to free their former leaders from prison and onto American soil.

This is the only lethal weapon movie so far that I have seen on the big screen. 

While satisfyingly, it closes out the franchise with a message of familiarity. This is definitely the most formulaic and cartoonish of the series. it feels like they are just adding things to make it relevant the formula, familiar and add some flavor so that the film comes fresh

The film also represents the aging of the characters as it shows Mel Gibson‘s character Riggs to have more weaknesses, and not be as sharp and invincible as he used to be . As well as becoming a new father and having a wife, which would actually give him more weaknesses than he is used to. In fact they are so much older that half the time they have to use laser pointers to aim their guns in a target.

Chris Rock seems out of place and thrown in here as he was a hot ticket at the time and added to help with the office and put butts in seats and give it some more flair with a side story is hard to believe and just adds to a sitcom sense of discovery And off-color humor. As he is barely in any of the scenes where action takes place.

Which kind of force is Joe Pesci’s character of Leo gets out of the picture as the main comedic relief though he is still here, and in the end is a dramatic moment, though he does actually have the best chemistry with Chris Rock throughout the film

Again, like the last film, this plays more comedic than dangerous or even action oriented as again this is more of a comedy with action in it. It seems like the first half of the series was more action with comedy. This half is more comedic with action sequences. 

The one addition that does make this film, memorable and come alive is Jet Li, as he is exciting as a villain, but other than his action scenes, he is left with nothing to do, though, is a good distraction, and a perfect adversary for Mel Gibson’s character (which with his gruff and viciousness in the past. You can see why fans at the time wanted him to play Wolverine if they ever made an x-men movie) and he actually wins most of the time in the fights on screen, as he truly comes across as invincible, almost like a machine with the speed of his moves Where you do wonder, how are they going to defeat this guy and with him.

I hate to say it, but he is really one of the only reasons to watch this film to see him in action. As this serves Moore as his introduction to Hollywood and a great showcase for him to star in action films, though this film managed to capture him unlike his other American or Hollywood films where he just seems so amazing vicious the only one that comes close that I can think of is unleashed, which also goes by the title Danny the dog

The comedy is just too broad and damn near almost takes over. Just as this film is definitely far from how dangerous Riggs his character was he was unpredictable and crazy. Now he’s still a little crazy yet more careful, and is showing his age. Though still manages to have a memorable chase sequence on the highway.

Just like the previous films, this film has at least one memorable action sequence, and a separate character scene that endears it and makes it can.

Though this film will certainly have a nostalgia and sentimental factor for those who are fans of the franchise and characters. As this Is their last hurrah together. Especially with the passing of directior Richard Donner. 

Grace: C

LETHAL WEAPON 3 (1992)

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Directed By: Richard Donner 

Written By: Jeffrey Boam and Robert Mark Kamen

Based on characters created by: Shane Black

Cinematography: Jan De Bont

Editor: Battle Davis and Robert Brown 

Cast: Mel Gibson, Danny Glover, Joe Pesci, Rene Russo, Stuart Wilson, Nick Chinlund, Alan Scarfe, Mark Pellegrino, Sven-ole Thorson, Miguel Nunez Jr., Paul Hipp, Stephen T. Kay, Delores Shell, Steve Kahan, Traci Wolfe, Damon Hines, Ebonie Smith, Mary Ellen Trainor

Archetypal buddy cops Riggs and Murtaugh are back for another round of high-stakes action, this time setting their collective sights on bringing down a former Los Angeles police lieutenant turned black market weapons dealer. Lorna Cole joins as the beautiful yet hard-nosed internal affairs sergeant who catches Riggs’s eye.

This was my introduction to the movie franchise. Which, for a time, was truly dyslexic, as I never watch many franchises in order. Though at least watching this film pieces of the puzzle come together. As I had seen the previous two movies, in pieces. just never all the way through. Until after seeing this one which made me wanna go back and finally actually watch the first two films’ info.

Having seen all of the movies, I have to say that disappointingly this film doesn’t advance the characters. It kind of lets them stay the same and maybe review or remind the audience of the death of their friendship at this point, as partners. 

It feels like it’s trying to be contemporary. It still feels a little bit like a throwback just following a formula. I mean just look at Joe Pesci‘s Leo character who is now a bottle blonde with a crew cut. Also, the introduction of hollow point bullets known on the streets as cop killers, feels like something taken from the news reports of an escalating danger.

Don’t know if the cliché came first or if this helped create them as throughout the formula, feels like a sitcom, almost that Hass to hit certain beats, and show certain scenes and behavior of characters. At least in the previous films, we were getting to know or learn about the characters and see how their partnership developed here we just assume they’ve had a kind of standstill, and it is expected

It’s a film where you don’t really feel any suspense. Just can’t help but seem familiar.

As my first LETHAL WEAPON film, it was exciting and new though it didn’t offer anything I hadn’t seen before. The quality kind of dips in quality in comparison . as if not for the foul language and violence, could’ve easily been a typical PG-13 film as it is definitely made for an audience more than anything. There is no need truly for this film other than for the studio to need money.

Unfortunately, this was a sign of the beginning of the end that felt fun, but a minor effort as there was one more sequel after this.

In serious scenes, the actors seem more silly than serious, except for the chase scene through the subway. That might be one of the film’s main problems is that it plays like a comedy with action in it rather than an action film that happens to have funny moments it’s not as vicious as the previous films either 

Watching this film, one’s favorite pastime might be noticing how many times Mel Gibson slips out of his American accent to his more natural Australian one. this film is also the first where Martin Riggs, Mel Gibson’s character, isn’t as scary or dangerous. He’s actually mellowed.  

Another Hallmark of this franchise, this one just seems to color in the lines, but offers nothing new, just adding an addition to the overall picture that wasn’t necessarily needed, but isn’t that bad? No, I will say it’s the last classic of the old-time sequels as the next film part four comes across as more cartoonish.

The franchise is familiar enough, so this is almost like just another episode, but lacks the stakes of the other films. It does offer as it adds a character, just as part two introduced us to Joe Pesci Leo Getz, who became a fan favorite enough that he returns for the remaining sequels here, Renée Russo’s character, is introduced, and ultimately stays and survives so that Riggs finally fall for and keeps a love interest.

The film offers a crafty, smart villain that makes his mark but alas, slimy doesn’t have as many memorable scenes, acts, or punch lines as previous villains.

The teenagers with the guns and ammo who are supposed to be part of this gang that hits close to home for Danny Glover, Roger, as one of them has a connection to his son. Nick feels thrown in to give Danny Glover a dramatic second act so that he can make a return, triumphant in the third act.

The film doesn’t offer anything new nor for the characters to do as the first two films did. The violence seems much lighter and less severe than in the first and especially the second film.

It seems like they are supposed to be homicide detectives, but they seem to get involved in every other type of case.

This franchise is one of the last where you can check your head at the door and be purely entertained and feel like at least you were served something well-cooked. Though in the end the film and franchise are meant to be entertainment above all else 

Grade: C+

MURPHY’S LAW (1986)

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Directed By: J. Lee Thompson 

Written By: Gail Morgan Hickman

Cinematography: Alex Phillips

Editor: Peter Lee Thompson and Charles Simmons 

Cast: Charles Bronson, Kathleen Wilhoite, Carrie Snodgrass, Robert Romanus, Bill Henderson, Lawrence Tierney, Robert F. Lyons, Angel Tompkins, Janet Maclachlan, James Luisi 

Jack Murphy is a veteran police detective who is framed for the murder of his ex-wife. Although taken into custody, Murphy escapes from the police station handcuffed to a foul-mouthed car thief. Pursued by the police, Murphy must find the real killer before it is too late.

This is a Charles Bronson film. I was looking forward to it, as I will admit at first I thought it would be almost like a buddy comedy only with Charles Bronson with a smart ass, pickpocket, and maybe more of an action comedy. Who start off as enemies, but slowly need one another to survive their situation. That is not exactly what this film is.

While it has its lighthearted scenes, this film ultimately is very dark which is what I am finding a lot when it comes to Charles Bronson movies and characters. So there is no wisecracking as much on his part. 

As here, his main character is a sad sack police detective, who is a bit of an alcoholic, and can’t get over his ex-wife, who has clearly moved on, and has no feelings for him. Yet he still stalks her and punishes himself seeing her with new lovers and working as a stripper.

The film offers wisecracks galore, especially from Karen Wilhoite, as the pickpocket, which is refreshing compared to the eternally grumpy Charles Bronson. Her lines are hilarious, and they are even now a little outdated. Though she is the bright spot of the film and breathes life into it.

I wish I could call it an action comedy but they’re very few laughs in the film. She mainly is a comedic relief other than maybe some of the situations and scenes as the film like most Charles Bronson starring films of the 1980s seems a bit mean-spirited. Compared to other action films. Even here he lacks charisma and personality.

The female villain is over-the-top ridiculous. Yet captivating. Not for the fact that it is a female villain, but just her motivations. She is thoroughly coldhearted. Though her motivations seem a bit stupid, yet understandable. Especially if she has just stayed incognito. Though by a certain point exposes herself.

The film’s scope is surprisingly larger than expected, especially for a 1980’s movie starring Bronson. Where the locations keep changing and more and more vehicles get destroyed. 

The film doesn’t quite live up to expectations but manages to stay entertaining with plenty of action. Unfortunately, it’s not quite a fun ride but leaves you interested throughout and has plenty of fun playing with the title.

Grade: C+

STRAYS (2023)

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Directed By: Josh Greenbaum

Written By: Dan Perrault 

Cinematography: Tim Orr

Editor: Greg Hayden, Sabrina Plisco and David Rennie 

Cast: Will Forte, Brett Gelman and Voices By: Jamie Foxx, Will Ferrell, Randall Park, Isla Fisher, Sofia Vergara, Rob Riggle, Josh Gad, Greta Lee 

An abandoned dog teams up with other strays to get revenge on his former owner.

Like the similarly themed movie GOOD BOYS, which has foul-mouthed kids at its center as the source of its comedy, but at least that film had a plausible story behind its outrageousness. Here we deal with foul-mouthed animals, mostly dogs who talk. 

This film is silly and just seems like a joke writer’s haven. As most of the jokes seem to revolve around poop, penis’ and foul language.

So that it seems like a film made for 13-year-olds only it is marked for adults. Who might enjoy this after a few too many, Which is similar to GOOD BOYS. 

As I wish I could say this was a fully entertaining hit that doesn’t seem to happen until the second half of the film. 

Don’t get me wrong the film does have its moments, but they are so far and few are in between. This seemed like it could have worked more as a skit or short film than necessarily a 90-minute feature film. That seemed to be made for pet lovers and since dog movies seem to do so well at the box office 

While it’s true that major comedy stars are behind the voices. It truly only adds to the film for name recognition rather than making the film any better or more entertaining. It might just add a bit of recognizability. 

The film is made to reach a certain demographic and is built more than anything off of a gimmick

Grade: D+

HELD UP (1999)

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Directed By: Steve Rash

Written By: Jeff Easton

Story By: Erik Fleming and Jeff Easton

Concept By: Greg Edwards 

Cinematography: David A. Makin 

Editor: Jonathan Chibnall 

Cast: Jamie Foxx, Nia Long, Barry Corbin, John Collum, Michael Shamus Wiles, Eduardo Yanez, Julie Hagerty, Sarah Paulson, Roselyn Sanchez. Dalton James, Jake Busey, Natalia Cigliuti, Gary Owen 

What should have been a romantic getaway turns into one hilarious debacle after another when Michael’s woman dumps him in the desert where he gets carjacked by a teenager and he is taken hostage in a stickup at the local Sip and Zip.

I have seen this movie more times than I have wanted to. As this was a movie they played at the movie theater I worked at in my 20’s and stayed around for quite a few weeks.

This film showed Jamie Foxx was a major talent and needed better scripts because he is obviously better than the material he is working with here.

The film is likable enough though the cast prospers over the simplistic and silly script. As they are all willing and energetic to throw themselves into it. 

The film is a low-grade comedic prejudicial tale with a hostage situation in the middle of it. 

What’s worse is that it doesn’t even necessarily work to Jamie Foxx’s strengths. Whereas you could’ve put anybody in this role if anything, it shows somewhat range for Jamie Foxx that he can play more of a straight comedic role rather than be over-the-top comedic.

The film is watchable as every few minutes it throws in a joke or gag to keep it lively and cute. Even if at heart the situations of the film revolve around expectations, stereotypes, and racism.

While it is made for an urban audience where the Caucasian characters are more like yokels. 

The film isn’t much to look at visually. The look is usually dull and lacks style but works for the limits of the material and locations.

As the film definitely wants to be more of a comedy with a star at its center yet offers a kind of ensemble all around. Though it’s never quite specific so that it keeps seeming to try to swing and sometimes it gets to hit but it’s never quite a homer. It strikes out more times than it plans.

Jamie Foxx seemed stuck in these types of movies. This is more a starter starring movie but was the type he kept being offered that was more grade-C material. Not even B material that they should have been getting at the time. As he was a proven talent. In other words, while he makes it work. The filmmakers could have cast anyone in the role. He just so happens to make it more his own. As he is the most impressive aspect of the movie. Luckily eventually Hollywood would give him a chance and he just kept running with it after to bigger and better.

Grade: C

DOWN WITH THE KING (2020)

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Directed By: Diego Ongaro 

Written By: Diego Ongaro and Xavi Molia

Story By: Freddie Gibbs, Diego Ongaro and Xavi Molia

Cinematography: Daniel Vecchione

Editor: Benoit Sauvage 

Cast: Freddie Gibbs, David Krumholtz, Bob Tarasuk, Jamie Neumann, Sharon Washington

A famous rapper, disillusioned with the music industry and the pressures of being a celebrity, leaves the city and his career behind to find himself in a small-town farming community.

The film is more of a slice of life. It’s an unhurried character study of its main character. Where are you wondering was the casting of Rapper Freddie Gibbs in this film random or if was it written around him more or less. The film feels kind of like a Bob Raefelson film of the 1970s that he would’ve made with Jack Nicholson. Natural and an experiment. where here you put an entertainer or rapper in another element with a story and see what happens and create a portrait while not being a documentary, but its own drama, or at least a study.

This film has one of the most truest lines in the movie. When the main character says “I got into the rap game to get away from the streets but it seems like the more popular I get the closer, it gets me back 10 times closer to the streets.”

This leads us to wonder why you get so caught up in music and rapper persona, and that’s where your fans are from, so that you wanna be cheered by them and represented even while your life might be getting better, but again being separate from the streets. you might want to stay kind of proving yourself to be still the same person. 

Like most of us, we need a vacation from time to time. we need to get away, clear our heads, rest, and relax and I admire that the film shows him trying to create his next album but showing growth. In that maybe he doesn’t wanna do the same thing even though he still has it. but also how artistic pursuits can tamper with the proven formula and, when you have a deadline how easily it is to get distracted, and not feel necessarily inspired 

How one might be so successful, but you also kind of long just for the normal things in life that others live and have to work for. While you have worked for it, is paying off, but you never really get it seem to enjoy necessarily the simple things. As the highlife at a certain point is seemingly more normal 

I think Freddie Gibbs is cast perfectly. He definitely has the rapping skills and is an underrated rapper. Who I am a fan of even before this film. He’s the main reason I decided to watch the film and here he gives a great performance playing a character maybe not unlike himself. He shows a lot of emotional turmoil throughout not necessarily through dialogue, but body language, and emotionally. He rises to the challenge 

This could’ve easily been a comedy with the premise of a rapper getting used to being in the wilderness to make their next album. Luckily it ends up becoming more of a character study. We learn things little by little about them, filling in the blanks as he goes about his days trying to Make out his various interactions with those around him in the woods. 

Luckily, the film doesn’t bring up race though in one scene. It does kind of show maybe one character’s racism in a minor way though that doesn’t affect the rest of the film but is acknowledged that the film nor the characters are blind to that. 

I guess it depends on, even though there’s a certain type of sound, song, and artistry that made you famous. also having no friends primarily only your fans. if you want to stay true to them only or if you wanna please the people almost like marriage, but also even as you grow as a person. You have to wonder, do you want to keep your music that represents yourself to a certain extent. So do you want to be that same person or over the years do you want to grow and show an evolution? you’re always gonna be true to yourself but you know you can’t stay the same forever and you change with the times. so to speak. I know everybody’s like “Oh I’m the same person. I’ve always been” though certain things in life happen and responsibilities take over.

The film also shows the business side of how sometimes you might get fed up and wanna leave it all behind, but you have way too many people depending on you, that you’re kind of forced back in. Even when maybe you wanna try something new.

It’s also interesting that as a rapper he’s the most financially successful character in the movie surrounded by these working-class Caucasians. Who love what they do up to now and he is the one of privilege. Even if he did work his way to where he is. he’s the one who seems to have all the benefits. yet he is the most tortured character emotionally throughout

The film also shows him not totally removing his toe from his surroundings and he still has a connection back to the country and his old life. Reminders of his old Life like a continuing beef, though he’s enjoying his life remoteness. In other words, fighting and coming back to a certain reality that is a fantasy to others. Kind of like a fantasy. He is living full of discovery, and a slower pace is a reality that is a fantasy to him. He feels maybe he has moved on or reached a different part of his life, or he’s making money off of his old life that he’s not necessarily in tune with anymore 

Not to mention, he finds the people he’s around in his seclusion more real than the people in his more superstar life as they’re not making any money off of him when he’s in his seclusion, and he’s more in control of his life, whereas in his professional life he has certain obligations, and people making decisions for him, even though this is what he strives for 

In the end, having an epiphany or realizing kind of house, shallow, his show business life is, More is

The ending pretty much spells it all out. Where he finally catches the skunk that has seemingly been hiding underneath his house. He traps it, and he tries to dispose of it in the woods by himself even though his friend Bob, the farmer tells him to call him immediately. Once he gets it he decides to dispatch the skunk Still in the cage and then when he turns around, he sees that the skunk has escaped which could have meaning for him as is seemingly the skunk chose to be trapped and acted that way, but in the end could’ve escaped whenever he wanted to and chose to leave when he was back Where he wanted to be

Grade: B- 

AMERICAN FICTION (2023)

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Written & Directed By: Cord Jefferson 

Based on The Novel “ERASURE” By: Percival Everett

Cinematography: Cristina Dunlap

Editor: Hilda Rasula

Cast: Jeffrey Wright, Sterling K. Brown, Tracee Ellis-Ross, Issa Rae, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, Keith David, Miriam Shor, Myra Lucretia Taylor, Michael Cyril Creighton, Patrick Fischler

A novelist who’s fed up with the establishment profiting from “Black” entertainment uses a pen name to write a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

The cast is excellent and the screenplay is excellent Unfortunately the film has what feels like flat direction that sinks the material a bit. as it feels like the film is constantly searching for the right way to present itself, and how to live in the material 

As the writer of the film or Screenwriter of the film is also the Director, though, based on a novel by Everett McGill, entitled Erasure

The film is a satirical comedy as is the book which has some comedic elements and tone, but is definitely much darker than what we see on the screen. The film improves on certain aspects or gives the historian characters more hope, but could have had some of the stronger ones. The changes might be minor, but they are meaningful such as the way his sister passes away and the role of the maid of his mother. That would allow the film to be more acceptable than the book, taking away some of the sharper edges, but replacing those edges with some stronger commentary and dramatic issues

This is what makes the film so strong in dealing with prevalent social issues, especially for African-American artists, art, and a sense of self

Film keeps its world smaller, but makes it more personal, and still stays in vent allowing for the supporting characters to have stronger roles and much more range

The film also offers a bred, Jeffrey Wright, and a rare leading role. With Sterling K Brown as his coming-out-of-the-closet brother, Sterling Brown can never do wrong, even bad films. He is still sometimes one of the more interesting performances so he makes his screen time lively, and memorable. Never feeling out of place

Also, it’s nice to see Erika Alexander on the big screen again in an important role.

Something can be said when movies like this come out in theaters they mostly have a crossover audience as the intended audience rarely seems to go see it, and more discover it at home on streaming or from word of mouth. Which eventually helps its legacy, but does not help its box office at the time when it is needed.

It’s also nice to see the character have an inner life and family problems. This is what sets the plot forward and one of the reasons for the continuance of his situation that only grows the longer the facade goes on. 

The irony here is that what is playing on screen might be satirizing it but it feels like it’s the same situation that is happening when it comes to this film in the marketplace. 

It seems at times we will support others yet, not our own community. Even when it is telling stories meant for us, we will accept others telling us about ourselves rather than someone from our own culture at times. Which is disheartening, but still thankful that these movies, subjects, and material are out there for those who identify with it

GRADE: B

THE STRAYS (2023)

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Written & Directed By: Nathaniel Martello-White

Cinematography: Adam Scarth 

Editor: Mark Towns 

Cast: Ashley Madekwe, Bukky Bakray, Maria Almeida, Jordan Myrie, Samuel Small, Justin Salinger

Neve lives an idyllic life in the suburbs with her loving family and works a fulfilling job at a private school. But when she begins to notice a strange man and woman appear unexpectedly at odd moments, she starts to doubt her sanity. Of course, she turns to her family and friends for assistance, but she is helpless when they hesitate to believe her.

The film is about colorism and by the end you think it is going to say something heavy and important about race, but more just hints around about it. 

Only one wishes the film had dug deeper as it seems like a good setup but ends up a kind of shell game. 

All the performances are spot on especially the lead played by Ashley Madekwe.

The violence in the movie seems there only for the mood of the film to make sense and show possibilities. As to what the characters are capable of.

The film offers so much potential, that it’s not shocking that the writer/director Nathaniel Martello-White is a playwright. At Its heart, it feels stage theatrical. Which is why it never quite feels realistic. It feels produced manufactured or pretty much a setup to entice.

This film manages to keep you interested, even on the edge of your seat throughout. As it builds and brings things to a boil and cops out at the end like the filmmakers gave up or couldn’t think of anything good after painting themselves into a corner. Where it kind of loses the audience. 

By the end, the film offers the main character a realistic reaction that is still shocking but also is just part of her nature. 

The film feels inspired by Jordan Peele’s films US and GET OUT. This could have been part of the series THEM on HULU 

In the end, the film is thought-provoking. That wants to be a well-thought-out thriller but also has something to say. While being a character study. Unfortunately, the end feels like a cop-out and almost comedic in its own way, 

GRADE: C+

NANNY (2022)

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Written & Directed By: Nikyatu Jusu 

Cinematography: Rina Yang 

Editor: Robert Mead 

Cast: Anna Diop, Michelle Monaghan, Sinqua Walls, Morgan Spector, Leslie Uggams, Olamide Candice-Johnson, Princess Adenike 

Piecing together a new life in New York City while caring for the child of an Upper East Side family, immigrant nanny Aisha is forced to confront a concealed truth that threatens to shatter her precarious American Dream.

The film is scary but more human and emotional. It is not exactly a horror movie but more magical realism. Yet still manages to stay haunting.

The film deals with the degradation of what she suffers. The microaggressions are harassed sexually by an oversexed person who believes her to be naturally sexually available. She is treated almost like slave labor by doing unscheduled overwork and not being paid on time or enough.

Then getting mad when she deviates a bit from their rules and instructions. yet are never there to deal with the problems of the child. The reason she went against them was to improvise with the situation 

Where the people she works for make money off of the culture and pain of others and yet feel sorry for her, At least one of them. Yet never try to get to know her and expect her to have sympathy for their own problems and dysfunctions. Like she owes it to them.

At least they are not Painted as total villains, just characters who have their own personal problems and take them out on others and expect them to be their caretakers. When they have never shown them any true sympathy. They at least are not just one thing or shown to be one-sided.

The main character has a romance that is explored but doesn’t become the main narrative. 

She is haunted by vivid dreams of water and insects that are nightmares or premonitions of what is to come or a kind of connection to the world and those close to her.

The film stays beautifully stylishly directed and well-acted with worn-in believable performances. That feels like not only a character study but a sharp slice of life.

Where the strength lies in the storytelling is that on the one hand, we have this supernatural tail that we believe we’re watching more of a horror film, but while we watch, we notice all these other issues being brought forth that are much scarier, because they happen more often every day. Yet for some, the supernatural terrors are more believable, or at least the ones they choose to believe in more.

Grade: B 

LIFT (2024)

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Directed By: F Gary Gray 

Written By: Daniel Kunka 

Cinematography: Bernhard Jasper

Editor: William Yeh 

Cast: Kevin Hart, Gugu Mbatha-Raw, Sam Worthington, Jean Reno, Vincent D’Onofrio, Billy Magnussen, Ursula Corbero, Yun Jee Kim, Vivek Kalra, Jacob Batalon, Burn Gorman, David Proud 

Follows a master thief and his Interpol Agent ex-girlriend who team up to steal $500 million in gold bullion being transported on an A380 passenger flight.

This film has everything going for it. A lot of great talent so it’s disappointing that it plays so basic. Already going into it you probably know how it’s going to end. Part of the fun is seeing how it gets there. But how it gets there is so predictable that it seems to lack pizzazz.

The film is ok it’s entertaining, but it never has any character or comes alive. As it plays like the typical Netflix action film with a big star at the center.

While it’s nice and fun to see Kevin Hart play the more Noble leader. As he tries to show range and be less comedic in this film. Which is admirable, He comes across as flavorless, and unexciting charisma isn’t there. Nor the laughs even though he’s not trying to get any this time. Though I will give him points for putting in an effort and trying to be an all-around movie star, unfortunately here he’s not that engaging. Where it feels like anyone could have played this role.

Even his romantic scenes with Gugu Mbatha Raw come across his bland. Not to mention she should be getting better roles than this.

It’s a sharing, especially as you have such wonderful actors throughout, who are never really given enough room to breathe other than their characters, expertise, and little hints of life.

Not to mention, you have F Gary Gray, a talented Director in his own right. Who seems with this barely lifeless action B-Movie. That while high concept still comes across as uninventive.

If you’re looking for something, entertaining that you’ll soon forget afterward, or just to have on in the background while you do other things this might be the movie for you. as this feels like a less stylistic and more calm Six Underground-type action film from Netflix again.

I can at least say this film isn’t too embarrassing for him. 

Grade: C