WICKED LITTLE LETTERS (2023)

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Directed By: Thea Sharrock 

Written By: Jonny Sweet 

Cinematography: Ben Davis 

Editor: Melanie Ann Oliver 

Cast: Olivia Colman, Jessie Buckley, Anjana Vasan, Timothy Spall, Gemma Jones, Hugh Skinner, Alisha Weir, Malachi Kirby, Lolly Adefope, Eileen Atkins, Joanna Scanlan

When people in Littlehampton–including conservative local, Edith–begin receiving letters full of hilarious profanities, the rowdy, Irish migrant, Rose, is charged with the crime. Suspecting that something is amiss, the town’s women investigate.

This is the type of film that Sunday screenings were made for quirky comedies that are usually period pieces that are historical in nature. Though showcase modernization in its earliest stages.

unfortunately, this film seems to have gone straight to streaming with no theatrical release, which is a shame as it feels like there is no theatrical marketplace for films such as these, even though these are the ones that audiences more or less don’t know that they are searching for something simple, pleasing fun and artistically worthwhile 

Whereas this film definitely has two stars, Jesse Buckley, and Olivia Colman both noted award-winning actors, playing the lead roles and pretty much against each other, it becomes a comedy of errors in an ensemble effort, whereby the end your shock that this is actually based on a true story and real people.

everyone in the cast excels not that you would ever doubt any of them. Jesse Buckley and Olivia Coleman are both having fun playing somewhat familiar roles. The wildfire, free thinker, and the repressed rule follower 

The film is a darkly comedic tale that is laid-back and plays at first like a mystery and then like a Colombo episode as you wait to find out how the guilty will get caught and what will become of them while seeing the falsely accused having to suffer and they have to go through.

though through the comedy they found does shine a light on issues. Women had to face this at the time. Misogyny sexism, repression jealousy of one another. How some can live free with no repercussions and others feel trapped with no release.

The film is very diverse as it has people of color enrolled that you wouldn’t expect in most period pieces and there isn’t much made about their culture or casting involved. It’s just more natural that they are in society and hold positions of power. and did not be scandalized or the whole film be just about that

The film is a fun romp. That mostly goes for comedy but reveals the drama and conflicts involved. Most of all it’s funny and eventually kind of a buddy comedy. Though offers plenty of comfort for the audience. 

A film filled with personality that goes by but keeps you engaged and having fun with it as you wait to see where it’s going to go.

This is another great memorable performance from Jesse Buckley. who never quite gets the recognition or that star-making role that catches on and shows the world and audiences just how great she is

The film allows, two great acclaimed actresses to share the screen it’s truly an injustice, this film, was silently released onto streaming.

This isn’t a big story but a good period-set comedy of manners with dramatic impact at times it’s quietly hilarious. It’s full of jealousy as one character wishes she had the bravery and freedom of the other. Based on a true story.

This is actually a perfect Sunday film as it is relaxing and laid-back with a diverse cast where Race isn’t brought up even for its time. Just as the sexism of the time is fully examined by examples.

It showcases, The fragility and support of female friendships.

As we find out, the letters are an extension of a passive-aggressive psyche, and the reasoning that adds more scandal which grows as it goes along, so does the story and circumstances

The film is quite refreshing as you don’t quite expect it as it up the steaks, adding an investigation, angle, and suspense.

Showcasing actions, no matter how minor have consequences. As well as adventure, characters, and observation with arcs joining along some reluctantly do away with the mystery element rather quickly..

The camera is solid yet moves along quickly at times with perfect timing 

Grade: B

MAFIA MAMMA (2023)

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Directed By: Catherine Hardwicke

Written By: Michael J. Feldman and Debbie Jhoon

Based on a story By: Amanda Sthers

Cinematography: Patrick Murguia

Editor: Waldemar Centeno 

Cast: Toni Collette, Monica Bellucci, Alessandro Bressanello, Eduardo Scarpetta, Tommy Rodger,  Tim Daish, Sophia Nomvette, Gulio Corso, Dora Romano, Francesco Mastroianni 

An American mom inherits her grandfather’s mafia empire in Italy. Guided by the firm’s consigliere, she hilariously defies everyone’s expectations as the new head of the family business.

At first, this film seems like it would be fun but it’s more a female audience-friendly culture comedy. Where the humor is not found in having a female mob boss but in having a middle-aged divorced housewife become a mob boss or go about trying to run a crime empire out of nowhere.

This would’ve been a high-concept comedy in the ’80s, ’90s, or maybe early 2000s that would’ve maybe been more of a star vehicle or at least offered up something a little more daring.

The film has a few laughable moments, but for the most part seems uninventive and uninspired, even adding in a romance aspect that proves to be more of a fantasy aspect of the movie turning more into a midlife crisis change of life types scenario.

No truthfully, there is more sizzle and star, Tony Collette, and costar Monica Bellucci’s scenes together that have a bit of flirtation and eroticism to it that could’ve made the film a little more risky, especially when there is seen where Bellucci straddles Colette.

The film is fine and simple, but it just feels so uninspired. They had a title and they just went with it and tried to make things up around it where most of the male characters are either Sexists or idiots or untrustworthy. 

Such as the scenes with her ex-husband, there was a way of making him more despicable and a loser rather than the obvious that the film chooses to go to where you wonder what she ever saw him if she was not a teen parent and a shotgun marriage.

Not to mention a film that is set in Italy. It’s not very picturesque. it seems like it was filmed in an indoor sets. That doesn’t look very expensive or that luscious. 

Also, there aren’t that many comedy set pieces or even that many action sequences the ones that they do have seem poorly set up. This film is more for the MY BIG FAT GREEK WEDDING crowd than anything.

I really wanted to like the film as I like the main cast. Usually, Toni Collette can do no wrong, and it is a pleasure anytime Monica Belluci is on screen. Yet, the only time the film is close to its potential is in the performance of Sophia Nomvette as Colette’s best friend. Who turns a typical sassy African-American best friend role and runs with it to utter hilarity. One only wishes that she was more of the film.

Grade: D+

DEAR SANTA (2024)

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Directed By: Bobby Farrelly

Written By: Ricky Blitt and Peter Farrelly 

Story By: Ricky Blitt, Peter Farrelly and Dan Ewen

Cinematography: C. Kim Miles

Editor: Julie Garces

Cast: Jack Black, Robert Timothy Smith, Post Malone, Brianne Howey, Keegan Michael Key, Jaden Carson Baker, Hayes MacArthur, P.J. Byrne, Kyle Gass 

When a young boy mails his Christmas wish list to Santa with one crucial spelling error, a devilish Jack Black arrives to wreak havoc on the holidays.

This seems like a film that was made to go to theaters as a high-concept comedy and ended up on streaming. Which one is thankful for because if this hadn’t made it to theaters, only you could see why people would be displeased with it.

It seems like more films that should be released in the theaters are being released in streaming, and many movies that are streaming only could have been released in the theaters and actually made a profit and had better notoriety. 

Then again, it seems like there are more expensive high-concept films being made in general that actually don’t look interesting because they seem more reliant on special effects and fantasy storytelling rather than the talents of their recognizable stars.

At this point, it seems like Jack Black has decided to mostly star in children’s films or films aimed at families and young teens that are a little risky but pretty much clean and well-centered going for the too-crass or too-gross humor.

Now this film is perfectly fine for families to watch as a holiday film, except that it just feels so planned and over the top corny to a certain degree no matter how hard Jack tries or even the rest of the cast it just feels so lightweight by the numbers.

I will credit the filmmakers as this could’ve easily been a more mean, spirited, and gross film. It ends up being a little more moralistic and a bit emotional definitely more than anything else. . 

Though I will admit, there was only one scene that was truly funny and almost hilarious that should help up the audience as the rest of the film is pretty basic and lacks any laugh-out-loud moments.

Then again keep in mind I’m not the ideal audience member for this film. It’s not necessarily my cup of tea and this film is made or directed by Bobby Farrelly of THERE’S SOMETHING ABOUT MARY and SHALLOW HAL Fame so this is a comedy with him showing restraint it should be noted.

It’s a film yeah if you just are in the mood for a kind of empty holiday film that tries to have the heart go for it, but unfortunately, it’s not anything special as you might’ve hoped.

Considering the cast and filmmakers. This should have been better or at least a lot more enjoyable. 

Grade: D

FOUR SAMOSAS (2022)

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Written & Directed By: Ravi Kapoor

Cinematography: Akashi Raj 

Editor: Anisha Acharya 

Cast: Venk Potura, Sonal Shah, Sharmita Bhattacharya, Nirvan Patniak, Sujata Day, Karan Soni, Summer Bishil, Maya Kapoor, Ravi Kapoor 

An unmotivated South Asian American rapper, along with three other first-time thieves, plans a heist on a grocery store owned by his ex-girlfriend’s father, in order to steal her wedding diamonds and disrupt her pending engagement.

This film is inspired by or in the same style as a Wes Anderson film with a little NAPOLEON DYNAMITE mixed in, only set in a South Asian community in a small town. 

It maintains a dry deadpan goofy innocent humor and comedic antics throughout. As the film takes a look at a community yet stays ridiculous and pure throughout.

It manages to make a small town feel epic with so little. Exposing its own universe and still being a bit romantic. Even as it maintains pretty low steaks and feels more character-based than plot-based.

The film has its own charms that retain a sweetness to it all. 

Just like BOTTLE ROCKET, it revolves around a ridiculous heist that exposes their neurosis and gives them a chance to run away from their own individual problems Or dilemmas and bonds them more but also exposes that they need to move on with their lives.

But they are so likable you want to see them have more adventures and see how they grow and change though hope they don’t at their core 

Grade: B 

BAD SANTA 2 (2016)

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Directed By: Mark Waters

Written By: Johnny Rosenthal And Shauna Cross 

Based on characters Created by: Glen Ficarra & John Requa 

Cinematography: Theo Van De Sande 

Editor: Travis Sittard

Cast: Billy Bob Thornton, Tony Cox, Kathy Bates, Christina Hendricks, Ryan Hansen, Brett Kelly, Jenny Zigrino, Octavia Spencer, Mike Starr

Fueled by cheap whiskey, greed, and hatred, Willie teams up once again with his angry little sidekick, Marcus, to knock off a Chicago charity on Christmas Eve.

The worst part of this film is that it’s an unnecessary sequel. I don’t know if it was the studio’s idea or something that was pitched, but the first one could’ve stayed a classic as this film ends up being bad not as bad as you might think but pretty much, disappointing

Luckily, it’s not a straight-to-streaming or direct video by having some other person star in the film or be some kind of distant relative or only getting the supporting players back while not being able to get the star Billy Bob Thornton, who seems pretty much auto-pilot. As he has played this type of role many times before it’s hard to differentiate them sometimes other than the other antiheroes are jerks that he has played in comedies have some pride, and are usually trying to hide the other part of themselves or here what you see is what you get.

The only surprise in the film is that Kathy Bates agreed to play a supporting role in it as it just seems like more of the same from the first film, though it seems here it tries to be meaner and more over the top and its nastiness and humor is definitely more sexual 

It’s pretty much the same story new city, where the plan seems to basically be the same only shifting loyalties, even though no one trusts each other in the first place. 

It also seems to be darker and more low-budgeted again makes you wonder who was really demanding this or deemed it necessary. It looks dirtier. 

Even Christina Hendricks seems cast more to capitalize on her bombshell looks and does play a character in the film who is Ingal to the plot, but doesn’t really have much to do except be a sex object for an actress of her caliber you would have more to do or at least be better written. She also seems here to give Billy Bob Thornton’s character the closest thing to a kind of love interest that he’s going to get. She is the most likable character in the film.

There are some scenes that can be funny. There’s not enough to truly make a necessary feature. One would warn fans of the first film. You can skip this as it’s the same movie only cheaper and you know the characters more so you know what to expect if anything it kind of darkens, the first film offers a cheap knockoff that’s familiar and almost similar to the first film only with not as big names think the hangover sequels.

It feels like a movie, a studio mandated more than they’re actually being a need or reason by the filmmakers or cast to return even though it’s shocking considering the material was so controversial and risky when the first film came out. Though it might be watered down in many ways, the jokes pack a little more mean-hearted venom

Grade: C- 

FRED CLAUS (2007)

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Directed By: David Dobkin

Written By: Dan Fogelman

Story By: Jessie Nelson and Dan Fogelman

Cinematography: Remi Adefarasin

Editor: Mark Livolsi

Cast: Vince Vaughn, Paul Giamatti, Kevin Spacey, Rachel Weisz, John Michael Higgins, Elizabeth Banks, Kathy Bates, Miranda Richardson, Chris ‘Ludacris’ Bridges, Bobb’e J. Thompson

Always living in the shadow of his younger and utterly popular brother, Nicholas–or the one and only, Santa Claus–the polar opposite of his holy sibling, Fred Claus, now faces an unforeseen predicament that drags him all the way up to the frozen North Pole to beg for Santa’s help. However, there’s a catch. To get off the hook, Fred must work his fingers to the bone along with the jolly elves during the hectic pre-Christmas Eve period, against the backdrop of a thorough and merciless efficiency inspection. Can the wayward brother Fred save himself, and above all, Christmas?

This film has very few factors going for it. The Christmas morning scene is the only time this film truly feels believable and shows the beauty and heartwarming side of Christmas. It’s about family, magic, happiness, and amazement, and that one scene finally touches what the whole film is supposed to be about.

What comes before is more of a shallow exercise that wants to be heartwarming but comes across as conniving and faking the funk.

The problem is that it builds up this whole fantasy realm and lower, but doesn’t exactly quite explain it or give the rules so that’s your loss so that you can just throw anything in there. sort of like Vince Vaughn is supposed to be the older brother of Santa Claus, but they never quite explain how long Santa Claus has been in his current position except that he was born for it. Even in a certain part of the movie remember that a certain character wanted a gift way back in 1968 but Vince Vaughn is the older brother has he been away from the North Pole and living in the real world and why doesn’t he age or have any certain magical powers, that he pretty much struggling for the most part and afraid to get into a romantic relationship.

That last part helps when it comes to explaining his mentality thinking he’s afraid of attachments because he’s on the out with his family so he doesn’t really trust anyone even the people he should because he’s all out for himself but throughout the movie learns to love his family, who have always just wanted the best for him And others and together for greater cause.

Which is a great message. You just wish that the film had bothered you. To find a plausible and more believable way there. it just feels like a comedy built around the holiday built around the persona of star Vince Vaughn. He is a good actor and works well as a fast-talking hustler as that is his stick so it’s no surprise to find out that most of his lines were the result of improv.

However, that style doesn’t quite match the material as it’s better in his more R-rated juvenile comedies rather than a family film as it just makes him seem more like a bumbling liar half the time or a bumbling man. One who would never believe.

Kevin Spacey makes no sense as an efficiency expert but who sent him that’s never explained. Why is he hell-bent on taking down Santa and what was he going to replace the North Pole in the factory with never explained how to get away with his plan at parts and times he even cheats to sabotage Santa. So you would think the powers that be if let’s say this word to become a religious film when they see that and Disapprove?

Understandably these are things you’re not supposed to think of when watching this film but the shenanigans that the film produces you can’t help but think that. One this is obviously made for children and families. There should still be some explanation rather than feeling like the film is like the main character making up things on the spot.

I don’t want to be a Grinch. The cast tries Vince Vaughn, whose movies can be hit or miss nearly seems like for the most part. He isn’t sleepwalking through this role, but he doesn’t seem that enthusiastic all the time to be there so he does bother to put in high energy, this just wasn’t the material for him.

It’s rare that a scene works sort of like when he goes to therapy for brothers who don’t feel they get enough credit as their more famous brothers that was funny but could have gone a bit over the top and been funnier, but it feels like it’s holding back mainly because it’s a family film, but also exposes the film as being more of a series of skits with an overall story rather than a true film.

Grade: D

HERETIC (2024)

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Written & Directed By: Scott Beck & Bryan Woods 

Cinematography: Chung-Hoon Chung

Editor: Justin Li 

Cast: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young 

Two young religious women are drawn into a game of cat-and-mouse in the house of a strange man.

This is a film. One wishes they could’ve made it as at first it seems so simple, but as it goes along, you realize how twisted everything is and that it also exists on a delicate balance

The script is intricately written and can go a million ways at any moment. Luckily it stays on a certain path makes it all the more intriguing. 

There will be many who will be In Tune with its debates and theories. At least in the first half of the film. 

It’s a tight thriller that sues its Location inventively and makes it claustrophobic. As with the design of the location the Film, characters, and story offer up their mazes to try and solve. The camerawork by Chung-Hoon Chung makes the spaces seem sumptuous and a world unto themselves. 

Hugh Grant finally gets a role where he doesn’t have to play off either his public persona or what audiences know him for he gets to play a role with the recent villain role, which gives him some really good meat on which to chew and show off his skills and remind you that he is a good actor.

As he shows the human equivalent of mansplaining. That most women will identify with if ever had a date, friend, or family.

A member who wants to show off his smarts and theories and is truly trying to impress about a subject you are not necessarily interested in but must show superiority in. 

It’s not perfect in the third act. That is where the film gets a little wobbly and brings the film back down to earth and reality. It is impossible to keep up the momentum Of the first half completely without having to offer some Explanations. as well as offer the audience the release that they desire. To make it mroenofna crowd pleaser. 

I won’t call it a fun ride but one that keeps your interest throughout and will want to have conversations about after. Even if not as shocking as you might expect. 

The writer-directors Scott Beck and Bryan Woods have truly made a film worth investing your time and attention. Much better than their previous films, A QUIET PLACE which they wrote and 65 Which they wrote and directed and this film Is leaps and bounds above the special effects-laden 65 starring Adam Driver. 

Grade: B 

THE WATCHERS (2024)

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Written & Directed By: Ishana Shyamalan 

Based On the Novel By: A.M. Shine 

Cinematography: Eli Arenson 

Editor: Job Ter Burg 

Cast: Dakota Fanning, Georgina Campbell, Olsen Fouere, Oliver Finnegan, Alister Brammer, John Lynch, Siobhan Hewlett 

A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night.

This film is disappointing now much will be sad because this film is from the daughter of M. Night Shyamalan, Ishana Shyamalan. There have already been calls of nepotism or Nepo baby feeling that she only got a big studio release because of who her father is and the fact that he also produced the film. 

Now the film is in a similar style of being something supernatural and mysterious, and having a twist. Unfortunately, it doesn’t make good on its prints as the trailer for this film intrigued me as you didn’t exactly know what was happening. She also follows him and his more recent footsteps of adapting, a little-known or well-hidden novel for the big screen that if not for some research you would think would be an original script. That would work for her father, as his name comes with a certain pedigree and is bigger than any source material.

Once you watch the film and the story is fully explained there would be less mystery, but the problem isn’t that there is less mystery. It’s that it just doesn’t seem the greatest thought out as the script is barely subtle, and along the way becomes a bit predictable or if not predictable it’s nothing you haven’t seen before and other films so that here it just feels like a hodgepodge of ideas combine together to try and make the story work.

It feels more like a first draft than a fully thought-through and finished story. There seems so much potential in the setup, never quite comes together in a meaningful or sensible way, Which is especially shocking considering it’s based on a novel.

The direction is quite inspired and the cinematography is tight, but the rest of the film feels so empty. It’s one of these films that by the end. You don’t really care. You’re just happy that it’s coming to an end. 

Rarely offers surprises or suspense you watch as it goes along and hope it will get better along the way with its twist and it rarely does.

There is a glimmer of hope and promise here, though tighter scripting and a better follow-through will be needed. Especially to follow either in her father’s footsteps or even the car out an original artistic voice of her own.

Grade: D 

IMMACULATE (2024)

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Directed By: Michael Mohan

Written By: Andrew Lobel 

Cinematography: Elisha Christian 

Editor: Christian Masini 

Cast: Sydney Sweeney, Simona Tobasco, Benedetta Porcaroli, Alavaro Morte, Giorgio Colangeli, Dora Romano, Giulia Heathfield Di Renzi, Giampiero Judica 

Cecilia, a woman of devout faith, is warmly welcomed to the picture-perfect Italian countryside where she is offered a new role at an illustrious convent. But it becomes clear to Cecilia that her new home harbors dark and horrifying secrets.

This film came out at an interesting time. It seemed to be on the heels of the similarly themed THE FIRST OMEN. Though at least this can be considered more an original than a prequel.

This one despite having a rising star in the main role and own in a supporting role. Comes across as more heartfelt ultimately. However, what truly makes it memorable is the surprising and somewhat brutal third act

Though the film offers violence here and there in act two. It seems like there is a lot of build-up going Along the way keeping scenes just intriguing enough. To keep you interested until it finally becomes more than what you expected.

Though the third act is very dark which might disturb some viewers and the reasoning behind some decisions and plans. Seems either silly or like it would only exist in a movie.

Sydney Sweeney is convincing in her leading role. She stretches her acting muscles and is not really dependent on her looks or body as much.

As the film is directed by Michael Mohan who has collaborated on the film THE VOYEURS from a few years ago and the show EVERYTHING SUCKS. Which is where this reviewer first saw her. So this offers her a big screen leading role and a director she trusts. 

This makes sense as this film comes off as a starring role. Made to appeal to the audiences’ fandom of an actor or actress and seemingly written for them or someone of that magnitude. Rather than truly a character role. 

The film offers exactly what you might expect and gives enough scares and violence to keep the horror audience happy. Other than a good ending it doesn’t offer anything that rises above basic.

Though a smaller production, it does feel a little more like a breath of fresh air as this film doesn’t go for campier or trashier aspects of similar material and more recent films.

Grade: C+

THE STONE TAPE (1972)

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Directed By: Peter Sasdy

Written By: Nigel Kneale

Editor: Geoff Higgs

Cast: Michael Bryant, Jane Asher, Iain Cuthbertson, Michael Bates, Reginald Marsh, Tom Chadbon, John Forgeham 

A research team from an electronics company moves into an old Victorian house to start work on finding a new recording medium. When team member Jill Greeley witnesses a ghost, team director Peter Brock decides not only to analyze the apparition, which he believes is a psychic impression trapped in a stone wall (dubbed a “stone tape”), but also to exorcise it–with terrifying results.

This is one of those slow films that ends up being more scientific throughout in terms of research and results, displaying that on the search for something supernatural. Keep in mind that this was originally a British television movie.

It’s not at all not only by today’s standards I can’t even imagine it being that scary back when it was made, but one was personally how the premises could be quite fearful.

We have seen this type of story before, but this was one of the earlier examples of that kind of film, which mainly focused on an investigation and the behind-the-scenes politics involved.

The editing and transitions in between scenes make one wonder if this was originally a TV movie.

By the end, it seems more effective as a story or book rather than a movie maybe because by now we have seen so many other films borrow elements and add to it to make it more entertaining or fill it out that it now feels more like a theatrical, dramatic interpretation or dramatization than anything else that seems like it would be more thrilling on the page rather than on the screen as the film presents there to be a great build-up for very little to happen.

For me, Jane Asher is barely recognizable from the Deep End to this film. In that film, she was the epitome of beauty and free love, but here, she seems more stodgy, quite a chameleon-like performance at least in my eyes.

Grade: C