THE BOSS (2016)

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Directed By: Ben Falcone
Written By: Steve Mallory, Melissa McCarthy & Ben Falcone
Cinematography: Julio Macat 
Editor: Craig Alpert

Cast: Melissa McCarthy, Kristen Bell, Ella Anderson, Tyler Labine, Peter Dinklage, Kathy Bates, Cecily Strong, Kristen Schaal, Annie Mumolo, Dax Shepard, Ben Falcone, Margo Martindale, Michael McDonald, Cedric Yarbrough 

A titan of industry is sent to prison after she’s caught insider trading. When she emerges ready to rebrand herself as America’s latest sweetheart, not everyone she screwed over is so quick to forgive and forget.

A kind of comedic take on money managers and lifestyle icons. That is a pure comedy even if at times it might come off as a spoof that thinks It’s a satire. 

This is one of those films that checks your brain at the door. As it is silly and never truly takes itself seriously and that is what is enjoyable about the film. You know what you are going to get. while you enjoy how you get there. 

Another fact of the fun is that it’s another role for Melissa McCarthy where her character is silly but not stupid. So that there is a brain in her character and can be witty while doing over-the-top physical comedy. Surprisingly one of her better films where she isn’t annoying or gets tired of her character swiftly. 

Though not one of her most memorable comedies. I think this is truly an unsung movie and performance and put it up as a favorite and one of her better ones.

She is the center of attention but Kristen Bell is the one who has more of the story and who you root for. Whereas McCarthy is the one who breaks it all up with her behavior and bad decisions. As she lets loose and lets everything fly. Mrs. Bell is more the straight woman with the responsibilities and gets more of a romantic storyline to boot 

As the comedy is sedate yet can be raunchy as it is another film where half the fun is watching at times the child characters act more responsibly than the adults but also watching kids behaving badly and with the foul language they shouldn’t even know. 

Having Peter Dinklage here as the villain is a stroke of genius as he truly gets to cut up and be just as silly. 

The film has a sweetness that Even when the film passes over into rated R, territory.  It feels a little shocking but tries to stay in line with a more general audience feeling.

GRADE: C+

LITTLE BLACK BOOK (2004)

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Directed By: Nick Hurran 
Written By: Melissa Carter and Elisa Bell
Cinematography: Theo Van De Sande
Editor: John Richards 

Cast: Brittany Murphy, Holly Hunter, Ron Livingston, Kathy Bates, Julianne Nicholson, Kevin Sussman, Stephen Tobolowsky, Rashida Jones, Josie Maran, Sharon Lawrence, Cress Williams, Yvette Nicole Brown, Jason Antoon, Gavin Rossdale, Dave Annabale 

A woman snoops through her boyfriend’s palm pilot and reveals his former girlfriends, which causes her to question why they’re still listed in his little black book.

This could have been an effective comedy. If it maybe had gone more silly, slapstick and screwball. As the film has an interesting premise though film offers very little follow-through on that promise.

This plays like one of those disposable movies. One where you can tell everyone involved put in a minimal amount of effort to earn their paychecks.

The late Brittany Murphy seems like she is too tired to put up much energy or even too much of a performance and seems to be just coasting on her cuteness here like a young Sandra Bullock. As we know she can do better than what she can usually do with a role like this. She just seems like she is held back here. In one of the few starring roles, she got she never seemed to showcase what made her so endearing in her supporting roles. 

Ron Livingston’s character is supposed to be this dream boyfriend, but he comes off as charmless.

The talk show she works on is horrible. The way it ties into the story could have been used more creatively.

The film isn’t even really a romantic comedy it’s more a character comedy where an annoying woman learns that feeding her fears will only lead to the worst possible scenario and has to learn self-worth. That she is enough and that anyone she is I. A relationship is lucky enough to have her and also for her to be not as trusting. 

In the end, the film just seems to be about manipulation and treachery. The characters of his ex-girlfriends are one-dimensional and come off as cruel caricatures except for Julianne Nicholson’s character. Who also wisely gets most of the screen time. She comes through as a real character even though they seem to be setting her up as a victim. Maybe if the roles were reversed and the movie was about her and Brittany Murphy’s character was one of his exes. This would have worked but alas there One goes thinking again.

Here was a chance to make an original comedic character or an original romantic comedy with some satire about media and models. As even the model ex-girlfriend never comes off as a girlfriend more like a one-night stand or friend with benefits, but certainly not a girlfriend. The less said about Rashida Jones’s character of the gynecologist the better.

Even the ever-dependable holly hunter is a let down maybe because her last-minute character ark is surprising but truly comes from nowhere. Maybe it’s because she wasn’t directed to play a believable person, More a plot point and the script is so haywire her character is like crossed wires short-circuiting.

What is most disappointing is that the film has a heavy-hitting cast and the material is so forgettable and seems more of the time. That it seemed outdated by the time it hit theaters.

Here was a chance to make a slapstick film with elements of the hardships of women working in the industry and being successful and in the end, it became more about jealousy and backstabbing to a degree.

This Movie Is A definite skip. The only reason it’s not a complete failure was Julianne Nicholson’s character who Deserves better the character and the actress.

Grade: F

EMPIRE OF LIGHT (2022)

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Written & Directed By: Sam Mendes 
Cinematography: Roger Deakins 
Editor: Lee Smith 

Cast: Olivia Colman, Michael Ward, Colin Firth, Toby Jones, Tom Brooke, Tanya Moore, Hannah Onslow, Crystal Clarke, Monica Dolan, Rob Cook 

Hilary is a cinema manager struggling with her mental health, and Stephen is a new employee longing to escape the provincial town where he faces daily adversity. Together they find a sense of belonging and experience the healing power of music, cinema, and community.

This is pretty much what a prestige film is these days. An acclaimed director with a noteworthy cast. Offers a slice of life here a semi-autobiographical tale. That includes social issues, romance, and mental illness. As well as it is a character piece and a period piece.

This is also a love letter first and foremost it is the magic of Movies and their presentation houses. Theaters are treated like not only churches here but castles with many hidden passages and discoveries to be made.

The main story involves characters who are misfits in some way or another and considered different who find each other and inspire one another to be brave and believe in themselves and engage more in life.

While the romance feels a little far-fetched the performers make it believable. As the racial prejudice the film. Deals with is an issue that is dealt with wholeheartedly in one scene showing the ugliness and senseless violence it inspires and lives in. Though the scene should feel mroe powerful and better put together. It is a showpiece but Never quite has that energy. 

In fact, an earlier scene with a disgruntled grumpy customer has more tension and says more than the mini-riot scene. 

As usual, the film is beautifully filmed. As that might be sort of the problem. It is beautifully presented and is gorgeous on its own, but it’s never quite as deep as it should be. That it feels more like a showpiece. That has a bunch of intentions but never quite feels natural. It always feels like a production and you can see It’s Directions and manipulations. That comes off a bit corny and too idealistic.

Olivia Colman gives a good performance but again it feels like a performance that she has been there and done. Though she is the most memorable in the film. As she is pretty much one of the leads.

Michael’s award offers youth, innocence, and some charisma. I only wish the film would allow him to be a little more lively and less passive all the time. It is understandable in that climate why he might want to be, but he is also young and only wants nice does he show that righteous anger. 

Colin Firth has a smaller supporting role and it seems as he gets older and once he won the Oscar. A lot of his roles are like this kind of an in-and-out. He is a major character in the story but only comes around when it needs him or he is available. He never seems to be in the leading roles he used to. He is a vital part of things but seems to be cameoing

This is a film foremost for people who love movies. The presentation and magic behind the scenes as well as in front.

As this film presents movie theaters and movies in a way that I have been talking about for years in writing and in conversations, but this film diverges in a different path. While still subtly spouting the gospel. 

It can feel like a religion. As you base a lot of faith into these escapes and wish fulfillment 

It also feels like after covid a kind of statement to show how beautiful and one-of-a-kind movie theaters are and that we should take full advantage of them to keep them here and alive. As streaming takes over and business practices theaters are trying to implement more to stay afloat financially are shooting themselves in the foot and really doing a disservice to the fans that still attend movies at theaters. It feels like a shakedown for staying faithful. 

It’s a film you will enjoy though you might not take to heart as much as the film intended. 

Grade: B-

GREATFUL DEAD (2013)

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Directed By: Eiji Uchida
Written By: Eiji Uchida and Etsuo Hiratani
Cinematography: Shin’Ya Kimura

Cast: Kumi Takiuchi, Takashi Sasano 

Nami is a young woman with numerous hangups sprouting from a dysfunctional childhood. She inherits a small fortune that allows her to pursue various interests, many of which are abnormal.

This film is definitely the work of a singular vision of director Eiji Uchida 

This is a strange character piece about a girl so encased by the loneliness that she takes to watching people not ordinary people but people who are on the outs of society and seem to have been broken or rail against the Norm.

She ends up Also giving them chances at life. As her main subject not only seeks to revitalize his life before she injects herself into it but also gives him something to love when she attacks him and tries to kill him for making a connection. She also brings him back to his war days as just trying to survive.

The film offers a few surprises such as their past together and some unsettling scenes of her trying to sexually assault him.

Though the film also seems to have something to say about religion how for some it is a savior and for others it is a tool of resentment 

This film is definitely a conversation starter if you make it through as it is at times too intense for some and maybe a little too slow for others 

There seems to be a fetishism in effect, you just keep waiting for it to surface but alas it never quite does fully. Though it does go there more than his later film LOVE AND OTHER CULTS, which may compare to the movie LOVE EXPOSURE, Which is itself a love story built around fetishes.

Until then the film stays subdued but creepy. You wish we could learn more about some characters on the sidelines. As the film is definitely a character study.

Like the lead female character likes to play games and put everything in its place.

Grade: C+

THE INVITATION (2022)

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Directed By: Jessica M. Thompson 
Written By: Blair Butler 
Cinematography: Autumn Eakin 
Editor: Tom Elkins 

Cast: Nathalie Emmanuel, Thomas Doherty, Sean Pertwee, Hugh Skinner, Carol Ann Crawford, Alana Boden, Stephanie Corneliussen, Courtney Taylor 

After the death of her mother and having no other known relatives, Evie takes a DNA test…and discovers a long-lost cousin she never knew she had. Invited by her newfound family to a lavish wedding in the English countryside, she’s at first seduced by the sexy aristocrat host but is soon thrust into a nightmare of survival as she uncovers twisted secrets in her family’s history and the unsettling intentions behind their sinful generosity.

This film was spoiled a bit by its own studio with a trailer that pretty much told you all you needed to know. A lot of the major story points. 

This film is giving an early 2000’s vibe. Especially the soundtrack. It is essentially a popcorn film and never truly tries to sell it as anything more.

The only reason I had any major interest in the film is its star Nathalie Emmanuel and this film is one of the first and only times I have seen her playing a lead role.

She looks great in every scene. Even if the film leaves her with not too much to work with, that could be seen as challenging. 

As the film tries to have some meaning and ends up having no depth or reason. As it seems to know its place and is nothing more or less.

You know it will be playing on cable, television, and streaming repeatedly as filler.

The film looks good, Shining, polished, and expensive. As it feels at times almost like a harlequin English romance. Like the epitome of class even if simple and stereotypical. As it tries to be about race but seems to be more about class 

Though loved the character of her best friend played by Courtney Taylor, needed more of her. Luckily the filmmakers knew that and rightfully brought her back.

The film offers African Americans in major roles in a horror film and offers a person of color in the lead.

Watching this movie it’s obviously made for younger audiences. Like it works It’s way around more mature subject matter for teens. As we never quite see too much, only the aftermath and hints or glimpses. Even if as a PG-13 movie there is only one use of the F-Word. At least it goes with a good line. 

The action could be a bit more exciting. Though it tries to stay as a thriller more.

The film is fashionable but never quite stands out. As it tries to be modern Victorian at times. 

The film offers characters reading into other people, particularly beautiful ones. How you want or expect them to be. 

The film at times seems more race-based. As the film slightly treats her like she is a slave or an escaped one. Even with a lack of characters of color other than two actresses.

Though it does leave the audience to cheer more for her as a person of color. Many seeing representation on screen take it a little more personally.

Grade: C

MARGAUX (2022)

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Directed By: Steven C. Miller 
Written By: Chris Bayrooty, Chris Siverston and Nick Waters
Cinematography: Neil Cervin 
Editor: Greg MacLennan

Cast: Madison Pettis, Vanessa Morgan, Jedidiah Goodacre, Phoebe Miu, Jordan Buhat, Richard Harmon, Susan Bennett, Lochlyn Munro 

A group of college friends rents a smart house for a weekend of partying. Later, they start to realize that Margaux, the house’s super-advanced AI system, has sinister designs for them.

This feels like in the old days a horror film that almost feels like a quickie. It seems easily thrown together and then find photogenic good looking people that are usually teen stars or on a popular teen show at the time and cast them.

As here the cast is quite good looking and most of the female characters are never nude but half-dressed through the second half of the film in clothing that offers ample cleavage since it is mostly filmed in one location it comes across that most of the budget was spent on special effects.

It also feels like what I call a level one or introductory horror film for those scared or nervous when watching horror films. As it has a light touch there are only two truly gory scenes throughout that would disturb a younger audience. Though plenty of things that would keep this a little out of reach for a younger audience.

Though the ultimate plan seems to make no sense. 

The one character they build up to be the one you might really want to see perish. Try to make them likable so much so that she. She goes it is really out of nowhere and the easiest death, but knowing her character is a crowd pleaser they manage to bring her back for bigger and better.

The movie does offer a diverse cast and most Fit into a recognizable stereotype. While the film offers some Dark humor and hilarious one-liners. As actress Vanessa Morgan in her performance and character is by far the scene stealer. 

It does offer a heartbreaker of an ending 

Grade: D

SPOONFUL OF SUGAR (2023)

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Directed By: Mercedes Bryce Morgan
Written By: Leah Saint Marie 
Cinematography: Nick Matthews 
Editor: Anjoum Agrama 

Cast: Morgan Saylor, Kat Foster, Myko Olivier, Danilo Crovetti, Keith Powell

Millicent, working on her thesis about children with severe allergies, is hired to babysit little Johnny, a sickly, mute child who suffers from every allergy under the sun. As she discovers Johnny’s dark family secrets, things begin to become unhinged.

This film tries hard to be a psychological thriller and also be Avant-garde. That it is presented as a reality-based fairy tale. Where each character seems to have some kind of flaw that will be exposed.

The film turns sexual and erotic as that seems to be the only place left to turn to keep the story going and make it more of a carnal tale. Using sexuality as a power over certain characters or to control them.

It feels Like a tip-off when the wife of the couple tells her husband who seems to constantly have his shirt off or be in a t-Shirt that their new babysitter is a virgin. Even though He never asked 

Though as the film comes into its third act it tries to be surprising and almost as though even from the beginning you know there are going to be twist afoot. As the story goes along and we find out that not everything is what it seems. 

Though for a tale that introduces LSD early as a medication. You expect the film to be a little crazier. Rather than a container thriller. Where everyone seems a bit off. 

By the end the film feels like it could have easily either been shorter or been an hour long and part of some kind of horror anthology or horror television show… on cable.

It is also another role where actress Morgan Saylor is really good in the lead but feels a bit exploited on screen with nudity and sex that happens to her character. The role calls for it more as part of the story and in this film, her character seems to use it more to her advantage eventually. 

Though the filmmakers behind it are women. Makes it seem less exploitive and more fantasy erotic 

Grade: C-

LA LLORONA (2019)

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Directed By: Jayro Bustamante 
Written By: Jayro Bustamante and Lisandro Sanchez 
Cinematography: Nicolas Wong 
Editor: Jayro Bustamante And Gustavo Matheu

Cast: Maria Mercedes Coroy, Sabrina De La Hoz, Margarita Kenefic, Julio Diaz, Maria Telon, Juan Pablo Olyslager 

An aging paranoid war criminal, protected by his faithful wife, faces death while being haunted by the ghosts of his past.

The film is well put together and grafted. As things come together or are revealed slowly deepen our understanding. 

As this is a horror story with barely any scares. Which makes it all the more dramatic. With its tight cinematography and lack of score 

The film is not as scary but is more about the horrors of the past. Done to humans by their fellow man for little to no reason and how they live with themselves after. Just trying to live yet haunted knowing their own guilt.

In certain scenes, the film grabs your attention. As not only does it leave you in the middle of things but also offers no immediate explanation. While it has a tendency to start a scene in a tight close-up seemingly small then slowly moves back to reveal more complexity to the scene as you see more space revealing many remaining others in the scene but still stays artistic and quite striking in images that you might have thought was the art of the beauty of the shot was only a fraction of the overall. A piece of the ultimate puzzle. Which scenes are usually for a movie or production.  

The director does the same when a scene is in wide shots only in reverse and slowly pushes in to bring us closer to the character in the middle in a tight close-up. Again managing to reveal more, as we see certain details we miss initially as they come more into focus, but also brings us closer and more intimate with the characters who are the focal point as they come more into focus.

This also helps build the tension even when this style is phased out toward the middle. As this is a film devoted to slow reveals which is genuinely what the style and even the film are all about. 

The central location of the house becomes an odyssey in itself even without its limits it feels endless. 

The film offers striking images and angles. As we wait to see what will happen driving our imagination and expectations. Then chooses to retreat slowly leaving its own restraints. 

As the film exposes the class divide as well as race through the country and in the family’s behavior. 

What is spooky, The main character never seems to blink. Her long natural black hair could be a shroud for her. That ends up becoming more of a long frame for her beauty 

It offers up the vanity of beauty with the general’s wandering eyes. As his wife knows of his indiscretions. The young lady who comes to work for them is a native of the country and knows that is his weakness.

Who he has taken advantage of before. It offers hints that the young lady seems to be haunting him or a representation of his past.

The audience is kept expecting violence. So it works on your anticipation, expectations, and temptations offering glimpses to read the mood. 

Not as mysterious as I thought but still effective. His wife going through in dreams the crimes he committed against her in the past. This is why she haunts him as a way to get in so that other spirits slowly are allowed protestors to represent past victims and their kin.

The film even seems sequel ready if needed. As she keeps implying she is not done and might be coming for his comrades. Whom we see early on in a meeting. 

When his wife is going through in dreams the friend he committed to the young lady in the past. This is why she haunts him, as a way to get in so that other spirits slowly are allowed in. The protesters more represent past victims and their kin. That is when it all really hits. We are expecting one kind of film and the film is offering something quite unexpected but still a revenge tale. 

The film runs out of steam a little once you figure it out. Not as striking as a gothic style and goes more for harshness. A ghost story in a reality that feels a little more like a fable only modernized 

Grade: B+

DEADSTREAM (2022)

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Written, Directed & Edited By: Joseph Winter & Vanessa Winter 
Cinematography: Jared Cook

Cast: Joseph Winter, Melanie Stone, Jason K. Wixom, Pat Bennett, Marty Collins 

A disgraced internet personality attempts to win back his followers by live-streaming one night alone in a haunted house. But when he accidentally pisses off a vengeful spirit, his big comeback event becomes a real-time fight for his life.

This film was an unexpected joy. At first thought, it was going to be a straight-out horror film and it ended up being more of a horror-comedy. Though truthfully more of a comedy set in a horrific setting.

The film mixes media into the story well. Not really satirizing but putting an influencer into the typical haunted house-type film. Which allows for a P.O.V./Found footage. 

At first, the jump scares are set up by the influencer but as the film goes along the film provides its own.

The film shows the characters’ vapid true colors as the movie goes along. As he makes all the classic mistakes one shouldn’t in a horror film. Yet inevitably do. Here it is more explained to provoke the action. Hence content that is creepy mixed in with a sense of unnerving and gets freakier as it goes along. 

Being informed by his audience along the way for discoveries. So that it is not the one-man show that it seems like it will be at first. As the film at times, the film might remind the audience of EVIL DEAD 2. Only not as big or accomplished but a good try in their own right 

The film’s star is also the director who does a good job and is believable. Because of the design of the film, it allows him to direct and film while still being in the film and In control. 

The film is especially impressive for its low budget and what it does with it. As it stays inventive throughout. Keeps it interesting even when it seems like it is going to end at times earlier than it should. 

It offers laughs, scares, and at times general creepiness.

It follows a three-act structure that seems to be ALONE, COMPANY, and then ALONE again. 

A great come out of nowhere film that needs to find a bigger audience. 

Grade: B

SWEETIE, YOU WON’T BELIEVE IT (2020)

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Directed & Edited By: Yernar Nurgailyev
Written By: Yernar Nurgailyev, Zhandos Ai Bassov, Daniyar Sostanbayev, Il’Yas Toleu, Anuar Turizhigitov & Alosher Utev 
Cinematography: Azamat Dulatov 

Cast: Daniyar Alshinov, Abel Kalyeva, Azamat Makienov, Yerlan Primbetov, Dulyga Almolda, Ahmet Sakatov, Rustem Zahnyamanov

Dastan can no longer stand the constant nagging of his highly pregnant wife and decides to run away for at least one day with his friends. The men go fishing, which would have gone smoothly, if not for a series of unforeseen events.

Like the Russian film, WHY DON’T YOU JUST DIE this film is violent out of nowhere but also usually in the middle of a highly ridiculous comedic scene. This is definitely a fun film that will have you laughing or at least giggling throughout.

As both films just are so over the top and pack so much in such a little concept that they go miles with it and it never feels like it is getting stretched too far 

So that the film feels almost like a live-action cartoon only with real-life consequences. Though the film has so much zany energy and out-of-nowhere moments. That it is hard to dislike the film. It feeds off the fear of what’s the worst that could happen and what is out there in the unknown of nature.

As it never seems to let you rest. As soon as the road trip starts it gets worse and worse. As well as funnier and funnier. 

Some jokes come across as long or expected but there is plenty all through that is unexpected. Though as fast and furious as this film is, it allows the jokes to land and spread before moving on to another one. 

None of this is meant to be taken seriously and might remind the audience of the whatever can go wrong will go wrong movies of the 1980s only with a more well-known veteran comedic cast.

Here this is a foreign gun production that screams for an American remake. Which I doubt will do the justice that this film does. As part of the humor might be that it takes place on foreign soil which is foreign to the audience. Especially when it comes to actions and reactions.

Though the film is violent it’s not so much gratuitous to an unbearable degree, but one would categorize it as a splatter comedy. 

The film does live up to it’s title and serves as a final line and a summation of the film. 

Grade: B