HOW TO MAKE A KILLING (2026)

Written & Directed By: John Patton Ford 

Inspired By “KIND HEARTS AND CORONETS” Screenplay By: Robert Hammer and John Dighton 

Based On the Novel “ISRAEL RANK” By: Roy Horniman

Cinematography: Todd Ranhazl

Editor: Harrison Atkins 

Cast: Glen Powell, Jessica Henwick, Margaret Qualley, Bill Camp, Ed Harris, Topher Grace, Zach Woods, Phumi Tau, Stevel Marc

Disowned at birth by his obscenely wealthy family, a blue-collar stop at nothing to reclaim his inheritance, no matter how many relatives stand in his way.


This  is a loose remake or more a modern retelling of the Alec Guinness film KIND HEARTS & CORONETS only set more realistically and taking out the gimmick of that film years ago. Where Alec Guinness played all the members of the family that was getting killed off.

It might have been an added incentive if this film had big stars making cameos as members of the family getting killed off, but only Topher Grace is recognizable as one of the kin in standing to inherit a fortune above out protagonist. 

So the film really adds nothing except instead of being an outright comedy. It’s dark and slick. It attempts to be a social satire. Though never quite feels sharp enough. In fact at times it feels oddly rushed.

The film is darkly comedic and isn’t as bad as one would think. Considering how little fanfare or promotion the film got. Which the studio seemed to have cold feet after Glen Powell started in THE RUNNING MAN reboot that bombed. I don’t even remember seeing a trailer for this film. Until I had to go out and find it online myself.

The film plays pretty standard items entertaining as you watch but barely sticks with you once done. This fits in with the disposable films of yesteryear that were good enough for a watch and are rewatchable but therebisnMt much to them except for entertainment.

This film seems like it’s going to be a crowd pelaser until the end where it stays with it’s cynicism.

Strangely enough Glen Powell, plays a likable killer. That feels like he has shades of Patrick Bateman possibilities but is never that much of a sociopath or psychopath and had his reasons for his actions. 

Margaret Qualley is a good femme fatale only because we barely know anything about her and comes across as a mystery but also a type. Though she wears chanel as her wardrobe in all her scenes. That gives you a hint to the heart of her character. Where her legs are all over.

Which is one of the films problems it’s 

Likable enough bit has no real depth. The characters are more types. So that it never draws you in. So as it stays on the surface that is what you get and how you feel by the end. 

The films screenplay was surprisingly on the 2014 BLACK LIST of scripts that those in the industry rank as the best unproduced they have read that year. 

Which drags the film down and makes it feel more and more basic as it goes along. Especially in the end where the irony want to take over. As this is a film that shouldngave high stakes. Yet it all feels very telegraphed. 

This feels like a film you would sneak Into after paying and watching another film or that you go to on a weekend, just because you want something to watch.

Grade: B- 

DRIVE-AWAY-DOLLS (2024)

Directed By: Ethan Coen

Written By: Ethan Coen And Tricia Cooke

Cinematography: Ari Wegner

Editor: Tricia Cooke

Cast: Margaret Qualley, Geraldine Viswanathan, Joey Slotnick, C.J. Wilson, Bill Camp, Beanie Fieldstein, Annie Gonzalez, Colman Domingo, Pedro Pascal, Matt Damon 

The film follows Jamie, an uninhibited free spirit bemoaning yet another breakup with a girlfriend, and her demure friend Marian who desperately needs to loosen up. In search of a fresh start, the two embark on an impromptu road trip to Tallahassee, but things quickly go awry when they cross paths with a group of inept criminals along the way.


This film is a strange hybrid of a lesbian romantic comedy. Also having a conspiracy crime story.  That mixes competently enough but still feels like a strange mix.

The humor works in both storylines, but they both need a little bit more to be fully realized as they both feel like they could be short stories but need the other to make a full feature.

unfortunately, the film also comes off as a farce as most of the characters aren’t exactly 100% believable and we never really get enough information to really care for them or really get to know them. We know their character types but rarely get a glimpse truly inside of them.

This could’ve been an informative romantic comedy that involved lesbians but the crime story feels like it was needed to fill it out whereas the crime story feels like an idea that was never quite fully realized.

The film takes place in 1999, though the film barely acknowledges it until late, and you begin to realize that most of these misunderstandings and confusions could’ve been solved with cell phones, which is why it seems the main reason that this film takes place in the past. it seems like a lot of films will explain or keep their narrative going.

as often the editing seems abrupt and the timing seems a little off, and it keeps going into these psychedelic dreamscapes and montages that for a movie under 90 minutes quickly become very annoying, especially the volume of them. Which comes across as a throwback and an experimental device for a film that doesn’t seem encouraging to be under the influence watching.

The cameos throughout the film of favors and wanting to be associated with 1/2 of the famed Coen brothers filmmaking team. Here Ethan Coen directs and co-wrote the screenplay. The problem is that this film feels more full of comedy than any true relatability. even while we root for the main characters, they never become full-blooded, though they are likable

While the film is certainly entertaining and comes up with plenty of memorable side characters and situations. especially Margaret Qualley’s character, who you wish had a film all to herself it comes off as a bunch of great ideas that luckily work into a narrative, but are very loose.

The actors all seem to be having fun in their roles and as usual Geraldine Viswanathan. Deserves and needs more leading roles as she is just a captivating actress who ends up getting stuck at times in one-note roles luckily reveals herself to be more than meets the eye her character can change from the beginning to the end and stay believable..

This isn’t a bad movie or a terrible movie. It just feels and its own way nourished like it’s missing certain things that would make it more worthwhile. 

Grade: C 

THE KITCHEN (2019)

Written & Directed by: Andrea Berloff
Based on the comic book series created for DC Vertigo by: Ollie Masters & Ming Doyle
Cinematography: Maryse Alberti
Editor: Christopher Tellefsen

Cast: Melissa McCarthy, Elisabeth Moss, Tiffany Haddish, Common, Domnhall Gleeson, James Badge Dale, Brian D’Arcy James, Bill Camp, Margo Martindale, Annabella Sciorra, Jeremy Bobb

The wives of New York gangsters in Hell’s Kitchen in the 1970s continue to operate their husbands’ rackets after they’re locked up in prison.


Adapted from a graphic novel and it feels that way. As there is a lot of posturing on screen, but nothing ever feels real or organic. It feels like everything happens because the story says so.

None of the characters or their motivations feel real they are understandable but never feel heartfelt. Leaving the film to feel empty to a degree.

It’s Entertaining but you can always feel it turning the wheels forward and when characters turn about face or there is a double cross and a plot twist. It never quite hits as hard because it already feels like a free for all. As to what will shake up the audience.

You never understand why 2 of the characters would be with their husbands until it is explained later and you still don’t know why it wasn’t obvious to their characters or a it one else throughout.

It might be that this storyline has been used before in the Televison mini-series BELLA MAFIA amongst other films and television shows. This just feels like the latest retread and whole all involved give it their all.

It gives each of the actresses room to stretch their dramatic muscles Tiffany Haddish has the juiciest role and it gives her a chance to flex her more dramatic muscles and she comes across with flying colors as the most ambitious. 

Elisabeth Moss tries soenthing new in playing a woman constantly abused. Who ends up becoming the most violent and ruthless out of the three. As she finds true love and freedom through finally striking back at those who would try to harm her or them.

Melissa McCarthy comes across as the leader and most open. As well as the most kind who has to learn to toughen up and who she can trust and can’t 

The film Gives most of the cast of recognizable character actors a chance to revel in their 1970’s wardrobe and stereotypes. As their costumes and style do most of the work. 

It never quite feels as strong as it should and comes across as rather empty overall. As even the sets and costumes are more obviously fake then lived In.

GRADE: C-

LOVING (2016)

Loving

Written & Directed By: Jeff Nichols
Cinematography By: Adam Stone
Editor: Julie Monroe 


Cast: Joel Edgerton, Ruth Negga, Nick Kroll, Will Dalton, Sharon Blackwood, Michael Shannon, Marton Csokas, Bill Camp

The story of Richard and Mildred Loving, an interracial couple, whose challenge of their anti-miscegenation arrest for their marriage in Virginia led to a legal battle that would end at the US Supreme Court.

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JOKER (2019)

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Directed By: Todd Phillips
Written By: Todd Phillips & Scott Silver
Based On Characters Created By: Bob Kane, Bill Finger & Jerry Robinson
Cinematography: Lawrence Sher
Editor: Jeff Groth 


Cast: Joaquin Phoenix, Zazie Beetz, Robert DeNiro, Brett Cullen, Francis Conroy, Shea Whigham, Bill Camp, Josh Pais, Marc Maron, Bryan Callen, Glenn Fleshler, Chris Redd, Brian Tyree Henry, April Grace 


Joker centers around an origin of the iconic arch nemesis and is an original, standalone story not seen before on the big screen. Todd Phillips’ exploration of Arthur Fleck, a man disregarded by society is not only a gritty character study, but also a broader cautionary tale. If you are looking for a comic book tale. You will be disappointed. While it doesn’t include the joker and the Wayne family as well as Gotham and arkham. It seems more tied into a psychological character study thriller. That uses all those comic book elements and storyline as a frame for it’s own ideas.

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NATIVE SON (2019)

nativeson1

Directed By: Rashid Johnson
Written By: Suzan Lori-Parks
Based on the Novel By: Richard Wright
Cinematography: Matthew Libatique
Editor: Brad Turner 

Cast: Ashton Sanders, Kiki Layne, Margaret Qualley, Nick Robinson, Bill Camp, Elizabeth Marvel, David Alan Grier, Sanaa Lathan, Lamar Johnson 


A young African-American living in Chicago enters into a seductive new world of money and power after he is hired as a chauffeur for an affluent businessman.
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REVERSAL OF FORTUNE (1990)

reversaloffortune

Directed By: Barbet Schroeder
Written By: Nicholas Kazan
Based on the book By: Alan Dershowitz
Cinematography By: Luciano Tovoli
Editor: Lee Percy 


Cast: Jeremy Irons, Ron Silver, Glenn Close, Annabella Sciorra, Uta Hagen, Christine Baranski, Julie Hagerty, Fisher Stevens, Jack Gilpin, Felicity Huffman, Bill Camp, Lisa Gay Hamilton 


Alan Dershowitz a brilliant professor of law is hired by wealthy socialite Claus von Bulow to attempt to overturn his two convictions for attempted murder of his extremely wealthy wife. Based on a true story the film concentrates not on the trial like other legal thrillers, but on the preparatory work that Dershowitz and his students put in as they attempt to disprove the prosecution’s case and achieve the Reversal of Fortune of the title.
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