Neil Jordan’s “Marlowe” stars Liam Neeson as Raymond Chandler’s iconic detective, whose latest case is a missing persons assignment in which a mysterious femme fatale (Diane Krueger) hires Marlowe to find her vanished lover.

Along the way, Marlowe encounters a slew of wealthy Hollywood power players, potential suspects, and red herrings. The case allows Marlowe to mingle with those who have found stardom in the film industry and others who never achieved fame and are struggling to justify their place in the industry.

There are a lot of things I liked about Neil Jordan’s “Marlowe,” but I also struggle to remember I even saw the film, which is also an indication of how effective it is.

Early on, someone notes how their conversation with Marlowe is “uninteresting,” which sums up the first 40 minutes. Jordan is clearly trying to recreate the feel of an old-fashioned pulp thriller mystery, but the start is dull and unpromising. Thankfully, things pick up in the second and third act, though the film never overcomes a major problem:

The miscast lead.

Neeson has starred in a flood of interchangeable, one-man-crusade action B-movies lately, though he’s still a tremendous actor. Recent performances in Martin Scorsese’s “Silence” (2016) and Steve McQueen’s “Widows” (2018) are major career highlights, though Neeson has spent too much time on vehicles with generic titles like “Honest Thief” and “The Ice Road.”

Re-teaming Neeson with Jordan, his “Michael Collins” (1996) director, would seem an ideal reunion, but Neeson doesn’t gel with the character. Misplaced audience expectations won’t help, as this isn’t an action movie, but Neeson simply lacks grit here, is too laid back and the entire film suffers as a result.

Danny Huston has been cast as a wealthy sleaze and while he’s always good, it also serves as a reminder of how tremendous his father, John Huston, was playing a similar part in “Chinatown,” the movie “Marlowe” clearly wanted to be like.

Although most films never reach the heights of Roman Polanski’s 1974 masterpiece, Jordan’s own neo-noir, “The Crying Game” (1992) remains as much a perfect example of contemporary noir as his “Mona Lisa” (1986).

Truly, Jordan gets this genre, is unafraid of challenging his audience with an unreliable and unlikable protagonist and embraces the expected darkness and moral rot the material demands.

There’s a striking sequence here in which we see the inner workings of a secret, sordid club for the rich. Likewise, an arresting image of a fire that seems about to engulf all the artifice of moviemaking. The elements are in place but, as strong as Neeson is elsewhere and as much as his name is still a box office attraction, the actor was not right for this movie.

In a standout supporting role, Seana Kerslake steals a couple of scenes and Jessica Lange thoughtfully embodies a former actress who bitterly watches her life pass her by.

RELATED: ‘GLASS ONION’ MOSTLY DELIVERS ON MYSTERY FRANCHISE

Jordan and William Monahan’s screenplay isn’t based on a prior Raymond Chandler story but John Banville’s 2014 novel, “The Black-Eyed Blonde” (which should have been this film’s title). The character of Marlowe and the milieu have been done better.

Humphrey Bogart may remain the definitive incarnation of the character, though I still have fond memories of Powers Boothe playing the role in the polished, sordid HBO series, “Phillip Marlowe: Private Eye” (1983-1986).

The story offers intriguing echoes of “Mona Lisa,” which was also about a middle-aged man who uncovers a system of powerful men abusing women. A film of Jordan’s that this also reflect is “The Good Thief” (2002), which similarly sported a noir attitude that carried the film for a while, before vanishing from memory the moment you leave the theater.

Another movie this reminded me of was last year’s “Confess, Fletch,” the adult-minded revival of a dormant franchise. I enjoyed that film’s supporting cast and the snap of the dialog but was unconvinced by the lead.

Both “Confess, Fletch” and “Marlowe” are rare multiplex options for grownups, but neither is as sharp or memorable as they should be.

I suspect we’ll see Phillip Marlowe on film (and for that matter, Irwin R. “Fletch” Fletcher) again. For Neeson and Jordan, it’s an admirable misstep, though I hope they collaborate again soon.

“Marlowe” has an affection for film noir and the production itself is impressive but, despite the efforts of the talent assembled, something’s missing.

Two Stars

The post Liam Neeson Drops the Action, Misses the Mark in ‘Marlowe’ appeared first on Hollywood in Toto.

Smartphones make horror films so much harder to write.

Being chased by a faceless monster? Call for help and wait for the police to arrive. “Yes, please follow my GPS signal before Freddy/Jason/Michael arrives … thank you!” And that flashlight app sure comes in handy.

It’s why some newer horror films are set in the analog age, while others fall back on the smartphone’s greatest enemy – bad cell reception.

“Unseen,” like the recent “See for Me,” embraces what the modern smart phone offers. We watch a woman use a stranger’s video call function to keep one step ahead of her crazed ex-beau. It’s far from perfect, and you keep expecting a woke lecture to interrupt the chase, but “Unseen” efficiently burns through its modest run time.

Jolene Purdy plays Sam, a down-on-her-luck gal working at a smelly convenience store in Florida. Her boss is cruel, the customers are worse and when she gets a strange phone call she’s anxious to hang up, and fast.

She doesn’t. Instead, she listens as a woman explains that her ex-boyfriend is stalking her, and she needs Sam’s help.

Or else.

That’s Emily (Midori Francis) on the other end of the line, a med student who hooked up with a control freak named Charlie and may pay the ultimate price for it. Emily lost her glasses when she broke free from her ex’s remote cabin, and she’s practically blind without them.

She needs Sam to be her eyes, via video chat, to help her find a way out of the woods.

What a setup! “Unseen” takes full advantage of modern technology, warts and all. Sam’s battery life is waning, for example, and she must fend off customers while trying to save Emily’s life.

#horror – HNN – UNSEEN starring Midori Francis, Jolene Purdy, Missi Pyle, Michael Patrick Lane – On Digital and On Demand March 7, 2023 and On MGM+ May 2023 – https://t.co/QJIiGPkwGw pic.twitter.com/qLsPUYk0iU

— Horrornews.net (@HorrorNewsNet) February 11, 2023

Sam and Emily can’t help but bond during the ordeal, arguably the best part of a lean script from Salvatore Cardoni and Brian Rawlins. Sam’s life is far from perfect, and Emily fears she’ll die with serious regrets about not appreciating her hard-working Ma.

Michael Patrick Lane is under-developed as the villainous Charlie, but his presence keeps “Unseen” tense from the opening sequence.

Far better is Missi Pyle, a certified scene stealer doing what she does best as Sam’s nightmarish customer. She’s rude, and entitled and just might stop Sam from saving Emily.

Pyle’s character epitomizes “Unseen’s” coal-black humor. It’s not always a perfect tonal choice, but director Yoko Okumura keeps the energy level high enough to keep everything in order. The director also makes clever use of split-screen visuals, a comic-book sensibility rooted in the 21st century yet connected to pulp stories of yore.

RELATED: WHY HORROR MOVIES ARE HAVING A MOMENT

The film’s woke bona fides are easy to spot. Pyle’s character is a rich, privileged white woman with fire power to spare (don’t ask). Charlie’s controlling nature is the patriarchy on full blast. And a few lines suggest woke is on the tip of the screenwriters’ tongues, like when Emily notes the teasing she endured over Mickey Rooney’s cartoonishly Asian “Breakfast at Tiffany’s” character.

Yes, because Gen Z types are very plugged into Rooney’s body of work.

“Unseen” never leans too far into those progressive bromides. The focus is the chase, the adventure and the legit bond between two souls who know they need each other to survive.

HiT or Miss: “Unseen” is sloppy, silly and sometimes teetering on woke. The bond between the key characters, and a terrific gimmick, keep everything right on track.

The post Can’t Miss Gimmick in ‘Unseen’ (Mostly) Hits the Mark appeared first on Hollywood in Toto.

Mission: Impossible – Ghost Protocol (2011) Hindi Dubbed

The “Creed” franchise survived its Rocky-ectomy.

The saga, now three pictures deep, originally spun from the Rocky Balboa franchise with impressive results. Still, losing Sylvester Stallone’s iconic character could have been the spinoff’s death knell.

Instead, the first film without the aging hero holds its own, and then some. Some story hiccups threaten to KO the threequel, but sterling performances across the board and strong bonds between Creed family members make “Creed III” a satisfying chapter.

We revisit Adonis Creed (Michael B. Jordan, making his directorial debut) wrapping up his illustrious career. He’s freshly retired and eager to spend time with his precocious daughter, Amara, (certified scene stealer Mila Davis-Kent) and his bride (“Thor: Love and Thunder’s” Tessa Thompson).

An old friend pays Adonis a visit, stirring memories our hero would prefer to stay hidden. It’s Jonathan Majors as Dame, Adonis’ childhood chum and aspiring boxer who spent 18 years in prison for a seemingly small crime.

Lame plot device alert!

Now, Dame wants to finish what he started all those years ago … preparing for a run at the Heavyweight boxing title.

Crazy, you say? Wasn’t it crazy for Apollo Creed to give a nobody like Rocky Balboa a title shot so many years ago?

There’s a difference this time. Dame’s ties to Adonis are complicated, and their reunion may find them squaring off against each other at long last.

If that’s a spoiler alert you haven’t seen any of the previous “Rocky” installments (or the film’s trailer).

 

 

 

 

 

 

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Jordan delivers a confident directorial effort, focusing as much on Adonis’ personal life as the boxing sequences. The film’s best moments come within the nuclear family, from Adonis refusing to open up to his patient wife to Amara eager to take lessons from her famous pappy.

These aren’t filler bits between boxing matches. They’re deeply felt and raw, just as they should be.

The Adonis/Dame dynamic is flawed at times, with the screenplay struggling to set them against each other. That’s a problem, but it has nothing to do with Majors. His Dame is a wrecking crew, although that’s hardly new for the franchise.

Remember Clubber Lang and Ivan Drago?

What sets Majors apart is the hurt reflected in his face, and how his body language reflects a man unleashed after years in a cage. His boxing style is unorthodox, making it hard to penetrate his defenses. It’s also visually dynamic, giving the film’s boxing scenes an energy sometimes missing from “Rocky” sequels.

“Creed III” isn’t woke, not by any meaningful measurement. The story dovetails into young black males and their incarceration levels, but it shrewdly lets that dynamic play out in the viewer’s mind.

No lectures, no ham-fisted exchanges tied to societal inequality. That graceful approach speaks volumes about Jordan as a storyteller.

We already know he has charisma to burn, and Thompson’s delicate performance provides a sweet counterbalance. Her character’s hearing issues haven’t gone away, but watching her share how she dealt with the losses they incurred is to watch a young actress finding her voice, her presence.

“Creed III” is still a “Rocky” spinoff, so we get both the obligatory training montage and a sentimental subplot meant to spark a tear duct or two. It’s all handled efficiently, embracing the franchise formula without being consumed by it.

The Big Fight takes a huge risk, transforming the ring into a stylistic battle between two titans. The gamble doesn’t fully pay off, but Jordan understands something intrinsic to the Sweet Science. It’s always good to keep your opponent, or in this case the audience, off balance.

HiT or Miss: “Creed III” continues a credible, inspiring saga started by Stallone and co. Star Michael B. Jordan proves his mettle on camera anew, while Jonathan Majors continues his career ascent.

The post ‘Creed III’ Proves There’s Life After Rocky appeared first on Hollywood in Toto.

“Cocaine Bear” has a “Snakes on a Plane” problem that never goes away.

That 2006 romp rocked the zeitgeist for months. And then we saw the film itself, a mediocrity given a pulse by Samuel L. Jackson’s ‘tude.

The gimmick couldn’t support an actual movie.

“Cocaine Bear,” inspired by true events, seemed like a superior bet. Comedy! Action! A coked-out bear on the loose!

What could go wrong? Plenty, and it’s a reminder that even the best Hollywood pitches demand a follow through.

“Cocaine Bear” opens with a wink and a nod. We get a Wikipedia quote about bears, followed up by an ’80s-era “Just Say No” drug campaign complete with former First Lady Nancy Reagan.

The tone is pithy and self-aware, and it clicks. So does the setup, assembling both innocents and rogues who run into the titular bear.

The great Margo Martindale is a tough-talking forest ranger looking to flirt with a visiting animal expert (a barely recognizable Jesse Tyler Ferguson of “Modern Family” fame). Their meeting is interrupted by runaway pre-teens, a determined cop and drug traffickers looking for cocaine packages dropped from the sky by a doomed drug runner.

A big, black bear gets to the lost cocaine first, and the film’s copious CGI shows what happens when a beast of that size gets too high, too fast.

[The actual bear the film is based on died after snorting too much product]

The coked-out bear attacks anything within its line of sight, meaning “Cocaine Bear” spills plenty of blood. Limbs fly, characters shriek their final breaths and we get to see every last drop of the red stuff.

 

 

 

 

 

 

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Director Elizabeth Banks (“Charlie’s Angels,” “Pitch Perfect 2”) still keeps the tone as light as possible given the grisly bits. 

So far, so engaging. It’s a B-movie with mediocre dialogue, but it’s delivering on its pop culture potential.

More or less.

The bear’s killing spree requires victims, though, and here’s where “Cocaine Bear” falls down on the job. The ensemble cast is filled with “characters,” larger-than-life types meant to spike the cinematic punch.

Except none are up to the challenge.

The screenwriter behind #CocaineBear is still floored that the film is about to be released: “I didn’t think that any respectable studio would make a movie called ‘Cocaine Bear’ and keep all the sh – that I had written.” https://t.co/cPT8RJ0PwI

— Variety (@Variety) February 22, 2023

Alden Ehrenreich couldn’t make us forget Harrison Ford in “Solo,” and he’s equally overwhelmed playing a soft-hearted criminal here. His sobbing character doesn’t generate a single laugh, and he’s not alone.

Old pros like Keri Russell, wasted as the pre-teen’s mom, and Isiah Whitlock Jr. as the determined detective, class up the joint as best as they can. It’s Mission: Impossible, and there’s no Tom Cruise around to save the day.

The first-act laughter dries up, and we’re left with bland characters moving about the forest while we wait for the next bear attack. Even Ray Liotta, in what may be his last screen performance, can’t make his drug lord worth our attention.

The only actor to emerge unscathed is O’Shea Jackson, cast as a drug runner who puts survival over profits.

The last thing a film like “Cocaine Bear” should be is dull, but the screenplay delivers just that. The film’s goofy edge fades, and we’re left with a generic assortment of heroes, villains and folks who could fall in either camp.

Where’s the edge, the campy excitement we were promised?

A movie like “Cocaine Bear” should go out on a high … note. Instead, the interminable third act makes us forget how much fun this “Bear” was supposed to be in the first place.

HiT or Miss: “Cocaine Bear” briefly lives up to the pre-release buzz before succumbing to generic, even bland, storytelling beats.

The post ‘Cocaine Bear’ Misses Cult Status by a Country Mile appeared first on Hollywood in Toto.

The Erwin brothers make a living telling stories that Hollywood would rather avoid.

Think faith-friendly stories like “October Baby” and “I Can Only Imagine,” the latter the duo’s biggest hit to date.

Now, Jon Erwin offers a ‘60s-style flashback that flies in the face of pop culture conventions. It’s a hippie tale brimming with peace, love, understanding and Jesus, and not remotely in that order.

And it really happened.

“Jesus Revolution” recalls how a preacher and a lost young soul teamed to bring faith to a generation desperate for meaning. The drama defines Erwin’s brand of storytelling – strong performances, glossy production values and, occasionally, a dearth of dramatic grit.

Young Greg Laurie (Joel Courtney) meets a beautiful young woman (Anna Grace Barlow), a Hollywood-approved moment that changes the course of his life in many ways.

She introduces him to Hippie, Inc., the film’s attempt to give a PG:13 rating to the era’s Flower Power movement.

The production values are first rate, but the generic, soft-focus look at these cultural forces will frustrate many.

The two become part of a larger wave of disaffected hippies who would rather drop Bible verses than acid. They’re led by Lonnie Frisbee (Yes, that’s Jesus himself, Jonathan Roumie, from “The Chosen”), a natural leader whose banter bullies past conventional sermons.

Lonnie finds an unlikely ally in Pastor Chuck Smith (Kelsey Grammer, always excellent). Together, they’re a formidable team that inspires what Time Magazine would dub the “Jesus Revolution.”

 

 

 

 

 

 

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“Jesus Revolution” captures a fascinating moment in history, but the focus is too often reserved for smaller, less defined measures.

It’s not clear what the movie’s purpose is, and that haunts us deep into the film.

RELATED: ‘THE CHOSEN’ SHOCKS HOLLYWOOD (AGAIN) 

Young Courtney’s wanderlust perfectly encapsulates the era in question – late ’60s, early ’70s – but Pastor Chuck’s embrace of Team Lonnie happens far too quickly. That transformation alone could have anchored a large swath of the story.

The key romance between Courtney and Barlow’s characters also feels undernourished. They’re beautiful looking and kind of heart, but we need more than that. A key moment late in their courtship, much like the ending of the Netflix rom-com “You People,” is wildly unearned.

Check this out! Kelsey Grammer on the Live with Kelly and Ryan show talking about the Jesus Revolution Movie! pic.twitter.com/iAGyP2n9Sp

— Greg Laurie (@greglaurie) February 16, 2023

Yet “Jesus Revolution” nails why Christianity captured so many hearts and minds during the era. Young people felt disconnected, alone and scared. Many didn’t want to blur their minds with drugs or partake in the era’s sexual freedom.

They craved a spiritual balm, even if they didn’t realize it at the time. “Jesus Revolution” is at its best when showing that hunger. And darned if Roumie isn’t perfectly cast as the charismatic heart of the revolution.

He’s not Jesus, of course, but the film leans into his “Chosen” identity in sly and satisfying ways. Watching him bicker with his on-screen wife, after watching him all but mesmerize a massive gathering of worshipers, is a giddy treat.

The film’s closing credits fill in the real story’s blanks, suggesting a documentary approach might have hit closer to the mark in capturing this “Revolution.”

HiT or Miss: “Jesus Revolution” tells a necessary story with heart, pathos and fine performances. It’s still missing dramatic elements to put it over the top.

The post ‘Jesus Revolution’ Shows Spiritual Side of Flower Power Era appeared first on Hollywood in Toto.

Billy Bob Thornton shouldn’t scare a fly.

The “Sling Blade” star is 67 and as slight as a supermodel.

Don’t let his frame fool you. When Thornton locks eyes on someone, it’s terrifying.

That menace gives “Devil’s Peak” a jolt, and boy, does it need it. The southern fried thriller boasts a bland leading man, meaning we need every crooked grin Thornton can muster to keep the tension humming.

Hopper Penn stars as Jacob, the son of an Appalachian drug king (Thornton). We’re told early on, via on-the-nose dialogue, there’s little chance Jacob can escape a life of crime. He’s resigned to his lot in life, at least for now.

And, to be fair, breaking the law has its perks. That’s certainly the case with his pappy.

Thornton’s Charlie has the local law in his side pocket, a beautiful young gal pal (Emma Booth) and dreams of his son keeping the family business afloat.

Except Jacob’s heart isn’t into it. He’d rather spend time canoodling with his girlfriend (Katelyn Nacon), the daughter of a man with no love for Charlie. Jacob also hopes to keep his Mama (Robin Wright) free from her drug haze, a task far easier said than done.

These familiar but well-sculpted elements are bound to collide, but “Devil’s Peak” is in no hurry to get there. That leaves us with Penn, son of Sean and Robin Wright, to anchor the material.

Given that lineage we should be in good, nay, great hands. But young Penn’s intriguing mug isn’t backed by the requisite charisma. He’s dull, and watching him figure out where his life needs to go should be the film’s moral compass.

Instead, we yearn to spend more time with Charlie.

Thornton’s line readings are precious, every last one. Watching him embrace Charlie’s vicious ways is the ultimate acting class. No gesture is wasted. Everything works in unison to create a mood, a moment.

How many actors can emulate what Thornton brings to a role?

‘Devil’s Peak’ Trailer: Robin Wright Stars With Son Hopper Penn And Billy Bob Thornton In Appalachian Crime Dramahttps://t.co/mQ1L6FBNSa pic.twitter.com/jmdZKCMgyu

— Punch Drunk Critics (@pdcmovies) February 9, 2023

“Devil’s Peak” doesn’t shed new light on small-town drug culture or the notion that family determines our fate. The ensemble cast delivers one against-type character, a sheriff who seems both wise and willing to be played as needed.

That’s the great Jackie Earle Haley, who conveys the broken spirit of both his fellow officers and the townsfolk.

Blood will be shed, of course, and the third act offers some crisp scenes worthy of the film’s cast. Penn’s presence, or lack thereof, ensures “Devil’s Peak” is never more than a lovingly crafted thriller bound to be forgotten.

HiT or Miss: “Devil’s Peak” serves up a vintage turn by Billy Bob Thornton, but we need much more from star Hopper Penn to make this family saga soar.

The post ‘Devil’s Peak’ Serves Up Billy Bob Thornton, Unleashed appeared first on Hollywood in Toto.

The beauty of the “Ant Man” saga, beyond Paul Rudd’s chipper presence, is how small it is compared to other MCU romps.

It’s not a reference to our diminutive hero. The stories lack the global gravitas of, say, “Captain Marvel” or the “Guardians of the Galaxy” films.

Smaller can be better, especially in the oft-bloated MCU. “Ant Man and the Wasp: Quantumania” ditches that approach.

Uh oh.

It’s massive, both in the imagination department and the villain, a monster meant to anchor the MCU’s fifth phase. Co-star Jonathan Majors might just be a Thanos-sized threat to our colorfully clad heroes.

Ant Man grows as easily as he shrinks, and it turns out his franchise can, too.

Scott Lang (Rudd) is balancing life as an Avenger with parenting his strong-willed daughter, Cassie (Kathryn Newton).

She’s got some inner Pym in her, concocting a new way to conjure the Quantum Realm. That after-school experiment backfires, sending father and daughter, along with the Pyms – Hank, Janet and Hope (Michael Douglas, Michelle Pfeiffer and Evangeline Lilly) into the mysterious realm.

They’re stranded and scrambling to reunite, but they soon encounter a presence overseeing the fractured landscape. That’s Kang the Conquerer, played with a calibrated sense of evil by Majors.

We’ll stop the plot breakdown here, allowing audiences to explore this CGI realm and all it has to offer. Just know this may be the most visually ambitious MCU film to date, and the dedication to FX detail is wondrous to behold.

It’s no “Avatar,” but that’s the only recent film that tops the splendor captured here.

Once again Rudd is the near-perfect hero — brave against impossible odds but always under-valuing his worth. It’s a balance that hasn’t worn out its welcome.

Newton’s Cassie threatens to become either a Mary Sue type or SJW scold, but the awaiting adventure won’t let either happen.

Douglas and Pfeiffer anchor a series of silly sequences early in the film, the kind that evokes more giggles than laughs. Yet screenwriter Jeff Loveness (no, Adam McKay isn’t a contributing scribe this time around) turns those flourishes into something substantial in the third act.

Impressive.

So, too, is the film’s structure. You’ll point out some glaring plot holes, no doubt, but the story hurtles along with an efficiency that makes everything sharper.

 

 

 

 

 

 

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Director Peyton Reed ladles out the franchise humor once again, but it isn’t as witty as in past installments. The wraparound framing, for starters, lacks the laugh-out-loud antics of “Ant Man and the Wasp.” Rudd still keeps the elements light, even when the stakes are sizable.

The sequel offers solid new players, including a rough and tumble Katy O’Brian as a Quantum Realm warrior and William Jackson Harper as a mind-reading ally. That, plus an extended cameo by a recently canceled mega-star juices up the proceedings.

We’re also given a secondary villain, who provides both chuckles and menace. No spoilers here, but his presence offers a sly connection to previous “Ant” yarns.

“Quantumania” kicks off the MCU’s Phase V and not a moment too soon. The previous MCU wave crushed the franchise under the weight of wan sequels, woke purity measures and chaotic narratives.

What was the point of all those movies again?

“Ant Man and the Wasp” team up for a palate cleanser, and Majors seems ready to give the Avengers fits. Bring it.

HiT or Miss: “Ant Man and the Wasp: Quantumania” delivers a steady dose of thrills, imaginative creatures and heroism on a shockingly large scale.

The post ‘Ant Man and the Wasp: Quantumania’ – Large(r) and In Charge appeared first on Hollywood in Toto.

What if you lined up all the core rom-com elements but forgot the most important ingredient?

Heart.

You might have “Your Place or Mine,” a movie that seems perfect for a cozy, date-night style selection … until you’re 10 minutes into the story.

You’ll know something is off kilter from the jump. And things, sadly, don’t get better from there.

Reese Witherspoon and Ashton Kutcher play Debbie and Peter, singletons who hooked up once 20 years ago and decided they’re better off as friends.

Why?

Because the script says so. Stop asking dumb questions!

They talk, and zoom, from their separate coastal homes while playing out their generic movie lives. She’s an overprotective L.A. mum who makes all the safe choices for her family. He’s a Big Apple-based consultant who knows how to rebrand his clients.

They end up swapping coasts when Debbie lands a spot at a selective New York college. Peter leaves  for Los Angeles, where he must care for Debbie’s son (Wesley Kimmel, Jimmy’s nephew).

Would you believe these definitely-not lovers harbor feelings for each other after all these years, and events in the film may reignite those passions?

Get … out!

 

 

 

 

 

 

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Rom-coms are meant to be predictable, of course. The problem with “Your Place or Mine” starts with the suffocating air of artificiality that descends on the film from the first act. The tone feels off, like the film is playing at the wrong speed or first-time director Aline Brosh McKenna is in way over her head.

Even old pros like Witherspoon and Kutcher can’t bring life to their characters.

Matters get worse with the rom-com sidekicks enter the frame. Tig Notaro’s droll line readings can be a hoot, but she’s given nothing to work with as the sassy confidante for both Debbie and Peter.

Steve Zahn, so good in everything (especially “The White Lotus”) is embarrassing as Debbie’s neighbor, whose gardening obsession isn’t remotely funny.

Not once.

Nor is hearing Peter try out a litany of nick-names for Debbie’s son. “Your Place or Mine” is full of flat running gags.

The film’s saving grace? Zoe Chao as Peter’s ex-flame who mysteriously bonds with Debbie during her NYC jaunt. Chao turns the soggy script on its ear, generating smiles where none should rightly exist.

Otherwise, we’re left with head-scratching plot details, a love interest for Debbie (Jesse Williams) who doesn’t make much sense and a third-act development meant to split the couple in question that’s resolved in a blink.

If you’re gonna trace the Rom-Com Handbook, at least pretend you’re giving it your all.

HiT or Miss: “Your Place or Mine” squanders a cute couple, a frisky premise and hope that the rom-com genre is no longer on life support.

The post ‘Your Place or Mine’ – RomCom Via ChatGPT appeared first on Hollywood in Toto.

Love triangles are both a rom-com staple and brutal to deploy with precision.

Make one of the parties too villainous, or bland, and the chemistry experiment blows up in our faces.

“Somebody I Used to Know” makes a different, but equally critical error in its imbalanced trio. That, and the film’s indifferent approach to comedy, undermines a sophisticated look at relationships.

Alison Brie plays Ally, a hard-charging TV producer licking her wounds after her reality series gets the ax.

Ally returns to her hometown to regroup but quickly reunites with her old flame, Sean (Jay Ellis, charming). The old sparks are still there, and so is Sean’s fiancé (Kiersey Clemons, “Dope”).

The big wedding is only days away.

Is Ally too late to resurrect her relationship with Sean? Can she stop the wedding in time? Could Brie, a delightful actress, make Ally less appealing?

The latter is doubtful.

 

 

 

 

 

 

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This isn’t the first time a rom-com attempted to shatter a wedding ceremony. The film goes so far as to name-check “My Best Friend’s Wedding,” a genre classic. That film offered Julia Roberts at her most vulnerable.

Brie’s Ally is a mess, but it’s hard to like her on any level. She’s obsessed with her trashy reality show, a dessert-themed dating debacle. She has no empathy for the future bride for a good, long while, nor the hurt she could cause Sean’s friends and family.

And she dismisses her kind-hearted Ma (Julie Hagerty, swiping a few scenes during her small screen time).

Is anyone rooting for Ally here? And, yes, that matters.

The film can survive a callous leading lady, understanding the story may force her to address her toxic impulses. But much of “Somebody I Used to Know” is a snooze, brimming with lackluster sequences and characters who don’t burrow under our skin in the best of ways.

Great speaking with @alisonbrie a few days ago about her new @PrimeVideo film (with #DaveFranco) and @GlowNetflix

Now live via the #paltrocast site and coming to TV outlets like @bronxnettv, @mnnnyc, @padnettv, @CNJNTV, @speakmpls and @FingerLakesTVhttps://t.co/pJvbaIClda

— Darren Paltrowitz (@paltrowitz) February 6, 2023

Director Dave Franco, who co-wrote the film with Brie (his off-screen spouse), delivers some droll moments tied to Ally’s Hollywood gig. Reality shows are easy targets, but the laughs come easily all the same.

Then, said laughs dry up. In their place we get forced gaiety from Ally reuniting with Sean’s extended family. That paves the way for a mini-“Community” reunion with Brie and co-star Danny Pudi.

So there’s that.

Otherwise, the film’s core theme doesn’t emerge until late in the story. It’s a feminist twist rarely addressed in romantic features, and it’s handled with the appropriate sense of proportion. The subject isn’t strong enough to hang a story around, though, leaving the film’s third act bereft of dramatic tension.

The Franco-Brie screenplay occasionally remembers it’s a comedy, but the results are often crude and uneven.

That, plus too many scenes wallowing in cringe, mean “Somebody I Used to Know” is an ambitious but clunky spin on the rom-com template.

HiT or Miss: “Somebody I Used to Know” offers something we haven’t seen before in modern rom-coms, but we’re forced to spend time with a terribly off-putting heroine.

The post ‘Somebody I Used to Know’ Delivers Uneven Love Triangle appeared first on Hollywood in Toto.

Few recent films start with as much intrigue as “Among the Beasts.”

The thriller shows a formidable bond between a young girl and her guardian. The child is kidnapped in short order, and we see her benefactor flash the kind of skills that could inspire a Liam Neeson romp.

(The good kind, that is)

Instead, “Among the Beasts” takes a few uncertain detours en route to a head-scratching finale.

Tory Kittles plays LT, a military veteran who oversees a boxing gym. He’s tight with his old friend’s daughter, Kayla (Mia Mei Williamson), and their one extended scene together speaks volumes.

He’s kind, dedicated and eager to make amends for some sizable past sin.

Kayla is abducted in short order, and LT uses his “particular set of skills” to search for her. Except what happens next defies our expectations.

He’s approached by the daughter of a crime kingpin to find her cousin who was similarly abducted. The plot shift all but ignores the bond established early in the film. It also sends “Among the Beasts” into more familiar territory, and writer/director Matthew Newton can’t compete with previous, superior thrillers.

That’s being kind.

RELATED: TOP 5 SIGNS PIERCE BROSNAN IS THE NEXT LIAM NEESON

“Beasts” finds time for LT to hang around with other military veterans, giving us insight into the culture in play but hardly building story momentum. Comic ace Jim Norton appears, too, but while he acquits himself nicely in a role against type, his screen time is so short he ends up as a distraction.

LT’s personal demons also get a close-up, but one harrowing scene of his despair doesn’t gel with the rest of the story.

Interview: Tory Kittles on “AMONG THE BEASTS” And “The Equalizer” Series https://t.co/KwegZdcuit via @YouTube #AmongTheBeasts #TheEqualizer #interview #interviews @ToryKittles @randcpmk @GravitasVOD #movies #FilmTwitter

— Rama’s Screen (@RamasScreen) February 7, 2023

Libe Barer (“Sneaky Pete”), cast as the kingpin’s daughter, feels wildly inauthentic from the jump. She’s both quippy and cold, but she’s never believable as part of a larger, unsavory mob.

Her appearance is the first sign that “Beasts” won’t fulfill its considerable promise.

The film’s third act begins as we expect, but Newton’s screenplay drains the inevitable showdown of almost all tension.

One sequence, in particular, goes on, and on, and rather than ratcheting up our emotions, we find them diminished with every passing moment. The fact that it’s part of LT’s head-scratching plan makes matters worse.

None of this is Kittles’ fault. The “Equalizer” actor grounds LT from that opening sequence, making him a wounded warrior capable of almost anything.

That means he could self-destruct or save the kidnapped children. Kittles is so good audiences will give “Beasts” the benefit of the doubt far longer than necessary.

Why? Consider an extended sequence involving a possible villain, played by “Baywatch” alum Jon Bass. It’s gritty and gripping, revealing another side of the thriller template. What if LT and his associates were making things up on the fly, realizing they could be terrorizing an innocent man?

It’s those moments when “Among the Beasts” feels like 2023’s first bona fide sleeper. If only they lasted longer.

HiT or Miss: “Among the Beasts” features a great performance by Tory Kittles and a fascinating first act, but the ensuing story crushes that potential.

The post ‘Among the Beasts’ Flirts with First-Class Excitement appeared first on Hollywood in Toto.

Audiences have a love/hate relationship with the director once dubbed “The Next Spielberg.”

Fans flocked to M. Night Shyamalan’s “The Sixth Sense,” “Unbreakable” and “Split,” while they savaged his bountiful misfires (“Lady in the Water,” “The Happening” and “The Last Airbender”).

That leaves “Knock at the Cabin” as his most curious effort. It’s … fine. The third act doesn’t sink the film, and the trailer’s eerie vibes reverberate from start to finish.

What’s missing? That singular chill Shyamalan musters in his very best movies.

Dave Bautista stars as Leonard, a hulking stranger who approaches a little girl outside a Pennsylvania cabin. He forges a fast bond with young Wen (Kristen Cui) over grasshoppers, but he isn’t there to talk entomology.

He’s part of a four-person troupe warning Wen’s gay parents Eric (Jonathan Groff) and Andrew (Ben Aldridge) they have a choice awaiting them.

The world will end unless the family makes a terrible, unavoidable sacrifice.

Is Leonard and co. eager to exploit an innocent family? Could they be targeting the trio for homophobic reasons? Or is their dire vision about to come true?

 

 

 

 

 

 

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Shyamalan, working with co-screenwriters Steve Desmond and Michael Sherman, set the pieces in motion with stunning speed. If you’ve seen the trailer, you know what’s coming, but “Cabin” wastes little time getting there.

That’s a blessing and a curse. Can the filmmakers keep our attention for 90-plus minutes given that brisk set-up?

Partly.

It helps that Bautista’s gentle giant shtick is impressive and long-lasting. Leonard isn’t using his bulk to make the couple decide the fate of humanity, or their version of it. He’s soothing, warning the family what will happen if they ignore his warning.

RELATED: SHYAMALAN RETURNS TO HIS ‘OLD’ HABITS

Along the way Shyamalan teases out some real-world scenarios, from the rise of conspiracy theorists to the fears gay men face in modern society.

The latter thread brims with cliches, and it’s the least interesting part of the director’s vision.

Shyamalan is famous for big swings and even bigger misses. “Knock at the Cabin” feels different. He’s working on a smaller canvas, both visually and thematically. There aren’t many storytelling options to consider, and that reduces the thrill level dramatically.

That, and a recurring sense of loss that quickly proves predictable.

How very un-Shyamalan.

NOTE: Shyamalan’s playful cameos are a winning part of his canon, but this film’s close-up could be his best.

“Knock at the Cabin” forcefully reduces the options in play. Most of the action takes place in the titular cabin, and the flashbacks flesh out little of the Eric/Andrew dynamic. It’s a shame “Cabin” takes so few risks with the gay couple in question, following approved narratives without much in the way of introspection.

Good thing Cui reminds us how good Shyamalan is at directing young actors. Her presence matters, ramping up the stakes in play.

Is one child worth … everything?

Shyamalan often injects faith into his narratives, and there’s a spiritual element here, too. He’s also playing with the notion of family, and how far parents will go to protect their children. it’s one of his most charming tics, and something absent in the work of many mainstream directors.

“Knock at the Cabin” packs a third-act wallop, which won’t surprise any of his fans (or foes). What’s most shocking is how you’ll likely see it all coming.

HiT or Miss: “Knock at the Cabin” delivers a thoughtful spin on apocalyptic storytelling, but the film’s first act suggests a slam-bang finale that never materializes.

The post ‘Knock at the Cabin’ Is What Shyamalan Rarely Delivers appeared first on Hollywood in Toto.