Year: 2025

June 2, 2025 · Watch the official trailer

Every location audiences see in the new Guy Ritchie film is 100% authentic.

When viewers experience John Krasinski and Natalie Portman gazing in awe at the pyramids of Giza, the actors are actually there sans green screen in the first film production to shoot at the seventh Wonder of the World in more than 50 years.

The attention to detail that's required in a film production to generate such authenticity requires a sizable production budget, and “Fountain of Youth” takes all of its 180 million dollars to make a two-hour action-adventure film that feels entirely of the places that it showcases. 


What audiences actually get, however, is something significantly more lackluster.

Despite A-listers on screen and a talented auteur behind the camera, “Fountain of Youth” is yet another Apple Studios project to limp directly onto its Apple TV+ service without a single weekend on the big screen as the tech giant essentially hemorrhages cash to in search of yet another hit. 


Good fortune may be on the horizon for Apple, though, with their upcoming Brad Pitt- led “F1” movie said to have an extended theatrical run nationwide and in IMAX.

Guy Ritchie's film, however, is middling at best taking a variety of different inspirations and cramming them all together for a movie that's two parts “National Treasure,” one part “The Thomas Crown Affair,” and has some of the most lazy, uninspired writing from the man who penned “Zodiac” that one might imagine.

The film stars Krasinski as an art thief and historian on the run from Interpol and a secret organization as he recruits his reluctant sister to join him on a quest to track down clues to seek the seemingly unattainable and titular fountain of youth. 


This international treasure hunt at times has the pulpy narrative twist and turns of a Dan Brown novel, though the over-the-top campiness and relatively safe nature of the script simply washes the film out in overly bright colors that leave audiences feeling somewhat empty.

Though he's found success on the small screen as the classic Tom Clancy character Jack Ryan, Krasinski is an odd choice to play the anti-hero Luke here with his wry smile and somewhat overly exaggerated eye rolls playing a bit too close to a “nudge, nudge, wink, wink, know what I mean” style of relating to the audience.

His chemistry or lack thereof with Portman as siblings who have a somewhat fractured relationship doesn't really work, especially given how Krasinski is clearly trying to spend most of his time cobbling together cinematic sparks with Eisa González in a storyline that largely falls flat.

For her part, Portman is shoehorned into a bland, whiny single mom with a kid dragging down her individualism and she's unable to escape the narrative wet blanket that her character is forced to become over the course of the film.

For a director that's known for sharp, crisp dialogue in snappy visuals both in his classic British crime capers like “Snatch” or “Lock, Stock and Two Smoking Barrels” as well as popcorn box office fodder like the “Sherlock Holmes” films, there's an empty lack of spark to “Fountain Of Youth” that almost makes it feel like the film is Ritchie's in name alone.

Aside from being shot in practical locations and the random ocean liner set piece in the middle of the film, there aren't any exciting action sequences within “Fountain Of Youth” and the film’s limited twist and turns are telegraphed far too obviously though it's unclear whether that is a screenplay or directorial issue.

“Fountain Of Youth” might not even be worth watching despite its ease of access on Apple TV+ unless cinephiles are really interested in something casual that they can turn their brain off for.

May 26, 2025 · Watch the official trailer

No one goes to see a “Mission: Impossible” movie for the plot as much as Tom Cruise might want audiences to believe that Ethan Hunt’s courageous battles to save the world from terrorists matter on a grand scale.

The who’s and why’s don't really matter.

It's what Ethan Hunt and by extension, Cruise as a performer and stuntman, are doing that makes this action franchise unlike any other.

In what could possibly be his final turn in the role, Cruise continues to escape death and quite literally defy gravity as yet another international tale takes Ethan and his IMF team across the globe to prevent nuclear warfare at the hands of rogue artificial intelligence introduced in 2023's “Mission: Impossible – Dead Reckoning Part One.”

Burdened with the fate of the world against him and a ridiculous mop haircut, Cruise isn't doing anything above and beyond as an actor in the numerous expository dialogue scenes there are in “Mission: Impossible – The Final Reckoning.”

But he still turns in the best effort of his career in the role here thanks in large part to lengthy sequences shot in utter silence aside from a majestic hard pounding score from composers Max Aruj and Alfie Godfrey.

What Cruise is able to invoke emotionally with his physicality and piercing eye contact becomes a driving force of mesmerizing non-verbal sequences that are superfluous on its face but have a dynamic visual and emotional energy completely due to Cruise's relentless commitment to practical stunt work.

As much as viewers are questioning how Ethan is able to stay alive nearly every turn, there's still a prevalent thought on the mind of viewers as to just what risks the 62-year-old actor is taking himself in numerous stunt chase sequences, claustrophobic underwater swims and harrowing aerial stunt work on par with the ending sequence to “Mission: Impossible – Fallout.”

While the visuals and stunt work are the main reason to see “Final Reckoning,” longtime “Mission: Impossible” cast members Ving Rhames and Simon Pegg also raise the bar of their performances as it's clear the bonds that these performers have made over the course of making so many captivating films together have blurred the emotional lines between performers.

Rhames especially is able to finally showcase just how talented of a dramatic actor he can be in a film series that often reduced his Luther to tech work and being the de facto father of the group.

Hayley Atwell also returns from “Dead Reckoning Part One” as Grace and though her character is given almost nothing to do beyond being a sidekick and love interest to Ethan, the former “Captain America” star does prove to be a formidable, part of the team in action sequences.

Co-writer and director Christopher McQuarrie, who has teamed with Cruise over the past three “M:I” films to elevate the quality of the franchise to new heights, takes a really lackluster narrative and is able to propel a lengthy movie forward by forcing audiences to the edge of their seats with physically taxing, yet gorgeously shot action cinema that must be seen on the biggest screen possible.

The film features two of the most jaw dropping action stunt sequences done by the lead actor of a movie ever shot, with a technically brilliant underwater section forcing Cruise to demonstrate physicality and emotion over a 15-minute segment of “Final Reckoning” that required the entire crew to communicate via handsignals while also underwater just off camera.

Unquestionably the most dazzling display of stunt work, though, is the exhilarating aerial sequence that saw Cruise dangling off the side of a biplane while being thrown around tens of thousands of feet above the sky. The precision to execute death-defying leaps in and out of cockpits while acting in character and moving the stakes of the narrative forward is the reason why the Academy should have been recognizing the work of stunt performers years ago.In spite of its narrative flaws, “Final Reckoning” is most certainly a top three entry in the “Mission: Impossible” franchise though not quite on the same dramatic scale either the original film nor the masterpiece sixth installment, “Fallout.”

And if it is to be the end of the line for Cruise as Ethan Hunt, this eighth installment truly elevates and honors the legacy that Brian De Palma and the “Mission: Impossible” team set out 30 years ago.

May 19, 2025 · Watch the official trailer

In an alternate universe, “Another Simple Favor” would be a box office smash hit bringing audiences out for fun, zany thriller escapade and a gateway into summer blockbusters.

But amid lawsuits surrounding one of the film’s stars and the tepid response upon its debut at this year's South by Southwest Film Festival, “Another Simple Favor” was relegated to Amazon's Prime Video streaming service earlier this month languishing a big budget female driven dramedy to relative obscurity.

The sequel to director Paul Feig’s 2018 surprise hit “A Simple Favor” starring Anna Kendrick and Blake Lively finds Kendrick’s Stephanie back in the crosshairs of Lively’s Emily as the two travel to Capri for Emily's wedding only for murder and intrigue to spoil the festivities.

Although – like most sequels – “Another Simple Favor” is a step down from its original, 
there's still some of the same dynamic energy at play here, especially in Kendrick’s lead performance as well as the arresting visual spectacle of glamour and high fashion.

As Stephanie, Kendrick is well adapted playing fish out of water types who have to adapt quickly to new surroundings and her return as the quirky, upbeat single mom helps keep audiences engaged with a meandering, confusing narrative through her bubbly charm and ability to engage with the audience directly through the series’ use of “Mom Vlogs” that allow Kendrick to speak directly to camera pushing the narrative forward and reinforcing key but subtle points to the overall mystery.

There's an ease to which Kendrick can blend the comedy and drama of each moment with gentle affability that makes for a compelling protagonist.

Conversely, it's clear that Lively relishes the opportunity to play a villain with such aplomb, and though Feig would probably prefer audiences to view Emily as an anti-hero, ongoing litigation between Lively and her “It Ends With Us “co-star/director Justin Baldoni have made Lively's personal life such an issue that it's impossible to separate the actor from the performance.

Somewhat surprisingly, this meta-textual construct between on-screen and real-life personas somewhat boosts audiences’ ability to despite a seemingly likable character as Emily's constant manipulations and underhanded tactics have become something that are intrinsic links to Lively's personal and professional dynamics.

The razor-thin margins between perception of Lively as a controlling diva and Emily’s scheming are so blurred in “Another Simple Favor” that the lightheartedness of much of the dramedy loses its luster by comparison to the original.

Feig crams his film full of supporting characters to make the stakes of his second film bigger and grander and although returning star Henry Golding’s Sean is completely sidelined in the sequel, Oscar winner Allison Janney has her moments as Emily's estranged Aunt Linda.

“Glee” actress Alex Newell gets tossed into the mix as Stephanie’s book agent Vicky as part of a storyline that likely was trimmed significantly in the editing bay and it’s clear that whatever comic relief her character was intended to provide as levity in tense moments simply doesn’t land in the larger context of the film.

“Another Simple Favor” looks the part more than it is the part thanks to alluring locations and gaudy production design from production designer Martin Whist that give the entire film a stunningly superficial glitz at times

The “Simple Favor” movies definitely have an air of “The Devil Wears Prada” as a murder mystery and the sequel certainly ups the ante in terms of its fashion game with costume designer Renee Ehrlich Kalfus keeping actors – especially Lively, and to a lesser extent, Kendrick – sparkling and shining throughout.

Though the film is a considerable step down in overall quality narratively, there's still enough remnants from the highly popular original film to make “Another Simple Favor”and easily streamable home watch for those cinephiles wanting a relaxing murder mystery in the vein of “Knives Out.”

May 12, 2025 · Watch the official trailer

It feels like lighthearted family comedies are a thing of the past.

Once a staple of traditional box office fare, studios aren't really investing in mid-budget movies targeted to be something moviegoers could bring their moms to and enjoy some quality family time at the cinema.

Streaming services have somewhat cornered the market on the medium budget studio comedy with lackluster success, though quietly a new film based on an unlikely true story is the type of movie perfect for Mother's Day and something sorely missed at theaters.

“Nonnas,” directed by Stephen Chbosky and starring Vince Vaughn, follows Joe, a grieving middle-aged man following the loss of his mother, who uses her life insurance policy to buy a restaurant in Staten Island. Rather than hiring professional chefs to cook the food, he honors his mother’s heritage by finding Italian grandmothers, or “nonnas,” to create a warm, loving atmosphere and cuisine based on the idea that food is love.

The film is an exceptionally heartwarming yet simple story that may drag just a touch in the second act and suffer from some structural narrative problems. But there's a genuine warmth to the entire production that can be felt throughout that makes “Nonnas” a compelling tug at the heartstrings.

Vaughn is perhaps the least funny he's been in quite some time as Joe, and the mere earnestness of his character amidst his grief gives audiences a throughline to the story that might not be apparent at first as it takes Chbosky and screenwriter Liz Maccie some time to introduce the “nonnas” to the film.

Even though the script is such that audiences will never really truly be in doubt about what happens next, the gentle nature of Vaughn's performance carries the day as both the weight of his mother's loss and unrelenting love for him shine through as the story progresses.

The true centerpiece of “Nonnas,” however, is the vivacious and vibrant work done by four legendary Hollywood actresses coming together for the first time.

There isn't a film with Susan Sarandon that she doesn't completely steal scenes in and “Nonnas” is no exception. The magnetic energy Sarandon brings to scenes elevates and layers the comedy in spite of the film's PG rating and Sarandon is adept enough to ensure that her performance is in keeping with her cohorts and does not overwhelm the unity that the four “nonnas” are to share in the narrative.

“Goodfellas” star Lorraine Bracco and Brenda Vaccaro of “Midnight Cowboy” fame have dynamic repartee going back and forth with their characters’ regional cooking rivalry and their dynamic energy opposite one another creates tension while adding levity to the character work.

“The Godfather” and “Rocky” actress Talia Shire is an unexpected treat as a "nonna” joining the group bringing her convent recipes to the table after retiring from being a nun.

Scenes pinball back and forth between these four dynamic actresses who push the material much farther than what’s on the written page.

There is a secondary slight romance storyline for Vaughn's Joe with “Green Book” actress Linda Cardellini that works as a change of pace far better than the construction storyline that colors Joe's relationship with his close friends played by “Sopranos” star Drea de Matteo and a miscasts Joe Manganiello that drags the overall film down just a touch.

Films about cooking often have a cinematic visual flair because of the bold colors of the culinary world and the decent allure that the artistry of the culinary world can provide.

While “Nonnas” isn't quite on par with top cooking films like “The Menu,” “Chef,” or “Julie & Julia,” there are some brief moments visually that draw the audience into the cooking and reinforce the heart of the film through food scenes.

“Nonnas” is a film that needs to be shared with family and although it's definitely a disappointment not to have Chbosky’s film be given a theatrical run, its ease of accessibility on Netflix makes “Nonnas” the perfect after dinner treat on family night.

May 5, 2025 · Watch the official trailer

Sometimes the best thing a blockbuster film can do is let high quality actors do their thing and get out of the way.

Often filmmakers get into trouble when they try to do too much and make the spectacle be the movie rather than give a performer opportunities to showcase their talents, hiding them behind heavy computer-generated images or forcing them to act in front of green screens in a way that takes audiences out of the experience.

Despite seemingly endless attempts to reinvigorate a dying film franchise, Marvel Studios may soon be on the verge of a comeback with their latest film “Thunderbolts*,” the 36th film in the Marvel Cinematic Universe (MCU) that might give audiences some hope of a way forward after languishing in subpar underdeveloped money grabs for the better part of five years.

The film follows several key Marvel antagonists tasked with killing each other, only to team up for a dangerous mission that forces them to confront the darkest corners of their past.

Though having extensive knowledge of the history of the MCU will be beneficial to a movie-going experience for “Thunderbolts*,” casual audiences don't need to have seen every single frame of Marvel content prior to heading to theaters as director Jake Schreier and screenwriters Eric Pearson and Joanna Calo do a solid job of brute forcing the necessary exposition to get audiences brought up to speed in the film's first act.

Those wanting to have some of the MCU's more pertinent filmography fresh on their minds would do well to revisit 2021’s “Black Widow” and the Disney+ series “Falcon and the Winter Soldier” before heading to the big screen.

Without question much of Marvel's future lies heavily on the shoulders of Oscar nominee Florence Pugh, who continues the run she started in “Black Widow” as Red Room assassin Yelena Belova, a snarky loner anti-hero reeling from the death of her sister after the events of “Avengers: Endgame” and looking for her way in the world.

Pugh is undisputedly the anchor of “Thunderbolts*” in a key part of rebuilding audience trust with Marvel as a franchise as her Yelena is one of the most dynamic heroes Marvel has introduced since its initial Avengers run in the mid 2000s. The layers of character work Pugh is able to infuse Yelena with far exceed a typical Marvel film and her ability to pivot between empathy, frustration, and snark make her one of the most entertaining, easy to root for characters in the entire MCU history.

Her chemistry with David Harbour as the Russian version of Captain America, Red Guardian, is the catalyst for much of the film’s comedic and dramatic core and “Thunderbolts*” shows its truest potential once Pugh and Harbour are paired on screen together.

Films about unlikely allies forced to work together for a common goal are a dime a dozen in comic book franchises as audiences have seen similar tales play out with “Guardians of the Galaxy” and DC's “Suicide Squad.” And although the dynamic chemistry between the whole group of “Thunderbolts*” isn't quite to the same level that James Gunn and his team developed for the original “Guardians” film, Pugh and Harbour do such terrific work in their roles that one might seem to find hope in Marvel’s vision for the future again.

Audiences will likely be unfamiliar with Wyatt Russell's US Agent, Hannah John-Kamen's Ghost or Olga Kurylenko’s Taskmaster if they have not seen every moment of Marvel's canon and while Lewis Pullman does a terrific job as the as newcomer Bob, the entire film is truly a showcase for Pugh to emerge as a cornerstone of the MCU.

Structurally, “Thunderbolts*” aims for a different tone as it's unusual for a Marvel film to pivot a way from intricate action heavy set pieces. Schreier’s emphasis on grounded drama with true emotions, driving the narrative forward are a refreshing change of pace for a studio that seems overly obsessed with spectacle for the sake of spectacle.

The cinematography of “Thunderbolts*” truly stands out in the final act of the film with innovative techniques director of photography Andrew Droz Palermo use to create the world of the void are visual highlights in recent Marvel cinematic history that is worth the price of admission alone.

Because it seems like a foregone conclusion to compare every MCU entry to the comic book and cinematic highs of the final “Avengers” movies, “Thunderbolts*” doesn't rise to this level.

However, it is by far the strongest showing of an MCU movie since 2021’s “Spider-Man: No Way Home” even those not particularly inspired to seek out a comic book movie might do well to take a chance on “Thunderbolts*” either on the big screen or later when it hits Disney+ this summer.

April 28, 2025 · Watch the official trailer

If Willem Dafoe followed every bit of advice that Oscar winner Gene Hackman gave him, audiences probably wouldn't be treated to the delightful new independent film, “The Legend of Ochi.”

In a recent interview with IndieWire, Dafoe mentioned how Hackman advised him early in his career never to work with first time directors. And while this might be solid advice for young actors breaking into cinema hoping to be shepherded by an expert filmmaker, mentorship can go both ways.

Having a performer with the credentials of Dafoe in a filmmaker’s directorial debut can also help shepherd along the next generation of movie makers.

With Isaiah Saxon’s freshman feature, Dafoe is a supporting yet influential part of a pseudo coming of age story that's part “How To Train Your Dragon” and part “The NeverEnding Story” with a bright-eyed wonder that will draw children in and just enough nostalgia for Jim Henson style puppetry to entice older audiences to engage with the family friendly fantasy.

The film follows Yuri, a young girl living in a remote Scandinavian island town forced to join a troop of boys hunting down a mysterious monster known as the Ochi that seems to be causing chaos and killing farm animals in the remote village. Her unlikely friendship with a young Ochi creature leads the two on a journey to get the injured Ochi back to its family safely.

German actress Helena Zengel, best known for her role in the Tom Hanks western “News of the World,” has the makings of a well-considered, developed character despite a limited framework left for her in Saxon’s screenplay.

Her Yuri is a unique blend of naïveté, brash independence and caring environmentalist whose isolation stems from being the only girl in a world full of men due to the absence of her mother, which makes her isolated and yet driven to do the right thing in spite of the objections of her father.

Dafoe provides a familiarity to American audiences as Yuri’s father and continues a wide and lengthy filmography of eccentric characters brought to life by the veteran actor.

While his Maxim is far more family friendly for “The Legend of Ochi” than his recent turn in the Oscar winning “Poor Things,” there's a bizarre twist on masculinity to Maxim that is present within the script, but takes Dafoe's unique blend of gravitas and committed determination to playing the dry humor street in order to let jokes come out naturally that really helps propel a somewhat light narrative forward.

Saxon’s unique vision for his debut extends especially into its distinctive visual style, which evokes both the faded, diverse color palette of a Wes Anderson comedy as well as a sort of hand drawn texture ripped out of the pages of a storybook.

But what truly sets “The Legend of Ochi” apart is the uniqueness of the Ochi characters brought to life practically on screen through a number of collaborative puppeteers who animates not only the titular character, but Ochi of all sizes in ways reminiscent of “NeverEnding Story” and “The Dark Crystal”

This innovative practical approach helps the film truly stand apart in family cinema given the overwhelming amount of computer graphics developed for Disney live action remakes of their animated classics.

While it's evident throughout that audiences are seeing puppets acting opposite Zengel, this is not jarring in the least thanks to the lived in vintage film cinematography from cinematographer Evan Prosofsky that evokes these 80s classic films, but also in the special way that Zengel naturally bonds with a puppet to create a compelling emotional relationship.

Although it's unlikely to make any best of 2025 list, this uniquely original tale and stunning practical effects make “The Legend of Ochi” a criminally underseen family friendly adventure film that cinephiles with young children may well bond over as they try to inspire a new generation of movie lovers.

April 20, 2025 · Watch the official trailer

The mental, emotional, and physical toll that U.S. servicemen and women undergo in service to country is something one can't fully comprehend unless they've lived through it themselves.

As much as cinema tries to capture what it means to be a soldier, the firsthand perspective of those who serve and sometimes give their lives for others isn’t something a film production can capture.

Perhaps the closest and most authentic to the experience of United States military servicemen is the new film written and codirected by former Navy SEAL Ray Mendoza with “Ex Machina” and “Civil War” director Alex Garland. Their new drama simply titled “Warfare” captures the intricate details of one of many missions carried out by a select unit of Navy Seals in Iraq in 2006.

This brisk 90-minute thriller drama follows a group of 10 soldiers manning a surveillance outpost they create in someone's home only to come under fire from unknown Iraqi attackers.

“Warfare” is a relatively straightforward occasionally brutal tale of military service that does not equivocate about the patriotism of its participants, nor does it delve deeply into the political machinations or ramifications that led to those servicemen being attacked.

Audiences are pulled tightly within the group, never straying long from their vantage point of or line of sight. Mendoza and Garland make the incredibly smart decision to maximize the authenticity and simplicity of the storytelling by keeping the camera on the soldiers at all times even in conversation with superior officers back at base. This forces the attention and focus of its audience squarely on the mission itself, which allows for viewers to feel the constant unease and dread of potential gunfire or explosions that could injure or even kill members of the squad.

Because the film focuses is so tightly on this one small unit and single mission, few of the soldiers get enough screen time to have overly complex backstories or character development arcs, which may seem to some as overly simplistic storytelling. But what this does is allow Mendoza and Garland to narrow the audience's gaze to the mission and reinforce the immediacy of each action and the technical level of skill that it takes to perform different functions within the unit.

The ensemble cast underwent nearly three weeks of intensive boot camp training led by Mendoza before filming began, contributing to the authenticity of “Warfare.” The precision required for these actors to perform in simulated combat, along with cinematographer David J. Thompson's ability to capture their actions and switch between character perspectives, makes the film one of the most realistic and gripping portrayals of military service in cinema history.

Despite the majority of the film occurring within a single house, Mendoza and Garland effectively convey a broader understanding of the surrounding environment and spatial layout. They proficiently depict the movement through various areas such as corners, hallways, and rooftops in alignment with the Seals as they explore each new location for potential threats.

“Warfare” is an exceptionally cerebral film that pushes the drama forward by tightening or widening its gaze on a particular member of the team in a moment-by-moment basis, often quickly jumping back-and-forth between different parts of the team at a rapid pace. This cinematic fluidity allows for “Warfare” to give scenes room to naturally build suspense and tension as viewers wait alongside the soldiers for gunfire that could arrive at any second.

The film also stands out as being the least Hollywood depiction of war in recent memory, opting not to have a musical score to amplify the tension and foreboding anticipation in scenes. “Warfare” often has a haunting silence to its audio work, keeping silent as the soldiers perform their tasks and elevating the chaos when the soldiers themselves may not have been able to hear what’s going on around them.

Viewers might find “Warfare” reminiscent of military films like “Black Hawk Down” or “13 Hours,” but the nuance and intimacy that Mendoza and Garland develop within “Warfare” make it far more compelling from a cinematic perspective and infinitely more revenant to the service of the men the film seeks to honor.

Without a doubt a film likely to be among the year’s most underrated and underseen, “Warfare” is an absolute must for cinephiles to make the extra time and effort to seek out on the biggest screen possible.

April 14, 2025 · Watch the official trailer

With the frequency and similarity of the action movie genre, it seems inevitable that derivative comparisons can be made about almost any pseudo-blockbuster action flick that hits the big screen these days.

Any number of Jason Statham films can be layered on top of one another to highlight the pattern, for example, his recent film “A Working Man” could be simply classified as last year's “The Beekeeper” mixed with “Taken.

Oscar winner Rami Malek, best known for playing the title character in television’s “Mr. Robot” and Freddie Mercury in Bohemian Rhapsody takes his first major steps as a leading man into an action film franchise with “The Amateur.”

This somewhat paint by numbers espionage film could be categorized as “Jason Bourne” meets “John Wick” with an introverted lead, though one could dumb it down even further and say that Malek’s character Charlie Heller is nothing but a keyboard warrior or “John Click.”

Based on the 1981 novel by Robert Littell, “The Amateur” follows Charlie, a CIA analyst whose wife was assassinated in a terrorist event and seeks to get revenge on her killers by receiving counterintelligence training in order to hunt them down for some eye for an eye vengeance.

Structurally, the film highly evokes 2017’s “American Assassin” with Dylan O'Brien, though that film is far more brutal and straightforward, whereas “The Amateur” is exceptionally cerebral and nuanced in its character work.

Director James Hawes pulls broadly from the world of Bourne to give Malek a wide tapestry of emotions with which to bring audiences into Charlie's psyche as he struggles to honor his wife's memory while seeking vengeance for her death.

At times, Malek is almost a less assured version of Matt Damon’s Jason Bourne character striding across Europe with an almost identical wardrobe meant to get made to give viewers the illusion of comparison although the lack of hand-to-hand combat and frenetic pace in “The Amateur” may prove to disengage some more casual audiences wanting to see a more brutal “John Wick” like action sequence.

The film plays heavily into Malek’s strengths and character work lingering on unexpected moments where Malek's face is able to portray both a haunting melancholy as well as understandable fear of the unknown with a cruel cerebral self-assuredness. This is expertly layered within each scene, making Charlie one of the more compelling characters to be in popcorn action film in sometime.

There are incredibly talented character actors littered across “The Amateur” though their use and utility with the film is not evenly dispersed.

Largely seen in flashbacks, Rachel Brosnahan’s character Sarah does have solid chemistry with Malek’s Charlie and moments sprinkled across the film do raise the emotional stakes, though there's not enough to Brosnahan's character to give her any agency within the film.

Stalwarts like Holt McCallany and Lawrence Fishburne provide gravitas to their work as senior CIA intelligence officers that pushback on Charlie's overall agenda, though the somewhat bizarre inclusion of Jon Bernthal as a field operative friendly with Charlie doesn't really seem to fit within the larger context of the film and it feels as if there is a significant subplot left on the cutting room form.

As is frequently the case, Michael Stuhlbarg comes in for a small handful of scenes and absolutely steals the show with instantly gripping monologues that capture the audience's attention and draw viewers deeper into scenes that shouldn't really matter as much as they do. His inclusion here is an exceptional bit of casting that is the kind of thing that award shows should be celebrating as supporting work rather than co-leads.

Visually, it's hard to watch “The Amateur” without thinking of any number of action franchises that Hawes clearly pays homage to, most notably the visual iconography of jet setting spy films like the Jason Bourne and James Bond franchises.

Action sequences in the film are engaging and at times enveloping to the viewer, though the lack of physicality in much of the film makes “The Amateur” feel far more like a spy film than an assassin movie.

While there are numerous action films arriving in theaters with both “A Working Man” and “The Accountant 2” also debuting in April, there's not enough in “The Amateur” to make it more compelling for cinephiles to seek out theatrically than either of competitors, though audiences intrigued by the film’s overall premise and star studded ensemble cast may find a trip to theaters to see “The Amateur” well worth their time.

April 7, 2025 · Watch the official trailer

Audiences love watching game shows for the thrill and possibility of winning untold amounts of cash and prizes.

There's a voyeuristic nature to the concept that allows a viewer to place themselves in the shoes of a contestant, essentially gambling with house money and riding on the highs and lows of another person's fortunes.

While over the years there have been many game shows mired in controversy, the tale of Michael Larson on a 1984 episode of “Press Your Luck” remains one of the most unique and ingenious ways to "cheat the system.”

Coming from seemingly out of nowhere, Larson broke the mold of the popular television game show, defying the odds to win over $100,000 in one go. This incredible tale is the subject of a new film directed by Samir Oliveros, “The Luckiest Man In America” starring Paul Walter Hauser as Larson and tightly weaves this unique moment in television history into a captivating 90 minute feature film.

Hauser is well versed playing quirky eccentrics, with his breakout role coming in Craig Gillespie’s Oscar-nominated dramedy “I, Tonya.”

The unusual persona that was Michael Larson comes through not just in the bold avantgarde look but also in the subtle nuances of Hauser’s cadence and tone to find Larson's voice.

While the idea of a man with a gray poofy mullet, oversized jacket, and tiny khaki shorts does evoke an exceptionally comic nature similar to the iconic Chris Farley character Matt Foley from “Saturday Night Live” Hauser finds a lot of complexity in Larson and only slowly reveals how and why Larson is gaming the game.

It's difficult not to outright laugh at Hauser's performance for some of the film’s more dry comedic moments, though director Oliveros here plays things more for straight drama than humor but it's Hauser's unique ability to blur the lines between seriousness and playful in Larsen's eccentricities that make “The Luckiest Man In America” far more compelling than meets the eye.

A terrific ensemble cast helps fill out the world of the film, largely set on a CBS Studios lot where the show was filmed with David Strathairn as show producer Bill Carruthers providing a much needed sense of gravitas in the film and the way his character relates both with Larson and casting director Chuck played by Shamier Anderson creates deeper layers for the overall narrative beyond Larson's simple winnings.

Behind the camera, Oliveros is able to briskly bring audiences in and around the studio, navigating seemingly complex geography with ease as the camera follows characters around for extended moments that give viewers a larger sense of place within the confines of the studio. And the smartly written screenplay by Oliveros and Maggie Briggs also highlights the hierarchical nature of the show while allowing for key crew members to play significant supporting roles in the film as a whole.

“Game of Thrones” star Maisie Williams is exceptional as the show’s main production assistant blending a sense of duty to her job and sympathy for Larson while Anderson’s casting director Chuck accentuates the skepticism many on the crew had to Larson's techniques and motivations.

Terrific production design and cinematography from director of photography Pablo Lozano help bring the world of “The Luckiest Man In America” to life in a very lived in, vintage style. Keeping in with its 1980s setting, the cinematography floats in and out of more theatrical wide camera angles as well as the more claustrophobic, square, tight close-ups of an 80s television camera.

While the film was quickly picked up by IFC Films following its world premiere last fall at the Toronto International Film Festival, a likely muted marketing budget and post Spring Break release have relegated this unique and engaging drama to a limited theatrical release that will put it out of the way for many cinephiles who might make an effort to seek the film out.

Whether it’s a road trip to theaters or an on-demand at home streaming watch months from now, movie lovers would be well served to take a chance on “The Luckiest Man In America,” thanks to a standout lead effort from Hauser and a tight, engaging narrative.

March 31, 2025 · Watch the official trailer

For six decades, Robert De Niro has been regarded as the premier actor for gangster roles. From his portrayal of Marlon Brando’s Vito Corleone in “The Godfather Part Two” in 1974 to Al Capone in “The Untouchables,” and most recently in Martin Scorsese's “The Irishman,” De Niro has established himself as a legendary figure in depicting relentless Italian mobsters seeking power at any cost.

Earlier this month, he reunited with director Barry Levinson, known for their collaboration on the Bernie Madoff television film “Wizard of Lies,” for “The Alto Knights,” which examines 1950s Mafia life through the real-life relationship of former friends turned rival bosses, Vito Genovese and Frank Costello.

De Niro undertakes the formidable task of playing both characters simultaneously, which comes across more as a cinematic stunt than a compelling creative choice. With almost any other actor in the roles, “The Alto Knights” would have likely been a straight to streaming movie that would be quickly forgotten rather than an early spring theatrical release from a major studio like Warner Brothers.

Despite the use of prosthetics to alter his appearance, it can sometimes be challenging to distinguish which mob boss De Niro is portraying at the beginning of each scene. Heavy handed dialogue as well as a lack of distinct physical or vocal differences in De Niro’s performance adds to this confusion.

Although there is a subtle sense of Mafioso brotherhood between the two De Niro characters, the notion that Frank and Vito represent opposite sides of the same coin does not fully resonate. The lack of distinct individual traits beyond Frank's anti-heroism and Vito's more straightforward violent villainy makes it difficult to clearly distinguish between the two characters, making the entire film disjointed.

“The Alto Knights” may leave audiences yearning for familiar faces like Joe Pesci or Al Pacino, who have frequently collaborated with De Niro, to portray one of the two leads. This would have given far more ability for high-stakes interactions between two dynamic actors rather than De Niro acting to a stand-in and then reacting to his own performance.

Levinson’s film inevitably invites comparisons to Scorsese's superior 2019 retrospective “The Irishman,” which earned Oscar nominations for nearly everyone involved except De Niro himself. There’s a melancholic finality to that film that wraps up Scorsese’s history in Mafia movies that probably should have been the coda for De Niro as well.

The decision to have Frank narrate the film directly to the camera, reminiscent of the voiceover style in “Goodfellas,” falls flat due to the disjointed nature of Nicholas Pileggi’s screenplay, who also penned that crime classic and 1995’s “Casino.” This, combined with Levinson's poorly executed filmmaking, results in an awkward and clunky narrative that often disengages viewers from the storyline.

An Oscar winner in his own right for “Rain Man,” Levinson works best as a director when making lighter dramedies and his inexperience crafting heavy crime noir, especially in the latter stages of his career, comes across more as a stylized homage to more confident directors rather than someone with a singular vision.

At times, it feels as though the supporting cast isn’t quite sure what kind of film they are in, with Debra Messing and Katherine Narducci chewing up the scenery in over-the-top turns as Frank’s wife Bobbie and Vito’s wife Anna, respectively, while most of the actors portraying mob bosses give demonstrably restrained turns more in keeping with De Niro’s Frank persona.

While it’s clearly not on par with classic crime dramas, “The Alto Knights” has an ease of watchability that might make it worth seeking out later this year when the film is inevitably released onto the Max streaming service.