Nimrods

Director: Lee Kirk
Starring: Mason Thames, Kylr Coffman, Ryan Foust, Jenna Fischer, Mckenna Grace, Angela Kinsey, Keen Ruffalo, Ignacio Diaz-Silverino, Billie Joe Armstrong, Mike Dirnt, Tré Cool, Harper Marie Kirk, Fred Armisen, Bobby Lee, Sean Gunn, Jolene Blalock
Running Time: 107 min.
Rating: R

★★★ (out of ★★★★)    

Bands like Kiss and the Foo Fighters may have tried first, but it's still only natural Green Day gets a movie that revolves around their music, or rather the experience of being a fan of it. And if you can say anything about writer/director Lee Kirk's surprisingly enjoyable road trip comedy Nimrods, it's that it looks and feels as if it was made in the 90's, complete with an Empire Records-like vibe fans of this genre should appreciate. The only catch is its story doesn't actually take place during that period, but a sort of retro 2026. 

Of course, the biggest motivator for setting this in the present is to fit the full breadth of Green Day's decades spanning catalogue onto the soundtrack. So while it may have made more sense for this to be set in the mid to late 90's Dookie era, there's still a well intentioned effort from Kirk to recreate that through certain aesthetic and stylistic choices. The approach also earns high marks for not making everything "about" Green Day, despite the plot's inspiration coming from their early days traveling to gigs in a van. Or in this case, a stolen cab and broken down ice cream truck. 

It's December 20th and best friends Tommy (Mason Thames) and Fred (Kylr Coffman) ditch school before going on winter break, dedicating their free time to rehearsing with shy, sheltered drummer Chad (Ryan Foust) in their unfortunately named band, Analog Dogs. And though they dream of hitting it big like their idols Green Day, Tommy feuds with dismissive older brother Wayne (Keen Ruffalo) as mom Jodie (Jenna Fischer) continues to grieve the boys' late father. 

With Tommy and Fred desperate to see their favorite band in concert, Wayne and and his manic best friend Keith (Ignacio Diaz-Silverino) play a phone prank convincing them the Analog Dogs have been chosen to open for Green Day's New Year's Eve show in L.A based on a submitted demo. Believing this, Tommy, Fred and a reluctant Chad steal Wayne's car to get there, getting into numerous misadventures as Tommy bonds with free spirited rocker Olivia (Mckenna Grace) along the way. But the real challenge isn't just getting to the show, but also somehow proving they belong.  

That you'd swear these events don't take place now is one of the film's most endearing qualities, invoking a real throwback quality that pays homage to teen road trip comedies of a similar vein, especially since the plot's catalyst is a band whose music helped define its time. And given their continued longevity, an argument could easily be made for them being overdue for such a treatment. But the real stars are this ragtag group of likable burnouts who appear to have walked straight off the set of Freaks and Geeks.

The Black Phone's Thames is the most recognizable in the cast, effectively playing Tommy as the sympathetic protagonist and underdog dreamer of the group. Having lost a parent, all his focus shifts to Analog Dogs, often at the expense of school and an already strained, uncommunicative relationship with a hardly blameless older brother. Kylr Coffman's Fred provides most of the broadest comedy with such wide-eyed, inexplicable reactions to the chaos you'd assume he's just high all the time. So much so that when he actually does take shrooms in a memorably trippy sequence, you'll wonder how any of them can tell. 

Ryan Foust has maybe the strongest sub-plot as a petrified Chad, who's always on the verge of quitting, struggling to overcome the fear and insecurity instilled in him by a loony, overprotective mom (Jolene Blalock). As Olivia, Mckenna Grace is a delight, sharing effortless chemistry with Thames that suits the story and never seems forced. Ruffalo's turn as big brother Wayne peaks late but arrives at an interesting, affecting place after he and Keith decide to trail the guys out to L.A. 

Many of the jokes and gags land, whether it's an uncomfortably awkward stop at a biker bar or their stay in a roadside motel with a creepy manager (a hilarious Fred Armisen) who puts Norman Bates to shame. We're not given much of a read on Analog Dogs' talent aside from a couple of brief performances, but that hardly matters when Green Day's music does most of the heavy lifting. From Dookie to Insomniac to Warning and right through American Idiot and 21st Century Breakdown, it's a lot. And this isn't even including the unreleased live and exclusive tracks that fill out the rest of a soundtrack that climaxes with their biggest mainstream hit, and one befitting the film's conclusion.   

Using Green Day's songs as a storytelling anchor for these fictional characters we grow to care about was a smart way to approach this. And given the band's presence as credited producers and writers on the project, it's easy to believe they had some amount of creative sway in how this played out. The curiously backwards aging Billie Joe Armstrong, Tré Cool and Mike Dirnt all make brief, entirely functional appearances as themselves, ceding the spotlight to their fictional counterparts despite the wall-to-wall presence of their music. 

While the soundtrack could border on overkill for some and less might have amounted to more, Kirk earns an easy pass by doing his main job exceptionally well. Plus, it's just downright comical imagining anyone infuriated by too much Green Day given what they signed up for. So even if it's a stretch their shows would still attract an audience this young, the fun comes in entering an alternate present where that's entirely possible. You can tell it knows enough to put them at the center of their own universe, but with humility, which is all fans really want from a movie featuring their favorite band. And by wisely going a few steps further, Nimrods also reaches more casual viewers looking for their own nostalgia fix.    

The End of Oak Street

Director: David Robert Mitchell
Starring: Anne Hathway, Ewan McGregor, Maisy Stella, Christian Convery, Jordan Alexa Davis, P.J. Byrne, Hudson Meek, Anne Gee Byrd, Emily Kuroda
Running Time: 99 min.
Rating: PG-13

**This Review Contains Major Plot Spoilers**

★★★★ (out of ★★★★)

Despite a lackluster marketing campaign that attempted to sell the film as the latest Cloverfield or Jurassic Park installment, writer/director David Robert Mitchell's The End of Oak Street puts those comparisons to bed with one of the more intriguing sci-fi movies in recent memory. But while the link to 80's Spielberg is clear in terms of tone and setting, most of the similarities stop there, with Mitchell taking some wild swings even that legendary filmmaker wouldn't. And though its extraordinary events more directly resemble something from the mind of Stephen King or Rod Serling, the heart of those Amblin releases still beats inside it, most notably in the depiction of a fractured family tested by forces beyond their control. 

A gripping suburban drama, dark comedy, and ingeniously constructed time travel movie all rolled into one, it isn't exactly surprising that the creative force behind It Follows and the crazily ambitious Under The Silver Lake delivered it. This again finds Mitchell at the top of his game, making few compromises in the face of advertising that pitched the film going a safer, more predictable route better suited for mass consumption. But in giving us something that bares little resemblance to the empty spectacle those trailers implied, this instead strays further off course than anyone expected, its incredible effects matched only by the high quality of its storytelling.

It's July, 1982 and aspiring novelist Denise Platt (Anne Hathaway) continues to secretly work on a book about an unhappy housewife with a packed suitcase and fantasies about starting a new life. She lives with husband Greg (Ewan McGregor), kids Audrey (Maisy Stella) and Brian (Christian Convery) and their rambunctious dog Starbuck on Oak Street in the idyllic suburban Michigan town of Flowerville. As Greg lies about his pizza delivery side gig and secretly swigs liquor in the garage, Denise contemplates divorce, but attempts to hold this marriage together for the family's sake.

While Denise and Greg put on a happy face, the kids sense that tension, hoping their parents can somehow work things out. But just as a series of suspicious events start occurring on their block, a severe storm hits, causing a power outage and engulfing Oak Street in a mysterious bright light. The next morning the Platts awaken to discover their neighborhood transported into the middle of a prehistoric landscape with dinosaurs roaming the streets, attacking and killing nearly everyone in sight, forcing them to look find a way out as they fight for survival.  

Had the film been a suburban period piece focusing exclusively on the Platts, it would still be just as compelling a watch. And to a large degree, that's what we get since so much of the groundwork laid in the first act carries over, informing each successive development and the characters' actions throughout. This equally applies to its atmosphere, as the costuming, production design, Mike Gioulakis' atmospheric cinematography and Michael Giacchino's adventurously emotional score all bring nostalgic specificity to a Norman Rockwell-esque neighborhood enjoying its last day of normalcy. 

Though this takes place in '82, the year isn't explicitly stated or called attention to, initially causing us to speculate until a few key indicators gradually reveal the exact era. The machinations of their everyday life all feel authentically spot on, such as irritating neighbor Mel's (P.J. Byrne) complaints about their dog, Brian's attempts to evade a bully or his crush on Jeanette (Jordan Alexa Davis), a new girl who recently arrived from private school. But none of this is mere window dressing, as each of these subplots prove important later. 

Denise is really the head of this household, sick of Greg's indecisiveness and avoidance of anything that resembles a confrontation or serious discussion about their marriage. He wants her to cut him a break, fearing he'll have to come clean with the truth about his precarious employment situation. By the time the catastrophe arrives, it's already started before they realize it.  Since the clues are numerous enough for the Platts to quickly figure out what happened, this isn't a mystery, but that doesn't make dealing with the fallout any easier. Given the whole neighborhood's been sucked into a prehistoric wormhole, at some point they'll need to leave the confines of their now heavily boarded up house for food and supplies. Due to an unfortunate decision, that trek into the unknown happens sooner than planned.  

How Mitchell gradually reveals these dinosaurs and builds the tension is a stroke of genius, starting with unidentifiable sounds before moving to the rustling of bushes, human screams and the sight of a tail. Once we do actually see them, the family realizes driving out of town isn't an option and the carnage begins. The film's rated PG-13, if barely, straddling the R-rated line with gore and violence that doesn't look the slightest bit cartoonish, with dinosaurs biting off bloody limbs and picking at dead bodies. And with such a frighteningly believable depiction of these creatures, it won't be confused with the more accessible, audience-friendly Jurassic Park entries. But the real irony in that is how Industrial Light and Magic handled the VFX for both. The difference may as well be night and day. 

Smaller character driven moments are enhanced when the action accelerates, with Mitchell allowing for breathing room during extensive stretches when anticipation, anxiety and dread exceed the nightmare unfolding in front of them. There's a horror to the inconsistency, as different species of dinosaur lumber around every corner, some appearing more harmless than others, even if they're all dangerous, hungry and extremely protective of their territory. Since a wormhole brought the Platts there, it stands to reason that's also their path back, if they can find it and figure out what's waiting on the other side.

Extending an unprecedented winning streak of roles, Hathaway is exceptional as a wife and mother who's reached the end of her rope well before disaster strikes, holding this family together while tolerating an outwardly apathetic spouse. She's also able to flip the switch into badass mode when necessary, as Denise leads the charge and handles all the tough calls, many of which converge to take a toll in the last act, testing her in unimaginable ways. 

There's no telling how unlikable Greg could have been if a different actor played him given that McGregor actually garners a great deal of sympathy for a character whose early behavior displays signs of a self-centered loser. But he plays him as a work in progress you can't help but root for, ashamed of his faults and knowing he has to do better, even if this means just showing up. And when faced with their biggest challenge, he does just that. 

Denise and Greg present a united front the kids aren't buying, with Christian Convery and Maisy Stella's performances conveying it. They're not just appendages in the story, as both experience separate but overlapping adolescent dramas compounded by the shared fear of their parents' potential split, at least until the far worse possibility of losing both presents itself.

One of the more moving scenes in the film comes when Audrey leaves the house for the comfort of an empty car, blasting Steve Winwood's "Valerie" on the cassette player. It's a rare break from the surrounding chaos and the only moment of peace she's able to experience as the world collapses around her. It isn't long before they all realize much of what mattered yesterday now suddenly doesn't, even if certain things still seem more important than ever before.             

We have an idea of how this should end in our minds so when that car comes over the hill in the closing minutes, there's a cathartic release, soon interrupted by the realization that time travel always carries unforeseen consequences. Does changing the past eliminate the need to have gone back in the first place? And how would that affect everything and everyone around you? It's easy to miss a key clue in the final scene that only seems more darkly twisted with repeated viewings, necessitating an immediate rewatch after the credits roll.  

A sense of awe and wonder enhances a plot that isn't entirely defined by the carefully calculated dinosaur appearances, but a family stuck in a world no longer recognizable as their own. This pulse pounding scenario also happens to be a lot of fun, full of tiny moments and rewarding details that pay off in the end. It feels like the mind bending thriller we've waited for by being aware of the rules, but still willing to push the envelope as far as it can possibly go.                                     

One Night Only

Director: Will Gluck
Starring: Monica Barbaro, Callum Turner, Maya Hawke, Molly Ringwald, LeVar Burton, Julia Fox, Charlie Gillespie, Michelle Hurd, King Princess, Quintessa Swindell, Andrew Burnap, Mike Birbiglia, Okieriete Onaodowan, Ben Marshall, Nicholas Braun, Pete Davidson, Bobby Cannavale
Running Time: 102 min.
Rating: R

 

★★★ ½ (out of ★★★★)   

Just when you think you've seen everything in a romantic comedy, along comes One Night Only to flip the familiar on its head with a surprisingly clever and inspired premise. If When Harry Met Sally had a baby with The Purge, the result would likely resemble this, which is actually a huge compliment considering this isn't exactly in a genre associated with risk taking. Boasting a wildly ambitious sci-fi adjacent plot, it's easily director Will Gluck's best effort since his 2010 surprise hit Easy A helped make a star out of Emma Stone. And with more attention, it could have done the same for this lead actress, especially since so much of the film's charm rests on her ability to sell some tricky material. 

Walking a razor's edge between conventional Hollywood rom com and social commentary, Travis Braun's script utilizes that underappreciated device of having all the action take place over the course of a single night. Time's running out for two people who aren't necessarily forced into spending this dystopian holiday together, yet somehow do anyway. Under normal circumstances, it should feel contrived, but on this crazy night, all bets are off. In finding creative ways around them coming to their senses, this story successfully exploits an idea crazier than the implausible coincidences it creates. Basically, once you buy into the circumstances, the ensuing chaos suddenly becomes a lot easier to digest.  

In an alternate near future where premarital sex is outlawed by the government, single people are granted an annual one night exemption when they're legally allowed to do so. While pizza shop owner Owen (Callum Turner) intends to propose to quirky girlfriend Malika (Maya Hawke) and consummate their relationship, she'd rather sleep with their building's superintendent. Meanwhile, drug commercial jingle singer and hopeless romantic Allie (Monica Barbaro) hits the bars with best friend Jacinta (King Princess) hoping to find a real connection after a bad experience the prior year. 

When Owen and the barely dressed Allie realize their plans have fallen through, both frantically search the streets of a horny New York City for some action, repeatedly crossing paths. As each make awful choices and contend with a handful of weirdos, it's clear they're on "parallel tracks," with Allie doing everything she can to avoid acknowledging the obvious. The question is whether there's enough time left for them to get on the same page before that window closes and they face the prospect of another sexless year. 

Cutting back-and-forth between Owen and Allie as they separately prepare for a night that's already showing signs of disaster, we acclimate ourselves to an alternate version of society that doesn't seem too far off from our own. And though much of this might be driven by budget or necessity, it's one of the screenplay's stronger aspects, grounding a concept that could have easily come across as too gimmicky with a heavier hand. Save for banned premarital sex, the entire atmosphere is recognizably current, making for a timelier, relatable story that forces us to consider how this ban would play out if instituted tomorrow. 

While exemption night is an undeniable thrill for some and a trainwreck for others, it sure is interesting to see how the film conveys its consequences through a plethora of reoccurring details like designated wrist tattoos and parole violations. And this doesn't even account for the inherent dangers and overall skeeviness that accompanies a designated period of pure hedonism, causing far more problems than this totalitarian government claims the legalization of premarital sex would. This is heady stuff for a comedy, making it even more remarkable it's as funny as it is. 

You feel an immediate attachment to both characters since each are searching for something a little different, but not really. Owen's relationship just hit the skids and Allie's toiling away singing goofy commercial cover songs in a hilarious running gag that only gets funnier with each new tune. And if their initial encounter seems underwhelming, that's exactly the point, with us seeing as little potential in this pairing as they do. 

Allie and Owen try going their separate ways, but still intersect in a series of misadventures that find them battling over the last condom in NYC, inadvertently hooking up with criminals, crashing parties and getting hauled into the police station. One of the best sequences involves Allie getting hit on by a string of terrible guys hoping the desperation of exemption night is enough for them to get lucky. They may be right. Just not with her. 

Academy Award nominee Monica Barbaro delivers a superstar making turn as Allie that's sharp, witty and charismatic, unafraid of going to all the self effacing places that carry a classic R-rated rom-com. She's also great at physical comedy, accomplishing as much with her body and gestures as she does with the dialogue. And if that isn't enough, she manages to sing intentionally bad songs really well, hammering home Allie's hidden talent and lingering insecurities. 

Disarmingly likable leading man Callum Turner holds up his end as the persistent Owen by sharing magnetically natural chemistry with his co-star and eliciting sympathy for a decent, hardworking guy who can't seem to catch a break. Maya Hawke is perfect as wacky, self-centered girlfriend Malika while the ingenious casting of Molly Ringwald and the great LeVar Burton as Owen's ditzy mom and her eccentric boyfriend bring the laughs alongside a few other expertly placed cameos. 

Even after all this, Allie still can't see in Owen what's been staring her straight in the face the whole time. And just when we think that maybe she does, it could be too late.The clock's definitely ticking for these two, just not in the matter we think, as the film uses its high concept to explore an idea far simpler, but more profound, conveying how anyone's 12 hour pass is only as meaningless or meaningful as they choose to make it. To top it off Gluck also nails an authentically earned pizza shop conversation in the last act that represents the kind of honest scene most movies of this ilk get completely wrong.

It's a credit to the performances and this scenario that we still have doubts whether these characters will end up together, fully investing us on a level unusual for mainstream romantic comedies. But for mostly inexplicable reasons, critics and audiences gave the film a tough time, seemingly forgetting how often they've begged for something that breaks from the typical formula. This does, using a fresh concept to bring its mismatched pair together, but still daring to ask where they could possibly go from there. 

The Sheep Detectives

Director: Kyle Balda
Starring: Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Molly Gordon, Hong Chau, Emma Thompson, Kobna Holdbrook-Smith, Conleth Hill, Julia Louis-Dreyfus, Bryan Cranston, Chris O' Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Rhys Darby, Brett Goldstein, Laraine Newman
Running Time: 109 min.
Rating: PG

★★★★ (out of ★★★★)    

With The Sheep Detectives, director Kyle Balda somehow manages to make everything look and seem effortless when the feat he accomplishes is anything but. You might even argue it's the most difficult genre to execute well given how few family films respect the audience's intelligence to such an extent. Pulling off multiple tricks at once, it's a heartwarming comedy, an emotionally stirring adventure, a meticulously plotted murder mystery, and a deep meditation on grief and loss all wrapped into a heartwarming, easily accessible package. 

As evident from its title, it stars a herd of CGI sheep in an era where digitized animals have taken over the big screen, often in negative ways. But this is a delightful exception, not just due the high quality of those  effects, but  because it's a story too enchanting for viewers to dismiss. The most obvious comparison is 1995's Babe, that little masterpiece about a courageous pig that won over critics and audiences on its way to earning multiple Oscar nominations. And this shares many of its best qualities, with acting, set design, costuming and cinematography all working in lockstep to transport us to this whimsical world comfortably situated somewhere between fantasy and reality.

Shepherd George Hardy (Hugh Jackman) resides in the small English village of Denbrook where he tends to his flock of sheep, reading them mystery novels he assumes they'll never understand. Except all of them can, hanging on his every word while they analyze clues, narrow down the suspects and eagerly wait to hear him reveal the ending the next morning. But when George is shockingly discovered dead outside his trailer, they can't process it, believing it's only something that happens in books. 

The sheep deal with this terrible news the only way they know how to cope with unpleasant thoughts, collectively agreeing to forget what happened to spare themselves the pain, even if that means forgetting George. But their plan doesn't work so well once Denbrook's sole police officer, the bumbling Tim Derry (Nicholas Braun), arrives on the scene, followed closely behind by eager reporter Eric Matthews (Nicholas Galzatine), who suspects foul play. 

Concluding George was poisoned, Tim turns his attention to a growing list of suspects, including the late shepherd's daughter Rebecca Hempstead (Molly Gordon), who arrives from the U.S. flanked by her dad's snarky legal advisor Lydia (Emma Thompson). Meanwhile, the lambs decide to investigate on their own, with crime expert Lily (Julia Louis-Dreyfuss), wise ram Mopple (Chris O' Dowd), the fluffy Cloud (Regina Hall), distinguished Sir Richfield (Patrick Stewart) and loner Sebastian (Bryan Cranston) putting their heads together and discovering more than they ever counted on.

The multiple sides of George are revealed over the course of the picture, with most coming to light after his mysterious murder. Initially, we get the impression he's viewed by the townsfolk as a cranky, isolated curmudgeon, even as the reasons for his prickly personality start to make more sense over the course of the investigation. He also has a protective soft spot for his sheep, which is glaringly evident in the brief amount of time we're privy to their bond. It's far more than a job to him, with the charismatic Jackman leaving an unforgettable impression that hangs in the air long after his character's murder.  

George does have enemies, most notably neighbor and fellow shepherd Caleb (Tosin Cole), with whom he's seen arguing the night of his death. He also this complicated relationship with estranged, guilt ridden daughter Molly, who's returned to settle his affairs following the killing. As for the sheep, their biggest adversary are themselves, for as intelligent as they are, they're not exactly independent thinkers, being sheep and all. And that's the mindset they struggle to break free from this entire time, realizing they owe it to George to get to the bottom of this, no matter how horrible it makes them feel.  

Lily assumes her investigative skills and reasoning are enough to crack the case, but she still has a lot to learn, most notably from the stoic Sebastian. Rescued from carnival fighting by George, he has a wealth of wisdom to share, particularly as it relates to the flock's poor treatment of a baby Winter Lamb (Tommy Birchall) who's ostracized and belittled for being different.  Of the many successful sub-plots, this one's the very best, sneaking up on you as the innocent youngster's plight continuously builds, eventually reaching an emotional catharsis that soon becomes inseparable from the central mystery. 

Despite dealing with such heavy, relatable themes, Craig Mazin's script (based on Leonie Swann's 2005 German novel, Three Bags Full) effectively retains the film's light hearted touch throughout. Even when catching the culprit soon becomes secondary to these sheep facing the painfully harsh truth that they'll have to face their loss head on. 

Zaniness ensues when the action shifts from the pasture to town for the reading of George's will, with the sheep keeping their eyes and ears open as an overwhelmed Tim clumsily navigates his first ever murder investigation in this idyllic countryside town. But Nicholas Braun's quirky, physical performance as this incompetent cop with a crush on the main suspect evolves as Tim slowly gains confidence, at least when he's not being verbally eviscerated by Thompson's salty character. 

A bespeckled, nearly unrecognizable Nicholas Galitzine's supporting turn as this goofy reporter looking to prove his mettle as a journalist should make audiences forget all about Masters of the Universe, if they haven't already. Sent to Denbrook to cover what ends up being a hilariously small "cultural festival," his Eric unexpectedly stumbles into an a far more intriguing story. 

In a lineup of colorful suspects who include innkeeper Beth (Hong Chau), the town's Reverend Hillcoate (Kobna Holbrook-Smith) and local butcher Ham (Conleth Hill), Rebecca tops the list due to her impending inheritance, Endearingly played by Molly Gordon as the likable girl-next-door, we don't want to believe she's guilty any more than Tim does, even when the evidence says otherwise. Regardless of screen time, all these characters are wonderfully sketched out, which goes double for the sheep who start causing a real ruckus the more directly involved in the case they become.  

Knives Out meets Paddington as Balda juggles all these seemingly disparate elements, culminating in a Columbo-inspired resolution straightforward enough for viewers not to notice amidst all the cleverly placed distractions. Invoking laughter and tears, it it ends on the perfect note, signing off with a moving final scene that sees a new book open, reinforcing how bad memories tend to make the good ones resonate even more.                                                 

Scary Movie (2026)

Director: Michael Tiddes
Starring: Marlon Wayans, Shawn Wayans, Anna Faris, Regina Hall, Kenan Thompson, Dave Sheridan, Lochlyn Monro, Kim Wayans, Cheri Oteri, Chris Elliott, Damon Wayans Jr., Heidi Gardner, Olivia Rose Keegan, Cameron Scott Roberts, Savannah Lee Nassif, Sydney Park, Gregg Wayans, Benny Zielke, Ruby Snowber, Jon Abrahams, Deon Cole, Carmen Electra, Teyana Taylor, Kai Senet, Anthony Anderson, Shaquille O' Neal 
Running Time: 96 min.
Rating: R

★★½ (out of ★★★★) 

At least on paper, rebooting or requeling the Scary Movie franchise a little over a decade since its last installment isn't the worst idea in the world, especially given how many new horror films seem ripe for parody. And while there's minimal nostalgia to be found in reuniting a cast that starred in half a dozen of these already, the Wayans brothers do make good on their promise to temporarily resurrect the politically incorrect comedy with this entry. So regardless of how many jokes land or flop, they can't be accused of playing it safe. 

The real problem is that it's sort of a mess, with randomly inserted and characters whose actions inconsistently waver depending on how ridiculous the story needs to be at any given moment. But that's almost a silly complaint to lodge against a franchise that's always been about getting to the next gag at any expense, including quality. They're just especially blatant about it this time, with parodies flying at us a mile a minute as it spoofs every popular horror movie of the past five years and skewers a variety of hot button social issues. 

Now a paranoid recluse and alcoholic, Cindy Campbell (Anna Faris) is estranged from her two daughters when the youngest, Tuesday (Savannah Lee Nassif) is attacked by a recently resurfaced Ghostface killer.  Older sister Sara (Olivia Rose Keegan) and her boyfriend Jack (Cameron Scott Roberts) try to narrow down the suspects, getting help from Brenda's (Regina Hall) kids Brad (Gregg Wayans) and Dei (Sydney Park), Brad's girlfriend Elle (Ruby Snowber) and Sheriff Phillippe's (Lochlyn Monro) transgender son Jess (Benny Zielke). 

While at odds with pill popping daughter Sara, Cindy reunites with Brenda and Shorty (Marlon Wayans), convinced Ghostface is back to kill off the original legacy characters. And as the religious, churchgoing Brenda deals with husband Gay Ray's (Shawn Wayans) ambivalence about his homosexuality, original Ghostface and mentally challenged former deputy Doofy Gilmore (Dave Sheridan) reemerges, aiding Sara and the gang. But with the body count rapidly rising, everyone's a suspect.

What's most noticeable is how determined the Wayans are to go to those uncomfortable places that permeated the 2000's era spoof films, challenging the notion it still can't be done today. And it's a relief they're fully committed to the offensiveness considering this material is so wildly uneven that holding back would really sink it.  

The opening scene featuring Teyana Taylor as "herself" in the franchise's meta movie within a movie spoof immediately quells concerns, providing enough laughs to wish they'd continue along this trajectory. But as quickly as this occurs, the action immediately shifts to the actual story, with a plot that shares an outline with the latest batch of Scream sequels, right down to the terrorized sisters and suspicious boyfriend. 

Of course, all of this highlights the challenge of basing an entire series of films on spoofing an existing horror franchise that's already a self-referential parody of its own. As usual, the Wayans solve this problem by sending up everything else, whether it's Sinners, Smile, Weapons, Get Out, Terrifier, M3GAN, Longlegs, Wednesday, K-Pop Demon Hunters, The Substance and even Michael. The Substance spoof featuring a returning Cheri Oteri as the Courtney Cox-inspired reporter Gail Hailstorm is probably the funniest while multiple, oddly placed jabs at Sinners bomb, especially a lengthy church "conversion" scene with Gay Ray that overstays its welcome. 

Ironically, the film does best when tackling the riskiest material, such as the sheriff's interactions with trans son Jess, COVID or a train scene centered around the nonbinary, not so subtly named Dei's obsession with pronouns. It's when the plot has to move forward that this stalls, but that's nothing new for the franchise. Anyone labeling it a huge step down from the others or an affront to cinema may want to rewatch those to remind themselves how bad these can get. Or maybe not.

A returning Faris enters her grizzled Jamie Lee Curtis phase from the most recent Halloween trilogy, putting her own comedic spin on the drunk, mentally unstable, gun toting survivalist driven to insanity from the previous films' events. If there's a Final Girl, it's Sara, who Olivia Rose Keegan plays as over-the-top and in-your-face as possible, recognizing that the most appropriate performance in a Scary Movie sequel is always an intentionally bad one. Marlon Wayans takes a page out of that book as permanently baked high school student Shorty while Dave Sheridan's Doofy reverts to his original "special needs" incarnation, stepping back into his uniform as if it were yesterday.

Stumbling from one Ghostface scenario to the next with hardly a plot to speak of, director Michael Tiddes throws jokes at the wall to see what sticks. Probability dictates a bunch will, even as others fall flat in the span of a 96 minute running time that feels just a bit longer. The parodies that do hit tend to hit hard, and if they weren't directly followed by awkward character moments that slow the momentum, this could have been something. But by its end, the Wayans brothers seem just as bored seeing the legacy characters interact with these new faces as we are. And if that's the biggest takeaway, they might have a better understanding of this franchise than we thought.                                                            

Disclosure Day

Director: Steven Spielberg
Starring: Emily Blunt, Josh O' Connor, Colin Firth, Eve Hewson, Colman Domingo, Wyatt Russell, Henry Lloyd-Hughes, Elizabeth Marvel, Hettienne Park, Tommy Matinez, Gabby Beans, Jeremy Shamos, Brandon Wilson Courtney Grace 
Running Time: 145 min.
Rating: PG-13

 

★★★ ½ (out of ★★★★)  

A sense of excitement surrounded the news that Steven Spielberg's sci-fi thriller Disclosure Day would find the legendary director returning to the genre where he experienced some of his greatest success. And while the filmmaker who helmed so many cultural touchstones has grown older and more experienced, he's continued to show flashes of greatness in adapting to the times. Still, no one can be blamed for entering this with lowered expectations, as its title and trailers suggested something closer to a reboot of M. Night Shayamalan's Signs, complete with matching crop circles. 

Understandably choosier about the projects he takes on, we should know by now not to underestimate Spielberg, who wouldn't put his weight behind a premise done to death by Hollywood unless it's something's special. And David Koepp's script is, resulting in an intelligent, visually gripping spectacle far superior to what its advertising implied. Frenetically paced and spectacularly shot, this doesn't let up for a minute, trusting viewers to keep up as it builds to an emotional, thought provoking climax.   

With countries hovering on the brink of World War III, U.S. cybersecurity specialist Daniel Kellner (Josh O' Connor) has stolen classified information from his employer, the government contracted Wardex Corporation. Now in possession of a mysterious extraterrestrial artifact and a hard drive containing proof of alien life dating back to Roswell, he's a hunted man. Evading the company's CEO Noah Scanlon (Colin Firth), he flees with girlfriend Jane Blankenship (Eve Hewson) while maintaining communication with disillusioned Wardex co-worker Hugo Wakefield (Colman Domingo). Having assembled his secret team at an undisclosed location, Hugo's already set in motion a plan to reveal the truth to the world.

Meanwhile in Kansas City, local meteorologist Margaret Fairchild (Emily Blunt) alarms musician boyfriend Jackson (Wyatt Russell) with her increasingly odd, erratic behavior. Speaking in foreign languages she shouldn't know and suddenly displaying psychic abilities, things only get stranger when she delivers an incomprehensible weather report on KCXE's newscast that quickly goes viral. Now under siege from Wardex agents who recognize her extraterrestrial language, she hits the road to find Daniel, with whom she shares an inexplicable bond. Together they'll try to unlock their repressed memories and expose this cover up to the world, unless Scanlon gets to them first.                

The story's well underway by its opening scene, posing more questions than answers when Daniel's seemingly held hostage by Wardex agents. He's clearly in possession of something Scanlon wants and the fact these characters are already way ahead of us makes for an exciting dynamic that quickly piques our interest. And though Daniel and Jane each know considerably less about each other than they originally assumed, he still holds most of the secrets, remaining committed to seeing this through with Hugo's help.

Spielberg's biggest surprise is that the whole film feels like two extended, action packed road trips with protagonists barely given enough time to process the enormity of what's happening. Like Daniel, Blunt's Margaret is a target, but must also grapple with psychic powers she doesn't appear to fully comprehend, at least not yet. While Hugo knows it's imperative she and Daniel unite in publicly disclosing the contents of the Archive, the consequences and specifics come later. Just not before some awe inspiring chase scenes set at a barn house and on a speeding train. 

That Firth's Scanlon isn't your typical one dimensional villain can be credited to both Koepp's screenplay and the actor's turn as a man broken enough to convince himself he's right. Even if Scanlon brings up valid points about the public's potential response to this info, the root of his concern stems from a monetary desire to maintain power and control following a deeply personal loss. As a former nun, Jane's worries are largely rooted in moral and religious fears, making for an intriguing clash when Scanlon uses the extraterrestrial artifact to telepathically infiltrate her consciousness. But this device isn't just a clever narrative tool, as it causes nearly as much physical and emotional distress to its user as their intended target.

O' Connor is engagingly effective as this whistleblower sure in his beliefs, if a little fuzzy on how he'll pull it all off. Blunt's given a lot more to juggle as Margaret, a TV personality whose newfound abilities turn her world upside down, affecting everyone she encounters. The whole performance plays like an outer body experience as the actress simultaneously conveys the fear and confusion accompanying such a bizarre phenomenon. But her work really kicks into high gear once Margaret gets a handle on her powers and embraces what they'll eventually come to mean in a larger sense. 

Domingo's part is pivotal, with Hugo's knowledge carrying a certain air of mystery as we speculate why he's guiding Daniel from what looks like the confines of a giant stage set. Ultimately though, his goal is to facilitate Daniel and Margaret's connection, which receded into their subconsciousness long ago. This retrieval process leads to the film's most divisive section, featuring childhood flashbacks shot by cinematographer Janusz Kamiński in a style that visually resembles a Thomas Kincaid painting.

A lack of full disclosure in a film titled Disclosure Day would be the ultimate bait and switch, and while we do know where that'll occur, it's all about the "how," especially when the struggle to expose the truth becomes a race against time. The final act is surprisingly powerful, not only due to the unearthed footage that raises the film's believability quotient or even John Williams' quietly stirring score, but one unforgettable performance. It comes from relatively unknown actress and former real life TV reporter Courtney Grace, who's tasked with the herculean feat of delivering this live breaking news. With astonishingly authentic facial reactions and delivery, her unnamed NBC anchorwoman becomes the world's eyes and ears, lifting the conclusion to a place we didn't think it could possibly reach.

Easily one of Spielberg's better recent efforts, this is a worthy entry in his rich sci-fi catalogue, earning thematic comparisons to Minority Report, and more directly, Close Encounters of the Third Kind. After an opening that might have audiences scratching their heads, the ideas gradually grow as we're taken on a wild ride with two intrinsically linked characters who spend the majority of the picture on separate but interwoven quests.  

Spielberg proves less interested in the existence of extraterrestrial life than what our collective reaction says about us as a species. The idea we're not alone definitely isn't new, but this posits a gripping dramatization of what happens when conspiracy meets reality. Rather than focusing on the aliens and their intentions, he takes a riskier, less traveled route by questioning whether we'd ever have enough empathy, faith and understanding to accept them.   

The Invite

Director: Olivia Wilde
Starring: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton
Running Time: 107 min.
Rating: R

★★★ (out of ★★★★)  

Of the three films Olivia Wilde has directed, The Invite feels like a breakthrough of sorts, especially for those previously unconvinced of her skills behind the camera. But if that's not enough, we're also reminded here just how engaging an actress she is, directing herself to one of her best performances. So even those joking that she didn't have a high bar to clear after Don't Worry Darling would find it difficult to deny this tidy, low budget sleeper took serious skill to make, especially given its challenging setup. 

It's easy to imagine another filmmaker failing to navigate all the tonal shifts present in Will McCormack and Rashida Jones' witty, thought provoking script, but Wilde manages it, keeping viewers anxiously hooked on the psychology of these characters for the duration of its running time. Though it starts with an invitation, the film's title comes to have another meaning as signals get crossed, lies and jokes are told, weed is smoked and arguments break out at a moment's notice between two couples with very different expectations about how the night will play out.       

Failed San Fransisco musician Joe (Seth Rogen) works as a jazz band teacher at a local school, coming home late to discover his wife Angela (Wilde) has invited upstairs neighbors Piña (Penelope Cruz) and Hawk (Edward Norton) over for dinner at their apartment. While the plans were supposedly ironed out a while ago, a tired, cranky Joe demands Angela reschedule as she frantically puts the finishing touches on the meal, spawning a heated argument. 

When Piña and Hawk arrive, awkward small talk leads to uncomfortable tension as the couples feel each other out. With a panicked Angela doing her best to impress their guests, an unfiltered Joe shares exactly what's on his mind, no matter how rude or inappropriate. But with Piña and Hawk indicating they came for reasons unrelated to dinner, an oblivious Angela and Joe prove too busy arguing to take the hint. By now, their marriage has deteriorated to the point that even this welcome jolt of excitement from their neighbors may not be enough to repair the damage they've already inflicted on each other. 

From the minute an aching Joe struggles to fit his folding bicycle through the door, he and Angela's bickering begins. Whether it's about him removing his shoes before entering, their shortage of wine or his plans to devour the "twenty pounds" of cheese intended for their guests, everything's a potential screaming match. As a desperate Angela stresses about winning over the neighbors, she soon finds herself in the throes of a full-blown panic attack, only made worse by Joe's sarcastic, passive aggressive insults. 

Joe's a self-loathing complainer while Angela's wound way too tightly, on pins and needles worrying what her husband will say or do next. She's also given him instructions not to mention a specific complaint he has that could trigger a conflict with the guests. So of course Joe taunts her with that, at least until it's finally brought out into the open. His "complaint" really cuts to the crux of the film as the neighbors' true intentions are hilariously revealed, establishing this visit as more than just a friendly get together. 

While it's hardly a shock to anyone watching that Piña and Hawk are propositioning them for a four-way, Angela and Joe's befuddled reactions provide the real pay off. Capturing Angela's long brewing unhappiness with a marriage on life support, Wilde's never played such a hyper sensitive, insecure people pleaser, while a perfectly cast Rogen buries Joe's pain and regret behind a facade of self deprecating humor. They're also convincing enough as quarreling spouses that we buy them as once happy and in love, the fleeting glimpses of which are seen in a hazy opening flashback. 

Cruz and Norton are outstanding as these dinner guests who aren't nearly as perfect or normal as Angela's convinced herself. Cruz flies delightfully off the rails as the feisty sex therapist and a brilliantly eccentric Norton plays straight man to all the histrionics, complete with a self imposed character nickname that carries an odd origin story of its own. And if Angela and Joe's bumbling antics, constant fighting and ability to squander this proposal isn't enough to convince them of their incompatibility, it's possible these outsiders can.    

Eventually, Angela and Joe wake up to how bad it's gotten and realize there's probably more than enough blame to go around. They seem down for the count, if not for a tiny glimmer of hope suggesting their marriage isn't quite as doomed as it appears. But if that's true, the road back might require more work than either are willing to put in. 

It's somewhat cheap even mentioning Wilde's last directorial effort, but also necessary, highlighting how far she's come in the span of a single film. Even if Darling wasn't the creative catastrophe it's been painted as, it's still strangely impersonal, with fascinatingly weird elements that seem assembled by committee. Despite this looking visually indistinguishable from other similarly themed indies, it's at least the work of a filmmaker with a voice, capably juggling this four person entanglement within the confines of a single location. 

The Invite almost feels like the kind of twisted relationship comedy Woody Allen would have taken a stab at decades ago, and not just due to the presence of Rogen as leading man and a closing dedication to the late Diane Keaton. At first, its premise doesn't seem like much, but once the performances gather steam and Wilde gradually peels back its layers, there's real depth and unexpected tension bubbling just below the surface.