Rupert Friend and Ed Skrein are the other big names in this reboot of the venerable franchise. But ScarJo and Oscar winner Ali stand out. He could use a big pagday, I dare say.
Johannson? If this is the way she wants to go…
July 2, 2025. Yay.
Rupert Friend and Ed Skrein are the other big names in this reboot of the venerable franchise. But ScarJo and Oscar winner Ali stand out. He could use a big pagday, I dare say.
Johannson? If this is the way she wants to go…
July 2, 2025. Yay.
So this is a hard-R rated trailer for the kiddie cartoon hero Popeye the Sailor Man, a character that moved into the public domain — like Winnie the Pooh, et al — and is now up for grabs for a little silly exploitation film.
“Shiver Me Timbers” features “Popeye the Slayer Man” and was made by a bunch of folks who like splatter films, with a dash and sex and drugs. And don’t know how to pronounce “Halley’s Comet.”
Emily Bett Rickards (“Arrow”) stars as real-life wrestling pioneer Mildred Burke in this 1930s period piece, with Josh Lucas as the manager who believes in her and Francesca Eastwood, Walton Goggins and Tyler Posey in support.
This opens March 7. Looks plucky.
I was wondering my review of this taut, sinister Argentine thriller “4×4” was trending, four years after I wrote it.
And when the film came out, I wondered how long it would take for Hollywood to cast and remake this claustrophobic, paranoid jewel?
Bill Skarsgard plays the car thief enticed to break it or the wrong SUV. Anthony Hopkins provides the voice of The sadistic creep who wants to torture his burglar to death.
March 21, will Mister “It” escape from that super luxurious SUV?
I always liked the “Final Destination” movies, with their obsession with coincidence and “death’s grand design” that seals your fate, especially if you’re young and you’ve somehow dodged a bullet. Or fatal plane crash or lumber truck accident.
“Bloodlines” will try to tie a fresh collection of premature deaths to those who passed on past “Fina Destination” movies. Or so it seems.
May 16




“Cool” is the lifeblood of an indie thriller.
Park your tale in a novel “cool” setting. Serve up a “cool” heist/scheme/plot, preferably with epic brawls, chases or shootouts. Cast a cool heavy.
But even if you ignore or narrowly miss in securing every bit of cool cachet listed above, you’ve got to have a cool lead character and a star that pops off the screen.
“Jade” is a B-movie thriller built around British newcomer Shaina West. The plot is potboiler simple — rival gangs and rival cops and a stolen hard drive shoot and chase and kill each other in and around the mean streets of “The 505,” aka Albuquerque, New Mexico.
But West? She’s the real deal.
Our title character is five feet and four inches — not including the biggest Afro since Sly Stone — of muscle and attitude. “Jade” is a big-haired, halter-topped harpy with a convoluted back story parked in a convoluted present that she’s boiled down to the basics.
She’s got to keep herself alive in a tiff between “The Club” she once belonged to and its rivals. She’s hellbent on protecting Layla (Katherine McNamara), who is carrying the unborn child of Layla’s dead brother.
She’s going to have her revenge on anybody who interferes with her limited agenda or had anything to do with her brother’s death, even if she was the one who pulled the trigger back then, even if she “swore to never shoot another gun for as long as she’s living.”
And God help you if she gets her hands on a samurai sword.
Stunt players pepper the cast of heavies out to take down our heroine. They catch her and lose her, catch and lose her, catch and lose her and catch and lose her again. But director James Bamford, fight choreographer Daniel Joseph Rizzuto and West always always conjure up a way to get her out of those pull ties, off that chair she’s lashed to, punching and slashing through whatever mob minions escort her to “the basement” or “the meet” or wherever.
The cleverest/dumbest of these has to be her conning her way out of bondage via a game of “five finger fillet” with “discount Brad Pitt.”
She’s tortured, friends are tortured or taken hostage. And gangsters who tire of all the torturing just pull the trigger.
Mickey Rourke plays Tork, villain amongst villains and so strange looking at this stage of his post-boxing/post-botox/post-plastic surgery career that you kind of wish he’d limit himself to voicing villains in animation. Even Jade is moved to mock his rough impersonation of having “eyebrows.”
West shows us flashes of charisma and excellent fight choreography skills. She’s going to have to grow into finding and keeping her game face/panic face in a thriller where Jade never seems all that alarmed at her peril or concerned at her many injuries.
“WTF HAPPENED to you?”
“EVERYTHING!”
West is steady with a trash talk line, but undercut somewhat by a screenplay that doesn’t give her enough of them.
“Always bet on Black,” she cracks, quoting Wesley Snipes in “Passenger 57.” “I just always wanted to say that.”
None of the supporting characters is developed to any degree, and that adds to a feeling of confusion and “cheating” when this or that “twist” pops up. Bamford and his fellow screenwriters don’t set the stakes and the players playing for those stakes up well. At all.
But the gonzo fights that begin the moment Jade peels off her hoodie to show off her six-pack and her swordswomanship make this B-picture just cool enough to get by.
Rating: unrated, graphic violence, drug abuse, profanity
Cast: Mickey Rourke, Katherine McNamara, Mathew Yanagiya, Marcus Vincios Maciel, Mark Dacascos and “introducing Shaina West as Jade.”
Credits: Directed by James Bamford, scripted by Lynn Collier, Glenn Ennis and James Bamford. A Well Go USA release.
Running time: 1:29




“Green and Gold” is an homage to the “trouble on the farm” movies — “The River,” “Country,” “Places in the Heart” — that were a both a staple of the Reagan/Bush years, and largely a product of Reagan/Bush policies.
This one comes with a side order of football.
It’s a lightly immersive look at dairy farm life and the stresses that fell on family farms during that dozen years, but the film is somewhat over-ambitious as it lurches from crisis to crisis and Big Life Decision during the NFL fall and winter of ’93, when future welfare queen Brett Favre was gunslinging the Packers to an unlikely title run.
Craig T. Nelson stars as Buck, a Wisconsin small town farmer who still does some things the old fashioned way. He’s a caretaker of the land and how it’s used and protected. He’d love to pass the dairy farm on to granddaughter Jenny (Madison Lawlor of TV’s “Casa Grande”). But she’s “a lot like her (dead) mother,” a free spirit more into music and her musical muse, Joni Mitchell.
It’s why Jenny takes a potshot at the farm’s security (street) light every AM, “ruining the day” for one and all.
But overdue bank loans and the ever falling price of milk also hang over Buck and wife Margaret’s (Annabel Armour) dream of making this a fourth generation farm. Buck’s been “dealt the orange sticker of death,” one old timer’s (M. Emmett Walsh, in his final film) nickname for the foreclosure notice.
The second generation banker (Tim Frank) is more sentimental over his classic Camaro SS than he is over farmers who mortgaged and mortgaged themselves and couldn’t afford that last herd of Holsteins they bought.
Luckily, Buck and everybody else up there amongst the dairy farms and dells has a handy distraction. The Packers are stumbling their way through a long playoff drought. Buck has about as much chance of turning things around as the Pack, banker Jerry jokes. But “I’ll tell you what,” if they get to the Super Bowl, he’ll grant Buck a year’s grace to get back in the black.
Jenny can’t commit to this, because she’s just started gigging in” Brew Town.” And there’s this singer-songwriter (Brandon Sklenar of “It Ends with Us” and “Emily the Criminal”) who’s taken up residence at a nearby fishing cabin. Maybe if she bats her eyes he’ll give a listen to her forlorn prairie folk pop.
First-time feature director Anders Lindwal can’t keep this narrative from lurching back and forth even as he sets a fine, overcast and somewhat funereal tone for the proceedings. Scene after scene has Jenny (usually) sprinting into the frame to plead that something’s wrong with a heiffer giving birth/a neighbor who locked himself in a shed with a shotgun/somebody fell/somebody’s on the farm “taking pictures” for possible Big Ag buyers of “We do things the right way” small farms like Buck’s.
It wouldn’t be a “trouble on the farm” movie if somebody didn’t drive a tractor into town in protest.
There’s a tug of war over Jenny’s heart, the shy farmhand (Ashton Moio) who figures he has no shot with her after she meets the handsome singer/songwriter. Talk of “the artiste” going “going away to college” which grandpa dismisses with a “Redneck Tech” was good enough for him is just an excuse to ignore the movie’s possible resolutions to the dilemmas presented.
When everybody’s broke because of the same milk prices and other pressures as Buck, how are they supposed to help? Ideas and plot threads are whacked off just as arbitrarily as they are introduced.
Jenny’s music — Natalie Nicoles does the actual singing — is Lilith Fair pretty. Finding reasons it can’t be a “solution” takes some serious contortions of logic and common sense.
And the plot introduces a lot more issues and conflicts than it can neatly resolve with its fantasy finale.
The earnestness of this enterprise will be enough for some. But the script rubs all the edges off the real world conditions of that place at that time — I lived there then — rather like the way conservative virtue signaller Craig T. Nelson bitches about “government handouts” when he has admitted he took plenty. Not as many as Brett Favre, but still.
“Green and Gold” may have its heart in the right place, but that irregular heartbeat is something that should have been rewritten out of it.
Rating: unrated, PG worthy
Cast: Madison Lawlor, Craig T. Nelson, Annabel Armour, Tim Frank, Ashton Moio, M. Emmett Walsh and Brandon Sklenar
Credits: Directed by Anders Lindwal, scripted by Missi Mareau Garcia, Steven Shafer and Anders Lindwal. A Fathom Entertainment release.
Running time: 1:45
As this French Revolution tale stars Melanie Laurent and Guillaume Canet, one would hope an American distributor would jump on this title.
It’s finished its festival run and is about to hit French cinemas. Sooner or later, North America will get its drenching from “The Deluge.”
Low rent gangsters keep their feuds all in the family?
Ed Harris, Emanuela Postacchini and Lewis Pullman also star in this violent farce, which rolls out March 6.
Nothing like an upgrade, amIright?
The horror audience has been mostly AWOL for the past year. “Nosferatu” blew up, but “Presence” and “Companion” are far more indicative of the malaise that has set in with fans of that genre. Tepid turnouts.
Maybe a familiar face can remedy that.
June 27.