Movie Preview: Veronica Cartwright’s new nurse learns her house is haunted — “The Ruse”

Kinda creepy looking?

This comes out May 16.

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Movie Review: “Another Simple Favor” lapses into Long, Laughable and Ludicrous

Whatever dangerous edge 2018’s “A Simple Favor” had is giddily tossed aside for “Another Simple Favor,” a goofy acceptance that bringing these two ladies back for another round of cat lioness and mouse games was never going to be “logical.”

The killer thriller about the mysterious, rich and beautiful changeling Emily (Blake Lively) and her envious, admiring and gullible new “friend” Stephanie (Anna Kendrick) morphs into a farce about an absurd “reunion” arranged by the acquisative social-climber/killer Stephanie outed, outsmarted and put in prison in the first film.

“Another” is a jokey, wisecracking comedy with just the occasional murder, a movie of “true crime” podcasts, a best-seller that isn’t and endless extravagant costume changes — Blake Lively’s “brand” — set against the glories of the gorgeous Italian island of Capri.

Ah, what the hell? It’s almost summer, right? Here’s your “beach read” movie of the season, served up on Amazon because who’d have the patience to sit through this in a multiplex?

A couple of credited screenwriters and our stars keep the banter slicing and sassy and “Simple Favor/Bridesmaids” director Paul Feig guides us from laughs to laughable to ludricrously long in a dramedy that outstays its welcome, and then some.

Single-mom Stephanie got a popular podcast and a book out of that near-death experience with Emily. But when we catch up with her, the book-tour is almost-going-bust. A public reading and book-signing is the perfect place for the woman she knew as “Emily,” but whose real name was “Hope,” a cunning, marry-for-money black widow with a twin named “Faith,” to show up.

“Prison?” Her latest sugar daddy got her out. Hard feelings? Nooo. Not even about the book.

“I feel like you left out all the good parts!”

A little zippy and very public repartee, with a few f-bombs and c-words thrown in because that’s as “edgy” as this mess gets, and Stephanie agrees to be maid of honor for “the woman who tried to murder you.”

One crowded private jet flight to Capri later, Stephanie realizes Emily’s marrying not just Dante (Michele Morrone) and not just money, but into the mob. And with a rival mob in the ceremony, along with a venomous mother of the groom (Elena Sofia Ricci), the ex (Henry Golding) Emily/Hope tried to kill as a drunken, embittered wedding guest, a hapless FBI agent (Taylor Ortega) and the mad mother (Elizabeth Perkins) and sketchy aunt (Allison Janney) of the bride in attendance, things are pretty much guaranteed to turn messy and even bloody.

The comedy is supposed to spin out of a lot of situations and characters, but mainly plucky little Anna Kendrick’s playing of a mousy fish out of water, casually insulted by the insensate rich, under suspicion by many as Emily’s “stalker” and a murder suspect in her own right.

“Crime’s your kink!”

Not to worry. These are the ITALIAN police we’re talking about here.

But Kendrick can land only so many zingers on her own, and while supporting players Janney, Perkins and Alex Newell (playing Stephanie’s literary agent) grasp for giggles, they evaporate like bubbles in wine that’s rapidly going flat.

The picture devolves into random rants, a masturbatory murder in a shower and scene after scene after scene of gorgeous Blake Lively swanning around in the gorgeous costumes of Renee Ehrlich Kalfus.

And whatever interest — and laughs (those HATS) — that holds isn’t enough to distract us from guessing plot twists a dozen scenes in advance or from giggling at how Feig and screenwriters Jessica Sharzer and Laeta Kalogridis stumble through a “How do we END this mess?” debate, one which Feig clumsily slaps on the screen without bothering to edit.

Rating: R, violence, some nudity, almost constant profanity

Cast: Blake Lively, Anna Kendrick, Alex Newell, Michele Morrone, Taylor Ortega, Lorenzo de Moor,
Elena Sofia Ricci, Allison Janney and Henry Golding.

Credits: Directed by Paul Feig, scripted by Jessica Sharzer and Laeta Kalogridis, based on characters created by Darcey Bell. A Lionsgate/MGM release on Amazon Prime.

Running time: 2:02

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BOX OFFICE: “Thunderbolts*” lose half their spark, “Sinners” strong, “Shadow Force” ghosts in, “Juliet” left hanging

Marvel’s “Thunderbolts*” will own the box office until “Mission: Impossible” and “Lilo & Stitch” return. So this patchwork comic book action had better make hay while the sun shines.

“Thunderbolts*” opened at an underwhelming (for a Marvel movie) $74 million last weekend, and didn’t clear the $100 million mark in its first week.

With no significant competition other than the enduring “Sinners” and “Minecraft” phenomena, it should lose only 50% this weekend,. Friday’s and Saturday’s numbers point to a $33 million weekend, The Numbers confirms. That’s a 55% fall-off, which considering it didn’t have an epic (for May) opening weekend, is nothing to swoon over.

“Sinners” is maintaining its audience share better than any spring movie in recent memory, adding another $21 million, hurdling past the $200 million mark with lots of room to spare.

“A Minecraft Movie” is falling off to an $8 million weekend, with more than $400 million in the box office bank already, just in North America.

“The Accountant 2” is hanging in the top five for another week, clearing over $6.

IFC’s well-received title-says-it-all horror outing “Clown in the Cornfield” is underwhelming its way to a $3.8 million opening in fairly wide release. It had looked to open even worse ($3), so that’s a “win.”

Lionsgate paired up Kerry Washington, whose real stardom is on TV these days, with Omar Sy (“The Intouchables,” “Jurassic World”) for the actioner “Shadow Force,” and roll it out way to the sound of crickets. Maybe a $2 million opening, if Sunday holds true to form.

And tiny distributor Vertical took a chance with a wide release of a Josh Hartnett villainous turn actioner “Fight or Flight.” “Flight” is a pun title for an aviation thriller. And it’s an accurate description of the audience, which isn’t showing up. A $2 million take just behind with “Shadow Force” is the way things played out.

Briarcliff’s Rebel Wilson rom-com “Juliet & Romeo” isn’t making a ripple in wide release. It’s in 1350 theaters and may clear $350K, based on Thursday night/Friday’s take. That’s a bomb.

Not a lot “new” to get most of us up and out to movies, I have to confess.

But all in all, it’s a bad-not-terrible-weekend for cinema chains and the studios that under-supply them. They’re still praying for Tom Cruise and Disney to save the summer May 23.

Because a new “Final Destination” movie and a Jenna Ortega star vehicle “Hurry Up Tomorrow” next weekend won’t do enough make May a “merry month.”

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Movie preview: An Artist Flees an Unhappy Home for the Big City — with her Pet Flying Squirrel — “Bound”

This drama is a “festival darling”  that Freestyle picked up for wide release May 16.

Another shot in the culture wars? Looks intriguing.

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Series Review: Ewan and Charley are Back in the (Motorcycle) Saddle for the “Long Way Home”

One of the distinct pleasures of the streaming TV era is renewed every time old friends Ewan McGregor and Charley Boorman mount up for another epic motorcycling trek in their “Long Way” series.

The latest, “Long Way Home,” plays up their easygoing rapport and personal charm as they travel from Scotland through the Netherlands, into Scandinavia, above the Arctic Circle, and back down via the Baltic states — 17 countries “in our own backyard.”

McGregor, who just turned 54, and Boorman (59 in August) started doing these shows twenty years ago. They’re older and give themselves less of an exploring “challenge” than they did on the arduous and epic “Long Way Round,” in which they motorcycled around the world, through Europe, Siberia and Mongolia and North America, “Long Way Down,” where they ventured south through the Middle East and Africa to South Africa, or “Long Way Up,” where they rode electric motorcycles up to LA from Tierra del Fuego at the bottom of the Americas.

Boorman, an actor and the son of the famous filmmaker John Boorman (“Excalibur,” “Deliverance”), is the more avid biker and the one with many more awful crashes under his belt, and the stitches and metal reinforcements in his busted bones to prove it.

McGregor’s film and series TV career has made him a familiar face around the world squeezes in these jaunts between bigs. You have to wonder what sort of insurance he carries.

Here, the idea is that the two fiftysomethings will ride “tempermental” 50 year-old bikes — McGregor’s vintage Moto Guzzi Eldorado California Highway Patrol cruiser, and Boorman’s more practical (lighter, higher ground clearance) BMW R75/5.

The “Long Way” series is more of a travelogue than any of the similiar “Top Gear/Grand Tour” treks as these two actually meet people, tap into local customs, brush off fame — “You’re in movies, no?” — and cheerfully camp and bike over some of the most striking scenery on Earth.

“Long Way Home” has them camping beside a Dutch windmill, visiting a 900 year-old Viking church, ax-throwing, stripping for a seriously “traditional” Swedish sauna, freezing their bums off in June snow-flurries in “awe” inspiring  Norway, flying up to Svalbard Island, motoring through Finland into Estonia before making their way to France and “home.”

They crack up and crack each other up along the way — “Tick check!” — roughing it and falling over and poking fun like the two old mates that they must be.

“What a strange couple of guys we are,” they say. But not really. They’re just blokes, pals, mates — actors, one more privileged than the other, more “collectors” and “enthusiasts” than guys who can do all their own repairs.

But a few bent frame parts is how they get help from Malmo, Sweden’s “Odd Luck Garage” bikers’ club. Checking out Scandinavian seaweed cuisine is how they meet a couple of traveling musicians busking and gigging around Europe, with McGregor breaking out the ukulele for a little song himself.

They make sure to stop in Copenhagen to visit the world’s largest nonprofit NGO warehouse, a gigantic UNICEF facility (McGregor and Boorman are both celebrity ambassadors for UNICEF), a little righteous plug of the sort you won’t see on those other road trip series.

They pause to chat up Hugo, a Swedish lad of 17 with a low-rider Volvo wagon that’s “learner’s permit” limited to 30km per hour, try a little “day drinking” with jolly German shooting club members, take dips in the Baltic and see the best scenery in Denmark and many of the other places they visit, driving hairpin-turn roads through all sorts of weather.

Every now and then, we get to be impressed by the Rivian electric trucks (barely mentioned in this series, perhaps there was no endorsement deal) that they’ve used as support vehicles since “Long Way Up.” Much of the world learned about Rivians through their “Long Way” exploits.

The production values on these shows has grown more polished over the years, with lots of drone shots peppering this one as they roll up on some guys filming a flight-suit stunt off the walls of a fjord or head farthest north to Spitzbergen, island of “Ice, Snow and Bears.”

There’s little drama — no hint of McGregor’s messy personal life as the shows rattled through a messy divorce — and no “staged” crises juice up the narrative. There’s a sense of leisure in these programs, allowing more immersion in this experience.

And there’s a sentimentality about how these two have stayed close and stayed on bikes as they did. The last couple of series have shared a sort of finality, as if the unspoken “We’re getting too old for this” is a big reason for take off a couple of months for one more (less grueling) 7500 mile ride.

Snippets of their earlier adventures are edited in as Boorman and McGregor reminisce over this magical or comical moment or that past test of man and machine.

“Long Way Home” may let us hope they haven’t read the end of their “road” together. But it may be coming on the time when one or both is ready to switch to from two wheels to three.

Rating: TV-PG, a touch of nudity

Cast: Ewan McGregor, Charley Boorman, David Alexanian, Russ Malkin and Mary Elizabeth Winstead

Credits: Directed by David Alexanian and Russ Malkin. An Apple TV+ release.

Running time: 10 episodes, @:37-:50 minutes each

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Movie Preview: Stephen King serves up horror with fascist overtones — “The Long Walk”

Garrett Waering, Charlie Plummer, David Jonsson, Roman Griffin Davis and Ben Wang are among the younger stars of this “Hunger Games: Walk Until You Die” compeition, and Judy Greer, Mark Hamill and Michael Ironside are also in the cast.

Sept 12, only in theaters.

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Movie Preview: Judo, sexism and Iranian theocracy collide on and off the mat — “Tatami”

The co-directors are the star of “Holy Spider” and the direct of “Skin.”

And their star is most famous for the most recent incarnation of “The L Word.”

In theaters June 13.

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Movie Preview: “Gabby’s Dollhouse: The Movie,” animates TV toy kitties in San Fran, chased by Kristen Wiig

Laila Lockhart Kraner is Gabby, in case you didn’t know. Gloria Estefan plays her San Fran granny.

Wiig going full Cruella? I could totally see that. Sept. 26

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Netflixable? “Lost Bullet” to “Last Bullet” — a Cars-and-Chaos Franchise Ends

The “Lost Bullet” cops and smugglers franchise, France’s answer to “The Fast and the Furious” films, goes out with fireworks — literally — with “Last Bullet,” a furious and somewhat futile attempt to wrap up all the complications and traffic pileups of the first two films of this trilogy.

It’s hard to keep all the compromised cops, dirty cops, love interests, villains and intrepid survivors of “The Brigade” that set out to crack a Spain-to-France “Go Fast” bikes smuggling ring straight. So in the name of all that’s holy, don’t skip the “summary” Netflix offers as a teaser to this big budget/big effects/big stunts finale.

The first film had an “Oh hell YEAH” attitude — all stunts and chases and fights and action. The second film set out to top the first, furthering the story of an undercover operation gone awry. Piling on plot and killing off characters didn’t do it any favors, but DAMN those chases/that action.

For “Last Bullet,” director and co-writer Guillaume Pierret delivers some of the most expensive and spectacular stunts in recent French film history, which occur in three epic chases involving cars, motorcycles, a helicopter,a semi, assorted Renaults, Peugeots and Mercedes, an armed towtruck and a Brabus customized armor-plated G-wagon.

But the best sequence starts with a three-way throw-down on a Montpellier transit tram.

Our crooked cop-turned-cop killer on the lam Areski (Nicolas Duvauchelle) opens the picture with a couple of hair-raising escapes from assassination in the forests of Germany. Give this guy a motorbike and he’s as good as gone. Give him a chance in a fight and you’re as good as dead.

He flees back to France with ill-gotten cash.

Crooked narcotics bureau honcho Resz (Gérard Lanvin) swaps the captured Alvaro (Diego Martín) for the thief coerced into being a mole inside the smugglers’ gang Lino (Alban Lenoir), who has been imprisoned in Spain.

He lets Lino go? Go figure. This sort of thing happens a lot in this sequel.

Resz keeps his battle scarred dirty cop/fixer Yuri (Quentin D’Hainaut) around to tidy up messes involving Lino, Areski and that bag Areski has with him.

That’s what puts Lino, Areski and Yuri together on that tram. Their throw-down is a fight for the ages, with each using the other two in tag team configuration, or as a weapon hurled against each other.

And that’s before the first big chase, with Areski fleeing on a violently-acquired cop motorcycle and Lino in hot pursuit in a souped-up Alpine through the streets and parks of Monpellier.

Lino gets that Alpine from car customizing whiz Sarah (Julie Tedesco), who ends up providing his lady cop crush Julie (Stéfi Celma) with that G-wagon and himself with an armed-and-dangerous tow truck for the Big Finish.

It takes a bit to recall who is connected to whom, which cops are worth rooting for and which are diabolical.

Some plot points are action cliches — the too-compliant “car” supplier, booby-traps, stashes of cash and the sniveling minion (Charles Morillon) who helps Resz keeps his various criminal plans together.

All the clumsy plot contrivances and laugh-out-loud “No they DIDN’T” crashes and blasts collide in ways that sometimes cancel each other out. It’s more a (somewhat) satisfying “finale” than a logical one. Literally every time bad guys leave others to “finish the job” on this or that character, we know this or that character will amazingly survive it.

But this action climax, silly and over-the-top as it is, is more real stunts and real crashes than your average CGI boosted “Fast/Furious” film. if you’re into the genre and haven’t seen these “Bullets,” by all means do. Just watch them in order because otherwise, “Balle perdue 3” will have you scratching your head between whoops and hollers.

Rating: TV-MA, lots of violence, smoking, profanity

Cast: Alban Lenoir, Stéfi Celma, Nicolas Duvauchelle, Pascale Arbillot, Quentin D’Hainaut, Anne Serra and Gérard Lanvin

Credits: Directed by Guillaume Pierret, scripted by Caryl Ferey and Guillaume Pierret. A Netflix release.

Running time: 1:52

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Documentary Review: “I Know Catherine, The Log Lady” celebrates a Character and an Actress and her role in The Strange Saga of David Lynch

Here it is, in documentary form, the Greatest “Show Must Go On” Story Ever Told.

Richard Green’s “I Know Catherine, The Log Lady” is a moving appreciation of the long life of a working actress, a woman rendered immortal by her quirkiest role, thanks to the fanatical fans of David Lynch and “Twin Peaks.”

But playwright Robert Schenkkan credits Catherine E. Coulson with inspiring his Pulitzer Prize winning epic play “The Kentucky Cycle.” For years, she was a mainstay of the Oregon Shakespeare Festival, which is where they met..

Coulson spent much of her Hollywood career in demand behind the camera as the rare female focus puller/union camera assistant, with the likes of Nicholas Meyer praising her work on his “Star Trek: The Wrath of Khan.”

And Lynch, who gave her that obituary-headlining role, remembers Coulson’s pivotal place in his life and career. He “discovered” her and others in the cast of actors from the San Francisco troupe “The Circus,” several of whom spent years with him making his debut feature, “Eraserhead,” with Lynch lauding Coulson’s in front of and behind the camera efforts in making the eccentric Lynch the film icon he came to be.

“Twin Peaks” fans will love this documentary for the deep dive into creating that singular character and her place in that show’s mythos. After the show and later “Fire Walk With Me” movie wrapped in the ’90s, Coulson was the fan convention attendee who kept the “Peaks” flame alive through the show’s 2017 revival for Showtime.

But after two acts of friends, neighbors and co-stars like Kyle MacLachlan, Michael Horse and Kimmy Robertson sing Coulson’s praises as the series’ version of “The Oracle of Delphi,” Green focuses on something he teases in film’s opening moments.

Coulson was diagnosed with stage four breast cancer just before the last iteration of “Peaks” went before cameras. She made that her life’s last goal — reuniting with her friend, collaborator and fellow transcendental meditation devotee Lynch to “finish” that saga’s story was her reason for staying alive.

A legion of friends, health care givers, actors and even a helpful journalist and accomodating mortuary representative made that their cause, as well.

There are unpleasant reminders of personal tragedies and assorted unhappy relationships, including an abusive marriage to “Eraserhead” star Jack Nance mixed in with the wide array of “everybody loved her” declarations by co-workers, friends and one ex-husband devoted to her.

But it is the film’s depiction of a gutsy trouper determined to get that last performance in that makes this “Log Lady” appreciation sing.

Lynch talks up the transcendental meditation that they had in common, reflects on death and plays his part in making her dying wish come true. And the viewer hears the death watch stories of those closest to Coulson, wondering how on Earth that final appearance was ever going to come off.

As the cliche goes, this film is both sad and life-affirming in its depiction of end-of-life concerns.

What makes it special is the amusing life-spirit who came to embody “Lynchian” with her inscrutable presence, the way she passed along the cryptic wisdom of her pronouncements — “I do not introduce the log,” which she cradled so inscrutably, and her appreciation of all that her longtime friend David Lynch knew, loved and taught her about “Ponderosa Pine.”

Rating: unrated

Cast: Catherline E. Coulson, David Lynch, Kyle MacLachlan, Timothy Near, Miriam Laube, Michael Horse, William Haugse, Mindy Alper, Deborah Satterfield, Kimmy Robertson, Armando Duran,
Robert Schenkkan, Nicholas Meyer and Mark Frost.

Credits: Directed by Richard Green.

Running time: 1:49

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