Movie Nation

First full trailer to the latest Disney confection in sequel form.

This kid — and yes, he was a grown man when he tragically died, killed by a defective Jeep –was a sweetheart.

Ask anybody who knew him or interviewed him. Which is why this trailer to the new doc about his too short life might make you cry.

Sometimes you wonder if Netflix even bothers watching all of the movies they write the checks for.

I mean, there are thousands of titles, so I get it.

But “Oh, Ramona!” makes you really…wonder.

It’s sexist, vulgar and retrograde, a candy-colored teen sex comedy in English from Romania.

It’s filled with nubile young women in eroticized school girl uniforms, callous, coarse pre-#MeToo boys who aren’t in their league with the two best looking young women in the cast both falling for the nebbish played by Bogdan Iancu.

It’s lazily smothered in insipid, cloying voice-over narration about all the things Andrei (Iancu), wants out of life with a girl, all delivered in his cutesiest 16 year-old Romanian-accented voice.

“We totally were NOT doing drugs…There could be cops in the audience!”

“Wait a minute, I can’t show you this part! There are children in the audience, for God’s sake!”

We’re treated to male wish-fulfillment fantasy sexual come-ons, visual euphemisms of cucumbers, “USB drive and rear-entry VGA” ports, squishy cake and champagne corks popping, little old ladies licking lollipops, bodily fluid and over-full toilet gags, animated smoke coming out of bananas (substituting for doobies).

And fat girl jokes. Did I forget those?

Nerdy-horny Andrei narrates even the things we can see for ourselves.

Andrei has lusted after short-haired teen pixie Ramona (Aggy K. Adams), who gets a little wound-up at a party and grabs him.

“I know you’re in love with me. I think it’s…cute.”

But wait. Andrei’s a talker, and not just in voice-over. Talk talk talk.

“I’m not like all the other guys…” And then, “I just can’t have sex with a girl if we’re not in a relationship.”

But. But. But. “I’m the hottest girl in school…and you’re….YOU. Stop being silly.”

Thus things turn to a series of disastrously public failures with Ramona. She takes up with a boy who hits her, and she’s mean enough to tell everybody Andrei did it.

Very, um, Eastern European? Hitting girls? WTF?

His foul-mouthed single-mom (Andromeda Godfrey) coaches him on the phone while asking girls out, and when she decides that they need a vacation, Andrei meets the other supermodel-to-be who takes an interest in him.

Front desk clerk Anemoma (Holly Horne) is putty in his hands, thanks to his “gold medal pick-up line…’Hey, pretty…do you believe in love at…first sight?'”

And his attempt to serenade her, beachside with a little Elvis, seals the deal.

The boys here are insanely banal and drab characters, and yet every young woman — stunning to Mama June-ish — longs to sex them up. More visual euphemisms, more lollipop licking.

“Ooooo, ‘Fifty Shades of Andrei!'”

Yeah. It’s like that, only worse.

Mom gets the best line — “Between now and your 50s, you’re going to have so many women to disappoint.”

Andrei? He’s so naive that he can’t decipher college girl Anemona’s tattoo.

“Je ne regrette rien? Who to f— is RYAN?”

Romania looks lovely and perfectly visitable — if not for the creepy boys who no doubt grow up into creepy cave men.

Perhaps it’s comforting to some that there are selfish, oafish frat-boy types on both sides of the Iron Curtain.

Perhaps someday the young women depicted here will figure out they’re way too good for sexist garbage, and young actresses, too, will realize they’re better than movies lol oke “Oh, Ramona!”

MPAA Rating: TV-MA

Cast: Aggy K. Adams, Bogdan Iancu, Holly Horne, Adina Stetcu, Andromeda Godfrey

Credits: Directed by Cristina Jacob, script by Andrei Ciobanu, Alex Cotet and Cristina Jacob. A Netflix release.

Running time: 1:49

Yes, this NSFW trailer is the one that almost sells this re-imagining of “Shaft” in action-comedy Samuel L. Jackson-speak.

I still have faith that Gina Carano is going to land good action film roles. Even though she’s trapped in B and C thrillers like “Daughter of the Wolf,” she has presence, and her fist-fighting bonafides remain impressive.

She’s had bit parts in a “Deadpool” and a “Fast and Furious” picture, and she’s a long way from her thrilling break-out film, “Haywire.” But she can take heart that Jason Statham went through such a lull, movies where the best reason to sign up is you need the work and the stunt coordinator and fight choreographer are impressive and will keep you from getting hurt.

She and we are hurled into “Daughter of the Wolf.” We meet her character as she’s fetching a shotgun and a stash of cash from her family’s long idle (British Columbia) lumber mill.

It’s the dead of winter, and she’s got a snowy rendezvous with three kidnapping thriller cliches — “You want to see your boy again?” thugs in masks.

Her kid’s been kidnapped and she is paying the ransom.

“We had a deal.”

“Deals change.”

The plan, of course, is to get the cash and kill her. No kid returned. But Clair Hamilton is, of course, “ex-special forces.”

Bad screenwriters always want to explain away somebody’s “particular skills.” There’s very little that follows that suggests Clair has “particular skills.” She can fight, but there are other reasons that can be. She can shoot, but she’s from the rural mountain Northwest.

And she’s not shy about threats. Again, that doesn’t require military training, but screenwriters love their crutches.

After an impressive SUVs-on-snow chase and spectacular crash, Clair gets the drop on the last surviving bagman. And Larsen (Brendan Fehr), bullet in his leg, is still more scared of this ringleader “Father” than he is of the woman pointing a gun at his “good” leg.

Father is played by Oscar winner Richard Dreyfuss as a crusty, profane old coot with a grudge and a cult-like gang of followers, only some of them family.

He’s got Clair’s kid (Anton Gillis Adelman), a child he’s inclined to school, a bit, on the ways of the world.

“Boy, I HATE t’raise my voice…stupid kid.”

He grouses at his underlings.

“If they’re not dead, they’d better G–D—ed WISH they were!”

The script gives us three threads to follow — Clair’s trek, with Larsen, over the mountain to the villain’s lair, the goings-on in that lair and flashbacks showing the inevitable neglectful “You were never HERE when I needed you!” mom guilt Clair feels.

When she’s not fighting on a frozen lake, or trying to crawl out of it, or brawling at the top of a waterfall, dodging bulle, Clair tries to figure out why the wolves, which are EVERYwhere, seem not as interested in her as they are in Father and his minions.

Yes, nature wants its revenge, too.

Ex-MMA star Carano has the sturdy build of a brawler, and acquits herself well in the fights, and the stunts are upscale and realistic for a modest-budget thriller.

The narrative is built on oddly theatrical twists, a film that begins in mystery and then sheepishly sets out to EXPLAIN every mystery away in the middle acts.

David Hackl, a production designer  (“Outland,” a “Saw” sequel) turned director, gets the look of the film right even if the pacing is slack and the script a few rewrites shy of being pretty good.

But that script was good enough to get one and all, including the 70something Dreyfuss, out in the snow of British Columbia in late winter, so give them that. And the stars, to a one, acquit themselves admirably in this frostbitten script.

It’s just that in thrillers starring martial artists, it’s the action that counts, the speed it comes at you, the violence in your face thanks to a tight, intimate camera frame. It’s how cool the fights look and how cool the star handles herself in them.

Production design and endless explanatory motivations are for sissies.

MPAA Rating: R for violence and some language

Cast: Gina Carano, Richard Dreyfuss, Brendan Fehr, Sydelle Noel, Brock Morgan

Credits: Directed by David Hackl, script by Nika Agiashvili. A Vertical release.

Running time: 1:28

You can see why country singer Trace Adkins would be a natural to cast in a Western.

He’s got the growl, the tall-in-the-saddle stature, the ability to wear a hat like he’d be naked without it.

And his first moments in “The Outsider” cash in on all that promise. He strolls into the frame, in profile, a man in black in a black flat-brimmed hat and maybe a little too much hair-care in evidence.

“You’spect me t’believe one man, on UNARMED man, did all’a this?” he says, surveying a saloon with bodies scattered about.

It’s a rainy night — there are lots of them in this corner of the dusty Southwest, and all Marshal Walker wants to know is “What happened?”

“All hell broke loose,” the bartender mutters, cleaning up the crime scene as if it’s just another Thursday.

This slower-than-slow, sordid and sour Western is about “The Outsider,” an ostensibly unarmed Chinese railway worker (Jon Foo) who unleashed the hell that broke loose, and his reasons.

It’s a “Kung Fu” tale of racism, rape and revenge built on bloodless performances, limping longueurs between brief blasts of action, sexual violence and unsavory sex slapped in for good measure.

So it’s a lot rougher than the stuff Adkins usually ties himself to on the screen — the faith-based “Moms’ Night Out,” “I Can Only Imagine.”

There’s a “Chinaman” Jing, played by the Sino-Irish British-born martial artist Foo, whose adoring wife Li Phang (Nelli Tsay) waits for him in the laborers’ camp while he lays track all day.

They don’t speak Chinese on camera and don’t sport accents that suggest they’re recent arrivals. Their public displays of affection feel modern and out of place. And yes, it’s less than historical to suggest a common laborer would be able to get his wife into this country while still doing this itinerant work.

The marshal’s son Frank (Kaimi Lyman of the malnourished Western “Hickok” by the same production team) is a deputy, and all the deputies have the bullying swagger of “a law unto themselves.”

“I have ‘yellow fever,'” Frank purrs, spying Li Phang. “And I’m hoping that she’s the cure.”

You can guess what happens, and yes, it’s both graphic and oddly passive.

And you can guess what Jing, the stereotypical “man of peace,” does. He starts in on the deputies. And he sends a note.

“This stop when James Walker dies!”

Director Timothy Woodward Jr. (of “Hickok” and other B-movie action pictures starring folks like Dolph Lundgren) and screenwriter Sean Ryan basically turn their backs on Foo to focus the movie on the father-son dynamic and the army of deputies this small town is able to muster as fodder for Jing’s vengeance.

Frank can protest his innocence to Daddy all he wants.

“You are many things, but ‘innocent’ is not one of’em, boy!”

Daddy is even moved to go to church to pray for the kid, for a “quick” resolution to this mess, explaining his intentions to God, even though he knows his boy has “no good in’em.”

Sean Patrick Flanery is the tracker hired to hunt down Jing.

“I’m retired.”

“Not today, you’re not.”

Danny Trejo has a glorified cameo as a Hispanic deputy who rides herd on the tracker.

“Do we have a PROBLEM Señor?”

“Well, ain’t you mad enough to fight a barr with a hickory switch!”

The dialogue is a strong suit of this teeth-grindingly slow picture, as is the use of shadows — dimly lit saloon to dimly-lit barn.

The central conflict, immigrant faces off with rural, racist cruelty in the form of murderously cruel “law enforcement,” is a solid foundation.

But “The Outsider” lurches along, a film that makes its compromises to quality painfully apparent in every scene.

Can’t get a charismatic star? Shoot around the guy you end up hiring. Realizing the horse opera audience they’re making this for might not take to its message of “Be nice to immigrants, or else?” Play that down. Put Trace in a church.

“God turned his back on us a long time ago!

The lofty place “Kung Fu” still enjoys in our culture suggests this is a movie that could have/should have worked.

But the pace is dispiritingly slow. The action bits are uninspired and rare. And the performances — only Flanery escapes unscathed, and Adkins would have been an asset had the picture not required him to carry it — have nothing about them that make us want to take “The Outsider” in.

MPAA Rating: unrated, rape, other violence

Cast: Trace Adkins, Danny Trejo, Jon Foo, Nelli Tsay, Sen Patrick Flanery

Credits: Timothy Woodward Jr., Sean Ryan. A Cinedigm release.

Running time: 1:26

Williams is an aid worker dedicating her life to orphans in India.

Moore is rich.

Billy Crudup plays Moore’s artist-husband, a guy who has…a secret.

It’s always interesting perusing the deep chart that Box Office Mojo updates daily, to see who’s making a mark and who isn’t being allowed to.

“Dark Phoenix” seemed doomed from the start, a movie made in the middle of Disney’s takeover of Fox, a Marvel orphan that the Mouse didn’t want to succeed, a troubled production all up and down the line.

Thus, this film came out on well under the usual “blockbuster” tally of screens — some 800 less than “Secret Life of Pets 2.”

It’s a middling movie, at best — lots of bad reviews. Pointless and repetitive, in any event.

And it bombed –a $200 million gamble that will have to make most of its money overseas as it opened in the $33 million range in North America.

Adios X Men. For now.

“Secret Life of Pets 2” did $47, probably enough to guarantee a third movie in that franchise. Yawn.

“Aladdin” is doing a far better job of holding audience than any other recent film, even “John Wick 3.” Another $24.5, despite the fact it lost 6-700 screens.

“Godzilla King of Monsters” dropped 67%+, to $15 million. It will shed a LOT of screens, starting next week.

“Rocketman” fell off a more respectable 42%, and earned $14. It’s already over $50, but by Friday, it too will shed screens.

The best per-screen averages of the weekend were two LARGEST CITY ONLY releases — “Late Night” and “The Last Black Man in San Francisco,” over $60,000 for the former, $32 for the latter.

Not that Trump cares about Hollywood, but this is what the US studios have been hedging against for the past decade or so.

If they don’t make a mint off “Crazy Rich Asians and its ilk, China will. https://www.telegraph.co.uk/news/2019/06/09/chinese-cinema-eclipses-us-box-office-hollywood-films-suffer/amp/

I’ve often wondered about this, long before #metoo made us question the comfort level actors, all the way down to nude extras and bit players, have with this work. Many a review I’ve written has included a shot at pointless strip club scenes and gratuitous sex scenes, all there for pervy predatory producers who prey on starlets cast in such scenes. Just a theory, mind you.

Good Hollywood Reporter piece about establishing standards for such scenes.

https://t.co/4U2eZldr3x https://t.co/s85r22Vr7n https://twitter.com/THR/status/1137606017137676289?s=17