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Review: ‘Flight Risk’

Mark Walberg Hams It Up In Mel Gibson’s Latest Close Quarters Thriller

Flight Risk

Director Mel Gibson seems to have a great working relationship with Mark Walberg. They first appeared in front of the camera together in Daddy’s Home 2, and now after 8 years, the duo reunites this time with Gibson back in the director’s chair in his latest thriller Flight Risk. When you usually think of someone as a “flight risk,” it’s because they are a criminal who wants to get out of the country before trial. However, in this film, the risk itself is getting in a plane about the size of a convertible. Oh, there’s also a hitman on the plane!

Flight Risk begins in a seedy and snowy motel somewhere in the wilderness of Alaska. Here, we are introduced to Winston (Topher Grace). He’s jumpy and looking over his shoulders as he tries to make his Ramen in the microwave. Even a nearby moose startles him. His cause of concern isn’t unwarranted as soon enough US Marshalls led by Agent Harris (Michelle Dockery) burst into his room and take him into custody. Turns out Winston was on the run because he does accounting for the mob. Now in custody and with nowhere to run, Winston has to play ball with the US Marshalls and agree to testify against his former boss. But snitching against the mob isn’t the best retirement plan for someone wanting to get out of that lifestyle.

And Winston and Agent Harris are still in the middle of nowhere Alaska. In order to make it back to New York to testify, they first have to get to “mainland” Alaska, which is only accessible by a small plane. One so small that the plane is no bigger than a small car and barely has room to accommodate 3 people plus cargo. At a nearby airstrip, they meet their pilot Daryl (Mark Wahlberg). Daryl “seems” nice. He has a ridiculous southern accent (the first red flag that’s easy to pick up on) and is trying his best charm effect as he loads the plane with Winston and Agent Harris and their belongings, but soon enough, Winston (and eventually Agent Harris) realizes that something’s “off” with Daryl. Whether it’s the cut marks on his face and neck, or blood on his shirt, he may not be who he appears to be.

Turns out Daryl is a hitman that the mob hired to silence Winston from testifying. Once the cat’s out of the bag in Flight Risk, the film takes some interesting turns. Confining itself to a tiny plane, there really isn’t much of a set in this film, which also limits the action of the movie that follows a repetitive cycle of Daryl being subdued, and then character exposition dumbs between Agent Harris and Winston to get the audience to learn about them and sympathize with them, only for Daryl to break out and everyone have a mini-fight and subdue Daryl once again. After a few times of this, it does get old, but still, is an interesting ride at some moments throughout the film’s hour-and-a-half runtime.

Flight Risk does have good cinematography as the film is either confined to the interior of the plane, or shots of the plane flying through the snowy Alaskan mountains. In fact, Flight Risk almost serves as a great ad for Alaska’s tourism department as there were plenty of times throughout the film when I sat there wondering to myself, “Those mountains are beautiful. I’d love to go skiing there.”

But Flight Risk lives and dies on its three actors and their performances. Topher Grace does his usual “how did I get here” nerd performance he famously did in Predators. But unlike Predators, Topher’s character isn’t the killer here. I almost would have preferred he was as it would have made the film even more interesting. Michelle Dockery does a great job as Agent Harris. The Downton Abbey actress does a great job peeling the layers off of Agent Harris as we get to learn about her tragic backstory as the film progresses. The unsung hero of Flight Risk is Monib Abhat as flight coach Hassan, who pretty much charms Agent Harris into a date if she survives the plane landing. His performance is interesting because it’s 99% just his voice in the film. Towards the end of the film, we finally get to see his face and it’s clear that he and Agent Harris are gonna go on that date.

But we GOTTA talk about Mark Walberg as Daryl!! In Flight Risk, it feels like Mark Walberg is in a completely different movie than the rest of his co-stars. He’s almost trying to act how he thinks The Joker would act in the real world. His character first has a ridiculous southern accent, even though he tells the lie that he’s from Alaska and his family has been there for generations (like I said: red flag!). And his character is obsessed with sex, torture, and rape in a weird way that didn’t seem to fit for the movie. Deciding for Daryl to be a balding (when he gets his toupee ripped off in a struggle), masochistic, rapey, and just plain old weird guy was definitely a choice, but one that didn’t really serve Flight Risk well.

It’s a big surprise that Mel Gibson directed it. Past controversy aside, almost all of the films he directed have been outstanding films. From Braveheart to The Passion of the Christ, to Apocalypto, to Hacksaw Ridge: he’s had a hell of a run in the director’s chair. So, for him to deliver Flight Risk is a little disappointing and it’s not the same quality as his previous films. Perhaps some of the blame can be attributed to writer Jared Rosenberg as the script wasn’t as strong as it should have been. And once again, Walberg’s performance was a little too over the top for what the film was going for. But that doesn’t mean the film is “bad” as there are still highlights scattered throughout the film. As stated before, Monib Abhat really is the MVP of Flight Risk as his character brings charm and levity at just the right moments. Overall, catching a show of this film this weekend may be a fun and rewarding time of some much-needed escapism (especially after this week!).

Flight Risk is now playing in theaters nationwide.

Taylor Swift Rumored For Rapunzel Role In Disney’s Live-Action ‘Tangled’

Taylor Swift as Rapunzel in TANGLED? It could happen?

With The Greatest Showman and Better Man‘s Michael Gracey aboard to direct Disney’s live-action Tangled movie, the rumors have been flying around like crazy about the potential cast. While the most buzz has surrounded the possibility of Florence Pugh in the Rapunzel role, this latest rumor from scooper @MyTimeToShineH is sure to supplant it, because it involves pop superstar Taylor Swift.

The rumor, and I stress that’s all it is, says Swift is being eyed for the Rapunzel role in Tangled. She’s not been offered the gig or anything at this point, so who knows how this will actually play out. Swift keeps getting wishlisted for movies but actual performances from her are rare. Her last big feature role was in Amsterdam, preceded by Cats, neither film doing very well at all so it’s not like her stage popularity has translated to the screen yet. Many had thought she was under the Lady Deadpool mask in Deadpool & Wolverine but that role went to Blake Lively, instead.

Other rumors have Agatha Hahn, Jennifer Lopez, and Demi Moore named as possibilities for Mother Gothel.

Tangled will have a script by Jennifer Kaytin Robinson, best known for co-writing Thor: Love and Thunder.

 

 

Sundance Review: ‘The Ugly Stepsister’

Beauty Is Pain In Deliriously Grotesque Body Horror Spin On The Cinderella Story

Lea Myren as Elvira in THE UGLY STEPSISTER

Feminist body horror reached a new peak with Coralie Fargeat’s Oscar-nominated The Substance. But who says there can be only one gross-out spin on the twisted way society forces women to do extreme things to achieve impossible beauty standards. Norwegian filmmaker Emilie Blichfeldt has upped the ante with The Ugly Stepsister, and let’s just say if Cinderella and The Substance had a baby with David Cronenberg this would be the delightfully grotesque result.

There’s even a bit of Wicked at the heart of Blichfeldt’s reimagining, one that could have you feeling sorry for one of Cinderella’s evil stepsisters for falling victim to the pressure to be pretty, for falling victim to her heart’s desire, for falling in love with a Prince who is basically a toxic royal dickhead, for falling victim to her pushy mother. You might feel sorry for her for a little while, anyway, but then you’ll be too busy choking back your gag reflex as The Ugly Stepsister is not for the weak of stomach.

Not much needs to be changed from the darkest versions of the Brothers Grimm fairy tale. Set in 18th-century Sweden with all of the castles, royal gowns, and corsets to match, the film begins with the doomed holy union between two families. Arriving to a palatial estate via carriage is Elvira (Lea Myren), the brace-faced eldest daughter to Rebekah (Ane Dahl Torp) whose new marriage will prove to be short-lived. Elvira swoons for the heart of Prince Julian (Isac Calmroth), whose beautiful books of poetry have her dreaming of a happily ever after love story with him. In her wildest imaginations, she is decked out in a beautiful blue gown, blonde-haired and regal like a true princess. She feels the Prince is her one true love, and couldn’t imagine living a life without him.

But in this twisted take on Cinderella, everything and everybody is a nasty piece of work. Reality sucks for Elvira which is why escaping into fantasy is all she has to cling to. The Prince is a toxic dude bro who demeans women at every turn, and upon seeing Elvira for the first time declares her the one woman he has no interest in fucking. It doesn’t deter her in the least. Instead, it fuels her to do whatever it takes to be the object of his desire. Making matters worse is her elegant new stepsister Agnes (Thea Sofie Loch Næss), who deeply resents these money-grubbing additions to her family. Agnes can barely hide her scorn, and when her father suddenly dies in graphic fashion at the dinner table, leaving her alone with Rebekah, Elvira, and the level-headed youngest stepsister Alma (Flo Fagerli), it leaves her outnumbered in her own home.

The Ugly Stepsister‘s whimsicality constantly collides with brutal body shaming, scenes of shocking gore, and physical deformity. There’s no money in this struggling household. Things are so tight that the body of Agnes’ father sits rotting and bloated without a burial, while Rebekah spends what little money is left on whatever suits her. When the Prince declares that he will choose his bride at a king’s ball mere days away, Elvira and Agnes are pressured into submitting themselves as a last-ditch effort to marry into wealth. While Agnes, who is hardly the shining example of charity and goodness she appears to be, is forced to shameful work around the house, Elvira undergoes violent transformations to become the most beautiful woman at court.

It’s these ghastly procedures that will leave audiences struggling to keep down their popcorn. As seen in the eye-catching promo images, she gets the nose job from Hell by a prancing quack equipped with a comically oversized tool. She’s fitted with a hideous nose brace that makes her an even greater target for humiliation. But that’s hardly all, as her cherubic face is deformed further with sickening eyelash implants, the camera zooming in on every disgusting, bloody thread as the needle pierces close to the eyeball. That’s not even the worst of all, as a scheming finishing school mistress offers her the medieval equivalent of a weight-loss pill; a tapeworm egg that will help her drop a few gown sizes. As you probably guessed, this turns out disastrously, the gurgling of the hungry tapeworm can be heard through all of Elvira’s attempts to refashion herself.

All of this self-mutilation is extremely hard to watch, and it also makes you feel something for the angelic Elvira. Her innocence and naivete shine through every disgusting procedure, as she clings hopelessly to her fantasies tighter than ever. This is her tragic, darkly comic story, but Agnes, scornfully nicknamed Cinderella, makes an impression with her rebellious spirit and eagerness to be her own woman. She’s no saint, as a scene of sexual depravity in the farmhouse will prove, but that also makes her the one character who doesn’t feel like she’s from a storybook.

Similar to The Substance, the focus on external beauty leads to monstrous results, culminating in Elvira’s big reveal of her glossy new self at the king’s ball. As she comes tantalizingly close to the man of her dreams, Elvira’s hopes are washed away in blood, vomit, viscera, and severed toes to fit a fateful slipper. And yet, there’s something hopeful and freeing in Elvira’s disturbing journey. The Ugly Stepsister isn’t saying anything new about impossible beauty standards faced by women, but who cares? With all of its nose-breaking, tapeworm-devouring, toe-chopping insanity, you’ll never look at Cinderella the same way again, and why would you want to?

Shudder will release The Ugly Stepsister in 2025.

Robert Eggers Sets Horror ‘Werewulf’ And ‘Labyrinth 2’ As Next Films

Robert Eggers is making a LABYRINTH sequel a reality

While Nosferatu didn’t get as much Oscars love as some might have hoped for, it still got four nominations which is damn good. Robert Eggers is still one of the most sought-after directors around. And he’s just lined up two projects that are going to keep him busy for a long time.

First up, Eggers is reuniting with Focus Features for Werewulf, an original horror that he will direct and co-write with The Northman writer Sjón. As far as plot details go, there aren’t any at this point, but one has to think it has to do with werewolves or something, right? Has to be better than Wolf Man, at any rate. Focus Features is expected to open Werwulf in theaters Christmas 2026.

And it turns out the many rumors were true. Eggers will team with TriStar Pictures to write and direct a sequel to Labyrinth, the 1986 cult classic fantasy film led by Jennifer Connelly and David Bowie.  Eggers will direct an co-write, once again with Sjon, and reunite with producers Chris and Eleanor Columbus, along with Lisa and Brian Henson, the children of Labyrinth director Jim Henson.

A Labyrinth sequel has been in TriStar’s sights for years. In 2020, Scott Derrickson nearly directed a version penned by Maggie Levin, but it never got off the ground.

For those who may not have caught up with Labyrinth, the story followed a teenage girl’s quest through a dangerous maze to rescue her baby brother from the Goblin King. Sounds like the kind of thing Eggers can make a meal out of, and he’ll get to do something completely original first with Werewulf. [Deadline]

 

‘Drop’ Trailer: Meghann Fehy’s Date Night Turns Sour

First dates can be a real nightmare and Meghann Fahy is on a bloody and twisted one. In Drop, she plays a single and widowed mom out for a fun night when a series of disturbing airdrops threatens to lead to deadly consequences.

Joining Fahy onscreen is It Ends with Us’ Brandon Sklenar, who plays her charming suitor. Drop is directed by Christopher Landon who also made the Happy Death Day films and the Vince Vaughn body swap horror comedy FreakyBlumhouse and Michael Bay’s Platinum Dunes are producing.

 

Violett Beane, who worked with Blumhouse on Truth or Dare, is playing Fahy’s sister who is babysitting her son. They get pulled into the terror when a stranger connected to Fahy’s mysterious drops shows up at their door.

Here is the official synopsis from Universal, which will open Drop on April 11th.

Violet, a widowed mother on her first date in years, arrives at an upscale restaurant where she is relieved that her date, Henry, is more charming and handsome than she expected. But their chemistry begins to curdle as Violet begins being irritated and then terrorized by a series of anonymous drops to her phone. She is instructed to tell nobody and follow instructions, or the hooded figure she sees on her home security cameras will kill Violet’s young son and babysitting sister. Violet must do exactly as directed, or everyone she loves will die. Her unseen tormentor’s final directive? Kill Henry/

Martin Scorsese And Leonardo DiCaprio’s ‘The Devil In The White City’ Is Back On At 20th Century

THE DEVIL IN THE WHITE CITY is back on.

The Devil in the White City is an adaptation that Martin Scorsese and Leonardo DiCaprio have been circling for well over a decade. After many fits and starts, it appears to finally be happening. Variety reports the project, based on Erik Larson’s 2004 bestseller, is back on at 20th Century Studios.

Scorsese and DiCaprio will produce The Devil in the White City, with the actor also in talks to star. Larson’s book, The Devil in the White City: Murder, Magic and Madness at the Fair That Changed America, centers on serial killer H.H. Holmes who used the 1893 World’s Fair in Chicago to lure in his victims. DiCaprio acquired the rights through Appian Way back in 2010, and this was after Tom Cruise had let his option lapse. Scorsese came aboard to direct in 2015, but nothing ever took off. If this version does, he’ll get back behind the camera for it.

A couple of years ago, Todd Field was attached to direct a Hulu miniseries adaptation starring Keanu Reeves, with DiCaprio and Scorsese as producers. That attempt collapsed, as well.

So let’s see if this one actually gets off the ground. The material is wild, involving a rash of serial killings during the World Fair, a “Murder Castle” used to ensnare victims, and so much more. This would likely be next for Scorsese which means his adaptation of Home, his Sinatra biopic, and Life of Jesus will go on the backburner.

‘Ocean’s 14’: David Leitch In Talks To Direct George Clooney And Brad Pitt In Heist Sequel

David Leitch could director Pitt and Clooney in OCEAN'S 14

The combo of George Clooney and Brad Pitt is usually big money, but maybe it’s only with the Ocean’s movies? Because it didn’t exactly play out that way with Wolfs, the crime comedy they starred in last year. Fortunately, Ocean’s 14 seems to be on the right track now, with a possible director in David Leitch.

THR confirms a Jeff Sneider report that David Leitch, best known for directing Pitt in Bullet Train and Ryan Gosling in The Fall Guy, is in talks to direct Ocean’s 14. This would be a continuation of the blockbuster heist franchise that began with Ocean’s 11 way back in 2001, and continued with sequels in 2004 and 2007. Ocean’s 8, an all-female spinoff led by Sandra Bullock and Cate Blanchett, was released in 2018.

Clooney has co-written the screenplay with Grant Heslov, and it’s unclear who else from the all-star ensemble will return. Previous director Steven Soderbergh bowed out after the death of actor Bernie Mac, who was an integral piece of the cast.

The Ocean’s franchise is on the verge of making a major comeback. In addition to a new sequel, a prequel film with Gosling and Margot Robbie is in the works.

 

‘Emilia Perez’ Topped All Oscar Nominations With 13, ‘Wicked’ And ‘The Brutalist’ With 10

EMILIA PEREZ led all Oscar nominations with 13

After two delays caused by the wildfire, the 97th Academy Awards nominations finally took place this morning, with hosts Rachel Sennott and Bowen Yang. As far as the nominees go, there weren’t a ton of surprises, but there were clear standouts. Emilia Perez led all with a whopping 13 nominations, followed closely by The Brutalist and Wicked with 10 nominations each.

The 13 nominations for Emilia Perez breaks the previously-held record for a non-English feature, which was Crouching Tiger, Hidden Dragon and Roma which both had 10 noms.

The complete list of nominees is below. The 97th Academy Awards will air live on March 2nd, hosted by Conan O’Brien.

Best Picture
Anora (Alex Coco, Samantha Quan and Sean Baker, Producers)
The Brutalist (Nominees to be determined)
A Complete Unknown (Fred Berger, James Mangold and Alex Heineman, Producers)
Conclave (Tessa Ross, Juliette Howell and Michael A. Jackman, Producers)
Dune: Part Two (Mary Parent, Cale Boyter, Tanya Lapointe and Denis Villeneuve, Producers)
Emilia Pérez (Nominees to be determined)
I’m Still Here (Nominees to be determined)
Nickel Boys (Nominees to be determined)
The Substance (Nominees to be determined)
Wicked (Marc Platt, Producer)

Directing
Jacques Audiard, Emilia Pérez
Sean Baker, Anora
Brady Corbet, The Brutalist
Coralie Fargeat, The Substance
James Mangold, A Complete Unknown

Actor in a Leading Role
Adrien Brody, The Brutalist
Timothée Chalamet, A Complete Unknown
Colman Domingo, Sing Sing
Ralph Fiennes, Conclave
Sebastian Stan, The Apprentice

Actress in a Leading Role
Cynthia Erivo, Wicked
Karla Sofía Gascón, Emilia Pérez
Mikey Madison, Anora
Demi Moore, The Substance
Fernanda Torres, I’m Still Here

Actor in a Supporting Role
Yura Borisov, Anora
Kieran Culkin, A Real Pain
Edward Norton, A Complete Unknown
Guy Pearce, The Brutalist
Jeremy Strong, The Apprentice

Actress in a Supporting Role
Monica Barbaro, A Complete Unknown
Ariana Grande, Wicked
Felicity Jones, The Brutalist
Isabella Rossellini, Conclave
Zoe Saldaña, Emilia Pérez

Writing (Adapted Screenplay)
A Complete Unknown
Conclave
Emilia Pérez
Nickel Boys
Sing Sing

Writing (Original Screenplay)
Anora
The Brutalist
A Real Pain
September 5
The Substance

Animated Feature Film
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

Animated Short Film
Beautiful Men
In the Shadow of the Cypress
Magic Candies
Wander to Wonder
Yuck!

Cinematography
The Brutalist
Dune: Part Two
Emilia Pérez
Maria
Nosferatu

Costume Design
A Complete Unknown
Conclave
Gladiator II
Nosferatu
Wicked

Film Editing
Anora
The Brutalist
Conclave
Emilia Pérez
Wicked

Makeup and Hairstyling
A Different Man
Emilia Pérez
Nosferatu
The Substance
Wicked

Live-Action Short Film
A Lien (Sam Cutler-Kreutz and David Cutler-Kreutz)
Anuja (Adam J. Graves and Suchitra Mattai)
I’m Not a Robot (Victoria Warmerdam and Trent)
The Last Ranger (Cindy Lee and Darwin Shaw)
The Man Who Could Not Remain Silent (Nebojša Slijepčević and Danijel Pek)

Music (Original Score)
The Brutalist
Conclave
Emilia Pérez
Wicked
The Wild Robot

Music (Original Song)
“Never Too Late” from Elton John: Never Too Late
“El Mal” from Emilia Pérez
“Mi Camino” from Emilia Pérez
“Like A Bird” from Sing Sing
“The Journey” from The Six Triple Eight

Documentary Feature Film
Black Box Diaries
No Other Land
Porcelain War
Soundtrack to a Coup d’Etat
Sugarcane

Documentary Short Film
Death by Numbers
I Am Ready, Warden
Incident
Instruments of a Beating Heart
The Only Girl in the Orchestra

International Feature Film
Brazil, I’m Still Here
Denmark, The Girl With the Needle
France, Emilia Pérez
Germany, The Seed of the Sacred Fig
Latvia, Flow

Production Design
The Brutalist
Conclave
Dune: Part Two
Nosferatu
Wicked

Sound
A Complete Unknown (Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco)
Dune: Part Two (Gareth John, Richard King, Ron Bartlett and Doug Hemphill)
Emilia Pérez (Erwan Kerzanet, Aymeric Devoldère, Maxence Dussère, Cyril Holtz and Niels Barletta)
Wicked (Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis)
The Wild Robot (Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts)

Visual Effects
Alien: Romulus (Eric Barba, Nelson Sepulveda-Fauser, Daniel Macarin and Shane Mahan)
Better Man (Luke Millar, David Clayton, Keith Herft and Peter Stubbs)
Dune: Part Two (Paul Lambert, Stephen James, Rhys Salcombe and Gerd Nefzer)
Kingdom of the Planet of the Apes (Erik Winquist, Stephen Unterfranz, Paul Story and Rodney Burke)
Wicked (Pablo Helman, Jonathan Fawkner, David Shirk and Paul Corbould)

Review: ‘Inheritance’

Phoebe Dynevor Travels The Globe In Neil Burger's Propulsive Spy Thriller Shot On An IPhone

Phoebe Dynevor in INHERITANCE

Neil Burger is one of those journeyman filmmakers who has done a little bit of everything fairly well. He’s gone the experimental route with his breakthrough mockumentary Interview with the Assassin, done some hard-hitting indie drama with The Lucky Ones (an admitted personal favorite of mine), and delved into modestly successful studio stuff with Limitless and Divergent. His latest, a vérité-style shot-on-an-IPhone espionage thriller Inheritance is like an amalgamation of all his sensibilities. The combination doesn’t always gel cohesively, but the propulsiveness and stylistic flourishes are undeniable and a nice change of pace from your generic spy thrillers.

Conceived during the pandemic at a time when most filmmakers were looking inward and making movies about isolation, Inheritance instead charts a globe-trotting course, shot guerrilla style using minimal crew in real-world locations with real-world variables. The story begins in New York City where we’re introduced to Maya Welch, played by Fair Play‘s Phoebe Dynevor. The camera follows her aggressively as she engages in a risky night of EDM partying, recklessly random sex, and shoplifting before coming home to an ominously empty apartment. We learn that she’s been taking care of her terminally ill mother, a peace-loving Buddhist, for months. And now that she’s gone, Maya is adrift with what the future holds.

An answer comes at a surprising place; her mother’s funeral. Rhys Ifans plays Maya’s estranged father, Sam, who has arrived quite out of nowhere. With a soothing, fatherly voice he offers Maya something to do to take her mind off of things. He’s some kind of wealthy international businessman and could use Maya’s help escorting some clients in Egypt. “Let me be a father”, he says soothingly, but his answers to her questions are evasive. But he’s the only parent she has left, and while Maya’s sister questions this decision, she sets off with him to Cairo. And at first, it all seems fine. They visit the pyramids, reminisce over the past and all seems right. However, it isn’t long before Maya finds out that her father’s shady business dealings are much darker than she suspected, an his past working for some pretty bad people is even murkier. When he vanishes from their Cairo dinner engagement with dire warnings for her to flee, it all comes crumbling down.

Inheritance follows Maya as she becomes engaged in an international conspiracy that her father is mixed up in, and that only she can rescue him from. There’s even a MacGuffin, a mobile device with top secret info, that has corrupt political figures and deadly underworld elements tracking Maya’s every move in order to get their hands on it. Hopping from Cairo to Delhi to Seoul, Maya is forced to evaluate the kind of person she wants to be while navigating busy streets, airports, dingy hotels, and back alleys, looking like a documentary about traveling the world on a budget.

To be fair, Burger isn’t doing anything particularly novel with his handheld, seat-of-the-pants cinematography. We’ve seen others, like Sean Baker and Steven Soderbergh, do similar for years. But Inheritance does manage to have an added element of dangerous spontaneity to it that keeps us on our toes. Burger is shooting in some very busy, treacherous locations and Dynevor just has to kind of go with the flow of her surroundings. So when we see her steal an item from a market later on in the movie (something she was instructed to do, but was not given permission to do by the shop owner) and you see that flash of worry on her face, just for a moment, you can really feel it. The film is full of energizing moments like this.

What doesn’t really click is the central relationship between Maya and Sam. The dialogue between them is wooden and overdone, and the internal family dynamics are unconvincing. The plotted twists are easy to spot, in contrast to the unforeseeable tone that Burger was looking to establish. Inheritance has the technical gravitas to be so much more than it is, which is a solidly entertaining spy film that occasionally has you feeling like you’re right there in the action.

IFC Films releases Inheritance in theaters on January 24th.

‘Hell Of A Summer’ Trailer: Finn Wolfhard And Billy Bryk’s Camp Horror-Comedy Arrives In April

HELL OF A SUMMER

Things are about to get very busy for Finn Wolfhard. Sure, he’s stayed active starring in a pair of Ghostbusters movies and a small role in Saturday Night. But this year he’s got the long-awaited final season of Stranger Things, and perhaps more importantly for him, his directorial debut, the horror film Hell of a Summer.

Co-directed by Wolfhard and Wynonna Earp actor Billy Bryk, Hell of a Summer is a horror-comedy clearly influenced by Friday the 13th. It follows a group of counselors at a sleepaway camp who become the target of a masked killer.

The film stars Fred Hechinger, Abby Quinn, D’Pharaoh Woon-A-Tai, Pardis Saremi, Rosebud Baker, and Adam Pally. Wolfhard and Bryk co-wrote and co-directed the film and also have roles.

Hell of a Summer had its world premiere at Toronto in 2023 and was acquired by NEON, who will release it into theaters on April 18th.

SYNOPSIS: Hell of a Summer follows 24-year-old camp counselor Jason Hochberg (Hechinger), who arrives at Camp Pineway thinking his biggest problem is that he feels out of touch with his teenage co-workers. What he doesn’t know is that a masked killer is lurking on the campgrounds, brutally picking counselors off one by one.