I don’t know if anyone expected Taylor Sheridan’s Yellowstone to be such a gigantic hit. But now as the series of rugged family dynasties and land conflicts has entered its fourth season, Paramount has given Sheridan free reign to do pretty much whatever he wants. And so the Yellowstone franchise has grown with a prequel series, 1883, that will deepen our understanding of the powerful Dutton clan.
So there’s no Kevin Costner in this one, but the cast of this prequel is pretty damn great. Is there anyone more suited to a frontier drama like this than Sam Elliott? He’s joined by Tim McGraw, Faith Hill, Isabel May, LaMonica Garrett, Audie Rick, and Billy Bob Thornton in the story of the building of the Yellowstone ranch empire. Here’s the synopsis:
James and Margaret Dutton embark on a journey west through the Great Plains toward the last bastion of untamed America as they are fleeing poverty to seek a better future in America’s promised land — Montana. Shea Brennan has the herculean task of guiding the group from Texas to Montana, and he does not suffer fools.
1883 will hit Paramount+ on December 19th. Yellowstone season 4 kicked off on November 7th. Sheridan’s other series, Mayor of Kingstown, debuts on November 14th.
Clifford the Big Red Dog is nearing his 50th birthday. The cute and clumsy children’s book canine is the face of a TV show, stickers, clothing, toys galore–all spawned from the escapades of one big red dog who now heads to the big screen in his first live-action feature. Clifford the Big Red Dog, from director Walt Becker, delivers impressive visual effects, entertaining performances, and numerous attempts to tug on your heartstrings, but ultimately feels like there’s not enough heart put into it.
Based on the beloved books by Norman Bridwell, Clifford the Big Red Dog focuses less on the titular pet and more on Emily Elizabeth (Darby Camp) a bullied preteen left in the care of her irresponsible Uncle Casey (Jack Whitehall) while her mother is away for work. On the way to school, Emily and Casey wander into a tent run by eccentric zookeeper Mr. Bridwell, named for Clifford’s real-life creator and played by John Cleese. Of course Emily can’t keep the scarlet puppy they find there, but a series of serendipitous circumstances deposits the dog in Emily’s apartment. That’s when Emily names him Clifford and wishes that he were big and strong so that he could be safe from the rest of the world. The next morning, her wish has come true and her dog can now barely fit into her room. From there, Emily and her uncle search for a place for Clifford to call home, while a genetics company called Lifegrow tries to capture him to find the key to supersizing the world’s food supply.
The special effects team has done an admirable job integrating the digital big dog into the world around him. And as for his look, they find the right balance between the Clifford of the books and the risk in trying to visualize a life-like version of a dog of his size. After the eerie failures in onscreen incarnations of Cats and early glimpses at Sonic the Hedgehog, the look of these digital characters is everything. While Clifford can seem at times like he’s a few movies away from going head to head with some junior kaiju, the filmmakers made the right visual calls in retaining what made the character appealing. He’s adorable, in both forms big and small.
Jack Whitehall as Uncle Casey is trying to reform himself into a more mature voice of reason and is pulled every which way by the exploits of Clifford and Emily, but he still commits to the oft-goofy mannerisms and expressions demanded by the character. The suitably kooky Tony Hale plays the exacting head of the genetics corporation on Clifford’s tail, but his talents are underutilized. You can tell that Hale relished getting to play villainy this big and loud even if the movie doesn’t give him nearly enough opportunity. The depth of talent in the rest of the supporting cast sneaks up on you. Horatio Sanz plays the owner of a deli in Emily’s neighborhood, Alex Moffat plays a scientist at Lifegrow, and Kenan Thompson and Rosie Perez pop up in the veterinarian’s office that Casey and Emily consult about Clifford’s sudden growth.
Director Walt Becker, long after the raunch of Van Wilder, has positioned himself as a maestro of middle-of-the-road family entertainment with reliable watches like Old Dogs and the Alvin and the Chipmunks: The Road Chip. Clifford the Big Red Dog is a passably entertaining family film: it clocks in at just around 90 minutes, it’s not rampant with “how did that get into a kids movie?” moments that make parents cringe, nor an abundance of awkward appeals to make Clifford current. You’ve seen this story before of the unbreakable bond forged between a creature, on the loose and the run, and their human counterpart, you’ll see it again in Clifford the Big Red Dog.
Clifford the Big Red Dog is in theaters and on Paramount+ November 10th.
Looking at the newly released poster for Spider-Man: No Way Home it’s hard not to feel that a Sinister Six movie is coming. The image features Tom Holland’s Spidey, surrounded by teases of numerous villains. In the background is clearly Willem Dafoe’s Green Goblin, I guess confirming he’s in once and for all; plus the swirling sand of Thomas Haden Church as Sandman, and teases for Alfred Molina as Doctor Octopus and Jamie Foxx as Electro.
The multiverse has definitely been unleashed on poor Peter Parker, but will he stand alone or have some alternate universe aid? There’s still no confirmation of Tobey Maguire or Andrew Garfield’s return the webbed costume, although the more villains they reveal the more I feel like Holland will be joined by them.
Spider-Man: No Way Home opens in theaters on December 17th.
While the build up to Marvel’s latest epic, Eternals didn’t match their usual fanfare with reviews being decidedly less favorable then they’re used to that didn’t stop the media giant from nailing yet another #1 hit. In years past a $71M weekend would have been a failure but in this pandemic world I would say this is a win for the mouse house. It does make you wonder how the film would have faired if it followed a ‘Disney Premier Access’ model and sold the film on it’s streaming service at the same time.
2. Dune– $7.62M/$83.9M
The iconic sci-fi title suffered a 50% loss in revenue in it’s second week, but with it’s day/date release with HBOMax drops these high are somewhat expected. The good news? We’ve already got word that part 2 has been greenlit
3. No Time to Die– $6.1M/$143.1M
4. Venom: Let There Be Carnage– $5.7M/$190.4M
Continuing to surprise the Venom franchise nears $200M and keeps a place in the top 5 some six weeks after release.
5. Ron’s Gone Wrong-$3.6M/$17.5M
6. The French Dispatch– $2.6M/$8.4M
7. Halloween Kills – $2.3M/$89.7
Spooky season ended hard and took the box office totals for Halloween Kills with it, suffering the largest drop of the week with 73% less filmgoers buying a ticket
The royal appeal of Kristin Stewarts stunning turn as Lady Di wasn’t enough to bring in crowds, turning in a paltry $2.1M in it’s opening weekend. This one seemed like a perfect fit for a coordinated release in theaters and on streaming but sadly, the theater is the only place to see this film at the moment. Not to worry Spencer investors, I have a feeling this film has started slow but will have the legs to keep it going through January as word spreads about the, quite possibly, awards caliber performance by K Stew.
There are definitely some Boogie Nights vibes coming from this new poster for Paul Thomas Anderson’s Licorice Pizza. While I’m out here in L.A. for a few days I was hoping to catch one of the early screenings that just took place, but no such luck. So far, the initial reviews from what I’ve heard have been wildly positive, with one friend, who knows how much of a PTA fan I am, saying it is return to the kind of movies I’ve always loved from him. Yes, please.
Like so many of Anderson’s best films, this one is set in the San Fernando Valley of the 1970s, and follows a high school kid and aspiring actor. That kid is played by Cooper Hoffman, the son of the late Philip Seymour Hoffman, who was an Anderson regular. The rest of the cast includes Bradley Cooper, Alana Haim, Benny Sadie, John C. Reilly, Sean Penn, Tom Waits, Skyler Gisondo, Maya Rudolph, Joseph Cross, Nate Mann, Mary Elizabeth Ellis, and Destry Allyn Spielberg.
Licorice Pizza, such an oddly wonderful title, opens on Christmas Day. If I do happen to wrangle my way into a screening you all will be the first to know.
In what I think is a perfect bit of casting, The Boys season 3 landed The Walking Dead alum Laurie Holden to play Payback member Crimson Countess. And confirming just how spot-on it was, Holden has shared a first look at herself in costume. Not only is it comic book accurate, so is her sneer.
In the comics, Crimson Countess has a variety of heat-related powers, and it was teased she had a relationship with the villain Stormfront, who we saw played in season 2 by Aya Cash. Whether they find a way to include that aspect of her story remains to be seen.
Also joining the cast this season are Boondock Saintsactor Sean Patrick Flanery, Nick Wechsler, and Miles Gaston Villanueva as Gunpowder, Blue Hawk and Supersonic, respectively.
Hopefully this means a trailer for The Boys next season will arrive soon.
It’s only the beginning of November and Christmas, along with her plethora of Rom Com movies, are bursting through the “Let’s Skip Thanksgiving” holiday door. The Hallmark channel has already replaced my go-to late night and old school murder mystery shows with their 24 hour run of holiday films over the next few weeks. Humbug! All Grinch-ness aside, Holiday RomComs are not that bad but only a small batch are stand out worthy and an even smaller batch that I’d actually watch during the season. If it’s not already obvious, this particular genre of films are not my first, second, or even third pick regardless of the time of year. However, when it comes to reviewing them, I remain open to the idea that I may actually be inspired by something out of my own comfort/norm. Netflix has done just that with a “catfishing gone wild” Christmas love story that triggers all the right feels and warms the soul with Love Hard.
Love Hard is directed by Costa Rican actor/writer Hernán Jiménez (Elsewhere, About Us) and written by Danny Mackey and Rebecca Ewing. Natalie (Nina Dobrev, Degrassi: The Next Generation, The Vampire Diaries) is an eternally single LA journalist who’s a hopeless romantic with a track record of horrible dates. Despite not being able to find love, she does successfully write a popular dating column for all her dates that go horribly wrong. Things begin to look up when her dating app chimes a match and she swipes right to whom she thinks may actually be her Mr. Right. Tag (Darren Barnet, Never Have I Ever) is a dreamy East Coast, outdoorsy kind of guy and Natalie is instantly hooked. They spend weeks on the phone getting to know each other and it’s clear both are smitten. With Christmas right around the corner, Tag wishfully invites Natalie to his Lake Placid home in New York to spend the holidays with him and his family. Taking a leap of faith, she hops onto the next flight to surprise her crush and upon her arrival, she finds that “Tag” is not who he says he is.
Natalie discovers that Tag is actually Josh (Jimmy O. Yang, Silicon Valley, Crazy Rich Asians). Josh is meek, timid, lives in his parents basement and happens to be an old childhood friend of Tag; the dreamy guy who’s identity Josh stole to catfish Natalie. The film turns up the hilarity when Josh and Natalie strike a deal for Josh to set Natalie up with Tag and in return she pretends to be his girlfriend until Christmas with his family is over. Josh helps Natalie be the girl that Tag wants her to be while Natalie helps Josh come out of his own reserved shell and from under the thumb of his attention seeking brother Owen (Harry Shum Jr., Shadow Hunters, Crazy Rich Asians). Natalie and Josh may be unlucky in love and end up in crazy and new-age fun situations (with fantastic chemistry) in order to keep their deal in check. This lighthearted holiday movie does successfully chronicle their attempt to reel in love while metaphorically dodging ice covered snowballs which admittedly, is realistically relatable when establishing and sustaining new and old relationships…especially during the holidays. Love Hard is a title mashup, RomCom film that comedically ends on a fun note that Die Hard and Love Actually fans could respectfully appreciate. Worthy of a watch and that’s a good thing coming from me.
In some unknown island there lies a CIA black site prison housing some of the world’s most dangerous terrorists. This island is the setting for Lt. Blake Harris’s (Scott Adkins) next mission in One Shot. Harris, and his squad of Navy SEALs, is tasked with picking up a prisoner and bringing them back to DC. There has been a threat of a terrorist attack at the State of the Union. CIA intelligence believes Mansur (Waleed Elgadi) has knowledge of the attack and may be able to help prevent it. Harris is escorting Zoe Anderson (Ashley Green), a CIA analyst, to pick up Mansur and get him safely back stateside.
As if that wasn’t difficult enough, even more obstacles rear their ugly heads. From the jump Jack Yorke (Ryan Phillippe), the chief officer of the prison, becomes a big roadblock. He is incredibly uncooperative and feels that his team can extract any information the CIA needs from Mansur. Yorke’s right hand man Tom Shields (Terence Maynard) echoes his sentiments, only making things more difficult for Harris & co. To make matters worse, Mansur is quite the wanted man. Hakim Charef (Jess Liaudin), a terrorist group leader, invades the prison with his men in an attempt to silence Mansur. As Mansur continues to proclaim his innocence – Harris and Yorke must put aside their differences to survive.
One Shot is directed by James Nunn who came up with the story that Jamie Russell based the script on. One Shot is the third collaboration between Nunn and Adkins. Nunn first directed Adkins in 2013’s Green Street 3: Never Back Down and again 3 years later in Eliminators. The title, One Shot, is a double entendre. The title refers to the one shot the Navy SEALs have to stop the terrorist’s plot. One Shot also refers to Nunn filming the movie in one take, similar to the award winning 1917. Nunn and Adkins discussed creating an action movie filmed in one seamless take during the filming of Eliminators. Now, years later, it has finally come to fruition.
Filming a movie in one shot is an extraordinary feat, and one that should be lauded. This structure allows the audience to truly feel engulfed in the film – as if we are there with the SEALs team. Everything they experience in real time over the run length, we experience as well. This adds a level of realism to One Shot and no wondering how someone is able to magically get from one place to another in the blink of an eye.
The action in One Shot is enjoyable throughout. There are enough different weapons and fighting styles to satisfy most action tastes. Adkins is a master of his craft and that is in no short supply. The biggest issues are a sense of repetitiveness and not feeling connected to the characters. The character’s motivations are briefly glossed over and quickly forgotten. There’s a lot of people shouting in a room, break for a gun fight, back to shouting. Visuals and close combat ratchet up the film’s intensity while the script leaves a lot to be desired. There are multiple cheesy moments, but the action sequences try and make up for them. When the dust settles, One Shot, is a middle of the pack action film. The filming style adds some uniqueness, but the script and eye rolling moments take away. It is worth a rainy-day watch though.
On paper a film like Dangerous has potential. A sociopath who can kill at will has been released from prison and engages in therapy to try and to reform his life and not cause any trouble. Unfortunately for him, his brother mysteriously dies. As he goes to his brother’s funeral taking place at a remote island, mercenaries storm the location looking for a McGuffin. Little do they know, they’re in for some trouble. A solid premise, sure. Unfortunately for director David Hackl and writer Chris Borrelli, they opted for an incredibly bland story with an even blander lead for the film Dangerous. I mean, even the film’s title screams “mediocre.”
Dylan “D” Forrester (Scott Eastwood) is recently paroled from prison. We never really know just how bad he is, we just know he’s dangerous. He goes through the motions, taking medication, engaging in therapy with Dr. Alderwood (Mel Gibson), and receiving letters from his estranged brother, the only member of his family that still speaks to him cause, you know, he’s dangerous. Out of the blue, he gets a letter that his brother has died, and his alienated family is having a funeral for him on an island that his brother was turning into some sort of vacation resort. Dangerous tries to show you that D has mental health issues as he must write down cue cards to remind himself to tell his mother “sorry for your loss” and to hug her. Unfortunately, Eastwood doesn’t seem to have the chops to pull off playing the role.
Before D arrives on the island for the funeral, some strange man with a gun shows up at his home. Making quick work of that guy (but leaves the guy alive because he’s reformed, right?) and makes his way to the funeral on the remote island out of state. Of course, doing this is a violation of his parole which puts FBI agent Shaughessy (Famke Janssen) on his trail. Unfortunately, Dangerous isn’t a cat and mouse film as Janssen is barely in it. When D arrives on the island, he tries to make nice with his family at his brother’s wake. It’s incredibly awkward as his mother Linda (Brenda Bazinet) cannot stand the sight of him, and the same goes for everyone else at the funeral. His nephew is the only one who treats him like a person and engages him in small talk. D does capture the interest of the town sheriff (Tyrese Gibson) who just happens to have FBI bulletins handy at the funeral.
The events of the funeral don’t last long as a group of armed mercenaries led by Cole (Kevin Durand) storm the island in search of “something.” Little do they know D is a super effective psychopathic killer (coincidently from their past as well) who has a very special set of skills to be able to handle pretty much anything they can throw at him. For the bulk of the siege, D is trying his best to remain reformed and adopt to his no-killing rule. He easily dispatches with bad guys and just leaves them alive with either some very broken bones, or tied up: basically, he’s a pretty good Batman. When pressured to go further, he constantly calls his therapist for advice and to talk him over the ledge, even in the middle of beating the crap out of the bad guys.
Sorry but Dangerous isn’t successful in its execution. For one, the final act absolutely goes off the rails, especially when you find out what the bad guys were after. It comes completely out of left field. The casting of Eastwood (the nepotism is strong with this one) as the lead is an unfortunate choice as well and he simply doesn’t have the tools to carry the film. Not once in the film is he believable as a psychopathic killer. Even towards the end of the film when he’s “fully unleashed,” he’s not convincing. Durand on the other hand, who can play crazy with ease, shows him how to do it throughout the film. I dare say it: the best person in Dangerous is Mel Gibson. While he’s still in Hollywood jail for his 2006 tirade, he shows that he still can carry himself in a film. His work as the therapist is probably the only believable role throughout the film. He’s funny when he needs to be, and makes sense when the rest of the film makes you scratch your head while watching it. Tyrese is given very little to do, but this role is a sure way to make a buck in between Fast and Furious movies. The supporting cast doesn’t get much to do except cower in fear from the mercenaries, even D’s mother is rather one-dimensional until the end of the film. I will say that the fight choreography and action sequences were effective for the most part though. Perhaps with a tighter script and a more charismatic lead, Dangerous might have been a better film
Dangerous is currently playing in select theaters and On-Demand
*YOU’LL GET NO FURTHER SPOILER WARNINGS AFTER THIS!*
With the release of Eternalsthis weekend, you already know to stick around through the credits. That has been embedded in our brains for more than a decade. As we know thanks to director Chloe Zhao, there will be two additional scenes, this time, and both are very important. Thanks to leaks following the world premiere, we already know one involves the MCU debut of actor Harry Styles as Eros aka Starfox. But the second one has been kept secret pretty well, and Zhao is excited to talk about it because of the fan-favorite character who makes his anticipated first appearance.
So, I’ll just say that I got a lot of questions about Eros when Eternals was over, especially from those who had no idea he is Thanos’ brother. That’s going to create some drama, for sure. But I got a lot more questions from people about the second tease, which involves Kit Harington’s Dane Whitman character. It finds Dane struggling with whether to accept the cursed Ebony Blade, a weapon passed down through his family. If he takes it, he’ll become the “hero” Black Knight, but it comes with a heavy price.
Finally, Dane says “I have to try” and reaches for the blade. But before he can touch it, an unseen voice behind him booms “Sure you’re ready for that, Mr. Whitman?”
So while I and a couple of others immediately recognized that voice, Chloe Zhao confirms once and for all to Fandom who it was: Mahershala Ali as Blade.
“That was the voice of one of my favorite superheroes, Mr. Blade himself. Blade, Blade, Blade, yeah!” said Zhao. “You just have to wait for it. I don’t know what they’re doing with the movie, but Mahershala is a treasure. It’s going to be epic.”
Ali was introduced as Blade a few years ago at San Diego Comic-Con, and fans have been eager for his first appearance. Well, they’ve got it. Sorta. But what do the vampire-hunting daywalker and the Black Knight have in common? It’s worth noting that while Blade is known for killing bloodsuckers, he’s a figure well-versed in the darker aspects of the Marvel Universe, and the Ebony Blade definitely falls within that sphere. My personal opinion is we are going to see some kind of Midnight Sons movie develop at some point, and maybe Black Knight will be part of that.
As for a solo Blade film? It has Bassam Tariq (Mogul Mowgli) directing and a planned start date of next summer.