THE WRECKING CREW (2026)

January 29, 2026

Greetings again from the darkness. Well, it’s not exactly a ‘good cop/bad cop’ scenario, since only one of them is a cop – and he’s suspended and out of his territory. It’s also not a traditional ‘Buddy comedy’ since these aren’t buddies, but rather estranged, grudge-holding half-brothers. Still, the premise is admirable, and the casting choice of pairing Dave Bautista with Jason Mamoa is marketing brilliance. Jonathan Tropper (creator and writer of “Banshee”) wrote the screenplay and Angel Manuel Soto (BLUE BEETLE, 2023) directed.

An apparent hit and run takes the life of Walter, the father of brothers by different mothers, James (Dave Bautista) and Jonny (Jason Mamoa). James is a composed Navy SEAL officer who is married with two kids. Jonny is a party animal cop on a reservation in Oklahoma, whose girlfriend Valentina (Morena Baccarin) dumps him moments after he’s suspended from his job and learns his father has died. Of course, Jonny had no relationship with his dad and has been estranged from brother James for a decade. When he’s attacked and his house is trashed by Yakuza gang members, Jonny figures there more to his dad’s story and heads to Hawaii (where James lives) to investigate.

The film serves its purpose when James and Jonny are going at each other with verbal digs or physical punches. The personality differences of Bautista and Mamoa makes these exchanges kinda fun … and sometimes funny. It’s actually a let down that their exchanges aren’t a bit more clever – say, in the mold of 48 HOURS (with Nick Nolte and Eddie Murphy). Perhaps I’m asking too much. The most frustrating aspect here is the villain. Claes Bang plays Robichaux, the leader of Yakuza, and he is severely underutilized here … other than a crack about him as the Vampire Lestat (Bang was terrific in the TV series “Dracula” ).

Morena Baccarin plays Valentina as a bank manager with extraordinary driving skills. Other supporting work comes from Jacob Batalon as Pica, more comedy relief as Walter’s assistant and referred to as ‘fat Jackie Chan’; Stephen Root as a frustrated Police Captain; and Temuera Morrison as the Governor. There are some stunning shots of Hawaii, and more of the impressive tattooed physiques of Bautista and Mamoa as they constantly fight – either each other or bad guys. They even get to look cool riding motorcycles. I feel obligated to make note of one particular action sequence that bothered me. It’s the biggest action set piece in the film … an incredible air and road chase scene featuring an incredible amount of gunfire and vehicle carnage. What bothered me was a stunning number of innocents who were harmed and probably killed … all with no care or attention from our heroes – James and Jonny (the former more concerned about his own wrecked vehicle). For me, this put a damper on what otherwise was played as a comical, over-the-top action film.

Streaming on Amazon Prime as of January 28, 2026

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Posted by David Ferguson

ONE BATTLE AFTER ANOTHER (2025)

September 25, 2025

Greetings again from the darkness. My immediate reaction after viewing this film was that it represented the highest level of filmmaking – including superb acting, a complex story that fits today’s narrative, and the most varied and diverse score I can recall from many years of moviegoing. After a couple of days to mull it over, I believe it’s possible that my initial reaction somehow underrated this instant classic. High praise should be no surprise since the film is the work of writer-director Paul Thomas Anderson – the man behind such cinematic gems as LICORICE PIZZA (2021), PHANTOM THREAD (2017), THE MASTER (2012), THERE WILL BE BLOOD (2007), PUNCH DRUNK LOVE (2002), MAGNOLIA (1999), BOOGIE NIGHTS (1997), and HARD EIGHT (1996).

Anderson has been nominated for eleven Oscars over the years, and here he adapts the 1990 Thomas Pynchon novel “Vineland”. While the novel is set in the 1980’s, Anderson structures his film in such a manner that much post-viewing conversation will focus on its synchronicity to our current political landscape/battlefield. Remarkably, Anderson has delivered a film that features stunning action sequences, cutting political satire, and touching personal drama. It’s almost too much to ask of any one movie, and is very likely a bit too much for some movie goers.

As the film opens, a resistance movement called French 75, led by Perfidia Beverly Hills (powerhouse Teyana Taylor) is doing their thing with help from explosives expert Pat (Leonardo DiCaprio). With the excitement of fulfilling their mission, Perfida and Pat fall for each other – a shared cause can do that. Mucking up the movement and the relationship (unbeknownst to Pat) is a militant with the memorable name of Colonel Steven Lockjaw (Sean Penn). Lockjaw is laser-focused on stopping the resistance – in fact, the only thing that can stop him is a creepy attraction to Perfida, who uses his weakness to her advantage.

A jaw-dropping visual occurs as we see a (very) pregnant Perfida firing an automatic weapon during target practice. Soon after the baby is born, Perfida (not the mothering type) takes off, and Pat, now underground and known as Bob Ferguson, is left to raise the child. Flash forward 16 years, and teenage Willa (the terrific movie debut of Chase Infiniti) and her father are living a quiet life. She’s a tough, but normal high schooler with friends, while he has dulled his mind and outlook with drugs and alcohol … unable to remember the secret password when Colonel Lockjaw tracks him down. French 75 loyalist Deandra (Regina Hall) finds a safe house for Willa, as Bob frantically bounds around town until Willa’s Sensei (Benecio Del Toro) offers to help him. This sensei also hides his own secrets, as Del Toro sprinkles in his patented one-liners.

There is so much going on here, and I’m only now getting to the Christmas Adventurers Club – a clandestine group of white supremacists motivated by racism and lust for power and purity. It’s a club Col Lockjaw desperately wants to be admitted to. In fact, racism hovers over much of the film, with the resistance attempting to defy it through radicalism and extremism … although which side is the most radical or extreme could (and has) carried debates for quite a while.

Three Oscar winning actors are featured here: DiCaprio, Penn, and Del Toro. All three are excellent, but it’s Sean Penn’s Lockjaw that will likely stick with you. Delving into caricature at times, Penn employs many stereotypes, a distinct strut, and a few facial ticks to go with his one weakness in creating a character that we can’t help but laugh at, while also being a bit frightened of his persona. DiCaprio’s Pat/Bob runs the gamut from revolutionary to a Lebowski-type fleeing in his ratty bathrobe. His look varies throughout with varying hairstyles and wardrobes. His father-daughter relationship is truly the heart of the film, and is exceptional drama.

The supporting cast is excellent and includes Alana Haim, Shayna McHayle, Tony Goldwyn, Kevin Tighe, DW Moffett, John Hoogenakker, and Jena Malone … many familiar faces and a great deal of talent. Cinematographer Michael Bauman (back with Anderson after LICORICE PIZZA) delivers the action sequences, the dramatic moments, and a couple of car chases … one which will live on in infamy. Filmed in VistaVision (I saw it in IMAX), there is a mesmerizing car chase through and over and down a hilly desert highway. It’s unlike any car chase I’ve seen, and had me leaning forward in my seat trying to get a look ahead.

This is a story that covers quite a few years and just about as many topics as you’d like to associate with it. There is a nod to THE BATTLE OF ALGIERS (1966), which was another film about the fight for freedom. One note that I’m unsure how to address is the score from frequent Anderson collaborator Jonny Greenwood (Radiohead guitarist). It’s simply fantastic the way Greenwood melds diverse music with the numerous shifts in tone of the characters and story. As for filmmaker Paul Thomas Anderson, it’s subjective as to whether he has outdone his previous stellar work, yet I can confidently label this one as both bleak and funny, while also thrilling, chilling, and timely.

Opens in theaters on September 26, 2025

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Posted by David Ferguson

AMERICAN WARRIOR (2025)

August 28, 2025

Greetings again from the darkness. The reality of today’s world is that some folks aspire to ‘go viral’ on social media, while others struggle to imagine anything worse. There are those who dream of being famous – even if it’s for only a moment in time. Others value anonymity to the point where they can’t imagine giving that up. This first feature film from writer-director Gustavo Martin and co-writers Matt Anthony and Vishy Ayyar touches on this very topic. By drawing from Ayyar’s real life (he also stars), we see how one of the reluctant types can use unsolicited fame as an advantage … a means to an end.

The film opens on a brutal MMA fight and then flashes back seven weeks. That’s where we find Jai (the film’s co-writer Vishwanath ‘Vishy’ Ayyar) working as a janitor at Marcella’s Gym. Jai is a quiet, hard-working man – one whose recent history includes a prison stint. Cell phone video of his actions at a local market goes viral, resulting in Jai getting his 15 minutes (Warhol fame). This motivates him, as a 45-year-old, to train hard for an upcoming fight. His goal is not so much to relive the glory days of his twenty years ago fighting, but rather to re-gain self-respect and that of his estranged family. Gym owner Marcella (Veronica Falcon) agrees to support him in his unlikely comeback.

Jai tracks down Dennis (Danny Trejo), his old trainer and friend. Dennis is skeptical of the goal considering Jai’s age and the short timeline, but agrees to help. Complicating matters is the mutual attraction between Jai and Melissa (Taylor Treadwell), as well as Jai’s sister working behind the scenes to get him welcomed back into the family. These are developments that Jai needs, yet distractions that keep him from focusing on training – keeping Dennis a bit exasperated.

Stories of redemption are well-worn topics in the movie world, yet we find the character of Jai and his man of few words (and fewer smiles) to be a guy we can root for. Fans of MMA will enjoy the fight scenes and the twist to Jai’s opponent, and those who appreciate a second chance for a decent man will also find plenty to like.

Releasing in select city theaters and on-demand streaming platforms by Quiver on 29 Aug 2025. 

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Posted by David Ferguson

EENIE MEANIE (2025)

August 22, 2025

Greetings again from the darkness. Car chases are prevalent throughout movie history. Some are quite exhilarating and famous: BULLITT (1968) and THE FRENCH CONNECTION (1971). Some are over-the-top: pretty much every driving sequence in the F&F franchise. The directorial debut of writer-director Shawn Simmons revolves around a talented getaway driver, and there are certainly a couple of heart-pumping sequences, but the movie is as much a look at how bad decisions impact one particular character, Edie.

We first see Edie as a 14-year-old (played by Elle Graham), who is coerced by her father (Steve Zahn) to “punch it” to save her mother from an unfortunate (and illegal) occurrence. Flash-forward a few years and we find Samara Weaving (so good in READY OR NOT, 2019) as Edie, now stressed out over being robbed at her bank job, her relentless poverty, a broken-down car, and prepping for her college exams. Her bad day is topped off by an unwelcome surprise from her doctor at a check-up.

This surprise leads Edie (nicknamed Eenie Meanie) to track down the bad news boyfriend she’s been diligently working to move on from. John (Karl Glusman, who exposed his full talents in LOVE, 2015) is the kind of guy that creates chaos simply by living. If he doesn’t find trouble, it’s not long before trouble finds him. So when Edie finds John, she of course also finds trouble. This time her man-child owes crime lord Nico (Andy Garcia) so much money, that Edie agrees to be the driver in a high-risk casino robbery that Nico says will save John’s life.

We get the expected montage of heist planning, and along the way, Edie crosses paths with characters played by Jermaine Fowler, Randall Park, Chris Bauer, Mike O’Malley, and most memorably, Marshawn Lynch – a rival driver in a fancy red mink robe and customized Continental. The movie feels like it’s Shawn Simmons answer to Edgar Wright’s superior BABY DRIVER (2017). The fallout from bad decisions are the recurring theme, and it’s really the screen presence of Samara Weaving (Hugo’s niece) and her interactions with Andy Garcia that provide a bit of interest here.

Premieres on Hulu beginning August 22, 2025

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Posted by David Ferguson

SHE RIDES SHOTGUN (2025)

August 1, 2025

Greetings again from the darkness. “A gritty thriller” is a frequently used description that, when heard or read, typically elicits red flags from this movie watcher. However, exceptions to the rule are welcome and writer-director Nick Rowland (CALM WITH HORSES, 2019) has delivered just that with this adaptation of Jordan Hopper’s 2017 novel. The screenplay is co-written by SUPER DARK TIMES (2017) collaborators Ben Collins and Luke Piotrowski.

Eleven-year-old Polly (a remarkable Ana Sophia Heger, “Life in Pieces”) is lounging in the park, waiting for her beloved mother to pick her up after school. The minutes roll by until the final teacher departs, leaving Polly with no way home. Polly’s observant and intense blue eyes follow a speeding car as it pulls up near her. She recognizes the father she hasn’t seen over the years he’s been in prison. He exerts pressure on her to get in the car, despite her reticence. Nathan (Taron Egerton, ROCKETMAN, 2019) has a buzzed head, a chiseled physique, and a tatted-up body. His appearance is unquestionably frightening to the young girl.

Polly notes the car is stolen and that Nathan is wearing her stepdad’s hoodie. When they check into a motel, we all assume she’s been kidnapped. As dad naps, Polly sees a TV news report depicting the murder of her mother, her own kidnapping, and the key suspect … dear old dad. There is plenty of familiar territory covered as the two go on the lam, trying to avoid the police and ‘Steel’, the Aryan faction that is seeking revenge on Nathan’s disloyal actions in prison. A “Green Light” (hit) has been issued for Nathan and his family, including Polly. It turns out Nathan is actually trying his best to protect her.

Cinematographer Wyatt Garfield (A DIFFERENT MAN, 2024) works wonders with the New Mexico landscape, as well as the intimate scenes that follow. We feel the tension and danger thanks to the camera work and the developing bond between Nathan and Polly. There’s the mandatory car chase scene and at least three shootouts, the last of which is quite impressive. We also get good cop versus bad cop. Crusading detective John Park (Rob Yang, THE MENU, 2022) wants nothing more than to shut down the local meth lab known as Slab Town, while corrupt and menacing Sheriff Houser (FARGO’s John Carroll Lynch playing against type) relishes his opportunities to torture and wield power.

Despite the familiar territory covered … and the similarity in style to the outstanding Taylor Sheridan film, HELL OR HIGH WATER (2016), there is plenty here to keep our attention and justify the ‘gritty thriller’ description. Redemption is often beyond reach for some, but the effort means a great deal.

Opens August 1, 2025

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Posted by David Ferguson

SALVABLE (2025)

July 15, 2025

Greetings again from the darkness. After reading the synopsis, I was tempted to pass on this one and move on to the next film on the list. What could possibly be appealing about another fading boxer whose life is in shambles? Co-directors Bjorn Franklin (also the screenwriter) and Johnny Marchetta are frequent collaborators on music videos, and this, their first feature film, is a solid action-melodrama with some moving parts that all (OK, mostly) come together. It also has a surprisingly effective lead performance.

Living in Wales, Sal (Toby Kebbell, “Servant”) is a past-his-prime boxer taking falls in the ring at night, while showing touching care in his day job at the local Nursing Home. Sal is getting by, but it’s clear he needs no sunglasses for his future. His teenage daughter, Molly (Kila Lord Cassidy) is holding on to anger towards him, while his ex-wife (Elaine Cassidy) mostly wishes he would just leave them alone. Matching the mostly joyless life Sal leads is the lighting and atmosphere created by the filmmakers … hometown looks like a place where smiles are rare.

Just as we are adjusting to Sal’s bleak existence and his misguided attempts to improve his lot through his job and slowly improving relationship with Molly, a bad influence pops up in the form of Vince (Shia LaBeouf). Sal and Vince were friends and boxing buddies in their younger days, and now, just out of prison, Vince wants to get the band back together for nefarious activities that can bring them some cash. And just like that, the melodrama of Sal’s struggling becomes a bit of a crime drama, where Vince infuses chaos and Sal makes more poor decisions.

Sal’s long-time trainer and mentor, old-timer Welly (James Cosmo) tries desperately to keep Sal on track and even scores him a real opportunity for redemption. Of course, we have come to know Sal as a man with the best intentions, but an inability to overcome the constant hurdles life puts in his way. Toby Kebbell delivers a truly touching performance as Sal, and his personal struggles are certainly the best part of the film. Shia LaBeouf adds heft as a guy we may initially misjudge, yet in this world happy endings are tougher to come by than victories in the ring.

Now available OnDemand and on Digital platforms

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Posted by David Ferguson

JURASSIC WORLD: REBIRTH (2025)

July 1, 2025

Greetings again from the darkness. It’s been 32 years since John Hammond “spared no expense” on ice cream and Chaos Theory Doctor Malcolm pleaded that the colorful jeep “must go faster”. That 1993 film by Steven Spielberg awed us and changed the course of cinema. Now director Gareth Edwards (ROGUE ONE: A STAR WARS STORY, 2016; GODZILLA, 2014) brings us the seventh film in the ‘Jurassic’ franchise. Having adapted Michael Crichton’s books for the first two in the series, renowned screenwriter David Koepp (who has also contributed to Mission: Impossible, Indiana Jones, and Spider-Man franchises, among others) returns for “Rebirth”.

Opening with a flashback to fifteen years prior, we see the InGen lab where experimental cross-breeding has resulted in dino-mutations, and we are only about four minutes in when we get the first dino snack (an unfortunate lab worker). Returning to modern day times (five years after the end of JURASSIC WORLD: DOMINION), we find a citizenry somehow bored with the dinosaurs that have been released into the wild – most of which have died or are dying due to environmental issues caused by us despicable humans. The exception is a remote island near the equator where the climate most resembles prehistoric times, and the beasts are free to roam … as it’s now a “No people allowed” sanctuary. It’s also a former InGen lab site.

This all sets the stage for greedy Big Pharma executive, Martin Krebs (Rupert Friend) to plan an excursion with the goal of collecting DNA from the three largest dino species from land, sea, and air. Oh, and minor detail – the DNA has to be collected from live specimens. The DNA can supposedly be used for major medical breakthroughs. Krebs hires Zora Bennett (Scarlett Johansson), a mercenary for “situational security and reaction”, and Dr Henry Loomis (Jonathan Bailey, WICKED, 2024) a paleontologist trained by the infamous Dr Grant. Zora assembles the rest of the team, including friend and boat captain Duncan Kincaid (Oscar winner Mahershala Ali), and the rest of his crew.

Separately, a family sailing the same waters is introduced. Reuben (Manuel Garcia-Rulfo) and his two daughters, college-aged Teresa (Luna Blaise) and clever 11-year-old Isabella (Audrina Miranda), along with Teresa’s lazy and spacey boyfriend Xavier (David Iacono). This secondary group provides us with ‘normal’ folks to fear for as their boat is dino-attacked, leaving them stranded in the sea, awaiting recovery by the pharma boat. This creates a strange mixture of folks and, most importantly, allows for the mandatory kid-in-peril. Another dino-attack on the boat separates the family from the team and begins the process of scratching characters from the story.

The adventures are quite different for the two groups, and the island scenery is consistently awe-inspiring. But we are all here for dinosaurs, and on that front, the film never disappoints. Very few gaps occur between sightings or attacks, and the dinosaurs dazzle. A slumbering by the river T-Rex provides one of the best chase/attack scenes from any of the Jurassic movies (with a tip of the raft to the Crichton novel). Of course, we know who the villain will be, and we know how things go for villains in these movies. The story includes an altruistic approach from Loomis, who flashes some survival instincts despite a career spent in an air-conditioned museum, rather than a dino-filled jungle.

We are left to ponder what the titular “Rebirth” refers to. The film doesn’t offer anything new, outside of the mutants … including the much-anticipated D-Rex (sporting the head of a Beluga whale?). Your individual level of critique will determine whether you buy Scarlett Johansson as the ultimate tough warrior, although John Mathieson’s stunning cinematography and composer Alexandre Desplat’s score (generously sprinkled with John Williams’ iconic JP score) are complementary to an overall entertaining and crowd-pleasing big-budget summer blockbuster, with many nods to the previous films in the franchise. Race cars and dinosaurs in the same summer … spared no expense.

Opens in theaters on July 2, 2025

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Posted by David Ferguson

F1: THE MOVIE (2025)

June 26, 2025

Greetings again from the darkness. I can’t explain why auto racing movies have always appealed to me. This dates back to such classics as GRAND PRIX (1966, with James Garner), WINNING (1969, with Paul Newman), and LE MANS (1971, with Steve McQueen). Toss in the more recent films like SENNA (2010), RUSH (2013), and FORD V FERRARI (2019), and that’s a lot of roaring engines and squealing tires on the track and the big screen. Writer-director Joseph Kosinski is no stranger to movies with stunning action and movement and speed as evidenced by his TOP GUN: MAVERICK (2022), OBLIVION (2013), and TRON LEGACY (2010). Kosinski co-wrote the story here with Ehren Kruger, his screenwriter from that high-flying 2022 gem.

Led Zeppelin’s “Whole Lotta Love” blasts through the IMAX sound system as we are introduced to brash driver Sonny Hayes (Oscar winner Brad Pitt, ONCE UPON A TIME … IN HOLLYWOOD, 2019) during 24 Hours at Daytona. We learn quickly that Sonny marches to his own drummer and is a bit of a loner living and traveling in his van. When Ruben (Oscar winner Javier Bardem, NO COUNTRY FOR OLD MEN, 2007), his long-ago friend and one-time racing rival, shows up to offer him a seat for the Formula One team he now owns, Sonny politely declines, despite his friend’s financial struggle and desperate need to win a race or risk losing his team. Of course, we know Sonny will show up.

Sonny discovers that the other driver on the team is an arrogant and talented rookie named Joshua Pearce (Damson Idris, “Snowfall”). Pearce represents a certain generation with arrogance and entitlement beyond his actual success (along with a supportive mama, Sarah Niles, “Ted Lasso”). He certainly wants nothing to do with an ‘old man’ who hasn’t driven F1 in decades. The two polar opposite drivers provide the conflict in the film, but it’s Sonny’s backstory that makes things click. As an immensely talented young driver, his dreams and expectations came crashing down, leaving him a broken man with no home – other than his life as a gypsy driver bounding from one racetrack to the next.

If you’ve seen BULL DURHAM (1998) or THE COLOR OF MONEY (1996), you know how it goes when the grizzled veteran mentors the cocky (and talented) newcomer. It’s a rough start and slowly the two begin to work as teammates. Sonny’s sixth sense on the track stems from knowledge and experience. His swagger initially rubs former aerospace-engineer-turned-car-designer, Kate (Kerry Condon, THE BANSHEES OF INISHERIN, 2022), the wrong way, but of course anyone who has ever seen a movie knows where they are headed.

As with everything these days, especially when big money is at stake, politics and power play a huge role. This time it’s sleazy investor Peter Banning (Tobias Menzies, YOU HURT MY FEELINGS, 2023) who provides the ugly underbelly of greed and corruption. Still, none of that much matters … same with the dialogue that often veers into pure cheesiness. What matters is that the race scenes are exhilarating … the best we’ve ever seen on screen (and make that an IMAX screen if possible – for both sight and sound). Cinematographer Claudio Miranda won an Oscar for LIFE OF PI (2011), and I’m guessing the filming during actual Formula One events proved even more challenging than that one. Definitely deserving of attention are co-editors Stephen Mirrione (Oscar winner, TRAFFIC, 2000) and Patrick J Smith, as well as the entire Sound team. I’ll admit it’s not my favorite Hans Zimmer score, and I’m certain that neither he nor his two Oscars care about my thoughts on the matter.

As an actor, Brad Pitt no longer survives simply by existing – he actually emotes (and does so quite well). He’s a big movie star in a BIG movie that strives to wow viewers. The mystery is how many will be drawn to the theaters for fast cars. For those that do, this one delivers.  On the other hand, if TALLADEGA NIGHTS (2006) or Pixar’s CARS franchise is more your speed, well there’s no shame in that.

Opening in theaters nationwide on June 27, 2025 followed by streaming on AppleTV+

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Posted by David Ferguson

MISSION: IMPOSSIBLE – THE FINAL RECKONING (2025)

May 26, 2025

Greetings again from the darkness. The eighth and (supposedly) final entry in a fantastic action film franchise that began in 1996 may not be the best of the bunch, yet it’s a mostly satisfying farewell to Ethan Hunt and his team of world-savers. Making his fourth stint as a writer-director for the latest “MI”, Oscar winner Christopher McQuarrie blends new danger and stunning action sequences with admirable (if not a few too many) tributes and nods to the past films and characters (including villains).

Of course, none of this would be possible without the freak-of-nature we know as Tom Cruise. Something I’ve said and written many times before – Mr. Cruise was not only born to play the role of Ethan Hunt, through the years he has definitively made it his own. What has allowed most of these films to work is a combination of thrilling escapades required to prevent a catastrophe, and the tongue-in-cheek tone designed to let the audience off the hook in recognizing the audacity of the whole thing. Unfortunately, this one omits the clever banter and instead goes with a couple of wise cracks that lack the effect.

For anyone who is a bit concerned about the future impact of Artificial Intelligence, “The Entity” is the real villain in this one, and it’s likely to spook you a bit more about the unknown and untapped power. Although Esai Morales returns as bad guy Gabriel, the true danger of global destruction comes courtesy of AI and its ability to take over control of all nuclear weapons on the planet. Only Ethan Hunt (should he choose to accept) and his team can stop this from happening, and if they do, it’s very likely those heroics will be last-second and towards the end of the 169-minute runtime … and after numerous action sequences that leave us breathless.

There are two truly stunning action/stunt sequences that feature Cruise at his most daring and a filmmaking team at its most technically advanced. The second of the two sequences, and the one getting the most attention is the aerial battle between two vibrantly-colored vintage biplanes. Now that description would be cool enough for most movies, but not for this franchise and certainly not for Cruise. Here, he climbs around the wing as one plane is airborne so he can take over the pilot’s seat. Again, that would be an incredible feat for anyone, but it barely scratches an itch for this guy. Instead, he then makes his way from one airborne plane to other airborne plane so that he can then fight THAT pilot (Gabriel) … and he must do so while executing another task that is required to save the world.

Yes, that aerial sequence is breathtaking and deserves accolades, yet it’s the ‘other’ huge action sequence that left me wide-eyed and clutching the armrests. Watching Ethan Hunt deep dive into frigid ocean waters to a long-ago sunken submarine, and then navigating his way through the giant metal tube as it tumbles on the sea floor is nothing short of astonishing and jaw-dropping. It’s fantastic to watch and unlike anything previously seen on screen – including other submarine movies or underwater scenes.

In addition to Cruise and Morales, other returning players include Haylee Atwell as Grace, Simon Pegg as Benji, Pom Klementieff as Paris (an amazing character), and Henry Czerny as Kittiridge. Also returning is Ving Rhames as Luther … he and Cruise are the only two to appear in all eight MI films. Additions to the superb cast are Angela Bassett as the President, as well as Holt McCallamy, Janet McTeer, Nick Offerman, Shea Whigham, Greg Tarzan Davis, Tramell Tillman, and Hannah Waddingham. There is also a significant surprise appearance by another returner – one that I won’t spoil here. The final scene in Trafalgar Square comes across a bit corny, but let’s say they’ve earned the right.

Cruise’s courage and brilliance as Ethan Hunt are noted, while McQuarrie clearly has a love for the mission; and yet, we need to acknowledge the technical expertise brought by many, especially cinematographer Fraser Taggart and editor Eddie Hamilton. While this final entry might not be tops for the franchise, it’s yet another expertly crafted big budget film that delivers the thrills its audience expects. And for the price of a ticket, those two colossal action sequences combine with Lalo Schifrin’s timeless (and blood-pumping) theme song are tough to beat … make that impossible.

Playing nationwide in theaters

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Posted by David Ferguson

FOUNTAIN OF YOUTH (2025)

May 22, 2025

Greetings again from the darkness. A filmmaker takes a risk by opening a movie with a frenetic and extended chase scene. This approach tends to announce that the action is more important than the story or characters … a message most filmmakers prefer not to convey. With his track record including SNATCH (2000) and LOCK, STOCK, AND TWO SMOKING BARRELS (1998), I tend to give the benefit of doubt to every new Guy Ritchie-directed project. Most offer some heft and creativity, yet the disappointments are often amplified due to expectations. Working from a screenplay by James Vanderbilt, this one strives to be a blend of NATIONAL TREASURE and Indiana Jones, with Thor and Loki banter.

The opening chase scene here sets the stage for what this movie is … one long chase. It seems everyone is always chasing what Luke Purdue (John Krasinski, A QUIET PLACE, 2018) is after – whether that’s a particular Rembrandt painting or the mythical Fountain of Youth associated with explorer Ponce de Leon (though the legend dates back centuries more). For most of the movie, Luke and his team are being chased by an Asian gangster, a committed mercenary, and an agent from Interpol. Rather than the traditional meet-cute, we get a reconciliation of estranged siblings. Luke’s sister Charlotte (Oscar winner Natalie Portman, BLACK SWAN, 2010) is a museum curator and both were trained by their since-deceased archaeologist father.

Luke is the adventurous one in the mold of Indiana Jones, whereas Charlotte tries her best to live a safe life with her musical prodigy son – despite the in-process split with her husband. Many of the scenes are based on the contrast (and corresponding similarities) of this brother-sister duo. Esme (Eiza Gonzalez, BABY DRIVER, 2017) is the mysterious woman hot on Luke’s trail, while Inspector Abbas (Arian Moayed, “Succession”) is the Interpol agent who’s been tracking the art thefts for a long time. Luke’s crew includes Deb (Carmen Ejogo, SELMA, 2014) and Murphy (Laz Alonso, “The Boys”), and the quest is funded by billionaire Owen Carver (Domhnall Gleeson, General Hux in the Star Wars universe), who claims to be seeking the healing powers of the Fountain of Youth due to his terminal cancer.

There is an interesting early sequence that finds Luke and Charlotte scrounging for a lost painting aboard the sunken Lusitania. What makes this interesting is that Alfred G Vanderbilt did actually die in 1915 when the ship went down, and the screenplay for this film is written by his great grandson, James Vanderbilt. Unfortunately, it’s that screenplay that is a constant drag on the film. The dialogue is too often cringy while trying desperately to be clever and funny. Krasinski and Portman seem to realize this and overact while attempting to salvage some scenes. For mindless entertainment, there is certainly a place for adventure films with settings as breathtaking as the Austrian National Library and the Pyramids of Giza, yet it’s a shame that a more thoughtful and intelligent story wasn’t delivered.

The film will premiere globally on Apple TV+ on Friday, May 23, 2025

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Posted by David Ferguson

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