CARRY-ON (2024)

December 13, 2024

Greetings again from the darkness. Ever since Bruce Willis’ John McClane ‘Yippee-Ki-Yayed’ his way into saving Christmas in 1988, many filmmakers have tried to latch onto the action-filled Christmas crime drama sub-genre. Of course, none have reached the level of that Nakatomi Plaza classic, and often the biggest miss is in the form of the villain. Alan Rickman’s Hans Gruber is often cited among the all-time best movie villains, and deservedly so. This latest film we welcome to the party comes from director Jaume Collet-Sera (JUNGLE CRUISE, 2021, ORPHAN, 2009) and co-writers TJ Fixman (Ratchet & Crank video game creator) and Michael Green (LOGAN, 2018).

The opening scene finds a mysterious man in a cap destroying a Christmas tree farm, violently taking out the two present workers. We then join Ethan Kopek (Taron Egerton, ROCKETMAN, 2019) and his girlfriend Nora (Sofia Carson, PURPLE HEARTS, 2022) as they celebrate a positive pregnancy test. They both head to work at LAX. She’s employed by an airline, and he’s a TSA Agent. We quickly learn Ethan’s supervisor (Dean Norris) recognizes him as coasting through his job, and subsequently shoots down Ethan’s request for a promotion.

Holiday travel is in full swing, and as Ethan goes about his work, he’s soon being blackmailed and threatened by a direct-speaking, calm-demeanored ‘traveler’ (Jason Bateman, “Ozark”). “One bag for one life.” The direction from the terrorist to Ethan is to just “do nothing” as a particular carry-on bag runs through his security line. The penalty for not following the traveler’s instructions is the death of Nora and the unborn child. There is a fascinating sequence where Ethan’s actions are juxtaposed with the work of Detective Cole (Danielle Deadwyler, excellent in this year’s THE PIANO LESSON). This is followed by one of the more creative and intense on-screen car crashes we’ve seen. It provides quite a visual jolt.

Ethan’s backstory is slowly uncovered here, as is the all-too-real threat of the terrorist and that suitcase. Supporting work is provided by familiar faces Theo Rossi and Logan Marshall-Green, and despite plenty of ‘that could never happen moments’, the film carries enough twists, turns, action, and suspense to keep us engaged. It’s a shame that the climax feels so rushed, yet any film that opens with Bruce Springsteen’s “Santa Claus is Coming to Town” and closes with Darlene Love’s “Christmas (Baby Please Come Home)” deserves a chance. Just stay away from Contraband Bingo with TSA agents.

Premiering on Netflix December 13, 2024

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Posted by David Ferguson

THE ORDER (2024)

December 11, 2024

Greetings again from the darkness. We are probably fortunate that there are people who research, investigate, and write about the reprehensible world of white supremacists. While most of us would prefer to imagine that such folks don’t exist, or at least have little impact, the 1989 book “The Silent Brotherhood” by Gary Gerhardt and Kevin Flynn detail why ignoring is not a feasible option. Zach Baylin (KING RICHARD, 2021) has now adapted the book into a screenplay directed by Aussie Justin Kurzel (THE TRUE HISTORY OF THE KELLY GANG, 2019, and the excellent NITRAM, 2021).  The book and the film are based on the facts of the case that is now 40 years old, yet still relevant today.

Jude Law stars as Terry Husk, a weathered FBI Agent assigned to a long-forgotten field office in Idaho. Husk is described as “slowing down” and it becomes clear he has had some health issues and is estranged from his wife and daughter. It’s 1983 and we are in the studio as Denver radio DJ Alan Berg (Marc Maron, TO LESLIE, 2022). Berg was Jewish and liberal, and we hear his verbal sparring with call-in white supremacists. If you recognize Berg’s name, you likely know his story, and his inclusion reinforces the courage required to confront such hate.

After a violent bank robbery, Agent Husk is drawn into the spectrum of radical Bob Mathews (Nicholas Hoult continues his big year, NOSFERATU, JUROR #2), a white supremacist cult leader whose faction has broken off from the Aryan Nation run by a local pastor. As Mathews recruits, and teaches youngsters to shoot, he proclaims the group is “at war” and it’s a race war against the government (as a reminder, Ronald Reagan was President at the time). Husk partners with a sharp youngster from the local Sheriff’s office named Jamie Bowen (Tye Sheridan, THE TENDER BAR, 2021). The game of chase exposes Husk’s preternatural instincts that sometimes go against the case lead, Agent Joanne Carney (the talented Jurnee Smollett, THE BURIAL, 2023).

The entire story takes place from 1983 to 1984 and includes robberies, murder, counterfeiting, and the understanding that leaders like Mathews believe what they read in “The Turner Diaries”, and that they are somehow the chosen ones. Jude Law is especially good in this role and his scenes with Hoult are standouts. Although I’m not a fan of the climactic standoff, it seems to follow the history pretty closely … taking place in Whidbey Island in Washington State. On the other hand, the buildup is especially well done, and the film looks spot on for the era.

Opened in theaters on December 6, 2024

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Posted by David Ferguson

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

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Posted by David Ferguson

GLADIATOR II (2024)

November 22, 2024

Greetings again from the darkness. Like many of you, I’m not usually a fan of sequels. Too often they feel like a money grab or an unapologetically opportunistic way to capitalize on previous success without much creativity or artistry required. Of course, there are exceptions. Sometimes sequels advance the story or offer additional development on an interesting character. So where does this one fit? It’s been almost a quarter-century since GLADIATOR (2000) received 12 Oscar nominations, winning 5, including Best Picture. The original is a film I revere. Director Ridley Scott is back at the helm, and at age 86, he proves he’s still a master of scope and scale and visceral action sequences.

Russell Crowe is not back for this one, and if you saw the first film, you understand why. Crowe is shown in a couple of flashbacks and is mentioned periodically. But this film belongs to Paul Mescal as Lucius, a natural leader and preternatural fighting soldier. That last sentence probably seems like a mistake to anyone who has seen Mescal in ALL OF US STRANGERS (2023), AFTERSUN (2022), or THE LOST DAUGHTER (2021). In each of those films, his talent and presence were obvious, yet he gave no indication of being able to play a tough warrior. After bulking up for the role, Mescal proceeds to step into movie stardom, as he truly commands the screen.

Much like Maximus (Crowe) in the first film, Lucius (Mescal) is forced into slavery, which translates into Gladiator training and fighting for Macrinus (two-time Oscar winner Denzel Washington). However, this comes after one of the most intense and ferocious opening battle scenes we’ve ever witnessed on screen. During this battle, Lucius’ wife Arishat (Yuval Gonin), a fierce warrior herself, is killed by the Roman General Acacius (Pedro Pascal, “The Mandolorian”), setting off grief and a thirst for revenge in Lucius. Once he’s witnessed Lucius fighting, the overly ambitious and conniving Macrinus pegs Lucius as driven by “the rage”, and sees him as a secret weapon in his quest for power.

Acacius turns out to be husband of Lucilla (Connie Nielsen reprising her role) and is hailed a Roman hero by the goofball twin emperors Geta (Joseph Quinn, A QUIET PLACE: DAY ONE, 2024) and Caracalla (Fred Hechinger, THELMA, 2024). Lucilla has maintained her clandestine connection to the council, led by Gracchus (a returning Derek Jacobi, now 84 years old). Political maneuvering and desire for power are at the forefront for most of these characters, yet it’s Lucius and his determination that harken back to the themes of the original … oh, and a very personal connection that most will have figured out from the trailer.

The Colosseum battles (and effects) are spectacular, and include a tribe of saber-toothed baboons, a giant and ferocious prehistoric rhinoceros, and a shiver (that’s what it’s called) of hungry sharks that appear once the Colosseum floor is flooded. There’s a certain satirical symmetry to using sharks to ‘jump the shark’. Although the sharks are a bit questionable (and likely not historically accurate), the best and most brutal fighting occurs mano y mano. Of course, we know that Lucius will get his shot at revenge, and maybe even redemption … the only questions are how and when.

Paul Mescal handles the role of Lucius with aplomb, and Denzel Washington appears to be having an extraordinarily good time as power-hungry Macrinus – a significant (and welcome) departure from his usual roles. Additionally, the technical aspects of the film are stellar. Ridley Scott brings back many of his previous collaborators from the 2000 film. John Mathieson is back as Cinematographer, while Arthur Max and Janty Yates return as Production Designer and Costume Designer, respectively. This sequel is co-written by David Scarpa and Peter Craig, and David Franzoni gets credit for his original characters. Arguments can be made both ‘for’ and ‘against’ the need for this sequel, especially since the look and tone are so similar to the original. However, very few can claim that this is anything but an entertaining spectacle loaded with stunning visuals – and a straightforward link to the original. The two films can rightfully claim strength and honor. It should be noted that Ridley Scott has already announced plans for a third film in the series, and by nature, I fall right back into my skeptical self, questioning the need.

Opening wide in theaters on November 22, 2024

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Posted by David Ferguson

BLACK CAB (2024)

November 7, 2024

Greetings again from the darkness. Movie goers are accustomed to seeing the comedic side of Nick Frost in The Cornetto Trilogy from director Edgar Wright. These are the three films where Frost shares the screen with Simon Pegg: SHAUN OF THE DEAD (2004), HOT FUZZ (2007), and THE WORLD’S END (2013). Fans of that series are in for quite a shock thanks to this Shudder film from director Bruce Goodison and screenwriter Virginia Gilbert.

It’s late evening after a dinner with friends. An upset Anne (Synnove Karlsen, “Medici”, LAST NIGHT IN SOHO) hops in a cab hoping to head home alone. However, Patrick (Luke Norris, “Poldark”), the boyfriend she’s been bickering with, joins her in the cab so they can continue their relationship tussle. Their driver is a gregarious bloke played by the aforementioned Nick Frost. He takes an immediate dislike to Patrick (who is a bit of a jerk), and has a creepy bond with Anne. Clearly this will be no ordinary cab ride.

For a while, neither Anne nor us viewers can tell what’s happening. Soon enough, it becomes obvious this driver has nefarious intentions, though the specifics remain a bit muddled. The classic car that looks like a mini-hearse is a character on its own. We spend a great deal of time inside the vehicle … with Frost’s eyes in the rearview mirror. Once he mentions ‘the Ghost of Maybell Hill’ (or Mabel Hill, not really sure which), and the visions appear, we understand this is a supernatural thriller and Anne and Patrick are going to need some good fortune to escape.

The extent to which the film works and we are engaged comes down to Ms. Karlsen’s wide-eyed performance, the uniqueness of the vehicle setting, and our intrigue at seeing Nick Frost embody such a character. Additionally, the use of lighting is superb here … crucial since this all occurs at night and mostly inside a vehicle. By the time we learn the driver believes Anne has something he needs, this becomes a race to ‘the end of the road’.

Streaming on Shudder beginning November 8, 2024

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Posted by David Ferguson

EMILIA PEREZ (2024, France)

October 31, 2024

Greetings again from the darkness. For those who have been anxiously awaiting the first Spanish language-crime thriller-gender affirming-musical filled with violence, humor, romance, and on-the-nose songs, the talented French filmmaker Jacques Audiard has delivered. It’s also one of the year’s best films and deserved its place as France’s Oscar submission for Best International Film. Audiard based the film on the 2018 novel “Ecoute” by Boris Razon, and it’s a wild trip for viewers.

Zoe Saldana (best known for her roles in franchises AVATAR, GUARDIANS OF THE GALAXY, STAR TREK) plays Rita, a criminal defense attorney whose boss takes credit for her brilliant law work in keeping their ‘likely guilty’ clients out of jail. After her most recent legal maneuvering, she receives a mysterious caller offering her the opportunity to make big bucks. With a bag on her head, Rita is escorted to her clandestine meeting with infamous cartel kingpin, Manitas. Known for his ruthless approach to business, Manitas is intimidating with hushed voice and a mouth filled with gold teeth.

Normally, I would not discuss the details of their meeting, but since it’s spelled out in the official synopsis and the trailers, I won’t shy away from disclosing that Rita’s high-paying mission is to coordinate a new life and identity for Manitas … a life as the woman he’s always believed himself to be. Manitas is played by Karla Sofia Gascon, the first trans actor to win an acting award at Cannes. We only get a small dose of Manitas, and instead, after the surgery performed in secret by Dr. Wasserman (Mark Ivanir), we see much of her new life as Emilia Perez.

This new life means staging his death and living apart from his wife Jessi (Selena Gomez) and kids. Emilia and Rita create an organization that allows Emilia to make amends for that previous life. A clever strategy also reunites her with Jessi and the kids, though not with full disclosure. The aptly named Epifania (Adriana Paz) enters Emilia’s life through this new work, offering hope of second love for both. Of course, some of life’s actions put atonement out of reach, and the blissful new world is not without challenges. Jessi coming clean on her feelings for Gustavo (Edgar Ramirez) awakens an old feeling in Emilia, and the story’s tone erupts.

It’s pretty easy to imagine this resulting in a mess of a movie … especially since I’ve avoided detailing the singing and musical moments. In fact, it’s quite a gem. Some similarities to Pedro Almodovar’s work are obvious (that’s quite a compliment). The multiple shifts in tone may distract some viewers, but the cast does incredible work. Zoe Saldana handles the dramatic work quite well and her big choreographed number at a gala is a true showstopper. Karla Sofia Gascon is remarkable in the dual role, and Adriana Paz and Edgar Ramirez contribute, despite limited screen time. Director Audiard has built a strong resume with THE SISTERS BROTHERS (2018), DHEEPAN (2015), RUST AND BONE (2012), and A PROPHET (2009). He has topped them all with this female-centric story filled with violence, melodrama, and music. It’s a bit bonkers, though thoroughly entertaining for those who accept it for the spectacle that it is.

In select theaters on November 1, 2024 and on Netflix beginning November 14, 2024

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Posted by David Ferguson

CONCLAVE (2024)

October 24, 2024

Greetings again from the darkness. It feels like it’s been a while since we had a good old fashioned serious-minded, tension-packed, “big” drama film featuring big movie stars. Well, that’s exactly what director Edward Berger, fresh off his Oscar-winning ALL QUIET ON THE WESTERN FRONT (2022), serves up with his latest. Writer Peter Straughan (TINKER TAILOR SOLDIER SPY, 2011) has adapted the 2016 Robert Harris novel, and the result is a welcome crowd-pleaser that may garner some Oscar consideration.

Ralph Fiennes delivers what may be his best performance yet. And that’s saying something for the much-respected actor who has previously excelled in such films as SCHINDLER’S LIST (1993), THE CONSTANT GARDENER (2005), IN BRUGES (2008), A BIGGER SPLASH (2018), and THE MENU (2022). His impressive career is only enhanced by this most recent role of Cardinal Lawrence, saddled with the heavy burden of facilitating the titular Conclave charged with electing the new Pope. As the film opens, the beloved Pope has just passed … and as they say, “let the games begin”. Of course, these games are all about political maneuverings and power struggles and backroom promises. Director Berger opts to show us very little of the actual negotiations, and instead puts the various iterations of loyalty on display during each successive secret (of course) vote.

Within the confined walls of Vatican City and the Sistine Chapel, Cardinal Lawrence’s time is mostly spent investigating tips, scolding others for their behavior, and dealing with the immense egos of the few being considered (including himself). Stanley Tucci plays Cardinal Bellini, who pretends to not want the job while campaigning as the ‘progressive’ voice the church needs now. John Lithgow is Cardinal Tremblay, one of the most assertively ambitious who may or may not have purposefully undermined the work of another. Either way, Lucian Msamati’s Cardinal Adivemi is the victim of Tremblay’s actions. Cardinal Tedesco, portrayed by Sergio Castellitto, is the most outspoken in his desire to return the church to the old ways (Latin masses forever!), what he sees as proper. Bryan F O’Byrne plays O’Malley, assistant to Lawrence, and yet, despite all of these men, it’s Isabella Rossellini as Sister Agnes who manages to shoot (figurative) fire from her eyes, while maintaining her ‘place’ and significantly impacting the process. She is stunning and memorable in her limited role.

Early on, a big surprise arrives in the form of Cardinal Benitez (Carlos Diehz) of Kabul, who was the most recent appointee by the previous Pope, and unknown to the others. As a novel, this may be a real page-turner, and yet the movie never rushes from one moment to the next. Tension builds with each revelation and tarnished robe and secretive plot. Although the film barely skims the years-long sexual abuse scandal in the church, there is a stream of twists and turns that keep us on our toes as the Cardinals are sequestered. It’s fascinating to see how cinematographer Stephane Fontaine keeps things visually interesting in an enclosed environment filled with characters who aren’t allowed to go anywhere else. Another aspect I truly appreciated was the unusual musical score composed by Oscar winner Volker Bertelmann. This is the type of movie which often features overbearing music to ‘enhance’ tension, yet Bertelmann’s notes are effective jabs at just the right times.

Power plays, corruption, and political stunts are all present as these Men of God bungle the process of picking their next leader. Importance of the mission and tradition pale in comparison to ego and self-interest. The symmetry to U.S. politics is unmistakable and surely a purposeful approach by Berger. The final twist may be a bit out of proverbial left field, but in a room filled with secrets, perhaps that’s as it should be. To balance the tension and seriousness, anyone paying attention will appreciate the subtle humor, especially as it plays out as these relics muddle through modern day situations (technology, social progressiveness, terrorism). This is certainly not a film created for Catholics only, although for a brief moment, I worried we might have one that could be subtitled, “The Catholic Crying Game”. Fortunately, it’s one with a tension-filled story, terrific visual shots, a perfect score, and superb acting … a fun movie to watch.

Opening in theaters on October 25, 2024

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Posted by David Ferguson

CLASSIFIED (2024)

October 21, 2024

Greetings again from the darkness. Spy-thrillers typically fall into one of two categories: complex and smart (TINKER TAILOR SPY, 2011) or action-packed (KANDAHAR, 2023), although many combine the two elements quite successfully (MISSION: IMPOSSIBLE, 1996). This film from director Roel Reine and screenwriter Bob Derosa slams us with action sequences while only teasing us with bits of what could have been a clever story.

Aaron Eckhart stars as ultra-talented (dangerous) operative Evan Shaw. Yet despite his particular set of skills, it turns out Evan doesn’t even know who he works for … or at least who the guy he works for (limited screen time Tim Roth) works for. And he is somehow blissfully unaware that a young lady, Kacey Walker (Abigail Breslin) is following him. Evan always carries a sketchbook. He uses it to decode the messages he receives in the classified section of old school newspapers (the ones printed on paper), and to draw the areas and people he crosses paths with – think of it as pretty incriminating evidence of his past deeds.

At first neither Evan nor us viewers know the point Kacey is trying to make, but she certainly exposes the sham structure he’s been working under and puts them both in mortal danger. The team sent to end Evan is led by a guy carrying a GPS device and barking orders while sporting a horrible haircut. This leads to too many shootouts to count, each with some of the worst aim that we’ve ever witnessed – either that or Evan is a superhero. His flesh and blood are revealed at one point disproving the superhero theory, but it should be noted that some of the worst electronic music you’ve ever hear plays over action sequences.

On the bright side, some of the cinematography belongs in a better movie, as does Mr. Eckhart. The final shootout goes so overboard, I actually felt a bit sorry for Aaron Eckhart, the professional actor. It’s a high-octane spy thriller with lots of gunplay for those seeking more booms and bangs. For those looking for the cleverly woven multi-faceted spy plot, it’s probably best to keep looking.

Releases on VOD and digital on October 22, 2024

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Posted by David Ferguson

WOMAN OF THE HOUR (2024)

October 17, 2024

Greetings again from the darkness. As a lonely woman, being told you have the look of a model is a welcome compliment. As a runaway living on the streets, having a young man show an interest in you is a welcome development. As a single woman moving into an apartment and having a charming young man help move your furniture is a welcome occurrence. As a struggling actress, getting cast on a hit show is a welcome gig. What do all of these situations have in common? They feature vulnerable women who crossed paths with Rodney Alcala, an infamous serial rapist and murderer. This is the first feature film directed by uber-talented Anna Kendrick and it’s a doozy.

Director Kendrick also stars as Cheryl Bradshaw, the struggling actress whom we first meet in one of her endless rounds of auditions where she doesn’t get cast due to her physical appearance. It’s one of a series of misogynistic scenarios that play out in this film written by Ian MacDonald and based on the true story of evil Rodney Alcala (played here by Daniel Zovatto). The film is set mostly in the late 1970’s, although it bounces around a bit. We first see Alcala charming a woman in 1977 Wyoming by using his camera and photographic skills to instill a level of comfort and entice her into his car. Very little violence is shown on screen, but the aftermath is – leaving no doubt that Alcala is a monster.

Beyond the murders, what made Rodney Alcala headline-famous, was his 1978 appearance on “The Dating Game”, a very popular TV show at the time (only we don’t get to hear the iconic theme song, and there’s no kiss thrown at the end). By pure coincidence, the bachelorette questioning the three bachelors that day was Cheryl Bradshaw. As the host of the show, Ed Burke (not Jim Lange, played by Tony Hale) adds to the misogyny of the times, while the hair and make-up ladies quietly cheer on Cheryl as she re-writes the second half questions exposing her level of frustration at playing an item of desire for three men. With no shortage of creepy or horrific moments, the film’s best sequence involves Cheryl and Alcala walking through a poorly lit parking lot after an excessively awkward post-show drink. This sequence alone proves Ms. Kendrick’s mettle as a filmmaker – the tension is nearly unbearable.

Rather than a straightforward re-telling of a psychopath’s tales from the 1970’s, the film adds layers by reminding us of what women faced in that era – from subtle lack of value to outright abuse and constant concern for their safety. Even Cheryl’s interactions with her neighbor (Pete Holmes) displays challenges faced in ordinary settings. The 1979 San Gabriel segment with the runaway (Autumn Best) is both true and chilling, and yet further proof of how much leeway an educated white guy like Alcala could get away with (he had been previously questioned by police in 1977). If somehow you reach the end of the film and aren’t totally sickened by Rodney Alcala, just try and keep it together while reading the last few slides regarding his trail of destruction – and just how courageous that final runaway proved to be.

Premieres on Netflix on October 18, 2024

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MONSTER SUMMER (2024)

October 3, 2024

Greetings again from the darkness. A fun-filled film meant only to entertain is always welcome. Traditionally these show up during the summer months, but timing this one closer to Halloween makes complete sense. Written by Bryan Schulz (the grandson of the late Peanuts creator Charles Schulz) and Cornelius Uliano (his collaborator on THE PEANUTS MOVIE, 2015), the film is directed by David Henrie, best known for his role in “How I Met Your Mother”.  It’s his first feature film gaining distribution, and it doesn’t disappoint.

It’s 1997 on Martha’s Vineyard (although it’s filmed in Southport, North Carolina) and budding journalist Noah (Mason Thames, THE BLACK PHONE, 2021) is desperately trying to follow in his recently deceased father’s footsteps. However, the local newspaper editor (Kevin James) wants nothing to do with the kid’s ideas. Noah suspects an evil presence in town at just about the same time Miss Halverson (Lorraine Bracco, “The Sopranos”) arrives for an extended stay at the B&B run by Noah’s mother (Nora Zehetner, BRICK, 2005).

Not to give anything away, but witchy things start happening. Noah’s baseball teammate Ben (Noah Cottrell) is night-swimming with a lady friend (Lilah Pate), and a fright leaves him “with the lights on and no one home” (as it’s described). It’s summertime, so baseball is a recurring theme for Noah and his friends Eugene (Julian Lerner, the new “The Wonder Years”) and Sammy (Abby James Witherspoon), with familiar face Patrick Renna (THE SANDLOT) as the league umpire. The three friends begin their own investigation, but soon enough, Noah is on his own … at least until he joins forces with retired detective Gene (2-time Oscar winner Mel Gibson). Gene has long been the subject of local rumors and mostly keeps to himself; but Noah’s work piques his interest, and the two share a form of grief.

Bits and pieces of IT (2017), THE GOONIES (1995), and more recently, “Stranger Things” all play a role, and we have references to Mulder and Scully from “The X-Files”, as well as a nostalgic feel that gives this more the feel of a childhood adventure than a true horror story. However, the creep factor is strong enough to earn the PG-13 rating. It should also be noted that Mel Gibson has been ‘canceled’ in some circles, yet he brings the necessary gravitas to elevate the film. It also seems safe to predict that young Mason Thames has a nice acting career ahead of him. Stories revolving around neighborhood legends and myths are quite common, and this one chooses to blend the supernatural with local police cases. So, if you are up for some cinematic fun times around Halloween, director David Henrie is all about treats, not tricks.

Opening in theaters on October 4, 2024

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Posted by David Ferguson

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