EXTRACTION 2 (2023)

June 15, 2023

Greetings again from the darkness. Our favorite fearless, black-market mercenary is back … and this time it’s personal! (read that line with your best “In a world” voice). Well, initially, Tyler Rake is only back while comatose after his last job nearly got him killed. When he awakens, his finely-tuned body is broken and in need of repair and recovery. Of course, it’s only a matter of time before his particular set of skills are back in demand. A visit from a mysterious man (Idris Elba) provides a personal offer that spurs Rake into ‘Rocky Balboa’ training mode, replete with chickens and wood-chopping.

Director Sam Hargrave and writer Joe Russo stick to the formula that worked in their popular EXTRACTION from 2020, only this time they go even bigger. Mr. Hargrave is a long-time stunt coordinator and Mr. Russo often works with his own brother Anthony on Marvel movies, so you can expect an overdose of action sequences, fight scenes, and shootouts. And regardless of how many of each you expect, the film will very likely deliver more. It is relentless in its commitment to action … never more so than the elaborately staged prison break. It’s a remarkable action sequence that lasts about 20 minutes and includes guns, knives, explosives, car chases, helicopters, and most anything else ever seen in a battle. One key difference is that the first film’s cinematographer, Newton Thomas Sigel, has been replaced by Greg Baldi, creating a different look and style to the film.

Chris Hemsworth returns as Tyler Rake, and the actor has publicly stated that he’s tired of playing Thor. It’s difficult to imagine this role is more fulfilling, but perhaps he simply enjoys being the main attraction. Also returning in this sequel are Tyler’s handler, Nik Khan (Golshifteh Farahani) and her brother Yaz (Adam Bessa). Their mission is to extract the sister of Tyler’s ex-wife, along with two kids, from the prison where her evil gangster husband is serving time. As one might expect, the extraction goes sideways, and soon the gangster’s equally evil brother (as proven earlier by his pitchfork handywork) is pursuing them in revenge. Bullets fly and bodies fall. Both sides are curiously well-equipped and better funded than many governments. Weapons and military equipment and soldiers seem to pop up instantaneously when trouble starts, and sometimes just before that. For those who enjoy over-the-top action and violence, get your popcorn ready.

In addition to worldclass bone-crunching, the participants enjoy worldclass globetrotting … bouncing to and fro: Dubai, Georgia (the country, not the state), the Amalfi Coast, Austria, and Sydney. The two gangster brothers are played by Tornike Bziava and Tornike Gogrichiani, while the sister being rescued is Tinatin Dalakishvili, and her troubled son is played by Andro Japaridze. Appearing in only two scenes each are Olga Kurylenko and Idris Elba, although Mr. Elba’s final scene seems to set the stage for his return in another sequel … which if it occurs, we can assume will somehow have an even bigger bullet budget.

Streaming on Netflix beginning June 16, 2023

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Posted by David Ferguson

KANDAHAR (2023)

May 25, 2023

Greetings again from the darkness. The tough road this film faces could be blamed on the unfortunate timing of release on the heels of a similar story in GUY RITCHIE’S THE COVENANT; however, that’s not the only reason the latest collaboration between Gerard Butler and director Ric Roman Waugh (ANGEL HAS FALLEN, GREENLAND) will likely struggle to find an audience. Other obstacles include a script with entirely too many storylines and character arcs that dead end, as well as an overall lack of intensity when it was necessary.

Since the script was written by Mitchell LaFortune, and drawn on his personal experience as a Military Intelligence Officer in Afghanistan, the lack of intensity and danger is quite surprising. Gerald Butler does Gerald Butler things here. He has patented this type of character in the same manner that Liam Neeson has perfected his familiar action hero. This time, Butler plays CIA Operative Tom Harris, whom we first see working at gunpoint to assist in bombing an Iranian nuclear facility. When his mission is exposed by a whistleblower through a female British journalist (Elnaaz Norouzi), it seems half of the middle east is contracted to kill him … and the reporter herself is kidnapped.

Soon Harris’ handler (Travis Fimmel, LEAN ON PETE) throws enough money at Harris to motivate him to perform one more mission before he heads home to a graduating daughter and a divorce-seeking wife. This “one last job” means Harris and his new interpreter “Mo” (Navid Negahban, “Homeland”) are on a road trip through the desert trying not to get killed as Mo searches for his missing sister-in-law. There are some cool drone shots showing the endless miles of desert desolation and some night vision goggle sequences that are better than what we’ve seen before, but the big-time weaponry doesn’t make up for too many characters and crummy music. To his credit, director Waugh doesn’t lean on an excess of action sequences.

Perhaps the most interesting aspect of the movie is that it was actually filmed in Saudi Arabia. Of course, that parcel of rare trivia doesn’t make up for the feeling that this film is just a bit too familiar with too many unfinished story lines.

Opens in theaters on May 26, 2023

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Posted by David Ferguson

MERCY (2023)

May 12, 2023

Greetings again from the darkness. Imagine if Liam Neeson’s character in TAKEN had also been a skilled trauma surgeon … and a woman. If so, the result would be similar to the main character here, Michelle, played by Leah Gibson. Michelle is that rare former military doctor with special ops skills. She’s also a mother to a young son, and experiences a traumatic event in the opening scene in this film from director Tony Dean Smith and writer Alex Wright.

Michelle (Ms. Gibson) returns to civilian life as a single mother and secures a job as a surgeon at a small suburban hospital where a former military affiliate is Chief of Surgery. She’s making the best of her new life, and has secured the night off work to take her son to a big soccer match for his birthday. Before they can leave the hospital, a gunshot victim arrives – one needing Michelle’s special skills. Of course, we have seen what she hasn’t … the gun shot victim is part of the local Irish mob known as the Quinn Brotherhood, and though his wounds occurred during a crime, there is a twist.

Jonathan Rhys Meyers plays Sean Quinn, the hot-headed son of Patrick Quinn (Oscar winner Jon Voight). The two butt heads as the elderly Patrick looks for a negotiated agreement under duress, while the young Sean thinks everything can be solved with intimidation and violence. Not helping matters is a rookie FBI agent who has the youngest Quinn son (the above-mentioned gunshot victim) in custody.

There is plenty of noise, gunfire, and tough-talking throughout the film, but we never believe that Michelle is in much danger – thanks to her ‘very particular set of skills.’ Although she has acted regularly for the past 15 years, we wouldn’t call Leah Gibson a familiar face. She is, however, up to the challenges of this physically demanding role. Even Jonathan Rhys Meyers is all in as the psychopath gangster, and despite his turn in “The Tudors”, he has never reached the level of stardom I predicted after MATCH POINT (2005).

Jon Voight is now 85 years old, and his storied career includes key roles in MIDNIGHT COWBOY (1969), DELIVERANCE (1972), COMING HOME (1978), MISSION: IMPOSSIBLE (1996), and a career renaissance with “Ray Donovan” … the role most similar to his character in this movie. Outside of Mr. Voight, the film has a distinct B-movie look and feel, although the clown in the hospital was a nice touch and almost made up for the lame ‘salutes’ we are subjected to.

in select theatres on May 12, 2023, and on demand on June 2, 2023. 

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Posted by David Ferguson

TO CATCH A KILLER (2023)

April 21, 2023

Greetings again from the darkness. Argentinian writer-director Damian Szifron was behind the terrific WILD TALES (2014), which received an Oscar nomination for Best Foreign Language Film, and this time out, he and co-writer Jonathan Wakeham venture into psychological crime procedural territory. A captivating opening sequence, expert photography, and top notch acting from the two leads keeps us watching, although there seems to have been some confusion on the best path for the script. The end result is watchable, but not memorable.

It is New Year’s Eve in Baltimore and celebrations, revelry, and parties are occurring all over the city. As beat cop Eleanor Falco (Shailene Woodley, THE FAULT IN OUR STARS, 2014) negotiates a mundane rift between an irritated diner owner and a slow-eating customer, shots begin to ring out. This frantic sequence captures the panic as we witness a few of the 29 gun shots that find a target. Officer Falco races a couple of blocks to the high-rise building where an explosion occurs. It turns out the sniper destroyed his own lair in order to avoid leaving evidence.

Enter renowned FBI Agent Lammark (Ben Mendelsohn, ANIMAL KINGDOM, 2010) who takes charge of the investigation. This point is mentioned because the chain-of-command plays a vital role in the proceedings … Lammark wants to run the investigation, but bureaucrats and politicians interfere. Lammark hones in on Falco and her instincts. Of course, she has a checkered past that includes having her FBI application denied. Here she acts as a liaison and provides insight into the killer. Get it? One damaged person can relate to another.

Some social commentary gets periodically interjected – gun control, power plays by law enforcement, misplaced priorities by politicians – but the fun part is watching Mendelsohn and Woodley flash their respective talent. She’s kind of a flawed Clarice Starling and he’s a guy that is committed to finding the bad guy. Filmed in Montreal, cinematographer Javier Julia maintains a cool atmosphere throughout, and Carter Burwell’s music delivers some excellent piano parts. This ends up being one of those movies that’s enough fun to watch if you don’t think too hard while it’s playing, and it also reminds us that Ben Mendelsohn and Shailene Woodley are fine actors who deliver in every role.

Opens in theaters on April 21, 2023

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Posted by David Ferguson

MURDER MYSTERY 2

March 31, 2023

Greetings again from the darkness. You know who you are. You are either a fan of Adam Sandler movies or you’re not. And no, we aren’t referring to his stellar dramatic turns in films like UNCUT GEMS (2019) and PUNCH DRUNK LOVE (2002). Rather we mean ‘funny Sandler’ and his distinctive comedic style. Of course, Mr. Sandler doesn’t much care about your judgment, as his comedy movie empire becomes more enormous and successful with each release – and his partnership with Netflix has taken things to a new level. This time he returns with leading lady Jennifer Aniston for a sequel to their 2019 hit, and it’s again written by James Vanderbilt (ZODIAC, 2007), but with a different director, Jeremy Garelick (THE WEDDING RINGER, 2015).

An opening “previously” sequence catches up anyone who has forgotten what happened in the original MURDER MYSTERY (2019), and anyone who didn’t watch. The basics are that it’s now four years after Nick and Audrey Spitz (Sandler and Aniston) solved their first case, and they are struggling to get their detective agency up and running. It’s causing a bit of marital strife as Nick is a bit tired of talking business and the relentless pressure, while Audrey (and Aniston’s “free the nipple” ways) wants her husband to be a bit more committed to the cause.

The couple gets what they need when their old friend (from the first movie) Maharajah (Adeel Akhtar) calls them and invites them to his wedding being held on his own private island. Nick and Audrey embrace their friend, as well as the lavish surroundings of the Indian wedding – even though the bride to be, Claudette (Melanie Laurent, INGLOURIOUS BASTERDS, 2009) is not Indian. A murder and kidnapping for ransom ruin the wedding party, although that happens after a boisterous Bollywood-style song and dance number.

Much like a traditional whodunnit, everyone close to the Maharajah is a prime suspect in his kidnapping. This includes his sister Saira (Kuhoo Verma: his ex-fiancé, Countess Sekou (Jodie Turner-Smith, AFTER YANG, 2021); his demoted head of security (returning from the first film) Colonel Ulenga (John Kani); and even bride-to-be Claudette. When Miller (Mark Strong) shows up, he quickly becomes the detective-in-charge … after all, he wrote the book. Unlike a traditional whodunnit, there are non-stop comedic twists, even permeating the more-impressive-than-expected action sequences.

Unlike the first movie where much of the happenings occurred on a boat, this film ‘escapes’ the private island and heads to beautiful Paris, France where the iconic Eiffel Tower becomes a significant set piece. This move also allows another reunion from the first movie when Inspector Delacroix (Danny Boon) shows up to work on the case. Sandler and Aniston have good chemistry and play off each other quite well, and there aren’t many movies that feature animals wearing diapers so as not to mess the grass. Sandler gets in some zingers, and it’s fun to watch Strong’s macho posing, but I still can’t believe they skipped a final “Gary” joke. Anyway, this will please fans of the first movie, and likely set the stage for a third, assuming Sandler and Aniston are up for it.

On Netflix beginning March 31, 2023

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Posted by David Ferguson

INSIDE (2023)

March 16, 2023

Greetings again from the darkness. We’ve seen movies about isolation, and we’ve seen movies with survival stories. However, as best I can remember, this is the first survival story about a guy isolated and trapped in an ultra-luxury Manhattan penthouse apartment. Ben Hopkins wrote the screenplay from an idea of director Vasilis Katsoupis. The best idea was casting the always interesting Willem Dafoe in the lead (and almost the only role), while the worst idea was wedging in a forced statement on the one-percenters.

Mr. Dafoe plays Nemo, an art thief working with a never-seen/only heard walkie-talkie partner. After being air-dropped onto the balcony via helicopter, the first few minutes are a thing of beauty in a criminally precise way. Nemo swiftly navigates his way through the apartment gathering paintings by famed expressionist Egon Schiele, whose self-portrait is to be the gem of the haul. The first problem is that painting is nowhere to be found, and the second, much more serious problem occurs when Nemo is ready to leave and the security system malfunctions. This renders Nemo a prisoner, trapped like a rat.

This is the type of apartment that features a plunge pool in the living room, two massive aquariums, a steel-reinforced door, and an automatic indoor sprinkler system for the plants. Valuable art is professional displayed throughout. What it doesn’t have is an easy escape route. The sleek modernism of luxury slowly transforms into a cold, prison-like fortress. We watch as Nemo’s initial panic is slowly overtaken by a sinking feeling of despair. His partner’s final walkie-talkie words, “You’re on your own”, ring out as Nemo takes stock of his dire straits.

It’s an unusual security lockdown. There is no running water, phone line, or emergency escape, yet the HVAC seems to have a mind of its own by spontaneously shifting from desert-level heat to Arctic winter cold. And for some reason, there seem to be no security cameras inside this high-tech apartment, yet the TV periodically displays closed-circuit video from around the building. Those cameras give Nemo his only link to the outside world, and also help us understand how far he has drifted from reality … especially in regards to Jasmine, a cleaning lady he spots. He scavenges for food and water in some not-so-appealing ways, including some scraps inside a refrigerator that plays “Macarena” on full blast if the door is left open too long. Although we aren’t told exactly how many days this ordeal lasts, we get some idea from a certain pile shown.

Any movie that has us engaged enough for us to ask ourselves, “What would I do in this situation?” has something going for it, but it’s really Dafoe’s performance as a guy losing his grip that keeps us zoned in. Supposedly the owner of this apartment is away in Kazakhstan, and given the weak attempt towards the end to comment on the ultra-rich, we assume this detail is meant to prevent us from having too much sympathy for him. It appears the filmmaker believes we should take a morality lesson from a criminal (one who doesn’t carry a cell phone) who, as the narrator, tells us twice, “Cats die. Music fades. Art is for keeps.”

Opens in theaters on March 17, 2023

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Posted by David Ferguson

COCAINE BEAR (2023)

February 23, 2023

Greetings again from the darkness. Dorothy Gale from Kansas may have been worried about ‘Lions and Tigers and Bears”, but even with a wicked witch and flying monkeys chasing her, she never faced anything as fierce as Cocaine Bear! The story is inspired by true events in 1985 when a plane load of cocaine was inadvertently dropped over a national forest in Georgia. Screenwriter Jimmy Warden takes that premise and imagines what would happen if a ferocious bear had ingested mass quantities of the drug and then rampaged while on the ensuing high. Elizabeth Banks, known mostly for her acting (THE HUNGER GAMES), adds this to her growing list of directorial outings (CHARLIE’S ANGELS, PITCH PERFECT 2), and her latest is sure to find a place in cinematic lore.

The film opens with a reenactment of the plane and parachute mishap that caused the drugs to dump into the forest. A crazed Matthew Rhys (“The Americans”) bonks his head on the skydiving exit, setting the stage for our bear to discover the scattered drug bricks. Of course, as we know from so many movies, TV shows, and national news reports, when a drug delivery goes sideways, bears aren’t the only ones on the hunt. A local drug dealer played by Ray Liotta sends his son (Alden Ehrenreich, SOLO: A STAR WARS STORY, 2018) and henchman (O’Shea Jackson, son of Ice Cube) to retrieve the misplaced shipment … all while a detective (Isiah Whitlock Jr) is on their trail.

Looking-for-love Park Ranger Liz (the always great Margot Martindale) envisions a romantic hike with the Park inspector she fancies (Jesse Tyler Ferguson), but her plans are spoiled when a frantic mom (Keri Russell, “The Americans”) shows up looking for her missing daughter Dee Dee (Brooklynn Prince, THE FLORIDA PROJECT, 2017) and her child’s friend Henry (Christian Convery, “Sweet Tooth”), who skipped school to explore the park. While all this is occurring, there is also a band of thugs wreaking havoc on park visitors, one of which (Aaron Holliday) gets looped in with the drug dealers. Once EMS workers (Scott Seiss and Kahyun Kim) show up, peak bear intensity is reached.

Now all of this may sound somewhat normal for a movie set up, but nothing prepares you for a rampaging bear desperately seeking that next hit of cocaine. I don’t have the words to express just how ‘off the rails’ this thing goes (in a riotous and fun way). What I can tell you is that it’s the ultimate crowd-pleaser, and certainly the most effective movie I’ve ever watched featuring a drug-fueled apex predator. I saw this in a crowded theater and the shared laughter and audience-reactions definitely added to the entertainment experience. Key elements have been omitted here because this is one of the wildest rides I’ve ever had in a movie theater … and my hope is that many other fun-seekers will agree. Not only is there humor, adventure, action, and violence, but there are also some brilliant ‘little touches’ that elevate the story (a cute dog, a double-cross, a broken heart, etc).

For almost fifty years, THE ROCKY HORROR PICTURE SHOW (1975) has ruled the Midnight Movie circuit. There have been a few contenders along the way (THE ROOM, THE WARRIORS, EVIL DEAD), but this Elizabeth Banks movie may finally be the one that reignites the late night movie crowd with this raucous, thrilling trip as a coked-up bear (a bear that looks fantastic) runs amok through a national forest, desperate for the next hit. On a side note, this was the final film for Ray Liotta before he passed away in 2022. With a legacy of memorable characters in SOMETHING WILD, GOODFELLAS, and FIELD OF DREAMS, Liotta’s final scene is quite a gut punch. COCAINE BEAR is a “hard R-rating” and not advisable for the 7- and 8-year-old kids brought along by their parents at the screening I attended.

Opens in theaters on February 23, 2023

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Posted by David Ferguson

MARLOWE (2023)

February 16, 2023

Greetings again from the darkness. The great Raymond Chandler created the now iconic Private Investigator, Philip Marlowe. Over many years, we have gotten to know Marlowe through novels and film adaptations. Actors as varied as Humphrey Bogart, Robert Montgomery, Dick Powell, Robert Mitchum, and Elliott Gould have played the cynical P.I., and now Oscar winning writer-director Neil Jordan (THE CRYING GAME, 1996) has added Liam Neeson to the list. Oscar winning writer William Monahan (THE DEPARTED, 2006) adapted the screenplay from John Banville’s (writing as Benjamin Black) 2014 novel, “The Black-Eyed Blonde”.

It’s 1939 in Los Angeles when Clare Cavendish (Diane Kruger) strolls into Marlowe’s (Neeson) office and hires him to find Nico Peterson (Francois Arnaud). Simple enough, only there’s a catch (of course): Nico has been declared dead and the body identified by a relative. Adding to the intrigue (of course) is Clare (she prefers to be called Cavendish) herself, the daughter of powerful former film star Dorothy Cavendish (played by two-time Oscar winner Jessica Lange, TOOTSIE, BLUE SKY).  As you would expect, the case leads Marlowe to cross paths with many ‘bad’ folks and a few instances of danger, which he (of course) manages to maneuver or outmaneuver.

The supporting cast is strong and includes Colm Meaney, Alan Cumming (with a southern accent?), Danny Huston (a nod to his father’s noir classic CHINATOWN?), and Adewale Akinnuoye-Agbaje. A couple of things are unfortunately quite clear. First, every noir cliché and trope is included here; and second, Liam Neeson is not the guy to pull off the Marlowe role – unless it was a full-on parody, in which case, he might have been a better fit. If he has put forth any effort into the role, it was apparently to ensure that his Marlowe is the least memorable one ever. There is no personal stamp on the role, and because of that, nothing really clicks here.

On the upside, the set decorations and costumes are divine. The film has the right look, but just brings nothing new or exciting to one of my favorite genres. It’s a throwback to hard-boiled detective crime stories of the 1940’s without the grit or charm. Marlowe first appeared in Raymond Chandler’s 1939 novel, “The Big Sleep”, and most iterations bring something new to the character or story. Perhaps the only thing director Jordan serves here is a shootout near the end. It’s more drawn out and noisy than what we would have seen 80 years ago, and it’s probably the right choice for today’s audience.

Opens in theaters on February 15, 2023

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Posted by David Ferguson

DEVIL’S PEAK (2023)

February 16, 2023

Greeting again from the darkness. It’s been (crudely) stated that one can pick their nose, but not their family. That sentiment has been the basis for many movies over the years, and it’s the driving force behind the latest from director Ben Young (HOUNDS OF LOVE, 2016) working from a script that Robert Knott (APPALOOSA, 2008) adapted from David Joy’s 2015 novel, “Where All Light Tends to Go”.

The film opens with a man frantically bounding from his truck to cock his rifle and aim down the road, clearly expecting trouble around the bend. Jacob (Hopper Penn) is the young man with the rifle, and also our narrator. The rest of the movie leads us back to this tense moment on the road. Jacob is the son of menacing Charlie (Oscar winner Billy Bob Thornton), the local drug lord who deals the methamphetamine that has ruined so many lives in his area of Appalachian Mountains in rural North Carolina. Charlie rules with an iron fist and expects blind loyalty, especially from his son … which is a problem since Jacob is the sensitive type who wants nothing to do with the family business. Instead, he’s focused on Maggie (Katelyn Nacon), the college-bound daughter of a local politician (Brian d’Arcy James).

Charlie intimidates his much younger girlfriend Josephine (Emma Booth), pays the local sheriff (Jackie Earle Haley) to look the other way, and mostly ignores his ex-wife Virgie (Robin Wright), as she battles addiction and tries to give Jacob a chance at a better life. So what we have is a ‘Romeo & Juliet’ story in the middle of a “Justified” episode. Life is tough here, and most anyone would dream of leaving, but after he fails in a task assigned by his dad, and another tragedy strikes, Jacob decides he and Maggie must get out now. Of course, it can’t possibly be that easy … and Jacob finds out it’s not.

As far as I can tell, this is the first lead role for Hopper Penn, the real-life son of Robin Wright and Sean Penn, who is named after Dennis Hopper. He has a kind of young Adrien Brody look to him, and it will be interesting to see if this leads to more high-profile acting jobs. This movie has a good look to it, but the story doesn’t really offer anything new. However, it’s always a pleasure to watch Billy Bob Thornton turn evil, and Jackie Earle Haley play any role.

Opens on February 17, 2023

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Posted by David Ferguson

SHARPER (2023)

February 10, 2023

Greetings again from the darkness. We’ve seen just about every kind of con on the big screen. Heck, we’ve even seen a wide variety of cons play out in real life through politicians and corporate types. The fictional cons provide some entertainment value, as we get to use our sleuthing and deductive skills in an attempt to figure out what’s happening before it actually does. Solving the mystery is often one of the fun pleasures of cinema; however, sometimes, the filmmaker manages to weave such a tangled web that we are better off just sitting back and letting things unfold.

Director Benjamin Caron is known mostly for his TV work on shows like “The Crown” and “Andor”, and here he is working from a script by frequent comedy collaborators Brian Gatewood and Alessandro Tanaka (the writing team behind THE SITTER, 2011, and “Animal Practice”). The film serves as a departure from the norm for all three, and it opens with a definition of the film’s title used as a noun: “one who lives by their wits.” And while there may be very little comical wit on display here, there is plenty of intellectual wit and strategy used by all of the characters. Even the chapters are divided into the character names so that we see things develop through their perspective. It really feels like we are assembling an ever-evolving jigsaw puzzle as the shape of pieces shift in our hand.

Tom (Justice Smith, JURASSIC WORLD: FALLEN KINGDOM, 2018) runs a bookstore in the city and seems to be a really nice guy. We first see him reading Poe, and he stops when the lovely Sandra (Brianna Middleton, THE TENDER BAR, 2021) steps into the store in search of a specific book for her PhD studies. The two hit it off, and this relationship becomes the foundation of the film, even though we rarely see the two together. Max (Sebastian Stan who plays Bucky Barnes in the Avengers movies) is our next chapter. He’s a slick conman who also plays a vital role in the elusive jigsaw puzzle being worked. Mr. Stan proved he could play a creepy dude in last year’s FRESH, and his best work here comes in scenes with Oscar winner Julianne Moore (STILL ALICE, 2014), whose name, Madeline, graces the next chapter. She’s in a relationship with a billionaire (John Lithgow) whose health is fading, and who has a tie to another character in this roster of tricksters.

Who is playing whom? Everyone can’t be the smartest person in the room, right? We are told you can’t cheat an honest man, but I’m not sure if the phrase is incorrect or if there are just no honest people. One thing for sure, in this movie, there are multiple webs of deceit overlapping each other, and the challenge is for viewers to make sense of all the swindling. It’s not really double-crossing when you lose count of how many crosses there have been. For psychological misdirection, it’s tough to beat David Mamet’s 1987 HOUSE OF GAMES. In 1990, THE GRIFTERS was a fun one for small time con artists, but more recently, the two NOW YOU SEE ME movies are just pretending to play in this pool, as they are missing the cleverness required. Director Caron’s film may waver a bit in the final act, and perhaps doesn’t quite earn the ending (a good one that takes us back to THE USUAL SUSPECTS). It seems most will be entertained by the shenanigans of these characters, and these days, that’s a win.

Opens in theaters on February 10, 2023 and then moves to AppleTV+ on February 17

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Posted by David Ferguson

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