THANK YOU VERY MUCH (2025, doc)

March 28, 2025

Greetings again from the darkness. It’s been more than forty years since cancer took the life of 35-year-old Andy Kaufman, and we still don’t know how best to describe him: actor, comedian, illusionist, performance artist, prankster, or something more bizarre. It’s like no one knew ‘the real Andy’, and whether that was his intent or not, that’s the feeling we are left with after watching this bio from Alex Braverman.

Despite often stating that he was born on an island in the Caspian Sea, Andy was actually from Long Island, and Braverman describes what was truly a turning point in young Andy’s life. He was incredibly close to his grandfather … theirs was a special relationship. When he died, Andy’s parents decided to tell young Andy that the grandfather took a long trip. This feeling of rejection and abandonment changed the boy’s personality and perspective. It also formed the structure of his career – misdirection and trickery – a way to mess with reality.

Braverman includes input from many of Andy’s contemporaries, friends, and associates. We hear from Danny DeVito, Steve Martin, Robin Williams, Marilu Henner, Laurie Anderson, and Garry Shandling (first name often misspelled as Gary). We also hear from Andy’s dad, who confirms the mistake regarding the grandfather’s death, Andy’s longtime girlfriend, and his friend and writer, Bob Zmuda. We even hear from his college friend who claims to be the ‘real Latka’, the inspiration for Andy’s beloved character in “Taxi”.

A treasure trove of archival clips reminds us of some of Andy’s most memorable performances, as well as some we’ve not previously seen. His initial performance at The Improv is complemented by a memory from the club’s renowned owner, Bud Friedman. Andy’s stint on “The Dating Game” remains stunning, and we even get a clip of his 1975 screen test for SNL … where on the first episode he did his “Mighty Mouse” bit.

Transcendental Meditation and Maharishi Mahesh Yogi played a role in helping him get clean, and we learn how important his Carnegie Hall appearance was to him. Along the way, there were some baffling moments. His Elvis impersonation. The whole Tony Clifton phase. Reading “The Great Gatsby” on stage. Each of these had their detractors, but it was Andy’s wrestling – first with women – and then his confrontation with Jerry Lawler, that had folks wondering if he was slipping from reality.

Andy was often so far “out there”, that when he visited a healer in The Philippines, many wondered if his cancer was simply the next prank. Braverman’s film drives home Andy’s desire to make people laugh AND squirm (one or the other was not enough). He was truly a visionary and performance artist, and the documentary gives him his due.

Opens in theaters on March 28, 2025

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AUDREY’S CHILDREN (2025)

March 28, 2025

Greetings again from the darkness. Firefighters, Police Officers, and Armed Forces soldiers and veterans are the ones we usually (and rightfully) describe as heroes; yet heroism can also be found in the actions of everyday people. Director Ami Canaan Mann and screenwriter Julia Fisher Farbman introduce us to one such hero in this biopic on Dr. Audrey Evans.

Natalie Dormer (“Game of Thrones”) stars as Dr. Evans (the titular Audrey), a remarkable woman behind advancements in pediatric oncology, and also the founder of the first Ronald McDonald House. The film opens in 1969 as Dr. Evans begins her tenure at Children’s Hospital of Philadelphia (CHOP). Having trained under Dr. Sidney Farber, she immediately ruffles feathers by pushing the envelope on funding and research for her department. Chief Surgeon, Dr C Everett Koop (Clancy Brown, THE SHAWSHANK REDEMPTION, 1994) recruited her and almost immediately had to deal with her unorthodox approach … and the complaints from Dr. Jeremy Lewis (Ben Chase, “Law and Order: Organized Crime”). Dr. Lewis is quite put out with this assertive woman going outside the norm to get her way.

It’s inspiring to watch the determination with which Dr. Evans takes on all obstacles. Radiation expert, and steadfast rule follower, Dr. Dan Dangio (Jimmi Simpson, “Westworld”) sees the potential in what Dr. Evans is pursuing and joins in the mission, as does Dr. Brian Faust (Brandon Michael Hall, “God Friended Me”). Their research methods are exhausting to watch – this was prior to computers, so not only did they have to comb through mounds of paper files, compiling results and drawing conclusions was even more excruciating.

The painstaking work led to the Evans Staging System for categorizing cancer in patients, and it also led to dramatic improvements in survival rates for kids with cancer. “Kids with cancer” … can there be a more heartbreaking and depressing topic? Trust me, it’s painful to see even in a movie. Bits of the movie seem somewhat contrived, especially her brief interactions with kids playing on the sidewalk, as well as with the Vietnam protestors. Additionally, her wardrobe seems incredible for a woman living in an apartment that likely had a 5-foot-wide closet at best. Still, Natalie Dormer delivers a nice performance as this remarkable woman.

It’s 1974 when the Philadelphia Eagles owners are persuaded (by Dr Evans) to sponsor the Ronald McDonald House – a charity that, now 50 years later, has proved vital to so many children and families. Of course, the Dr. C. Everett Koop in this story went on to be serve as U.S. Surgeon General in the 1980s, and the full story of Dr. Evans and Dr. Dangio is also quite remarkable. Director Mann runs an interview with an elderly Dr. Evans over the closing credits, and aptly finishes things with Carole King singing “You’ve Got a Friend”. It’s always inspirational to learn the full story of real-life heroes, and the life of Dr. Audrey Evans is one we should continue to relish.

Opens in theaters on March 28, 2025

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BOB TREVINO LIKES IT (2025)

March 20, 2025

Greetings again from the darkness. Bob Trevino is the kind of father we all wish we had. He’s the kind of father that would raise kids who would grow into good citizens, resulting in an improved society. Only that Bob Trevino is not Lily Trevino’s dad. Her dad is a raging narcissist, or more accurately, a self-centered jerk. This feature film debut from writer-director Tracie Laymon is ‘inspired’ by her true-life story, albeit with enough elements changed to avoid a lawsuit from her dad. That part doesn’t make for such a warm-fuzzy story, but the film she delivers wraps us in a coat of kindness and niceness and feel-goodness (not really a word, but it fits).

Lily Trevino (Barbie Ferreira, NOPE, 2022) is a twenty-something live-in aid for a woman who uses a wheelchair. Lily is the level of niceness where people notice immediately, including her therapist who ends their session by sobbing profusely after hearing Lily’s story. We get a couple of doses of Lily interacting with her father, Bob Trevino (a perfectly obnoxious and venomous French Stewart), before their big blowup then ends with his telling her daughter he wants nothing else to do with her. As viewers, we believe she is better off, but Lily’s niceness doesn’t allow her to give up on her dream of having a good relationship with him.

In Lily’s efforts to reconnect, she searches on Facebook for ‘Bob Trevino’ and somehow ends up with a Bob Trevino who aligns with her idea of the perfect dad. Bob #2 (a terrific John Leguizamo) quickly embraces the opportunity to be a friend … and a father figure (despite having no kids of his own). His wife (Rachel Bay Jones) is obsessed with scrapbooking, and we have a difficult time deciphering their communication and unorthodox relationship. She doesn’t seem to have the same concerns most wives would have if their husband started spending an inordinate amount of time with a young woman. Regardless, the friendship between Lily and this Bob evolves into something special. Beyond the friendship, he becomes the father figure she dreams of, and she becomes the daughter figure that he always hoped for.

Laymon’s story includes dad jokes, a rage room (monetizing the OFFICE SPACE idea), health issues, and a creepy look at dating options in a senior citizen trailer park. Most importantly it makes the point that “chosen family” is often more important and impactful than blood family, and a supportive friend is invaluable. French Stewart and John Leguizamo have had long careers as dependable actors, and both are excellent here. The film has won a stream of festival awards (deservedly so) and Laymon chooses to include a dose of reality over the closing credits.

Opens on March 21, 2025

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THE ASSESSMENT (2025)

March 20, 2025

Greetings again from the darkness. Authors and filmmakers have long used forecasting the future as the basis for stories. Some have been lighthearted and humorous (“The Jetsons”, BACK TO THE FUTURE) and others are more bleak and dystopian (BLADE RUNNER, THE ROAD). The first feature film from director Fleur Fortune (well known for music videos) has some common DNA with the excellent CHILDREN OF MEN (2006) from director Alfonso Cuaron. Written by Neil Garfath Cox, Dave Thomas, and John Donnelly, this story shows us a future where having a kid is a privilege that must be bestowed by the government, rather than free choice.

Mia (Elizabeth Olsen, MARTHA MAY MARLENE, 2011) and Aaryan (Himesh Patel, YESTERDAY, 2019) have built a life and marriage in a desolate area. Mia has a greenhouse where she grows food, and Aaryan has a Virtual Reality room where he experiments with realistic innovations. Both are aiming to improve life of others. They believe that a missing link in their life is a child, and agree to go through the ‘assessment’ process. When Virginia (Oscar winner Alicia Vikander, THE DANISH GIRL, 2015) arrives, she explains that, as the assessor, her decision is the final word. Mia and Aaryan express that they will be “good parents”. Virginia smiles and relays that everyone says that.

The assessment is a seven-day process and calling it bizarre definitely undersells it. At times, Virginia kicks into childlike mode, testing the parental instincts of Mia and Aaryan. It’s during these segments where the story gets a bit ridiculous, despite Virginia’s explanation that she needs full access to their emotions and reactions (and intimate methods). During a strange dinner party – set up by Virginia – we get discussions of the “old world” existence and the rumors associated with it.

Analysis of the psychology of folks during such times can be quite enlightening, but despite the intriguing concept, the execution leaves us a bit frustrated with the holes and goofy moments. The third act is especially confounding, although we completely understand Mia’s quest for answers. Everything circles back to early on when Mia and Aaryan first ask Virginia, “Are we good enough?”. We feel their desperation, but once we learn their catchphrase exchange, “I love you. That’s right.”, we know this isn’t headed to unicorns and rainbows.

Opens on March 21, 2025

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ANY DAY NOW (2025)

March 16, 2025

Greetings again from the darkness. St. Patrick’s Day 2025 marks the 35th anniversary of the single largest unsolved property theft in the world. On that day, thieves made off with hundreds of millions of dollars of artwork from Boston’s Isabella Stewart Gardner Museum (including works by Vermeer, Rembrandt, Degas, and Manet). The reward offer of $10 million still stands. Writer-director Eric Aronson presents his feature film debut, inspired by the crime … though he admits, “this is not what happened.”

Steve Baker (Taylor Gray, SATURDAY NIGHT, 2024) works as an overnight security guard at the museum. He’s what we used to call a ‘doormat’ – meaning he’s a nice guy, but his friends (and pretty much everyone) takes advantage of him. Danny (Armando Rivera) is his roommate and bandmate, and hasn’t paid rent in six months, and basically sabotages their band. Sara (Alexandra Templer) is Danny’s girlfriend, and more importantly, Steve’s unrequited and silent dream girl – though she also takes advantage of him. On top of everything, Steve owes $5000 to his drug dealer.

Nice guy Steve has mostly lost control of his life and sees no real path towards improvement. That’s when Marty Lyons (Paul Guilfoyle) shows up. You’ll surely recognize Mr. Guilfoyle from his many appearances in movies and TV shows, although it’s terrific to see him in a rare lead role. Marty, a lover of poetry and art, maneuvers Steve into his criminal operation – including as a surprise character witness at Marty’s parole hearing. Soon enough, Steve’s life gets more complicated, not less. He finds himself juggling his role in Marty’s art heist plan, the personal threats of a rival gangster (Thomas Kee), questioning from the FBI, and worries about his relationships with Danny and Sara.

This is the type of independent film that’s a pleasure to embrace. We are even treated to Guilfoyle singing The Standells song, “Dirty Water” live at a bar. Every character here has ‘a story’ to tell. Some get to tell theirs, while we are left to fill in the gaps on others. This is not so much a heist film as one with a clear message … breaking out of a rut for a new life can be difficult and challenging, but also worthwhile.

Opens on March 17, 2025

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LIZA: A TRULY TERRIFIC ABSOLUTELY TRUE STORY (2025, doc)

March 15, 2025

Greetings again from the darkness. The list of icons known by a single name is relatively short and includes such luminaries as Elvis, Prince, Cher, Bono, Beyonce, and Sting. Immediately recognizable with only her first name, Liza Minnelli also fits right in. Documentarian Bruce David Klein has delivered a tribute to her early years as the daughter of worshipped idol Judy Garland and famed film director Vicente Minnelli, and outlines her own path to stardom after tragedy to being recognized as one of the greatest performers of all time.

Liza is now 79 years old and wheelchair bound, and yet when the lights are on and the camera is rolling, her entertainer side takes over and she’s charming, and a bit naughty. The death of her mother in 1969 (at age 47) was a distinct turning point in Liza’s life. She says she was born and they took a picture – meaning she has spent her entire life in the spotlight … although she makes it clear she was not born in a red sequin dress.

We learn about those who have influenced her career, her life, and her style. Singled out are Kay Thompson as a mentor, Charles Aznavour who taught her performance, Fred Ebb and musical partner John Kander, Broadway legend Michael Feinstein, and famed choreographer Bob Fosse. We also learn of Liza’s four marriages and divorces to Peter Allen, Jack Haley Jr, Mark Gero, and David Gest. Though Liza offers no real comment on the marriages, those interviewed are particularly harsh when discussing the late Mr. Gest.

Liza’s brilliance has resulted in the rare EGOT, with her Emmy and Oscar being won in the same year (“Liza with a Z”, CABARET). Not surprisingly, her outstanding performance as Sally Bowles in CABARET (1972) draws a significant portion of the commentary here, and it’s stunning to hear Liza remark, “I don’t think I’m a real good singer, but I can act a song.” Her loyalty to friends is emphasized on multiple occasions – never more dramatically than when she saved the Broadway production of “Chicago” by substituting for Gwen Verdon.

Not much time is devoted to the dark period, although her friendship with Halston (clothes and parties at Studio 54) is mentioned. Liza’s half-sister Lorna Luft appears briefly, but not much personal insight is provided. Rehab for Liza is acknowledged, but let’s be clear, Bruce David Klein set out to make a loving tribute to a fascinating performer, and that’s exactly what this is.

Opens in theaters on March 14, 2025

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OPUS (2025)

March 15, 2025

Greetings again from the darkness. Movies have focused on the burden of celebrity (A STAR IS BORN, BETTER MAN), the challenges facing journalists (SPOTLIGHT, SHATTERED GLASS), the lure of power and control (WALL STREET, THERE WILL BE BLOOD), and the impact of cults (MIDSOMMER, MARTHA MARCY MAY MARLENE), yet it’s the feature film directorial debut of Mark Anthony Green (who also wrote the screenplay) that attempts to tackle all of these topics. It’s an ambitious undertaking that has some moments, but mostly leaves us wishing it had chosen a path and delivered a strong message about something.

Ayo Edebiri (“The Bear”) stars as Ariel Ecton, a frustrated wannabe writer who can’t get a break at the magazine where she’s employed. Despite her creative story ideas, her boss, Stan Sullivan (Murray Bartlett, “The White Lotus”) sees her as an untrained rookie best suited to ‘taking notes’. Even her friend Kent (Young Mazino) confesses that she’s not rich enough or poor enough to have an interesting perspective, and that she needs some real-life experiences to find her voice. And just like that, her opportunity arises! Ariel and Stan, are invited to the new album release for a reclusive music legend who has been out of the scene for nearly thirty years. These two, along with a few other journalists/influencers (Juliette Lewis, Mark Sivertsen, Stephanie Suganami) are invited to the compound of Alfred Moretti (John Malkovich), located in the middle of Nowhere Nebraska.

Most of the invited group play up to Moretti’s whims, but it’s Ariel who is most intrigued by the cult-like atmosphere of blue-robed folks identifying as part of Level, a community of like-minded soles who serve no apparent purpose other than partaking in funky hobbies and fulfilling Moretti’s wishes. The word ‘sycophants’ is emphasized for those not catching on. Moretti’s new album is entitled “Caesar’s Request”, and we hear a couple of songs (music by Nile Rogers and The-Dream). But the story isn’t really about the music, and we aren’t really sure what it’s about until an awkward encounter towards the end of the movie that attempts to spell things out.

Tony Hale (“Veep”) is Moretti’s agent, Soledad Yusef, appearing via a publicity video, and like much of what we see here, provides a glimmer of hope for direction. Beyond the topics listed above (celebrity, power, journalism, cult), this one seems to be most connected to the danger of control. A similar comparison would be THE MENU, another film with a strong cast. The difference is that film was direct in its approach, while Mark Anthony Green’s film forces viewers to work too hard for too little reward. The film would have benefitted from a more risky and dramatic approach. Still, what a treat to see Malkovich strutting his ego around the compound.

Opens in theaters on March 14, 2025

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BLACK BAG (2025)

March 13, 2025

Greetings again from the darkness. Are you ready for 90 minutes of cool people wearing cool clothes and doing cool things while acting cool in the face of danger? If so, this one is for you. Oscar winner Steven Soderbergh (TRAFFIC, 2000; OCEAN’S ELEVEN, 2001; OCEAN’S TWELVE, 2004) dons multiple hats here as director-producer-editor-cinematographer (some under familiar pseudonyms). The screenplay comes from well-known writer David Koepp (JURASSIC PARK, 1993; MISSION: IMPOSSIBLE, 1996). The pedigree of these two is exemplified by the cast assembled.

George (Michael Fassbender) and Kathryn (Oscar winner Cate Blanchett) star as husband and wife secret agents that have pledged to kill for each other if ever necessary. Really, that should be part of every wedding vow. Fastidious George has built his reputation on his mystical ability to spot a lie, and has no room for anyone who is less than honest. Glamorous Kathryn excels at her missions and when secrecy is required, one spouse will utter the magic titular phrase, “black bag”. This signals, ‘I love you, but can’t tell you more’. They live in a stunning London apartment, which serves as the setting for two particularly crucial dinner parties.

Every spy story worth its mettle has at least one MacGuffin, and ours is Severus, a sophisticated code worm designed to take control of nuclear weaponry. While it gets mentioned numerous times, the real story here is in discovering who the mole is inside the Secret Intelligence Service managed by Stieglitz (Pierce Brosnan). The five suspects George must investigate include computer analyst Clarissa (Marisa Abela, BACK TO BLACK, 2019), easily tempted agency veteran Freddie (Tom Burke, so excellent in THE SOUVENIR, 2019), suave and self-confident Stokes (Rege-Jean Page, “Bridgerton”), and staff psychologist Dr. Zoe Vaughn (Naomie Harris, MOONLIGHT, 2016). You’ll notice that’s just four suspects, as the fifth (unknown to her) is George’s wife Kathryn. Adding to the intricacies of the jobs, the dinner parties, and this mole mission is the fact that George and Kathryn aren’t the only couple in attendance. Clarissa is dating the older Freddie, while Stokes and Zoe are also seeing each other … and there are likely other surprise complications with this group.

True fans of spy thrillers should know that this is not a new TINKER TAILOR SOLDIER SPY (2011), but rather a user-friendly story in the mold of the “Mission: Impossible” movies – only with less action and no high-wire stunt sequences. Instead, these agents withhold a lot while still talking a lot (some of the dialogue is quite funny). It’s more of a personality chess match than an assault on our senses. Complementing the verbose proceedings is a perfect twisty jazz score from David Holmes. We must also take note of the numerous ties to the James Bond franchise (Brosnan, Harris, and rumors), and it’s best to just sit back and enjoy Soderbergh in his element (this is his second film released in 2025) … entertainment with a cool vibe.

Opens in theaters on March 14, 2025

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NOVOCAINE (2025)

March 13, 2025

Greetings again from the darkness. In decades past, we wouldn’t have been surprised in the least to see a movie starring Jack Nicholson and Dennis Quaid. In fact, in 1973 Jack co-starred with Dennis’ brother Randy in one of my favorite films, THE LAST DETAIL. Well, here we are more than fifty years later, and Dennis’ (and Meg Ryan’s) son Jack Quaid is co-starring with Jack’s son Ray Nicholson in what is sure to be one of this year’s most outlandish action-comedies.  The screenplay is by Lars Jacobson and the film is co-directed by Dan Berk and Robert Olsen, who also collaborated on BODY (2015).

REM’s “Everybody Hurts” plays over the opening credits and sequence which provide hints to the measures Nathan Caine (Jack Quaid, COMPANION, 2025) has taken around his house. With tennis balls shielding sharp corners and a stop to prevent scalding water in the shower, Nathan appears to be quite accident-prone. We learn he’s a good-guy Assistant Manager at a local San Diego bank, and profiles as nebbish in his looks and skittish mannerisms … especially around new bank teller Sherry (Amber Midthunder, THE ICE ROAD, 2021). Sensing his awkwardness and attraction, Sherry takes charge and asks Nathan to lunch. A bite of cherry pie leads Nathan to disclose his rare genetic disorder – he simply cannot feel pain (thus explaining the earlier tennis balls).

One personal disclosure leads to another, which leads to an art gallery, which leads to romantic intimacy and what easily could spin off into a familiar quirky rom-com with these two. Instead, while Nathan is riding an emotional high, three men dressed as Santa Claus violently rob the bank on Christmas Eve and take Nathan’s new squeeze Sherry as hostage. This sends our wimpy superhero Nathan (nicknamed Novocaine by junior high bullies) on a rescue mission. His previous fighting experience has been limited to online video game sessions with Roscoe (Jacob Batalon, Ned from Marvel movies), although the two have never actually met.

The fight sequences are quite violent and absurdly comical in how they take advantage of Nathan’s blend of physical disorder, nice guy tendencies, and commitment to rescuing his first love. Creativity is at maximum volume as Nathan takes on a red-hot frying pan and boiling oil in a restaurant kitchen skirmish, replete with bodily poundings that would leave anyone else shattered. Things really pick up in a wickedly booby-trapped house that sets up a HOME ALONE joke. Mostly, however, the body horror serves as punchline after punchline … some surely to tweak even the most squeamish movie goers.

Ray Nicholson (I LOVE YOU FOREVER, 2024) provides a jolt of adrenaline and psychotic violent behavior to ensure no one watching still believes this is a rom-com in the making. His Simon thrives not so much on the money from the robberies as the power and control he displays and the torture he doles out. The finale battles between Simon and Nathan are extreme and creatively unique. While the entertainment value is present, there are still some minor issues with the story and proceedings. The detectives on the case are played by Betty Gabriel (GET OUT, 2017) and Matt Walsh (“Veep”). These two talented actors are given very little to do and it’s a shame their roles weren’t beefed up a bit. Additionally, there is a key twist that will surprise almost no one. Is it even a twist if they tell you it’s coming?

The action scenes are purposefully absurd, and although some bits are over-the-top, others are pure comedy-action brilliance. Jack Quaid is fitting right in to his lead character roles, and Ray Nicholson is mastering the wild-eyed psycho dude. Amber Midthunder shows yet again how immensely talented she is, and it’s likely her future roles will take advantage of what she brings on screen. My personal biggest hope is that the filmmakers avoid a sequel … one which would likely leave us viewers disappointingly numb (had to work in one pun).

Opens in theaters on March 14, 2025

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THE RULE OF JENNY PEN (2025)

March 7, 2025

Greetings again from the darkness. John Lithgow frequently plays likable characters that take advantage of his innate ability to connect with viewers as an ‘every-man’ type – often reminding us of people we know. However, over his career that spans approximately fifty years, I’ve always been more interested and more intrigued when nice guy Lithgow plays the villain (see “Dexter”). It takes a talented actor to be believable as characters we love and characters we loathe. Writer-director James Ashcroft and co-writer Eli Kent have adapted Owen Marshall’s oddball short story into an equally oddball feature film.

As the film opens, (Oscar winner) Geoffrey Rush is Judge Mortensen, presiding over a contentious court case. As he is providing his findings, the honorable judge begins sweating and having difficulty conveying his thoughts … even clumsily handling a glass of water. It’s obvious he’s showing signs of a stroke, and ultimately collapses on the bench. As painful as this sequence is, it pales in comparison to what awaits Mortensen.

The judge is checked in to a rehab facility and rest home for the elderly. What he discovers is that one of the patients, Dave Crealy (Lithgow), thrives on physical and psychological abuse of the other patients. His reign of terror involves a plastic doll named Jenny Pen, and the two of them make nightly rounds torturing that evening’s unlucky victim(s). The bit of fun here exists in the head-to-head battles between the psychotic Crealy and the physically limited Judge. There is also a nice touch with a local cat that compares to the appearance of oranges in THE GODFATHER. If you know, you know.

Lithgow sports an Aussie accent and hillbilly teeth, while Rush spouts crisp and intelligent dialogue with a dose of arrogance that turns into bewilderment. Of course, most of this makes little sense as the facility would likely have security cameras capturing Lithgow’s late night wanderings, or at the least enough of an overnight staff that might glimpse his movements. And at some point, enough patients would team up to narc on the resident psycho bully. It’s these details that prevent this from being a top notch psychological thriller, although watching two masters like Lithgow and Rush go at each other provides plenty of entertainment.

Opens in theaters on March 7, 2025

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