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

STING (2024)

April 11, 2024

Greetings again from the darkness. The trailer for this one makes it clear that it’s a monster movie in the vein of those Friday late night creature-features I stayed up watching as a kid … whenever I wasn’t grounded from watching TV. Australian filmmaker Kiah Roche-Turner has set this one in Brooklyn and it takes place almost entirely inside an old apartment building (the only exceptions are shots of the ice storm occurring outside).

Roche-Turner may have delivered the latest creature-feature, however, it’s not one of those that inspires empathy towards the creature. Twelve-year-old Charlotte (get it??) is on one of her adventures through the air vents of the old building when she captures a little black spider. A pet spider may be uncommon, but keeping secrets from your mother, Heather, (Penelope Mitchell, HELLBOY, 2009) and stepdad, Ethan, (Ryan Corr, THE WATER DIVINER, 2014) is right in line with the actions of an adolescent frustrated by the responsibilities of having to watch her newborn brother while the frazzled adults go about earning a living.

The film’s opening shows Charlotte’s sweater-knitting grandmother, Helga (Noni Hazelhurst, TRUTH, 2015), battling dementia and calling the exterminator after hearing loud noises in the wall. The story then flashes back four days to when Charlotte first finds the spider. Frank (Jermaine Fowler, RICKY STANICKY, 2024) sprays the building, but even as a pest expert, he doesn’t suspect what’s about to happen. Relative newcomer Alyla Brown (TRUE SPIRIT, 2023) performs superbly as Charlotte, and is stunned when the pet spider she names Sting mimics her whistle when it’s due for another meal of crunchy bugs, which leads to exponential growth.

Although it’s not necessary, there are additional elements to the story that occur around the whole rapidly-growing spider. Charlotte’s stepdad is the building super and an aspiring comic book artist. In an effort to bond with her, Ethan illustrated the story she created about her biological father, whose deadbeat nature mother Heather has withheld from her. Their neighbors consist of lonely widow Maria (Silvia Colloca, VAN HELSING, 2004) and oddball science geek Erik (Danny Kim, “Born to Spy”), the latter of whom exposes Charlotte’s clandestine arachnid pet to the parents. The final player here is frugal and grumpy Gunther (Robyn Nevin, RELIC, 2020), who apparently owns the building and lives with her sister Helga. Ms. Nevin has a face made for horror films (and I mean that as a compliment) and gets to go full out in her one big scene with Ethan.

 As you’d expect, some of these folks meet a grisly end, while others are more fortunate. There are enough kills for those that lust for such moments, and enough creepiness and chuckles for everyone else. It does take a while for the arachnid rampage to begin, but there’s enough suspense to keep us around.  Most will appreciate Brad Shield’s cinematography as the camera worms it’s way through the claustrophobic hallways and air ducts of the building. The origins of the spider might be missed by those who aren’t paying close attention, but it’s a brilliant touch. And even though it’s a bit of campy horror, the dayglo red used in the fake blood is among the worst you’ll likely ever see. The film is quite a bit different from the 1990 cult classic ARACHNOPHOBIA, but the lesson in keeping moth balls on hand could someday come in handy. Over the opening credits, “What a Way to Die” by The Pleasure Seekers acts as a foreshadowing of events, and in keeping with the film’s title, there are a couple of “stingers” for those who stick around.

Opening in theaters on April 12, 2024

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Posted by David Ferguson

RICKY STANICKY (2024)

March 7, 2024

Greetings again from the darkness. Honesty is the best policy. At least that’s the lesson we were taught growing up. What we learn as we get older is that very few adhere consistently to that policy, and in fact, many pride themselves on an ability to mislead. On “Seinfeld”, George Costanza stated quite succinctly, “It’s not a lie if you believe it.” Sadly, far too many are able to believe the web of lies they spread. But then, this film is from writer/director/producer Peter Farrelly, a double Oscar winner for GREEN BOOK (2020), and best known for the zany comedies he co-directed with his brother Bobby, including DUMB AND DUMBER (1994) and THERE’S SOMETHING ABOUT MARY (1998). If any filmmaker can make lying funny, it should be a Farrelly brother.

The film starts where it should … by showing us the childhood prank that led to the recurring lie. It’s Halloween night and three buddies decide to prank the house that never gives out candy. The prank goes terribly wrong, and the imaginary Ricky Stanicky gets blamed, allowing our three young heroes to escape their first mess and setting the stage for 20 years of alibis. As adults, Dean (Zac Efron, fresh off his superb turn in THE IRON CLAW), JT (Andrew Santino), and Wes (Jermaine Fowler) continue to use their make-believe friend as a reason to take yet another boys’ trip away from wives and partners and jobs and responsibilities. To ensure their stories stay straight, the men update “the bible”, which is a chronology of the Stanicky  lies they crafted over the years.

The latest Stanicky tall tale involves cancer and a trip to Atlantic City for a concert … a trip that allows JT to skip the baby shower his wife has planned. Circumstances being what they are, the trip is cut short, but before they leave, their paths cross with a hard-raunch celebrity impersonator with the stage name Rock Hard Rod (John Cena).  Soon, the boys are calling Rod to play the role of Ricky Stanicky so that friends and family can meet the legend in the flesh. The rest of the movie involves the sometimes hilarious, sometimes not, shenanigans of Rod becoming Ricky Stanicky. As with most lies, things get more complicated and convoluted with each passing moment.

“The best friend we never had” becomes a complex challenge that threatens to ruin all relationships and careers. William H Macy plays Summerhayes, an old school businessman and boss to Dean and JT. Macy plays it straight here, but his ‘air guitar’ with an unfortunate Farrelly twist makes for a comical segment – as does Summerhayes’ evolving thoughts on Stanicky, who by this time, has charmed (and tricked) all whom he’s met and even cleverly overstepped at the Bris for JT’s baby. Dean’s wife Erin (Lex Scott Davis) is a reporter and sees Stanicky as her ticket to a better gig. It’s a bit sad that Ms. Davis has the only female role with any substance here.

Sir Walter Scott wisely commented, “Oh, what a tangled web we weave.” Director Farrelly, working with a throwback comedy script from too many writers to name here, manages to find the humor in serial dishonesty, while also pointing out that the above-mentioned web is almost certain to nab the perpetrator(s) in the end. Farrelly also manages to check most of the PC boxes, while also showering us with his trademark inappropriateness. However, it’s John Cena’s energetic performance that shines here and keeps the film clicking along after a somewhat slow start. Cena proves he can carry a comedy.

Available on Prime Video beginning March 7, 2024

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Posted by David Ferguson

COMING 2 AMERICA (2021)

March 5, 2021

 Greetings again from the darkness. The wait was 54 years for MARY POPPINS RETURNS (2018) and 35 years for BLADE RUNNER 2049 (2017), and it’s been almost 33 years since John Landis directed Eddie Murphy in COMING TO AMERICA (1988). So while it’s an unusually lengthy wait for a sequel, it’s certainly not unprecedented. Director Craig Brewer is fresh off a fantastic collaboration with Eddie Murphy in DOLEMITE IS MY NAME (2019), and the writers include Barry Blaustein and David Sheffield, who were both involved in the original COMING TO AMERICA (plus other Eddie Murphy projects), and Justin Kanew and Kenya Barris (“Blackish”).

The film opens with Prince Akeem (Eddie Murphy) and his wife Princess Lisa (Shari Headley) being greeted in the morning by their three daughters who wish them a happy 30th wedding anniversary. If you recall from the original, Akeem met Lisa on his eventful visit to Queens, NY. Her father Cleo (a returning John Amos) gave Akeem a job at the McDowell’s (not McDonalds) fast food restaurant he owned.

A basic synopsis of the story this time is that King Jaffe Joffer (90 year old James Earl Jones) is near death, which would mean Akeem would take the crown of Zamunda. A brewing conflict involves General Izzi (Wesley Snipes taking over for Calvin Lockhart who passed in 2007) who threatens violence if Akeem doesn’t allow Izzi’s goofball son to marry Akeem’s eldest daughter Meeka (KiKi Layne, IF BEALE STREET COULD TALK, 2018), who wants nothing to do with him … but does have her sights set on being next in line for the throne after her father. A film about Meeka could be interesting on its own. Of course, Zamunda law requires a male heir, and that’s the final kicker, as Akeem learns he has an illegitimate son conceived from a drug-fueled episode during his previous trip to Queens.

The royal jet whisks Akeem and his trusty sidekick Semmi (Arsenio Hall) back to Queens, where after a trip to visit with all the old characters from the neighborhood barbershop, they track down Lavelle Junson (Jermaine Fowler, SORRY TO BOTHER YOU, 2018), son of Mary Junson (Leslie Jones). A flashback gives us context to Mary and Akeem’s moment of passion. It’s at this point where we also meet Lavelle’s Uncle Reem (Tracy Morgan). The Queen’s clan then heads back to Zamunda.

While there is a story, this is not a movie in the traditional sense. Instead it’s a nostalgic trip for a big chunk of the cast, as well as for the target audience. An abundance of cameos will keep viewers on their toes, and any movie that features two of the greatest movie voices of all-time, James Earl Jones and Morgan Freeman, deserves extra credit. For me, there were no big laughs; however, I enjoyed a few good chuckles … the best being “Idiot Amin” (your ears have to work fast in the barbershop). The homage to TRADING PLACES was a nice touch, as was a particular finger wag, and a joke about sequels. It seems odd (given the title) that only a very small percentage of the story takes place in America, but I’m sure many will enjoy the outtakes over closing credits, and a surprise musical bonus after that. Also worth noting is that this sequel gets a PG-13 rating versus the R-rating of the original.

Amazon Studios will exclusively release COMING 2 AMERICA globally on Prime Video March 5th, 2021

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Posted by David Ferguson

SORRY TO BOTHER YOU (2018)

July 12, 2018

 Greetings again from the darkness. All movie watchers know that the first rule of Fight Club is ‘Don’t talk about Fight Club’. And now we know that the first rule of Telemarketing is STTS: Stick to the script. The similarities between the two movies may be few, but hip-hop artist (The Coup) turned first time filmmaker Boots Riley comes out swinging in this offbeat, quite clever satire on race, corporate culture, economic factions, social division, and politics. It makes for a nice companion piece to last year’s critical darling, GET OUT.

LaKeith Stanfield (GET OUT, SHORT TERM 12) stars as Cassius “Cash” Green, a low key good dude living with his girlfriend Detroit (Tessa Thompson) in his uncle’s (Terry Crews) garage. Four months behind on rent, Cash wants to do something important with his life, he just doesn’t know how … and his current financial circumstances aren’t helping. You may call him a dreamer, but he’s not the only one (a Lennon reference seems fitting for this film).

Cash’s best buddy Salvador (Jermaine Fowler) gets him an interview at a dingy basement telemarketing firm – an interview that clues us in on the type of humor we are in for. Thanks to advice from one of the veteran telemarketers (Danny Glover), Cash utilizes his “white voice” and immediately has remarkable success … and we get some pretty funny sales call visuals to correspond to the obvious capitalism statement.

Ultimately his sales success gets him promoted to the “power caller” level and his own mentor, accessible only through the gold elevator. This leads to conflict with his friends, his girlfriend and his own moral standards. See, the basement dwellers are being led by Squeeze (Steven Yeun) in an effort to unionize for a living wage and tolerable work environment. As Cash continues to pursue … well, uh … cash … his friends carry out their form of civil disobedience. This leads to police brutality, examples of corporate greed, and the downside to individual ambition.

Armie Hammer plays Steve Lift, the egomaniacal corporate d-bag who takes Cash under his wing – for the purpose of making more money. The sales pitch turns to “Worry Free”, a lifestyle being marketed through brain-washing advertisements for guaranteed food and shelter. One need only commit to a lifetime of corporate servitude. If that sounds like slavery, well, that’s the point Riley is making. It’s not so far off from the life many of us lead today, but of course this is presented in satirical fashion, so we are manipulated into laughing at ourselves and our society. There is even a popular reality TV show titled “I Got the S**T Kicked Out of Me”, and folks can’t get enough!

The story kind of flies off the rails in the second half with some wacko-science fiction genetic engineering. The equisapiens have to be seen, as no written description will do. Even this segment has purpose. It speaks to how individuals and corporations can seize power and head in a questionable direction – all in the name of progress, efficiency and stock price.

Stanfield excels in one of his first lead roles, and Ms. Thompson is her usual shining star. Kate Berlant (as the humorously named Diana DeBauchery) has a couple of excellent scenes, and David Cross and Patton Oswalt are terrific as the (extremely) white voices of Cash and Mr. _________ (played by Omari Hardwick).

Filmmaker Riley offers up not a call to arms, but rather a call to wake up! Many of the decisions here mirror real life. Personal success can cost us friends, and political and professional choices may challenge our inherent morals (here, bordering on Faustian). The film is both provocative and funny, though a bit messy at times. You’ll laugh while you think, or laugh after you think, or think after you laugh … somehow you’ll do both. OFFICE SPACE and Terry Gilliam’s BRAZIL may be the closest comparisons; just be cautious if Boots Riley ever invites you to join in some horse play.

watch the trailer:

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Posted by David Ferguson