DANIELA FOREVER (2025)

July 10, 2025

Greetings again from the darkness. Grief is one of the most powerful emotions we humans can experience. The range of effects varies from lethargy to sadness to full-on depression. We’ve all experienced that feeling of wishing for one more shared moment or the opportunity to say goodbye. Writer-director Nacho Vigalondo (TRUE CRIMES, 2007, COLOSSAL, 2008) is working with an intriguing premise and a strong cast, yet for some reason, this one doesn’t pack the punch it seems like it should.

Fittingly, the story opens with a memory. It’s one most lovers have recounted – their first meeting or encounter. The two versions rarely match in real life and they don’t for Nicolas (Henry Golding, CRAZY RICH ASIANS, 2018) and Daniela (Beatrice Granno, “The White Lotus”). Only this one offers a twist, as Nicolas’ memory transitions into a nightmare – the reality awakens him with the memory of Daniela tragically dying in an accident. The current reality for Nicolas is overwhelming grief, a kitchen full of dirty dishes, an apartment with uncharacteristic messiness, very few gigs for his work as a DJ, and minimal contact with his local friends in Madrid.

When his friend Victoria (Nathalie Poza) offers him a possible path out of emotional darkness, Nicolas jumps at the chance, despite the risks involved with the experimental drug that promises to offer some control over lucid dreams. Rather than follow protocol, Nicolas goes rogue and spends his dream time reliving his time with Daniela. Director Vigalondo and cinematographer Jon D Dominguez use a confining aspect ratio and grainy look for Nicolas’ reality, while a larger aspect and sharper, more vivid images show his dream state. The frustrations for us viewers occur in dream state as Nicolas comes across as self-centered and manipulative, while we can’t quite figure out if the dream version of Daniela has her own thoughts or simply fills the image conjured by her man.

Watching the film leaves us believing a deeper, more insightful movie is buried in there somewhere. In fact, we know that memories and dreams have been used effectively in films such as INCEPTION, ETERNAL SUNSHINE OF THE SPOTLESS MIND, and GREATEST HITS … and it certainly fits right in with the tone and style of many “Black Mirror” episodes. Romantic Science Fiction movies are rare, and though there is true love at the core of this one, we are left wishing Nicolas was a bit less harsh, only for the ending to wrap up just a bit too neatly.

opens in select theaters on July 11, 2025 and on digital on July 22

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Posted by David Ferguson

JURASSIC WORLD: REBIRTH (2025)

July 1, 2025

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

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

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

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

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

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

Opens in theaters on July 2, 2025

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Posted by David Ferguson

F1: THE MOVIE (2025)

June 26, 2025

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

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

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

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

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

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

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

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Posted by David Ferguson

STEALING PULP FICTION (2025)

June 26, 2025

Greetings again from the darkness. The first feature film from writer-director Danny Turkiewicz is an expanded version of his same-titled 2020 short film. It’s also an example of clueless buddies being passionate about a very bad idea. Mostly though, the characters here seem to share a certain unspoken loneliness that unites them.

Let’s clear the air on this one. It’s a goofy lark that never takes itself too seriously. It’s the kind of movie that opens on two buddies sitting in a bar brainstorming pun-themed businesses while sipping colorful drinks with little umbrellas in the glasses. Jonathan (Jon Rudnitsky, HOME AGAIN, 2017) and Steve (Karan Soni, Dopinder in the Deadpool movies) are film lovers with opposite personalities, although they do share a certain charming ineptitude. This worrisome pair also shares acronyms for everyday language. Examples include MTP for movie theater popcorn, and KIT for keep in touch. It’s this level of ‘brilliance’ that finds them agreeing on their next project … a specific cinematic heist.

A late-night screening of PULP FICTION leads to the knowledge that what they watched was directly from the personal 35mm reels from the director’s own collection. So, what do they decide? To steal the reels, of course (this film’s title is likely a giveaway).  Soon their gang for this heist has grown to four, including their wonderfully deadpan friend Elizabeth (Cazzie David, filmmaker of I LOVE YOU FOREVER, and daughter of Larry David), and their personal therapist Dr. Mendelbaum (Jason Alexander taking on the name of an infamous “Seinfeld” character).

Despite the lack of any real plan – and a failed “Practice Heist” – the foursome proceeds with the idea. There is a definite retro look and feel to the film, including numerous Tarantino nods, and movie posters for Turkiewicz’s previous short films pop up in the background periodically. The loneliness aspect mentioned above comes around for all four of our main characters … with a little help from one of Mendelbaum’s other patients (Victoria Secret model Taylor Hill) and the Pillisdorf Social Club. A special shoutout to Seager Tennis who goes fully unhinged playing Tarantino. Silly, odd, and unconventional all describe this film, and at 84 minutes, it may best be described as harmless fun … for those days when you want to avoid deep thought.

Opening in select theaters and on digital beginning June 27, 2025

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Posted by David Ferguson

FROZEN: THE HIT BROADWAY MUSICAL (2025)

June 20, 2025

Greetings again from the darkness. The first FROZEN movie was released in 2013 and the sequel, FROZEN II in 2019. FROZEN III is scheduled for release in 2027, but since the story (adapted from an original Hans Christian Anderson story) remains so popular, fans get a film version of the stage musical to tide them over … and ensure no generation (or even part of one) misses out. Brett Sullivan directs the filming of Michael Grandage’s stage presentation, and I’m still trying to figure out if young kids will embrace this version.

The talented cast is from London’s West End stage production (a three-year run) and includes Samantha Barks (LES MISERABLES, 2012) as Elsa and Laura Dawkes as Anna. We open with young sisters, Elsa and Anna, singing together on “Do You Want to Build a Snowman?”. It’s the first mention of Olaf, but of course, results in Elsa’s frigid magic accidentally injuring Anna. The parents, Royalty in Arendelle, freak out and react by separating the sisters … until circumstances are such that the two girls come together again.

While there is no need to re-hash the storyline here, there are a few key points emphasized in the stage production. One of the first things we notice is that both Ms. Barks (Elsa) and Ms. Dawkes (Anna) have wonderful singing voices, although it’s Anna who gets the most one-liners and laughs, and periodically steals the spotlight. Anna’s ‘meet-cute’ with Hans (Oliver Ormson) is handled well, and the effects are spectacular when Elsa ices over the kingdom during her coronation while having a confrontation with Anna. Kristoff (Jammy Kasongo) and Sven are a welcome addition, yet it’s snowman Olaf (Craig Gallivan) who draws in the audience with his love of warm hugs.

The showstopper, “Let it Go”, serves up a stunning moment with both the stage effects and the magical costume change for Elsa. The familiar and catchy tune delivers pure entertainment for all ages. What is not so certain is how the younger fans of the movies will react to a dozen new songs written specifically for the stage presentation. The “Hygge” song is the most elaborate, yet the others seem to mostly blend in … in a good way for seasoned musical lovers (but maybe not so much for young fans). At a minimum, this could very well be a nice transition to live theater for kids, while being extremely entertaining for us old-timers.

Debuts on Disney+ beginning June 20, 2025

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Posted by David Ferguson

ECHO VALLEY (2025)

June 13, 2025

Greetings again from the darkness. We should all be so fortunate to have a friend as loyal as Leslie, and we should strive to be wiser than Kate so that we don’t ever have the need to test that friend’s loyalty. Director Michael Pearce (ENCOUNTER, 2021) is working with a script from screenwriter Brad Ingelsby (the excellent “Mare of Easttown”, OUT OF THE FURNACE, 2018), and a superb cast to deliver a thriller that offers both familiar territory and twists and turns in a film that is ultimately relatively entertaining to watch.

The film opens with a stunning overhead shot of a lifeless body floating in the middle of a tree-lined lake. We don’t know who it is or the story of how it got there. Oscar winner Julianne Moore plays Kate, still in a grieving funk nine months after a tragic accident killed her wife Patty (Kristina Valada-Viars, “Chicago Med”), who is seen only in flashbacks and heard on saved voicemails. Kate manages to crawl from bed each morning and do just enough to keep her horses alive on the farm where her business is giving riding lessons. Since she’s cancelled most of those lessons, she must grovel to her ex-husband (Kyle MacLachlan) so she can fix the sagging roof on her barn. The two argue about money, her state of mind, and their daughter … whom dad describes as “sick”.

It doesn’t take long for us to understand how all the pieces of their argument fit together because daughter Claire (Sydney Sweeney, “The White Lotus”, “Euphoria”) shows up at the farm, and we learn that her mother Kate is the ultimate example of an enabler. Claire has a long-standing drug problem as well as the corresponding mental issues. She knows her mother can be manipulated into doing just about anything for her. It doesn’t take long for a couple of other players to enter. Ryan (Edmund Duncan) is Claire’s drug-addled boyfriend, and Jackie (the ubiquitous Domhnall Gleeson) is their compelling drug dealer … one who is out about ten grand due to the idiocy of Claire and Ryan.

Once the dynamics are in place, the twists and turns begin – none of which will be detailed here. You should know that it’s all pretty suspenseful provided you are able to overlook a bit of creative stretching from a storytelling perspective. Fiona Shaw plays Kate’s bestie Leslie (as mentioned in the opening paragraph), and what comes across clearly here is that this group of actors definitely elevate the material to the point where we actually care what happens to Kate, Claire, and Leslie. Ms. Moore excels in her grief, in her role as (overly) dedicated mother, and as a shrewd independent. Ms. Sweeney goes against her usual glam role and flashes some pretty impressive emotional range, while Mr. Gleeson nails the opportunistic drug dealer. It’s kind of hard not to notice that the males in the story are all various shades of scumbags, save for the detective near the end.

Cinematographer Benjamin Kracun (PROMISING YOUNG WOMAN, 2020) manages to capture both the beauty of the setting and the intensity and emotion of the personal interactions. Composer Jed Kurzel (SLOW WEST, 2015; THE BABDOOK, 2014) takes a unique approach to the score, preventing it from sounding like most suspense films. It seems probable that Mr. Ingelsby writing and Mr. Pearce’s directing would have been better served in a limited series … although this outstanding cast might not have happened. I found the film’s ending somewhat less than satisfying, yet overall the entertainment value was fine.

The film will premiere globally on AppleTV+ on June 13, 2025

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Posted by David Ferguson

TATAMI (2025)

June 13, 2025

Greetings again from the darkness. Given the turmoil around the globe, being the first film co-directed by an Iranian filmmaker and an Israeli filmmaker makes this one even more impressive … both on screen and behind it. The co-directors are Zar Amir Ebrahimi (who also stars) and Guy Nattiv (who also co-wrote the screenplay with Elham Erfani). Nattiv previously won an Oscar for his superb short film SKIN (2018).

Arienne Mandi (“The Night Agent”) delivers a powerhouse performance as Leila Hosseini. Leila is a competing for Iran in the WJA World Judo Championships. Her husband Nader (Ash Goldei) and their young son are cheering her on back home, along with a house full of friends and family. We first see Leila as she hops on the bike to drop .3 kg in 20 minutes in order to make her fighting class weight of 60 kg. After cruising through the first couple of rounds, Leila discloses to her coach Maryam (co-director Zar Amir Ebrahimi) that she has “a great feeling today.”

It doesn’t take long for her great feeling to turn sour. The Islamic Republic calls Maryam and orders Leila to fake an injury and withdraw to avoid the possibility of losing to an Israeli competitor in the finals. When Leila refuses, the threats to her family become real and danger awaits for anyone associated with Leila or Maryam. As any dedicated athlete can attest, the pursuit of excellence has nothing to do with politics … until it does. The story is inspired by a true story, and we see the extreme actions from all parties. It’s filled with tension and anyone who values freedom will be aghast.

Filmed in Georgia (the country, not the U.S. state), the writing and acting are top notch, even for those of us (yours truly) who know little of judo competitions. Tatami is the mat used for the competitions, and Leila certainly had multiple battles going on simultaneously. We feel her pain, both physical and emotional. Flashbacks are used sparingly to provide background, and it’s obvious why this film has been so frequently recognized and awarded on the festival circuit. The lesson, which never seems to be learned, is that political conflicts, even long-standing ones, can benefit so much from the humanity shown by individuals.

TATAMI opens nationwide on June 13, 2025

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Posted by David Ferguson

THE PHOENICIAN SCHEME (2025)

June 11, 2025

Greetings again from the darkness. At this point it seems clear that Wes Anderson makes movies for himself and his devoted followers … and his loyal troupe of actors. I can’t think of another filmmaker whose movies are so instantly recognizable and consistently similar in look and feel. The pacing, verbal style, color palette, and overall rhythm of his latest compares favorably to some of his previous, including: ASTEROID CITY (2023), THE FRENCH DISPATCH (2021), THE GRAND BUDAPEST HOTEL (2014), and MOONRISE KINGDOM (2012). Rather than a criticism, that’s intended instead as a notice to viewers. If, like me, you’ve enjoyed his past films, you’ll likely take pleasure in this one.

Benecio Del Toro (one of the great faces in cinema) takes the lead here as wealthy businessman Zsa-zsa Korda, who inexplicably defies death about as often as most people brush their teeth. Due to his frequent near-death experiences and the risk involved in pursuit of his latest project, Korda names his daughter, Liesl (Mia Threapleton, daughter of Kate Winslet), a nun-in-training, as his sole heir and invites her to be part of the latest venture. The enterprise is exceedingly well-planned as evidenced by the labeled wardrobe boxes. Of course, the project is too convoluted for us to understand, but that matters little. It’s the globe-trotting and interactions with famous faces that raise the entertainment value.

‘Deadpan’ is today’s magic word – as it is in most Wes Anderson films. And if there is a secondary word of the day it would be ‘goofy’, because this undoubtedly falls on the light-hearted end on the Anderson scale. It’s filled with jokes, site gags, and purposefully oddball moments designed to elicit laughter (or at least enjoyment). The third of the lead triumvirate here is Michael Cera, who seems completely at ease – actually excelling in the Anderson world. He plays Bjorn, a character more complex than we are initially led to believe … although we don’t believe it, even initially.

Joining in the fun is an all-star line-up of actors other filmmakers only dream of casting. These include: Willem Dafoe, Scarlett Johansson, Rupert Friend, Richard Ayoade, Jeffrey Wright, Hope Davis, Benedict Cumberbatch, and Mathieu Amalric, each memorable in their segments. You won’t want to miss Tom Hanks and Bryan Cranston as brothers taking on the infinitely unskilled duo of Del Toro and Riz Ahmed (as a crowned Prince) in a game of basketball … and even that pales to the scene with Bill Murray as God.

Anderson co-wrote the script with frequent collaborator Roman Coppola and the score comes from 2-time Oscar winner Alexandre Desplat. Cinematographer Bruno Delbonnel perfectly captures the Anderson flavor in what I believe is their first time working together. What I find fascinating is that while watching the film, the characters and story struck me as a bit of a lark, yet some moments have come back around in my mind, and it seems quite clear that Anderson purposefully and slyly buried some life messages in this little comedy. What I’m saying is that the film works as a comedy, but also may carry a bit more heft that what I thought while watching. That falls under the definition of refined filmmaking.

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Posted by David Ferguson

DANGEROUS ANIMALS (2025)

June 6, 2025

Greetings again from the darkness. I’ll admit to being braced for a low-budget horror movie that would have more in common with SHARKNADO than JAWS. This genre film from director Sean Byrne and screenwriter Nick Lepard is neither of those films, but certainly holds its own as terror on the open sea.

The extended pre-credit opening sequence tells us all we need to know about Bruce Tucker (Jai Courtney, A GOOD DAY TO DIE HARD, 2013). He’s a survivor of a childhood shark attack and his scars led to his obsession with the creatures – running a tour boat for those who want to get up close and personal with sharks (while in a cage, of course). Athletic and adventurous Greg (Liam Greinke) coaxes his meek and timid girlfriend Heather (Ella Newton, “Harrow”) onto the boat and into the cage. It turns out her hesitancy would have been better served as Tucker’s rugged charm quickly turns quite sinister.

Independent surfer, Zephyr (Dallas’ own Hassie Harrison, “Yellowstone”) crosses paths with Real Estate dude Moses (Josh Heuston, “Heartbreak High”) and the two exchange banter that certainly qualifies as high-level flirtation … leading to the back of Zephyr’s van, and her eventual unannounced departure. It doesn’t take long before her evening of bliss turns into her being next in Tucker’s long line. It’s a line so long, he has a VHS tape library of all his conquests/victims. See, Tucker does more than just sing the “Baby Shark” song. He feeds his sadistic nature in a manner that I won’t detail here.

IFC and Shudder films have teamed up to deliver a surprisingly taut thriller from an absurd premise thanks to Jai Courtney not overplaying a villainous role that could easily be over-the-top, and Hassie Harrison playing a believably tough woman fighting for survival. When Tucker first says, “No one even knows you’re here”, we recognize that we are in for a ride. This is director Sean Byrne’s first movie in ten years (THE DEVIL’S CANDY, 2015), and the first to include two versions of the “Ooby Dooby” song by Teen Jesus and CCR. For lovers of this genre, just know that the money shot is worth the wait.

Opening in theaters on June 6, 2025

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Posted by David Ferguson

SUNLIGHT (2025)

June 6, 2025

Greetings again from the darkness. After you loop the belt around the ceiling fan in the cheap roadside motel, you then tighten it around your neck. You are prepared to follow through, yet when you regain consciousness, you are shocked to realize your Sunshine Radio motorhome is being driven by a human-sized monkey. Writer-director and lead actress Nina Conti and co-writer and lead actor Shenoah Allen quickly jumpstart the oddities and make it clear this one is going where no man or monkey has gone before.

Ms. Conti (Tom Conti’s daughter) supersizes her stage act to play Jane in the monkey suit, while Mr. Allen takes on the suicidal Roy. The two become more than traveling partners. They slowly establish a connection that only two broken people can share – through humor, pain, and emotions. Jane has her sights set on Colorado and a business plan involving a pontoon boat with a banana floatie attached. Roy’s mission is to dig up his father’s grave and remove a valuable item that will make things better for both him and Jane.

You’ve never seen a road trip movie like this one. You’ve never seen a buddy film like this one. You’ve never seen a rom-com like this one. Despite the title, some of it is a bit dark, but the expertly written comedy never lets the shadow last too long. Instead, the focus is on these two people discovering themselves and each other. Jane says, “You can’t like her and me”, when referring to the person inside the monkey suit. Roy wants to cuss out his father when he exhumes the body. He’s already mad at his grumpy police mother (a colorful Melissa Chambers), but she’ll have more to say later.

Fake watches, a wolf costume, and an old motel key have their moments, but the best stuff is the banter between Jane and Roy. Sometimes, with a twist to the story, it’s even more than banter. Although these two people have been beaten down by life, they manage to find hope in each other. A tender and emotional story of connection builds, despite (or maybe because of) the monkey suit. The New Mexico scenery (cinematographer James Kwan) complements the pair’s banter as it ranges from argumentative to playful to flirtatious to psychological. Surprisingly, the film is a true pleasure to watch, although the ending might seem a bit off to some.

Begins its theatrical rollout in NYC on June 6, 2025

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Posted by David Ferguson

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