Lionsgate / Maple Pictures

Keanu Reeves is a guy who I don’t think anyone would be crazy enough to say is a “great actor”, but instead he’s a guy who has been in some pretty great films.  For me he’s an actor I grew up with from his days doing the Bill and Ted movies and Point Break. (Seriously, how dare they attempt to remake that gem?)  Between Speed and The Matrix, those are the two movies I’ve held onto for so long as his career took a more interesting turn; that is until John Wick came along and blew my mind with all the insane coolness that was up on the screen.  Finally it seemed I was on track to getting the Keanu Reeves that I grew up watching.  I know, so what’s the point of all this?  Well, until now, none of the Reeves films that I’ve liked could I really say it was because of his performance, and Exposed is finally the film he’s needed where he can show he’s more than just a brooding action star.
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“When I was small, I only knew small things. But now I’m five, I know everything!”

Room opens on the day that Jack, the movie’s relentlessly curious young protagonist, turns five. Jack is our entry point and guide through this story, but there’s at least one important thing he doesn’t know. In Room, we see how a mother and her son cope with one of the most harrowing circumstances imaginable. It should make for a grim experience, but this wonderfully-crafted film winds up being a moving story about resilience and how parents and their children can draw strength from one another.
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On the surface MI-5 looks to be a mundane direct-to-video film attempting to cash in on a couple of things. Mission Impossible: Rogue Nation is the fifth in the series and often referred to as MI:5. The new James Bond film has a plot involving the head of MI-5 attempting to take down the MI-6 department and our beloved 007. None of these would contribute to the fortuitous name. Rather it’s the difference in racial sensitivity between Britain and the United States. MI-5 is actually a feature-film version of the long-running British series Spooks. The film’s original title happens to be Spooks: The Greater Good.
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“Stealing from the Pope is suicide.” 

We’re not talking about that pope. We’re talking about Robert DeNiro in his latest direct-to-video feature film Heist. It’s true that DeNiro hasn’t exactly been picky lately with his parts. He commands a big paycheck, often for just showing up on the credits. It’s common among actors particularly those like DeNiro who have made quite a name for themselves and find themselves in the back nine of their career.
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I have to admit that I’m not much of a Keanu Reeves fan. However, I’m a huge fan of Keanu Reeves movies. Let’s face it, Keanu can be quite wooden with as much screen presence as a test pattern. OK, I’m showing my age with that line. But one thing he knows how to do well is pick great films to star in. From The Matrix and the recent very hit John Wick to the underrated The Devil’s Advocate, Reeves can sure pick ’em. The worse case scenario here would be Keanu in an uninteresting movie. Well…Knock Knock. Who’s there? An uninteresting Keanu Reeves film.
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Whenever I read the caption that says the story is inspired by true events, the first thing I wonder is how much of film is actually truth and how much is poetic license. Am I the only one who wonders that? I’m guessing I’m not. In the case of Dragon Blade, I’m thinking that the opening featuring Jackie Chan’s trademark clumsy marital arts style is likely the latter, a tale that falls short of war epic status due to sentimental tendency. Held my attention in the beginning; however, I felt my interest wane in the middle, and by the conclusion it had lost me completely. Sad, because I was excited for this film when I originally heard about it.
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“I don’t care about winning. I just like to play, I really do.”

In Mississippi Grind, a pair of damaged gamblers hustle their way through the American South so they can buy into a high-stakes card game in New Orleans. That’s technically the “plot” of the movie, but it’s not really the point…nor is it where the film’s true charms lie. Instead, this well-made, low-key character dramedy feels like a welcome throwback to the sort of buddy/road films that have mostly been pushed out of multiplexes.
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