The Reel World

"The staff of wisdom given to me by Master Oogway himself. It is said that whoever possesses this staff has the power to travel between the realms. The power to unlock the door to the spirit realm. And now the power to open the all new Dragon Warrior Noodles and Tofu, where the broth has kick and the bean curd's a knock-out."

It's hard to maintain the attention of the 21^st-century child. Animated movies have to combine enough elements of charm and action to keep their attention for a little under two hours. If you want to keep a franchise going, you have to rip out your sequels on reasonably tight schedules. It was over four years between Kung Fu Panda 2 and Kung Fu Panda 3, and we waited nearly that long between the first and second entry. That's a long time in a culture where we move from fad to fad almost by the hour. But if the films are good enough and leave enough of an impact, you might be able to bridge those years successfully.

“If I could stay funny, I can stay alive!”

That was the mantra that kept Jamie Foxx alive, which he explains in this testimonial stand-up special about the events that nearly cost him his life back in 2023. We all heard the rumors about what happened. Renowned triple threat Jamie Foxx suffered a serious medical event resulting in him becoming hospitalized. Amid conflicting reports about the nature of his condition, including rumors that he was gravely ill, his condition for the most part remained a mystery and a closely guarded secret within his family. Then the rumor mill started to include tales that the actor had died, and the family was keeping it secret. And as if that was not outlandish enough, following the actor posing a video clip in which he commented about his health, saying that he had been to "hell and back,” then the rumors started that the actor had been cloned, this coming after the release of the film They Cloned Tyrone, in which the Jamie Foxx is featured.

There is something about how the French make their horror films that I find a bit hard to resist. Films like High Tension, Inside, and Martyrs are films I go back to time and time again and just have a blast with, and with the release of MadS I was a bit optimistic that this could also be a film to add to my rotation when I’m on a French horror film kick. What really gave me hope for this film is seeing that it was directed by David Moreau, who gave us the criminally underappreciated home invasion horror film Them (2006). If you are a fan of home invasion horror and you’ve missed on Them, I highly recommend checking it out. As for MadS, it seems Moreau was going for something a bit different, this time doing a one-shot horror film about a virus outbreak that causes those infected to go “mad” and violently attack people. Sure, we’ve seen it before, but is the one-shot approach a fresh enough take to make this an experience worth sitting through?

“Project Shadow is far beyond anything we've encountered. Shadow's story began a lot like yours, Sonic. But where you found family and friends, Shadow only found pain and loss.”

I’ve been patiently awaiting this installment since the 2022 mid-credit scene hinted at the idea of Shadow’s introduction into the franchise. Now here we are with that idea becoming a reality, and with Keanu Reeves voicing the character, no less. Sonic the Hedgehog 3 takes the series in a darker direction than the previous installments as the happy-go-lucky Sonic finds his worldview challenged by the reveal of another hedgehog that received a much worse reception than he did. In that regard, I appreciated the director staying true to form with Shadow’s backstory.

"Our faith is a living thing precisely because it walks hand-in-hand with doubt. If there was only certainty and no doubt, there would be no mystery, and therefore no need for faith. Let us pray that God will grant us a Pope who doubts. And let him grant us a Pope who sins and asks for forgiveness and who carries on."

As awards season has come around this year, I found myself watching several films involving the Catholic Church, from Russell Crowe's The Exorcism to Sydney Sweeney's Immaculate, and finally Cabrini. And now Conclave. I was surprised to find that all four films were relatively respectful, even as they might be pointing out the flaws of the ancient church. All four films were replete with wonderful performances that carried the emotional beats of the stories. At the top of my list from those films is Cabrini, with Conclave coming in a close second.

It seems it would be easy to do a film about the urban legend where a driver picks up a woman in white who turns out to be a ghost. We are all familiar with this story, though the details of the urban tale can vary from one storyteller to the next, and it really seems like something so straightforward that it would be hard to make a mess of it. I at least thought so until I watched Black Cab. The film at first glance just seemed like something in my wheelhouse that couldn’t go wrong; it was a ghost story starring Nick Frost, whom I’ve been a fan of since first seeing him in Shaun of the Dead and Spaced, but despite how likeable he is, there is just nothing much that could have saved this movie, which was mostly dead on arrival. Anne (Synnove Karlsen) and Patrick (Luke Norris) are a recently engaged couple. After a night of celebration turns sour, they attempt to take a cab ride home, but instead their night is about to go from bad to worse as they discover their driver is a bit unhinged. As for their cab driver, Ian (Nick Frost), his plans for the couple remain ambiguous for a good portion of the film,

"Between 1889 and 1910, over two million Italians immigrated to the United States. They were desperately poor, often illiterate, and almost never spoke English. Many Americans considered these Italians to be of inferior intelligence, fit only for menial labor and a threat to the very fabric of America." 

I have to admit to a particular bias here. I am Italian. My grandparents immigrated here in the early 19th century. I am also Catholic, as most of these Italian immigrants were. In addition, I feel a bit of a connection to Mother Cabrini. The first school I attended back in first grade was that attached to my Italian Catholic parish, and it was called the Cabrini Academy. So there is a certain bias toward the subject here, but I might point out it also leads to very high expectations that these subjects are treated correctly. I still very much demanded a compelling story and an inspirational lead. In director Alejandro Monteverde's Cabrini, I was fortunate enough to find both.

When I first heard Anna Kendrick was stepping behind the camera to direct her first film, I kind of expected it to be another Pitch Perfect film … but to find her instead doing a thriller about a real life serial killer and rapist who appeared on a game show in the 1970s was a curve ball I wasn’t expecting. But this isn’t simply a true crime story but instead is about how women were marginalized and heavily objectified. But the biggest takeaway I had while watching this was simply how dangerous things were back then and just how easily a serial killer could be prolific and walk the streets while no one suspected a thing. To get it out of the way, my major gripe with this film is that we meet Rodney Alcala (Daniel Zovatto) in the very beginning, and we see that he’s a vicious serial killer who lures his victims with charm while posing as a photographer.

"All right, kids. This is the part where you get to do the things the grownups don't wanna do anymore. Door to door on foot. Knock-knock, 'have you seen this man?' Just like in the movies. Partners have already been assigned so no one will get hurt feelings. Suspect likes to visit a certain kind of neighborhood. He's a middle-aged Caucasian male and not likely to go quietly, so let's always assume he's armed. We'll go alert and careful. That's all."

But that's really just the beginning. Writer/director Osgood Perkins has created one of those serial killer films that is bound to draw comparisons with some of the best of those films and most certainly Silence Of The Lambs. Let me just get that out of the way fast. This is a pretty solid film that deserves some attention, and is absolutely worth a look.

"I just love children's imaginations. What I don't like is when they get so violent."

Blumhouse is one of those horror factories that have changed the way horror films are created, seen, and marketed. There have been some powerful horror films to come out of those doors. When I think of Meg3n, the first couple of Paranormal Activity films, and even the Purge franchise, I see clever and innovative films. But the production house can be a bit feast-or-famine, and there have been a number of famine films on the bill.  Among the famine list of films you'll find Truth Or Dare and the crazy horror/hybrid take on the old Fantasy Island series. What do both of those films have in common?