With it being December this is when all the critics and groups start to announce their picks for best films of the year. This year has been a bit of a lackluster year in my opinion, but there have been a few gems that have managed to surprise me. A Real Pain, the directorial and writing debut for Jesse Eisenberg, is one of those few gems that crackles with great dialog and impressive cinematography, but most importantly is anchored by the performances of its two leads, played by Jesse Eisenberg and Kieran Culkin. On a surface level, this is a story about two cousins going on vacation together, but really it’s about two young men struggling with their own pain. You’d think a film like this would be a drag or even a chore to sit through, but instead it is engaging and heartfelt throughout and has moments that will have you laughing and crying.
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It’s that time of the year again when critics start to makes their lists of the top films they’ve seen since January. Personally, this year has been a bit lackluster when it comes to “great” films, but there have been a lot of fun films to come out this year. To be even more specific, the horror genre has kind of taken off the year in my opinion. Now, while Sting may not be the best horror film of the year, it is a lot of fun.  Every year there’s that fun movie that comes along that flies under the radar, but I feel is great. Cocaine Bear and Violent Night immediately come to mind. Sting, at least in my humble opinion, is what going to the cinema is all about. It’s not high art, but instead it’s pure escapism, and it’s just a fun way to shut your brain off for 90 minutes while a giant alien spider wreaks havoc on a New York apartment. Is it the most original concept? No, but it has just enough scares and blood to make arachnophobes squirm in their seats.
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As a horror fan, 2024 has easily been one of the best years for horror releases in a long time. It’s not just that we’ve gotten several horror releases this year, but the quality and the diversity of the genre has kept the year fresh. Cuckoo is one of the better horror films of the year. It sadly got overlooked at the box office, but it’s one of those films that for those who have seen it, I feel it leaves an impression, because aside from taking familiar tropes, it manages to feel fresh but also has a WTF factor that seems harder to come by these days. In my opinion, Cuckoo is a film that works better knowing as little as you can about it. Going in blind definitely puts you firmly in place to enjoy the film’s ambiguity, and when it starts to go into some strange directions, just go with it. The film may seem a bit odd and confusing as it progresses, but that’s the fun of it.
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“What we do in life echoes in eternity.”

What Ridley Scott does often echoes quite nicely at the box office. In 2000 Ridley Scott released Gladiator, starring Russell Crowe as the Roman Legion turned gladiator that ended in a fight to return Rome to the Senate and its citizens. Maximus fought gallantly and fell just short of his goal. But the story that the film wove was truly a masterpiece and stands as one of my top 10 films of all time, up there with Unforgiven and the first two Godfather films. I’ve often said in these pages that expectations kill, and I was well prepared for that to be the result when I sat down to the press screening for Gladiator II. Scott himself calls this the best film he’s ever made. That’s a big boast coming from the guy who brought us Alien, Blade Runner, and, of course, the original Gladiator. I disagree. While I found Gladiator II to be an impressive film from every perspective, it didn’t quite make me feel the way I did when I left the theater for the first time after seeing Gladiator. But take heart. It’s a damn good movie, and it’s a can’t-miss for any true film fans out there in the arena. The question is pretty simple. Are we not entertained? The answer is, “oh yeah”.
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It has been a while since I’ve seen a movie as clever and as bonkers as Hundreds of Beavers. This is a movie that no studio would ever consider doing; it’s a fun and wild homage to the silent film era and the old B&W cartoons, most notably the Warner Brothers cartoons. But really this film is more than that. It is rich with so much slapstick influence, while visually it’s a marvel with its use of miniatures and creating images that make it look like cell animation that has come to life … all while looking like a film that a group of friends got together and decided to make. On a surface level this film seems like it would fail, but after the first 15 minutes I was mesmerized and in love. I’d imagine the casual filmgoer would take a look at this film and immediately check out, and that’s fine. This is a movie for a niche audience and is destined for cult status … It’s funny … It’s weird … But what’s it all about?
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At first glance it would appear that the crew for Red One is made up of folks who have had long associations with Dwayne Johnson, from director Jack Kasdan, who also directed two of the Jumanji films, to writer Chris Morgan, who wrote many of The Fast And Furious films including the Johnson-led spin-off Hobbs And Shaw. He also wrote the last Shazam film, which led to Johnson’s spin-off black hole Black Adam. It’s a working environment friendly to the actor. But the rumors from this set are loaded with tales of Johnson blowing off work and/or showing up late and unprepared. It’s honestly not his usual vibe, and when you consider his divorce from Fast And The Furious’s Vin Diesel revolved around Johnson throwing the same kind of shade on that actor’s behavior, I was curious if the on-set issues and also word of a ballooning budget would show up on the finished product. I’m happy to report there doesn’t appear to be any disrupted chemistry on the film, and it became easy to dismiss all of that with just a few minutes on the Red One ride.
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Folie a Deux. French for madness of two. From the moment that title was an announced, it was presumed that Harley Quinn would be making an appearance, and I applaud the selection of Lady Gaga as Joaquin Phoenix’s counterpart. However, I suspect that the reasons for her selection were twofold given the decision to make the film a musical. Perhaps not an official musical, but in my humble opinion, I don’t think it could have been any more official. Unfortunately, this was among my issues with the film. It was too long, and there were too many songs. The film felt like it was movie promoting the soundtrack rather than vice versa. I’ve never been one for musicals, and this sequel did not move me off that mark, as the film essentially fell apart towards the end with a bittersweet ending. I think I preferred the ending to the first film. Picking up two years after the events film, Arthur Fleck (Phoenix) is brought to trial for the five murders he committed, including the one he did on live television. With little to work with, his lawyer hopes to mount an insanity defense, which when you consider the fact that he imagined an entire relationship with a neighbor in the first film, you wouldn’t think would be hard.
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