2024 Movies

‘Succubus’ – An Indie Horror Film Deserving of Your Attention

Posted on by The Ultimate Rabbit

I came into the horror thriller “Succubus,” written and directed by R.J. Daniel Hanna, completely blind. From its poster, this film looked to be one of those low rent horror flicks that may be enjoyable but will be quickly forgotten like the last value meal you consumed at your local McDonald’s. What resulted, however, truly surprised me, especially after learning what the filmmakers had to work with. “Succubus” held me firmly within its tight grasp from start to finish as it takes the audience on an especially insane ride to hell. While this is a motion picture which will find its biggest audience on VOD, seeing it on the silver screen proved to be quite the treat.

We meet Chris (Brendan Bradley), a tech financier who is currently going through some tough times. His latest business venture fizzled to where his finances are very tight, he is separated from his wife Sharon (Olivia Grace Applegate), and he is home alone with his infant son and figuring out where to go at this tenuous stage in his life. Plus, he keeps getting pestered by his overly sensitive mother, Denise (Rosanna Arquette of all people), about his bad business decisions and her grandson whom she hopelessly adores.

In the midst of all this, Chris’ alpha male of a best friend, Eddie (Derek Smith), has encouraged him to go on a dating app and meet attractive females who are just waiting to party with the right man. Chris is initially reluctant to engage in the possibilities of online dating as he still has deep feelings for Sharon, but then he comes across a beautiful woman by the name of Adra who has a truly smoking hot body, but whose face is obscured by a cellphone she holds up in front of her face. Why would she do that when everyone else is quick to get you to look at their revealing features? Chris is quickly drawn in by her, and this leads him down a path which will reveal, among other things, some inescapable facts about nanny cams.

Adra is played here by Rachel Cook, and she is clearly having a blast playing a seemingly innocent human being who almost effortlessly lures Chris into her clutches. I was back and forth on whether to write the definition of the word succubus, but her performance here makes me want to as she seduces not just Chris, but the audience as well. So here it is:

A succubus is a female demon or supernatural entity in folklores who appears in dreams to seduce men, usually through sexual activity. According to some folklore, a succubus needs semen to survive; repeated sexual activity with a succubus will result in a bond being formed between the succubus and the person; and a succubus will drain or harm the man with whom she is having intercourse.

After watching this film, I think you will agree that Rachel portrays the personification of a succubus.

What also intrigued about this film was how well made it is for a genre picture. The cinematography by Jimmy Jung Lu is quite striking, the music score by Andrew Brick Johnson keeps the tension simmering just beneath the surface, and the production design by Eric J. Peterson helps ground the characters and their situations into a reality we can understand to where the action is more horrifying and unnerving than it already is. Seeing it on the silver screen made it quite the treat as a result.

When I first saw Brendan Bradley’s character of Chris appear onscreen, I figured he was a tech guy who spent more time on his computer and social media than anything else, and that he made more money than I will ever see in my lifetime (okay, that’s resentment talking). But from beginning to end, Bradley makes Chris into a complex and sympathetic human being to where I couldn’t help but be in his corner even as he learns in the worst ways possible how the road to hell is paved with good intentions.

Eddie is a character who could have easily been the average douchebag who is infinitely threatened by the attacks on his masculinity, but Derek Smith takes Eddie from those testosterone heights to his vulnerable lows as we watch this character travel down a path which may very well have the most painful ending. As a result, this will leave all the men crossing their legs in understandable defense.

You also have Olivia Grace Applegate as Chris’ estranged wife, Sharon, who starts off as an anxious bundle of nerves but ends up rising to the challenge when her husband ends up in harm’s way. Kudos also goes out to Emily Kincaid who plays Sharon’s best friend, Charlisse, who has invited her to a bachelor party and constantly encourages her to be a free spirit because of her current single status.

But the big secret weapon “Succubus” has to offer us is “Hellboy” actor Ron Perlman who portrays Dr. Orion Zephyr, a man who appears to have all the answers to what Chris is going through. The genius of Perlman’s performance is how enigmatic he makes Dr. Zephyr as certain allegations are made about this character to where we cannot be certain if he is a trustworthy human being. As a result, Perlman only adds to the unbearable suspense this movie has to offer as shocking events occur which could not have been easily predicted.

With “Succubus,” writer and director R.J. Daniel Hanna has given us the kind of horror film which is not about giving audiences a jump scare every five minutes, but instead to deliver a WTF cinematic experience which, whether or not you think it rivals the average Ari Aster flick, will leave you deeply unnerved. This was especially the case when I saw the horrified expression on a certain character’s face at the end. Just when you think the terror is over, it isn’t. Kind of like real life, huh?

* * * ½ out of * * * *

‘The 4:30 Movie’ Review by Tony Farinella

Posted on by The Ultimate Rabbit

As the title spells out, this review was written by Ultimate Rabbit correspondent Tony Farinella.

Kevin Smith has developed a loyal and dedicated following amongst the film community because he’s a film lover at heart. He’s someone who appreciates cinema and the magic that can occur when you create something powerful on screen. He’s one of the few directors out there where people will see his movies based on his reputation. When they see “Directed by Kevin Smith,” they know they are in good hands. He’s also shown he can dabble in various genres with budgets of all sizes.  His latest film, “The 4:30 Movie,” feels more like an early Smith film in terms of its budget, heart and humor.  It’s a delightful slice of life about growing up, falling in love, and falling in love with the movies.

“The 4:30 Movie” is described as semi-autobiographical and is said to be loosely based on Smith’s early adventures of going to the movies along with his early romantic escapades.  The film’s main character is named Brian David, and he’s played by Austin Zajur. Brian has a huge crush on Melody Barnegat, played by Siena Agudong. He had a chance to take things further with Melody the previous summer, but he was a little too shy and timid. He’s lived with that regret for a full year, so he’s looking forward to connecting with her when he invites her to the movies with his two buddies, Burny (Nicholas Cirillo) and Belly (Reed Northrup). This is a big moment for Brian, one that he has been waiting for and thinking about for a full year.

Of course, Brian and his buddies run into a unique cast of characters along the way, including a pro-wrestler named Major Murder (Sam Richardson), a power-hungry theater manager (played perfectly by Ken Jeong), and an Emo Usher (Adam Pally). The film also includes cameos by Jason Lee, Rachel Dratch, Diedrich Bader, Jenny Mollen, Jason Biggs, Justin Long, Rosario Dawson, and Method Man.  Even if they’re only in the film for a minute or less, they help populate the unique and quirky world of “The 4:30 Movie.”  It reminded me of the classic teen comedies I grew up with in the late 1990’s. Smith is able to make an R-rated teen comedy with just the right amount of R-rated humor and sweetness it needs to succeed.

I’m really glad Smith decided to stick with an R-rating here.  Even though there is nothing in the film which is offensive or obscene, they need to be able to talk how teenagers talked in the 1980’s.  When you try to put a muzzle on that, the audience is going to notice it.  The film is simplistic in its moviemaking approach, but that is exactly what the story calls for, as it’s about friendship, romance, love, humor, and finding yourself.  It is clear that Smith trusts his actors and also his script, so he allows it to unfold in a very authentic way.  The film is barely over eighty-minutes long, when you take away the credits, but that’s exactly what I wanted out of an end-of-summer teen comedy/romance.

The script is also razor sharp with a lot of great winking-at-the-camera moments and references.  Smith is a terrific writer, and he knows how to write dialogue for his characters.  It’s safe to say Brian David is based on a young Kevin Smith: funny, awkward, goofy, and with a lot of passion for cinema. Everyone in the film is also interesting and likable, even the evil goofy manager. This is very much a film that has a sense of place and time.  It feels a lot like “Stranger Things” without the horror elements.  It is about young people in the 80’s who are figuring things out together as a group and also as individuals.

“The 4:30 Movie” is a fun, sweet and heartfelt flick.  It reminded me of being a young teenager who had a crush on a girl, and all I could think about was that girl.  I was also a movie nerd and still am.  The idea of going to the movies with a girl you were crushing on in high school was the ultimate dream at that time.  You also had your buddies you went to the movies with, and you would go each and every Friday to check out a new release.  It was a simpler time in life, and it’s something I would imagine many people are nostalgic for these days. In today’s day and age of streaming and instant access to movies, the big screen experience has lost its luster.  When you factor in dating websites and social media, it’s also not the same when it comes to dating. We live in a world of swiping left or right to pick our next partner in life.

“The 4:30 Movie” is old-school Kevin Smith at his finest.  I had a blast with this movie, especially the fun soundtrack composed by the very talented Bear McCreary, who has made a name for himself in the horror genre with his tremendous musical stylings.  He did a great song in 2019 for the “Child’s Play” remake called “The Buddi Song” with Mark Hamill which I really enjoyed.  There’s also a song in this movie which is sure to be stuck in your head after you hear it.  You have great acting from the young actors, fun cameos, and a witty and sweet script. All of the ingredients are working here to make this one of the best Kevin Smith films in years.

* * * ½ out of * * * *

Should You See It?

“The 4:30 Movie” is opening in theaters on September 13th.  Considering the film is very much a love letter to the big screen experience, I would recommend you see it with some friends at the theater. I’ve noticed the film is playing in a lot of independent theaters around my area, which is the perfect way to see a film like this one. I loved this movie, and it left me with a big fat smile on my face.  It reminded me of why I go to the movies and why I love them in the first place.  It’s a feel-good movie as well.  This one comes highly recommended.

‘The Watchers’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“The Watchers” is the feature film debut of Ishana Night Shyamalan, daughter of M. Night Shyamalan. M. Night Shyamalan is one of the most polarizing directors of the past twenty-five years.  He caught lightning in a bottle early on in his career, and for the most part, he hasn’t been able to recapture that magic with most of his current offerings. I recently discussed his movies with a friend of mine, and I said, “While I don’t always enjoy his films, they rarely, if ever, bore me.”  He relies on a third act twist in his films to keep the audience guessing.  However, after a while, it starts to feel like a gimmick.  After all, if you are waiting to be surprised, is it really a surprise?

Upon viewing “The Watchers,” it’s clear Ishana was heavily influenced by her father and his directorial style. As a matter of fact, if you didn’t tell me beforehand who directed the film, I could believe the film was directed by her father.  It very much feels like an M. Night Shyamalan flick, as he serves as a producer on this project.  I can see how she would want to follow her father’s footsteps, but at the same time, I would have liked it if she had a style all her own. It’s only natural she is going to be influenced by his work, but she would have been better suited making a film unique to her own singular vision.

“The Watchers” stars Dakota Fanning as Mina, an American woman living and working in Galway, Ireland to avoid dealing with the pain and trauma of her mother’s death.  It has been fifteen years since her mother died, but she’s still holding onto that sadness and unable to move forward.  She works at a pet store, where she vapes and is going through the motions. Her twin sister tries to keep in touch with her, but Mina finds it challenging and painful to talk to her.  One day, Mina is put in charge of delivering a golden conure near Belfast, Ireland when her car breaks down in a mysterious forest. She runs into an older woman named Madeline, played by Olwen Fouéré, who takes her into The Coop, a secure structure where they can stay safe.

The other individuals in The Coop are Ciara and Daniel, played by Georgina Campbell and Oliver Finnegan.  Mina learns they are being observed every night by a group called The Watchers.  There are also rules in the forest they must follow in order to avoid angering The Watchers. They can’t go out at night, and they also can’t enter The Burrows. Mina is very suspicious of these rules and doesn’t understand why she just can’t leave. Madeline is a grizzled veteran of this forest and acts as a motherly figure to the younger occupations of The Coop.  After months of being in The Coop, things start to get very tense and uncomfortable for all four of them. Can they survive and last without killing each other or losing their minds?

“The Watchers” is an example of a film that sounded interesting and intriguing on paper. However, even though scripts are written on paper (or a keyboard for that matter), they need to come alive on screen. I never felt like the film came alive on screen. As someone who has seen a number of M. Night films, you know there is more than meets the eye here. There is going to be a big moment in the film where certain aspects of the plot are revealed and you go, “Ah ha! Now I get it.”  Before that, everything else just feels like filler, and the film kind of meanders on screen.  There is nothing about this film which is boring, awful or unwatchable, but there is also nothing that is truly captivating, exciting or pulse-pounding.

I’ve often had a big issue with PG-13 for horror films or thrillers.  Yes, I do love a good kill in a horror flick, and I do enjoy gore.  It’s more than that, though, as I feel like the PG-13 rating also doesn’t allow for the kind of freedom a film like this needs.  It needs to be more intense and brutal.  It feels like they are playing it safe here.  Yes, the final thirty minutes are when the stakes are turned up a notch, but by that point, I didn’t feel as though it really mattered all that much.  A good or great movie needs to be built up properly from the start all the way to the conclusion. It’s like conducting an orchestra.  We have an OK beginning, a below-average middle, and a pretty good third act.  “The Watchers” is an OK movie once you find out what it all means and what it’s about, but the journey there has too many bumps in the road.

* * out of * * * *

4K Info: “The Watchers” is released on a single disc 4K from Warner Brothers Home Entertainment, which also comes with a digital copy of the film. The film has a running time of 102 minutes and is rated PG-13 for violence, terror and some thematic elements.

4K Video Info:  The Dolby Vision transfer here is a crisp looking transfer.  This is a very dark and moody film, so don’t expect a ton of colors or anything to really pop on screen. However, the 4K does a good job of setting the mood for the film with its deep blacks and shadowy background.

4K Audio Info: The Dolby Atmos audio track is also a great home-theater experience for viewers.  The sound is exceptional, as I was able to keep it on the same volume throughout the entire movie without it being too high or too low. It was perfect. Subtitles are also included in English, Spanish and French.

Special Features:

Welcome to the Show: The Making of The Watchers

Creating The Watchers

Constructing the Coop

Ainriochtán and the Irish Fairy Folklore

Deleted Scene – Lair of Love

Should You Buy It?

I liked “The Watchers” a little more after I understood the mythology behind The Watchers and their backstory. It’s still a film that is a one and done viewing experience.  As I stated in my review, there is nothing here that is truly terrible in terms of the acting, the production or the story.  There is also nothing which really stood out or made a big impression on me. I wouldn’t mind seeing another film in the future from Ishana Night Shyamalan, but I’d like to see more of what she brings to the table as a director as opposed to just following a similar formula to what her father has done in his career.  There are some interesting special features here, and the audio and visual aspects of the 4K are very impressive.  Overall, “The Watchers” is worth checking out on a rainy day as it has a short running time, but I don’t think it’s a film that needs to be added to your movie collection.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Challengers’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Challengers” is a film I went into with high expectations.  Even though I’m not a tennis fan, it looked very promising based on its director, young cast and premise.  I thought it would be a stylish and entertaining film that would be one of my favorites of 2024. This brings me to my next point, which is the worst kept secret in film criticism: MOST film critics do read reviews before they watch a movie.  Now, I didn’t read full-length reviews of “Challengers,” but I did look at its score on Rotten Tomatoes. I know certain film critics like to go into films completely blind, but I do believe they are more excited for certain films than others based on word-of-mouth. With that being said, I was very excited and eager to check this one out.

“Challengers” has a nonlinear plot, so it goes back and forth over a decade of time.  It follows three tennis players: Tashi Donaldson (Zendaya), Patrick Zweig (Josh O’Connor) and Art Donaldson (Mike Faist). Art and Patrick have been friends since their school days, but their friendship is put to the test when Tashi, a talented but extremely competitive tennis player, comes between them.  They have a tennis match where the winner will get Tashi’s phone number.  Patrick ends up winning the tennis match, but it doesn’t take long for him to self-destruct and blow it with Tashi.

This is where Art comes in and sees an opportunity to be there for Tashi, especially after she suffers a career-ending injury.  Patrick is supremely talented on the tennis court and also incredibly cocky, which makes him his own worst enemy. Art is a very good tennis player, but he seems to lack the killer instinct necessary to survive on the court. He’s a nice guy, which isn’t a bad thing, but oftentimes his insecurity shows up on the tennis court.  Tashi, in present day, is his coach and is pushing him to be the best and find that next gear he needs to succeed. In many ways, she is living through him after her dream came to an end because of her injury.

All three lives come together once again when Tashi enters Art into a Challenger tournament to prepare him for a potential Career Grand Slam if he’s able to obtain one more US Open Tournament victory.  In the Challenger event, he finds himself facing off against his former best friend, Patrick Zweig, who is now broke, busted and disgusted as he’s living out of his car.  Patrick relishes the chance to beat his former best friend and also possibly win back Tashi.  Tashi and Art are now wealthy, married and have a child. It feels like their relationship, however, will always be based on how well he does on the tennis court.

As I’m writing this review and remembering the film, I’m very surprised it didn’t win me over.  There are a few problems with the film, and the first one is the cast.  While all three of the young actors are aesthetically pleasing, I don’t feel like they were portraying characters I found interesting, layered or complex.  Yes, they are unlikable, but that’s OK in the movies.  There have been many unlikable characters throughout the history of cinema, but these characters are just plain boring.  I didn’t care about their love triangle or drama. It felt forced and unnecessary.  I also found the acting to be very wooden and cold.  They are playing cold characters, but the acting didn’t really sizzle on screen.  I didn’t feel as though the three of them had any chemistry together.

Another problem is the use of music.  Yes, the soundtrack features music by Atticus Ross and Trent Reznor, but the music is overdone here.  It takes away from the film, as it’s one song after another after another. I didn’t need an onslaught of music in this movie. They could have sprinkled the music in here and there throughout when it was truly needed.  It’s overkill. 

“Challengers” is also directed by Luca Guadagnino, a supremely talented director whose previous works include “Call Me By Your Name,” the “Suspiria” remake, and “Bones and All.”  Much like the music, the style is overdone in this movie.  It’s style over substance.

There is no doubt that “Challengers” is a good-looking film with good-looking people.  It needed a lot more from the script and its actors. It also needed the director to step back a little and let the film breathe without throwing so much at us at once, whether it was visual tricks or the music.  This felt like an A24 film on steroids. Now, I’m a fan of A24 films, but their best films are the ones where they have a healthy balance of style, substance, human emotion, and powerful acting.  At the end of the day, I didn’t care who won the big match or who ended up with the girl. These are pretty people with self-induced problems, and I didn’t enjoy spending time with them in the world created by Guadagnino.

* * out of * * * *

Blu-Ray Info: “Challengers” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It has a running time of 131 minutes and is rated R for language throughout, some sexual content and graphic nudity. The film comes with a digital code as well.

Video Info:  This is a sharp looking Blu-ray, but it’s baffling this film didn’t get a 4K release. It looks good on Blu-ray, but it would have been eye-popping on 4K. This was a real missed opportunity.

Audio Info:  The Dolby Atmos track really thumps during the moments in the film where the music takes over. It sounds good and powerful. I’m always happy when a Blu-ray or a 4K has a solid Dolby Atmos track.

Special Features: None

Should You Buy It?

“Challengers” only gets a Blu-ray and DVD release from Warner Brothers, and it also comes without any special features, which is truly baffling.  As stated previously, this film should have been given a 4K release on day one.  I’m not quite sure why they didn’t go in such an obvious direction.  The film itself has been well-received by critics and most audiences, but it didn’t quite click with me.  I found it to be very shallow, and it was also way too long.  I can’t recommend you purchase this Blu-ray because of the movie itself, and also because there are no special features.  “Challengers” would have been a better movie with a better cast, a sharper script, and a better editor. As it stands, it is watchable, but I found it to be incredibly forgettable when it was over.  I’d pass on this one. If you did enjoy the film in theaters, I’d also wait for a possible 4K release at some point, perhaps from the Criterion Collection.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Fly Me To The Moon’ – A Pleasant Surprise

Posted on by The Ultimate Rabbit

I came into “Fly Me To The Moon” with a bit of trepidation. On the surface, it looks like a fluffy and light hearted romantic comedy, the kind of film I typically avoid like the plague. Also, a portion of its story seemed determined to prove that the Apollo 11 mission and landing on the moon could have been faked, and I take major exception at anyone attempting trying to prove how that “one small step for man” was all a farce. Seriously, if you think Neil Armstrong and company making it to the moon was all a big fat lie, I invite you to watch the 2019 documentary “Apollo 11” which makes clear the mission did in fact happen, and to believe otherwise would be blasphemous.

Well, I was pleasantly surprised by “Fly Me To The Moon” as it proves to be a warm-hearted any very involving film which has laughs, genuine emotions, and some truly wonderful performances throughout. It also serves as a reminder of how, even back in the 1960’s, people were more interested in getting control of the narrative than they were about facts or what was seen as truth. This is even more the case today for reasons I’m sure I do not need to point out.

Based on a story by Bill Kirstein and Keenan Flynn, we are introduced to Kelly Jones (Scarlett Johansson), an advertising and publicity genius who is, shall we say, recruited by a shady government agent named Moe Berkus (Woody Harrelson) to fix up NASA’s image in preparation for the big Apollo 11 mission to the moon. Upon arriving in Florida along with her assistant (played by Anna Garcia), she comes into direct conflict with NASA director Cole Davis (Channing Tatum) who is determined to see this mission through to completion without any complications. But with these two characters being played by Johansson and Tatum, you know sparks will be eventually fly between them because, you know, why not?

First off, I have to point out what a dynamo Scarlett Johansson is here as Kelly. In her first scene in which she confidently manipulates a trio of automobile executives to include seatbelts in their upcoming models, Johansson is ever so sublime as she commands the screen to an infinitely enjoyable extent. Watching her make her way into places no civilian is allowed and getting the participations of companies willing to hawk their products (Tang, in particular, is an unforgettable standout) is infinitely enjoyable to witness. And when the time is right, she shows a vulnerable side to Kelly which hits right at our hearts.

As for Channing Tatum, I’m a little torn on his performance as Cole Davis. Part of me wishes he didn’t appear so stiff at times, but maybe this was by design. Cole is a NASA official who is as strait-laced as they come, and Tatum plays this to perfection even as I wanted him loosen up a bit. But as the movie goes on, his performance improves as he comes to like Kelly more than he thought he would, and he does have a bit of chemistry with Johansson which certainly helps. And in the end, like him, we want to see this particular Apollo mission succeed.

“Fly Me To The Moon” reaches an especially interesting point when Moe orders Kelly to set up a fake moon landing on a nearby stage in the NASA compound. It is meant to serve as a backup in case the Apollo 11 mission fails, but Moe eventually admits that this fake setup will be the only moon landing anyone will ever see on television as America is determined to win the Space Race no matter what. It is an interesting conundrum as government forces ensuring that there will be footage of astronauts landing on the moon makes sense, and makes even more sense that there would be a serious need for a backup plan to be utilized to ensure some kind of moon landing would take place for the public to see. Still, some things in this world can’t be even better than the real thing regardless of what U2 says.

Director Greg Berlanti (“Love, Simon”) and screenwriter Rose Gilroy do not reinvent the romantic comedy drama, let alone the period romantic comedy drama, but they do give us a lot of inspired dialogue and situations as Kelly and company work to deceive government officials into believing they are watching a staged landing when they are actually, and desperately, trying to broadcast the real deal. With the inclusion of the average black cat, things become more exciting than you might expect them to be.

In addition to Johansson and Tatum, a number of other actors give memorable performances here. Woody Harrelson is a hoot as he made me believe without much doubt how Moe Berkus can hear and see everything from a mile away. His work here is a reminder of how he can play any role given to him, and this has been the case for many years now.

Watching Ray Romano as Cole’s NASA friend, Henry Smalls, is a reminder of what a truly terrific actor he can be. Granted, this was made clear to me years ago with his work in “Rob the Mob” and “The Irishman,” but I’m not sure people know him enough outside of his “Everybody Loves Raymond” and stand-up comedy success. Romano gives Henry a lot of genuine emotion, and he fully humanizes this character in ways any great actor could and should. He is that good here.

If there’s a scene stealer to be found in this film, it is Jim Rash who portrays the obsessive director of the fake moon landing, Lance Vespertine. There’s no forgetting him after this as he makes us understand why Lance is such an exacting filmmaker to where he treats government agents and actual astronauts as if they are the worst actors ever. He is such a flamboyant presence throughout, and yet he also manages to avoid turning Lance into a mere caricature. Others may disagree with this assessment, but there you go.

I really wasn’t sure what to expect from “Fly Me To The Moon” when I walked into the theater as it was not a summer movie I was eagerly waiting for, but I came out of it pleasantly surprised as I enjoyed it much more than I thought I would. It takes familiar elements from the average romantic movie and makes them feel fresh in my eyes, and it once again reminds me of what a tremendous talent Johansson can be. Also, it is further indisputable proof of how Apollo 11 did in fact land on the moon. For some stupid ass reason, there are still many committed to believing the whole thing was faked and that Stanley Kubrick was somehow involved. Seriously, get a life already!

* * * out of * * * *

‘In a Violent Nature’ – If Terrence Malick Directed a Slasher Movie

Posted on by The Ultimate Rabbit

“In a Violent Nature” has all the requisites of the average slasher film. It contains a bunch of young adults vacationing out in the wilderness in a lone wood cabin, a developmentally challenged child who died under cruel and tragic circumstances and has since become a most vengeful spirit, that one guy who tells the tale of the vengeful spirit who will eventually slaughter them all before they realize it is too late to leave, sharp objects, a mask for the killer, a variety of brutal deaths and, of course, a final girl. Anything you would expect from the average slasher film, this one has got it.

But what makes “In a Violent Nature,” which was written and directed by Chris Nash, stand out among so many others of its bloody ilk is its unique vantage point: the majority of the film takes place from the killer’s perspective. This quickly reminded of Alfred Hitchcock who dared us to see things from a murderous point of view in “Psycho” and “Frenzy,” but those films spent only so much time observing things from a killer’s mind. This IFC Films release, however, invites you to spend the majority of its 94-minute running time sharing in a murderer’s cold and brutal gaze as his victims die the most painful of deaths.

Things starts off with the image of a locket hanging on the remains of a fire tower. An unseen character takes the locket with him, and a few seconds later we see Johnny rise up from underneath the ground. Johnny, we learn, was a developmentally disabled boy who was tricked into climbing up the same fire tower years ago with the promise of getting a plethora of toys. But instead of toys, he finds someone willing to scare him out of his wits, and he tragically falls to his death. Now Johnny is back, and he aims to retrieve the locket taken from him. What particular value does this locket have for him? Keep watching to find out.

When it comes to Johnny, he looks a lot like Jason Voorhees. He has no hair, his clothes are very tattered, and he moves at a very slow pace wherever he goes. I shudder, no pun intended, to think of how bad his body odor likely was as he trudged through the woods to lay waste to his prey. It got to where I kept waiting for someone to tell this particular slasher, “Oh my god, you really need a makeover!”

But what really surprised me about “In a Violent Nature” is how quiet a slasher film it is. Most feature jump scares and loud music scores from composers who abuse violins to an overwhelming degree. This one, however, does not go out of its way to give you a sensory overload (or at least, not right away), nor does it contain a film score of any kind. The only music you hear comes from a character’s Walkman which keeps playing after he is decapitated, and we hear it play on as the batteries in it die an ever so slow death.

Some have called this horror film an “ambient slasher,” and it feels like one crossed with a nature documentary. I am curious to see what audience members and horror buffs in particular think of this methodical slasher as it is deliberately paced. I imagine they might be expecting something much different, but this little shocker is quite thoughtful in its design. If Terrence Malick ever madr a horror film, it would look something like this.

For those of you worried that this film will be seriously lacking in gory and bloody kills, have no fear. The first few deals with things unseen, and they threaten to be the most haunting moments director Nash has to offer us as he toys with our collective imaginations. But then we get one where a yoga practitioner has her body contorted in directions which would have any instructor yelling out loud, “Oh you so can’t do that to yourself! There is no downward dog pose to be found here!”

Then there is another character who ends up getting bludgeoned by an ax and repeatedly so, and it gives new meaning to the term beating a dead horse. This horse keeps getting beat to death long after its heart has stopped pumping blood, and its carcass has long since decayed. Some horror maniacs just don’t know when too much is too much, or maybe the sexual frustration they experience is completely unbearable.

The ending, which I would never dream of giving away, is especially haunting as we reach a conclusion I did not expect. It also features an actress known for her work in the “Friday the 13th” franchise, and she is very effective as she is thrust into a intense situation she was not expecting. Whether or not it is the ending you wanted or not, it is a thoughtful and unpredictable conclusion which had me at attention throughout.

“In a Violent Nature” may not reinvent the slasher film as we know it, but it does dare to take the genre in a thoughtful direction. It does have a lot of the same beats as the average horror movie, but it subverts them to where we are reminded of what filmmakers can accomplish. There are many reasons why IFC Films gave this movie, which cost well under a million dollars, its widest theatrical release to date, and why it got some extra press coverage when an audience member allegedly vomited during one of the goriest murder scenes it had to offer.

Of course, now I have to wonder if this slasher flick will get a sequel. If the money keeps rolling in, we will get another bunch of young adults dumb enough to once again take Johnny’s locket. Perhaps they will try to sell it on eBay or at a local flea market. Flea markets still exist, right? With horror sequels, the body count is much higher and gorier. Imagine the sights and sounds of such a sequel, even if it is not directed by Terrence Malick…

* * * ½ out of * * * *

‘Furiosa: A Mad Max Saga’ – Oh What a Glorious Epic!

Posted on by The Ultimate Rabbit

There is a quote near the beginning of “Furiosa: A Mad Max Saga” which still haunts me long after I first witnessed George Miller’s thrilling and gloriously epic prequel.

“As the world falls around us, how must we brave its cruelties?”

This particular quote struck me hard as I do not need to live in a post-apocalyptic to understand it. The world is a deeply unfair place, but this fact hits Furiosa more than most as we watch her as a child who is forced to grow up a lot sooner than any youth should, even if it is in a radioactive hellhole.

“Furiosa” is a prequel to “Mad Max: Fury Road,” and we come to meet young Furiosa (played at the film’s start by Alyla Browne) at a time where her life is disrupted in a devastating fashion. While living in the Green Place of Many Mothers, she is kidnapped by members of the Biker Horde, and they present her to their leader, the warlord Demetrius (Chris Hemsworth). From there, she is forced to witness horrible atrocities and survive the awful violence which threatens to be perpetrated on her and others in what comes to be known as the Wasteland.

Now whereas “Fury Road” was an all-out chase movie, this one has a bigger story to tell as it looks at the origins of Furiosa and of the events which turned her into a real bad ass. She is given a full character arc as she is forced to improvise ways to escape a painful and helpless servitude and prevent anyone from discovering the “land of abundance” where she came from. When she comes to the moment where she proves to be a bad ass warrior, it feels truly earned.

To my surprise, we don’t see Anya-Taylor Joy until an hour into this film. Instead, we get Alyla Browne who plays her as a girl, and she previously worked with Miller in the criminally underseen “Three Thousand Years of Longing.” This young Australian-Estonian actress does fantastic work in making you believe a child of so young an age can be quick to defy her captors, escape those about to do serious physical harm to her, and to slip away ever so cleverly to where she is not just another piece of property.

When Anya-Taylor Joy arrives, Furiosa has been toughened up to a large extent and has disguised herself as a mute boy who is good with fixing cars and operations around the War Rig. While it is a bummer that Charlize Theron could not return as Furiosa, Joy makes this role her own and commands the screen to where her male counterparts can only play catch up. Seriously, she has a glare which shoots lasers right through your eyes and punches a hole out the back of your head. Not once is she ever less than riveting in this role.

Then we have Chris Hemsworth as the warlord Dementus, a man who only thinks he’s as badass as Thor. He’s a hoot to watch here as he simply lets loose and chews up the scenery with sheer abandon. He is an actor possessed with a fury as Dementus has the appearance of someone successful, but who has no idea how to wield power in a successful or profitable way (sound familiar?). But moreover, Hemsworth gives Dementus an inescapable vulnerability as he reveals himself to Furiosa as someone who has been equally wounded as she has. Both have suffered tragedies and want to get back to the lives they once had, but this apocalyptic world has robbed them of their hopes and dreams and leaves them with only one mission, to survive. This all leads one of the big questions this film has for us and its characters; how do you go through life when everyone and everything around you has been laid waste?

Seriously, however, the real star of “Furiosa” is George Miller. After all these years, he still knows how to create a post-apocalyptic future like no one else. I would love to get inside his head to see how he comes up with all these visuals and cars. And while some might be saying this prequel is “Fury Road” all over again, they are wrong. He does revisit familiar territory and characters here, but he still has new tricks up his sleeves as he expands the world he brought us into years ago and gives it even more visual and thematic depth. Can another filmmaker give you such Wasteland splendors like the Citadel, the Bullet Farm and Gastown? I think not.

And yes, there are glorious action set pieces to be found throughout. Among my favorites are when Furiosa stows away in the War Rig undercarriage while Immortan Joe (Lachy Hulme) drives through the war-torn field while being attacked by rogue raiders. It is one of the most thrilling sequences I have seen in a film so far in 2024, and Miller is aided by the propulsive music of Tom Holkenborg (a.k.a. Junkie XL), the amazing cinematography of Simon Duggan, and the brilliant editing job done by Margaret Sixel and Eliot Knapman. This sequence plays even better in 4DX as you feel like you are at a rodeo that never lets up.

Now as I write all this up, “Furiosa: A Mad Max Saga” is failing at the box office which depresses me. This is a film meant to be seen on the biggest silver screen in your neighborhood and not one to await on streaming. I’m sure there are understandable reasons as to why this prequel is underperforming around the world, but you are really missing out if you don’t see it at a theater near you. This is one of the most visually spectacular films you can hope to see this year this side of “Dune Part II.” I find it hard to believe I will have a more exhilarating cinematic experience in 2024 than I had here.

I do have to say, however, that the big chase sequence featuring the War Rig gave me some PTSD memories of when I worked at Disneyland. I had a commute of 35 miles one way, and it did bring out the Immortan Joe in me. Traffic in California was hell back then, and it is still quite hellish today.

* * * * out of * * * *

‘The Garfield Movie’ – This is Not the Cat I Was Looking For

Posted on by The Ultimate Rabbit

I grew up on Jim Davis’ “Garfield.” I loved this lazy cat whose affection for lasagna and reveling in his own laziness and selfishness often had me laughing quite uncontrollably. I even got my first-grade teacher to initiate a celebration which I proudly called “National Number One Garfield Day” which my classmates were eager to participate in. And yes, I reveled in those animated classic television episodes in which the orange tabby cat was voiced by the late great Lorenzo Music who perfectly captured Garfield’s sarcasm, gluttony and eventual self-awareness without missing a beat.

Years later, Hollywood brought Garfield to the silver screen, but with limited, if any, critical success. While the 2004 live action “Garfield” movie had the brilliant Bill Murray voicing the infamous cat, the story felt more like a “Toy Story” clone instead of representing the feline we all grew to love in our youth. And seriously, when we see Jon Arbuckle get lucky with someone of the opposite sex, I have to believe something is rotten in the state of Denmark.

Now we have “The Garfield Movie” which brings the infamous cat back to the animation realm with Chris Pratt voicing him. It starts off introducing Garfield into the age of the internet and apps as he proceeds to order an obscene amount of Italian food which he scarfs down in record time. Following this, we jump back in time to when he seemingly gets abandoned by his father and ends up wandering into an Italian restaurant across the street where he meets Jon Arbuckle who is all by his lonesome eating a pepperoni pizza. They quickly form an unbreakable bond as Jon, like us, cannot resist this cat’s infinite cuteness in the slightest.

At the start, it looks like “Garfield The Movie” is going to respect the comic strip’s history perfectly as it acknowledges this feline’s love of lasagna among other things, and it was a kick to see him land flat on Jon’s face while he is in bed as if to tell this human, “Get up asshole, make me breakfast!” But from there, Garfield and everyone else is thrown into a story which is generic at best.

While doing a raid on the refrigerator for midnight snacks, Garfield and Odie get kidnapped by a Shar Pei and a Whippet who take them to an abandoned mall where they meet Jinx, a Persian cat who is bent on revenge against Garfield’s father, Vic, who abandoned Jinx at a very inopportune moment. While Garfield wants nothing to Vic after all they have been through, the both of them quickly realize they need one another in order to secure their freedoms and obtain an obscene volume of milk for just one cat.

From there, this movie goes into the usual tug and pull of a father trying to make amends to a child he wasn’t there for, and a child who wants nothing to do with a parent they feel abandoned by. I think you have a good idea of where the story goes from there as it goes through the usual tropes and cliches father-son motion pictures have to offer, and it quickly became apparent to me that this was no “Indiana Jones and the Last Crusade.”

On top of that, there is a lot of retconning going on here. Those who kept up with the comic strip know Garfield reunited with his mother at one point, and this gave the orange cat more dimension than he had previously. Here, he reunites with his father, and it doesn’t have the same dramatic heft. Also, Odie is made to look like some super genius whom Garfield can only dream of being as smart as. But one of the delights of the comic strip is how Odie is as dumb as a post, so this dog’s genius behavior feels completely out of place.

And when it comes to Garfield’s relationship with Jon Arbuckle, it is much too loving to where there is no drama between owner and cat found here. Garfield revels in his selfish endeavors to where Jon is constantly infuriated beyond repair, and none of this animosity is found here. I kept waiting for Jon to admonish Garfield for playing with the power seat in his car or for eating a fern plant he just bought. But no, they just get along all too well here. Even a trip to the vet feels routine, and I remember just how terrified Garfield was about going to the vet.

As much as I wanted to appreciate what director Mark Dindal and company did here, and there’s no doubt kids will enjoy this movie, I really came out of this cinematic endeavor feeling like this wasn’t the Garfield I grew up on in the slightest. Moreover, as we watch Garfield traverse a critical portion of Lactose Farms where every conceivable form of security was put in place, it only reminded of infinitely superior scenes in Pixar films like “Monsters Inc.” That the “Mission Impossible” theme plays at one point is no surprise, and it made my eyes roll as this addition feels much too obvious.

The voice cast is clearly having a lot fun here. Chris Pratt clearly revels in voicing Garfield, and he does a good job even though he still can’t hold a candle to Lorenzo Music. Samuel L. Jackson is an inspired choice to play Garfield’s father, Vic, and I say this even though I kept waiting for the bad ass motherfucker within Jackson to erupt. Yes, this is a family movie, but still…

If there is one cast member to single out above all others, it is Ving Rhames who voices Otto, a bull and former mascot for Lactose Farms who is pining to be reunited with his long-lost love. While he could have played this lovelorn bull as if he was in on the joke, Rhames instead plays this animated character ever so straight to where his dramatic pauses provide the biggest laughs this film has to offer.

For what it’s worth, “Garfield The Movie” is bound to delight the kids, and their parents are bound to watch it with them hundreds of times once it arrives on physical and digital media. Still, I came out of it frustrated as this really didn’t feel like the Garfield I know and love. Instead, you have an orange tabby cat stuck in a movie with a story unbefitting to his legacy and easily pales in comparison to the average animated classic.

Perhaps Garfield as a character has long since outlived his usefulness in popular culture. Jim Davis’ creation is nowhere as popular today as it was back in the 1980’s, and perhaps studio executives are afraid of making this orange tabby cat look as lazy in this age of Me Too, Times Up and an intense desire for true representation in Hollywood.

All of this reminds me of a scene in “Here Comes Garfield” in which Garfield attempts to explain to Jon, without words, why Odie didn’t come home with him after they both went outside to play. Jon, of course, doesn’t understand what Garfield is describing to him in the slightest, and Garfield ends up telling him ever so dryly:

“What we have here is a failure to communicate.”

When it comes to Garfield and Hollywood, this still remains the case.

* * out of * * * *

‘The Beekeeper’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

Jason Statham is one of the most successful action stars of the 21st century, even though he’s not exactly reinventing the wheel with his performances. In most cases, if you have seen one Jason Statham performance, you have seen them all. He’s a calm, cool and calculated killer with a sense of humor. There is an element of over-the-top fun that permeates his films. Even though the action is fast-paced, bloody and violent in “The Beekeeper,” the tone of the film is perfectly balanced in terms of action and self-awareness.  The people making these films are fully aware of what the audience expects out of them, and they are more than happy to give it to them. They aren’t overly serious to where it’s dreary and dull, and they also aren’t so goofy you check out because it’s so silly.

The film opens up by introducing us to a retired schoolteacher named Eloise Parker (Phylicia Rashad), who rents out her barn to Adam Clay (Jason Statham), a beekeeper with a heart of gold. One day, she falls victim to an online scam and ends up losing not only her entire life savings but also two million dollars from a charity she was managing as well. After this life-changing mistake, she ends up committing suicide. This springs the beekeeper into action, as he believes in right and wrong. He also held a special place in his heart for Eloise, as she was the only one who looked after him and took care of him.

Along the way, Eloise’s daughter, Verona (Emmy Raver-Lampman), an FBI agent, starts to look into Adam Clay and his background. She doesn’t quite understand how a beekeeper can be so violent and hard to catch. It turns out he belongs to a group called The Beekeepers, and they all work together to make sure “the hive” is protected and safe from anyone who tries to disrupt the natural order of things in the world. Once he tracks down the scammers with help from the Beekeepers, he begins to make life a living hell for them. He wants to take everything from them in the same way they have taken everything from the elderly with their online scams.

I’m a huge fan of silly, over-the-top and fun action movies which are done with style, intensity and a sense of humor. “The Beekeeper” is one of the best action movies I’ve seen in a while. The pacing is perfect as the action comes fast and furious throughout the film’s 105-minute running time. It’s directed by veteran action director David Ayer, and he knows how to make these movies sizzle and pop on screen. The fight scenes are incredibly violent, in-your-face, and gory. They left me with my jaw on the floor. That is exactly what I’m looking for out of a Statham action film.

It also helps that the bad guys are so shady and underhanded, and the actors hit all of the right notes with their performances. Josh Hutcherson is smarmy, indifferent and filled with charisma and cockiness. He plays a spoiled and ruthless adult in his late twenties who has had everything handed to him, so he thinks he is above the law and can do whatever he wants. Jeremy Irons is the classic fixer.  He’s brought in to fix things and be the voice of reason when things get too hot and heavy for Hutcherson’s character. The way he reads his lines in this movie is just perfect. He’s an elegant, dignified and smooth-talking problem solver. He looks forward to these challenges, but he also knows the risks which come with them.

When it was all said and done, I had a blast with this movie. It’s a trashy action film that wears its bloody heart on its sleeve. It knows exactly what it wants to accomplish and pulls no punches. Statham is perfectly cast here as the complicated hero who will stop at nothing to get revenge on the bad guys. Even when it seems impossible and the odds are stacked against him, he finds a way to overcome all of the obstacles thrown his way.  It’s highly entertaining to see him have to wiggle his way out of tricky situations where he’s outnumbered and outmanned. The film also has some very violent and creative kills that go for the jugular and linger on the violence. I wasn’t quite sure what to expect from “The Beekeeper,” but it’s a highly entertaining action film with blood, guts and humor.

* * * out of * * * *

4K Info: “The Beekeeper” is released on a single disc in 4K from Warner Brothers Home Entertainment. It has a running time of 105 minutes and is rated R for strong violence throughout, pervasive language, some sexual references and drug use.  It comes with a digital copy of the film as well.

Video Info: They did a fantastic job with this 4K release. I thought the HDR was very vivid, bright, and colorful. Even though “The Beekeeper” is a trashy action film, they still did a great job with this transfer.  It pops with its color palette.

Audio Info: The Dolby Atmos soundtrack was the perfect choice for this action/thriller, as it allowed me to keep it on the same volume for the entire duration of the film. Action films need to have a strong soundtrack, but they can’t be so strong that they force you to turn down the volume throughout when the bullets and bodies start to fall. The soundtrack here is consistent from beginning to end, and it enhances the viewing experience.

Special Features:

None

Should you buy it?

At times, it is best to walk into a film completely blind without knowing what it is about or having read any reviews. This is exactly what I did with “The Beekeeper,” and I’m happy about that because it allowed me to enjoy the film without having any preconceived notions about it. I enjoyed the ride it took me on, and I thoroughly enjoyed Statham’s performance and the unique and grotesque kills he unleashed on the bad guys. When it comes to the 4K disc, the picture and audio quality are top-notch here. The film itself doesn’t have any special features, which is OK, as I can’t imagine they would have added a ton to the film overall. Sometimes it is better to have an air of mystery surrounding your film. Overall, I’d say buy this movie when it drops in price, as you will get a great action/thriller at a great price. I don’t think it’s the kind of movie you need to run out and buy right away, though.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

Exclusive Interview with ‘Sweet Dreams’ Writer and Director Lije Sarki

Posted on by The Ultimate Rabbit

There are many movies out there about addiction issues and the rehabilitation which comes about when some finally can take no more pain and punishment. Those which come to mind include “Clean & Sober,” “When a Man Loves a Woman,“ “I Smile Back” and “The Way Back” to name a few. Now we have “Sweet Dreams” which stars “Jackass” alumnus Johnny Knoxville as Morris, a man who has finally hit rock bottom when it comes to drugs and alcohol, and we watch as he enters a sober living facility named Sweet Dreams where he meets others struggling with the same demons. While there, he gets recruited to coach the rehab center’s softball team which he is at first reluctant to do, but it gives his life a direction and purpose he was previously lacking.

“Sweet Dreams” was written and directed by Lije Sarki whose previous films include “Concrete Kids” and “Alphonso Bow,” and he was one of the producers of the indie hit “The Peanut Butter Falcon.” Like the characters here, he has also struggled with addiction issues but has since found his way past them and very much enjoys his sober lifestyle. With this film, he wanted to present the sober living, anonymous meetings and 12-step programs in a different way. Whereas most movies of this sort tend to be dark and depressing, he wanted “Sweet Dreams” to be more uplifting and to show how recovery can be fun and a joyous thing even after you have hit rock bottom. What results is a motion picture with a lot of heart, and you can see this in the writing and the performances, particularly Knoxville’s.

I got to speak with Lije recently about “Sweet Dreams,” and we talked about how the challenges he had in shooting this film (he only had 20 days), and of how he made this one stand out from so many other movies like it.

“Sweet Dreams” is now playing in theaters and is available to own and rent on digital platforms. Please check out the interview below as well as the trailer.