Sinners — starring Michael B. Jordan and Hailee Steinfeld is a disjointed movie. Two-thirds through it focuses on aspects of Southern black culture, about 100 years ago. Without rhyme or reason it turns into a zombie movie, with no explanation. The zombie sequence is quite good, but is the film worth watching for two hours? Not really.
Jay Kelly — with George Clooney and Adam Sandler, seems like it’s going to something special, as happened in Up in the Air (2009), and Michael Clayton (2007). However, after about 40 minutes the plot wears thin. Kelly is a big-time movie star with a history of letting others down — his two children, various counselors and agents, and perhaps even his father. Veteran actors Billy Crudup and Laura Dern are underused. Numerous flashbacks, and Adam Sandler as Kelly’s agent, keep you interested. The film is a depiction of how Kelly’s over-arching career ambition got in the way of his personal life. Amdist some humor and nice scenary, it’s a decent theme, but endlessly repeated to the point where you think, enough already!
Hamnet — with Jessie Buckley and Paul Mescal is well done. The characters are distinctly defined and their interaction is on par with the best of historical or semi-historical movies. Here, the acting is “the thing.” I would suggest the best actress Oscar for Ms. Buckley, in competiton with Renate Reinsve.
Sentimental Value — with a largely a Scandinavian cast — Renate Reinsve, Stellan Skarsgård, and Inga Ibsdotter Lilleaas, joined by Elle Fanning, is half in English and half in Norwegian with English subtitles. This is a movie of great artistry. Reinsve, a Norwegian actress, who I’ve never seen before, gives an Oscar-worthy performance while surrounded by other excellent performances. Not to give too much away here… most definitely see this one.
Earlier in 2025:
In Our Blood — is easily among the strangest movies you could encounter this year, where the last eight minute or so go in a different direction than you could have ever presumed. Ignore the 100% rating; nothing in particular is remarkable about this film especially given the array of features released in December.
Blue Moon — starring Ethan Hawke, Margaret Qualley, Bobby Carnavale, and Richard Scott, for the first 38 or 40 minutes offers dialogue that is most interesting, on par with My Dinner with Andre. Then, Hawke’s character, the great composer Lorenzo Hart, of Rogers and Hart, who is self-destruction and utterly lacking in self-esteeem, starts to wear on you. The movie seems unsalvageable until Margaret Qualley, as a 20 year-old Yale theater major, saves the day with her repartee. The entire story takes place, somewhat predictably, in one Broadway watering hole. See this movie if you’re in to theater, show tunes, and musicals. Skip it, if you’re not.
Nuremberg — Features an all-star cast, led by Oscar winners Russell Crowe, now 61 and seemingly out of shape but as good an actor as ever, and Rami Malek, who is at the top of his game. Supported by Michael Shannon, this movie works well on many levels, though it has been left of year end accolades. The film is long and appropriately so. It offers insights into World War II and the aftermath that should never be forgotten. Or, for younger generations conveys what they must learn. It would be an understatement to say I recommend it.
Roofman — a tough movie to watch, but Channing Tatum delivers a personal best and Kirsten Dunst nails her role, in an all-North Carolina setting. I would say that Channing Tatum’s performance is Oscar-worthy, but the Academy has gone so off the rails, that who knows who is ever going to be nominated.
Anemone – starring Daniel Day-Lewis and Sean Bean is an intense, overly long drama between two brothers and their family, in the 20 year aftermath of what was war-torn Northern Ireland. Lewis is good, but some of his moments are over the top. Sean Bean delivers a personal best. The movie is worth seeing on a small screen, but you have to ask, why so long, and why is the back-story delivered so late?
One Battle After Another is the latest Leo DiCaprio movie and leaves you thinking, why make this at all? Forget all the “best picture” of the year claims. At 2 hours and 40 minutes, don’t waste a single second of your life on reviews, trailers, or ratings. Also, forget all the political ramifications – how they glorify Antifa-type maneuvers and paint false narratives about the government and society in general. From a storyline standpoint, this film is pure crap.
The Smashing Machine – starring Dwayne “The Rock” Johnson who delivers an Oscar-worthy performance. At 53, he convincingly play a mid 20’s man. Also with Emily Blunt, as you’ve never seen her, this is a surprisingly good film, one that holds your attention on a topic that might not be of interest to you. Some of the fight scenes are intense but, overall, the venture is done well.
Sorry, Baby – Eva Victor writes, directs, and stars in this slow moving but otherwise nuanced film about a woman who has been briefly penetrated by a professor whom she trusted. It is unclear why she was at his house for many, many hours after her scheduled mentoring session. The subtlety of Victor’s performance draws you in and, particularly for men, it is a rare look at the roller coaster ride of emotions that a sexually violated woman feels, not just weeks and months following the incident, but for years. Also starring Naomi Ackie, who was spectacular as Whtiney Houston but doesn’t have a much to do here, most people will hail this film as smartly done. Because the protagonist was quirky and odd from the outset, certainly her perfect right, for me, this somewhat diminishes the impact of the aftermath. I recommend seeing this film, although for me it’s merely so-so.
F1 – starring Brad Pitt, Kerry Condon, Damson Idris, and Javier Bardem is made for suburban teens who go to the Cineplex. It has some good humor throughout, and for the first time, I understand why race car drivers are actually athletes after all. Kerry Condon steals the show as the Irish physics major who wants to prove her skills as the technical director of a Formula 1 racing team. One poker scene in Las Vegas is priceless. Overall, unless you’re a racing buff, it’s hard to understand how the drivers and crew gauge strategy, who does well in the races, and why. Fans will love this, but for the rest of us, it’s a bit of a mystery. Still, on the big screen, you can go along for the ride.
The Naked Gun — starring Liam Neeson and Pamela Anderson, continues the comedy, slapstick, sight gags, and goofiness, I guess, of the originals with Leslie Nielsen, which I never saw. The film is necessarily short, at under 85 minutes, and that’s just as well. Nothing memorable here and in many ways the film has been overhyped, but it’s enjoyable enough during the time you’re watching.
Freakier Friday — with Lindsay Lohan and Jamie Lee Curtis, is the 22-year sequel to the original. This movie is geared for teenagers: in many stretches, it’s noisy and in some scenes silly. Because four characters, not two, experience identity exchanges, on occasion you’re grappling to remember who is who. Overall, it’s sufficiently fun, the soundtrack is quite good, and with the closing rock concert scene as the capper, Lindsay Lohan is headed back to stardom.
Weapons — starring Julie Garner, Josh Brolin, and Amy Madigan, as a character for the ages, is one of the competently done, truly scary movies you’re likely to encounter. I think it is better viewed on a small screen because on a big movie theater screen there is no place to hide. My bet: Madigan is a shoo-in Oscar nominee, if not winner.
