Thunderbolts*

Grade: A+

In this new movie based on the Marvel comic series, five operatives doing dirty work for the government are sent into a trap. Now, this group of damaged soldiers must ban together in order to survive.

It really feels like the creators of this took into consideration the complaints that the MCU has fallen into a rut, and gotten a little predictable. Thunderbolts* is refreshing. Everything feels a lot more character and story driven. This is a superhero movie, so you get special effects moments in this, but it doesn't have the big spectacle fight scenes, involving a sky beam or something like that, for the sake of it. (Not to say the action and effects disappoint. There is one great fight scene and a visual that will stick with you.) The number of locations is also surprisingly conservative, not a lot of jumping from place to place. The antagonist is refreshingly a little different from your usual MCU baddie.

This is arguably the darkest MCU movie. However, it still works with the general audience as Thunderbolts manages to balance the dark with lighter, more humorous moments. (If you've seen Moon Knight, the tone is like that.)

Really solid characterization. Though the MCU's policy of setting things up years in advance has not been as steady or effective as it used to, this movie shows that it still works. All the anti-heroes here have already been set up, so the writers walked into this with a firm grasp of the characters. These are mostly people who have done horrible or at least questionable things in the name of their government or their army, but none of them are complete monsters. The whole movie is a surprisingly well-thought look at trauma and guilt. Also, the characters all work really well off of each other. (They're messed up in a different ways, but they're also kinda on the same wave length.)

Though this is a team movie, White Widow/Yelena Belova (Florence Pugh) is definitely the lead. She already stole the show in both Black Widow and Hawkeye and does not disappoint. She remains extremely personable and relatable, but it is her dramatic moments that really make the movie. She's had a sad life and this story milks all the drama and tragedy from the character it can.  You really feel Yelena's struggle with her past and sense of aimlessness. It's too bad movies like this don't often get Oscar nominations, because Pugh is doing the work, and this might be remembered as her best role.  

Stranger Things' David Harbor seems to be having the time of his life as Red Guardian/Alexei Shostakov. Admittedly, they might have given him too many jokes. But, as the one of the few members of the team really wanting to be a hero, he serves as a nice counter to the others.

Honestly, all the team members are good. Former Captain America U.S. Agent/John Walker (Wyatt Russell), is arrogant, but also entertaining in his boastfulness and honest takes. Ghost/Ava Starr (Hannah John-Kamen) is also solid, but it feels like she's the straight man of the group and got the lowest amount of characterization. Her personality feels downgraded after Ant-Man and the Wasp. The mysterious and gentle-natured Bob (Lewis Pullman), is a fun new addition, and him and White Widow have excellent chemistry. 

The one weak character for me is amoral CIA head Valentina Allegra de Fontaine. She's basically DC's Amanda Waller if she was snarkier and less wise. Wasn't found of her. All her lines felt like they were trying too hard, and she didn't feel competent enough for someone to conflict with the heroes. 

Highly recommended. One of the best post-Endgame MCU movies.

Final Destination: Bloodlines

Grade: A

After a 14 year dormancy, the Final Destination franchise returns. In this installment, someone was able to cheat death for a long, long time and now Death is finally coming after the person's descendants who weren't supposed to be born in the first place.

This does a surprising job of sticking with what made these movies work (creative kills and the anticipation of how people will die) while also feeling refreshing in its own way. There are some truly inspired deaths in this, maybe some of the best. (For those who can take movie violence up to a certain point, be forewarned that there are two really gory deaths in this.) The opening traditional disaster that the lead avoids due to a psychic vision, is hands down the best in the series. Taking place at one of those skytop restaurants, this is a truly visually impressive and crazy act of destruction.

The whole descendants aspect is also a nice change of pace. For the first time, the entire list of possible victims are all family members. Bloodlines does a good job of getting to know them all, and they make for a watchable bunch, especially Erik (The 100's Richard Harmon), the wisecracking one. Although, considering this is about a whole extended family being wiped out, this is also probably the biggest bummer of the FD movies.

The plot is clever with a surprise or two. Given how quickly Death has acted in the previous films, one may wonder why he waited so long here. The movie gives a very satisfactory for at least partially why this is. Although Bloodlines tries some new things, the creators have definitely seen all the previous movies and they are making sure to stick to the established rules. However, there is one part of this where it really feels that Death and the writers were cheating.

The late Tony Todd (Candyman) returns as the mysterious coroner who has appeared throughout the movies. Both Todd and Bloddlines' creators knew that he was dying and that this was his last role. (The poor guy was so skinny in this.) They do more than expected with the coroner and give him an interesting sendoff. However, those who liked his air of mystery and arcane demeanor may be disappointed that these traits won't be found this time around. 

Highly recommended. This is how to bring a franchise back. I consider Bloodline one of the best ones, and I think it'll please most fans.

Clown in a Cornfield

Grade: B+

In this movie adaptation of the YA book by Adam Cesare, Quinn Maybrook (played by Ginny & Georgia's Katie Douglas) and her father Glenn (Blindspot/Children Ruin Everything's Aaron Abrams) move to the rural, had-better-days, town of Kettle Springs. There, she finds herself and her new friend group attacked by a killer dressed up as the town's former corn syrup factory's mascot Frendo.

This is a refreshing film. There is more going on with the story and what the movie is trying to say than simply a traditional slasher flick. The movie's also funnier than the trailers would have you believe (it's from the guy who directed Tucker & Dale vs. Evil), including what may be one of my favorite lines of the year.

Clown in a Cornfield does suffer a bit from the whole adults-not-understanding-the-teens part being a little too simplistic and hamfisted for its own good. But, like I said, this is based on a YA novel, sot it's not trying to be too complex.

Really solid casting. Everyone feels like they're elevating the dialogue. I'm rather pleased that this gave some of the adult roles to actors who are good but don't get as much work as you'd like. Will Sasso, who's always solid when doing comedy, is the town's sheriff. Between this and him being in the show George and Mandy's First Marriage, it's nice to see his career picking up. Back in the day he felt like he'd be the MadTV cast member most likely to go onto bigger things, but besides being in that 3 Stooges Movie, his career stalled. Kevin Durand, who's stock has also been rising lately what with being in Abigail and the latest Planet of the Apes movie hams it up as the town's pretty southern, old power mayor.

There are several creative and violent kills in this, but there are moments where the film is hindered by its lower budget. Some kill shots aren't as effective as they could be, and the I've never seen movie blood look more obviously like corn syrup than this. 

Frendo's look gets the job done; he's appropriately scary clown enough. However, I wouldn't call him the most distinctive-looking character; Art the Clown he is not.

Recommended. There are parts that feel like they could be tightened, but overall this movie brings more to the table than expected.

The Righteous Gemstones- Season 4 (Final)

Grade: A

In the final season of this Max show about the exploits of the rich televangelist family the Gemstones, the main siblings have to deal with their father moving on romantically after their mother's death.

I'm really sad to see this very funny and very creative show come to an end, but you have to give showrunner Danny McBride credit for ending it before they run out of steam. I'm seeing a lot of people online saying this is the weakest season, but I disagree. I think it's the second strongest after the second one. What I love about this show is the combination of no cares given outrageous humor and creative, grand storytelling involving the various members of the Gemstone family and their history. Like season 2, this one is more mystery-based, leading to an explosive and dynamic change of events. Given that McBride has always tried to write a family epic, the first episode is an interesting experiment. (It's a good story, but some could be bugged by the fact that there are not a lot of jokes in it.) The finale is definitely one you'll remember.

The humor remains as funny as ever, especially the lines of fairly demented Gemstone sibling Judy (Edi Patterson, who is a living treasure in this with her delivery). However, one episode has a subject that is pretty uncomfortable.

I will really miss the cast. Paterson again has gold to work with, while the writers also giver her some emotional stuff to do. Second behind Patterson is Walton Goggins as the siblings' paternal uncle Baby Billy, who again is so fascinatingly ridiculous as an out-spoken, fame-hungry elderly southern man. Though again with Judy, the character is given some character moments as well. Goggins is able to make the man hiding behind the bravado so real. McBride again delivers as short-tempered eldest sibling Jesse. Again, John Goodman as patriarch Eli is more of the straight man in this, but he really knows how to do the more emotional moments for the guy. 

One of the show's brand new "oh, I didn't think that person would pop up in this" actors is Sean William Scott as the siblings' long-time friend Corey Milsap. Now if you're a fan of funny Scott, you're not getting it here as his character is played straight. However, as he's shown in the likes of Final Destination or Wrath of Becky, you know he can do straight man really well.

Unfortunately, some long-running main/recurring characters get surprisingly little time in the show's grand bow. Jesse's son Gideon (Santa Clarita Diet/The Quarry's Skyler Gisondo) and Eli's right hand Martin (Gregory Allan Williams) have very little screen time. Though she appears throughout and again entertains as a saner member for the family who's great at silently reacting to stuff, Smallville/Longmire's Cassidy Freeman as Jesse's wife Amber gets little to do.

Highly recommended. Again, McBride's insane take on the family saga will surprise you and make you laugh.

Matlock (2025)- Season 1

Grade: A

In this remake of the 80's law show, Madeline "Matty" Matlock (played by Kathy Bates) is a retired lawyer with financial problems. She uses her wits to get employed at law firm Jacobson Moore.

From the general concept, Matlock looked like it could be your basic network procedural show. I'm surprised to say that the show is far more engaging and has more to offer than expected. Now, yeah, the show is comprised of cases of the week, but it's the ongoing storyline and characters' personal stories and interplay with each other that really makes this work. Melodrama is done quite well, but the lighter, diverting moments are also solid.

Cathy Bates makes the show (unsurprisingly). The actress has stated that this will be her last role, and this makes for a fine swan song. Bates does a great job as a woman who uses her smarts and likableness to prove herself in a field she's been out of for a very long time. However, the trailer and commercials won't prepare you for how much dramatic work she's given. Bates excels at performing a complex character with a lot of emotions. Unfortunately, since she's in her 70's, her voice has trouble reaching the full potential she used to have, but the woman is definitely giving 100%. 

The show's other major ingredient is Skye P. Marshall as Matty's superior Olympia Lawrence.  She commands all her scenes as a very no-nonsense type who had to climb way her to the top all the way from the bottom, but there is clearly a heart buried underneath that exterior. (I rather like that her and her estranged husband's pasts and personalities aren't spelled out to you but shown slowly and naturally through small comments here and there).

The whole supporting task is dependable. The recent Nancy Drew show's Leah Lewis is entertaining as first year associate Sarah Franklin. Lewis already proved in ND that she is gifted at playing very determined, sorta acerbic characters, and she continues that here. Sarah is very, very career driven, but it's contrasted with her social awkwardness. Beau Bridges is also in this in a supporting role as Sir, managing partner of Jacob Moore. The guy does a great job of coming across as being laid back and congenial as someone cagey who you wouldn't want to go up against.

Highly recommended. This may be the strongest written new network show this season.

Until Dawn (Motion picture)

Grade: A-

In this film based on the popular horror video game of the same title, Clover (Ella Rubin) and her friends are on a road trip retracing the steps of her missing sister Melanie (The Fosters/Good Trouble’s Maia Mitchell). They come across a welcome center where they become trapped in a time loop where they keep being killed by various supernatural threats.

Director David F. Sandberg (Lights Out/Annabelle: Creation/the Shazam movies) decided to set this in the world of Until Dawn rather than do a straight up adaptation of the story. The reasoning being that the original game was basically an interactive movie of itself, which means live action probably would've been more of the same. Making that choice can always be controversial (look at the Resident Evil movies), but I think it works here. This is one of those throw everything at the wall and just have fun with it type of horror movies (kinda like the third Annabelle movie). The various kinds of monsters and threats keep things varied, though, admittedly, they do put more focus on some than others. Though not a horror comedy, there's a twinge of dark humor to this that give this a bit of kick.

Not to say this movie doesn't have any pure horror to it. There is one scene where you'll go "Wow, they didn't have to go as dark with this." Sandberg does a good job of you being invested in the characters fear and suffering as they try to escape their ordeal.

The movie does suffer from giving Clover a very basic character crisis/backstory they have to overcome. (I don't know why all horror has to do it these days. Unless its psychological horror, I'm just here to see kills and scary stuff.) The dialogue for the group is kinda off in the movie's setup. However, once the time loop starts, it falls together. 

The rules to the groups' prison world is explained, but stuff is left vague, and you're left with a lot of questions. There is one aspect of the movie's attempt to fit in with the story of the game that doesn't really work if you're familiar with the original.

Visually, this can't quite compete with the epic look of the original (I do wish they still set this in the snowy mountains), but it ain't too shabby. Contrary to what the trailer may make you think, this doesn't take place completely in the welcome center; the location design is effective and distinct. Monster and prop design as well are appropriately spooky. 

Recommended. Annabelle: Creation is still Sandberg's scariest film, but this might be the most entertaining. For those who like simple popcorn horror, this is a fine example.

Sinners

Grade: A+

In the Jim Crrow-era south, twins Smoke and Stack (both played by Michael B. Jordan) start up a juke house. During the house's premiere night, everyone inside is threatened by a supernatural menace. 

This is a real tour de force of story, characters, horror, and social messaging. All the cast are set up really well in a film that confidently and competently rolls out the exposition in a natural manner. When the horror part happens, it is also really well-paced, especially when it comes to the action, and has some appropriately eerie and eye-catching parts. I'm rather pleased that this takes a common supernatural threat (I'm not mentioning it if you haven't seen the second trailer yet), and looks at it from more of a "mysticism" lens.

The movie does a wonderful job of weaving together messages and story. Since this is in the Jim Crow south, of course racism and the treatment of Afican Americans is a definite component, but it never feels like this is a movie focusing on trauma, but is about the people living their lives and a testament to black culture. When it comes to main messages in this, I'm not going to spoil anything as part of the joy of watching this is being made to think about what the movie is trying to say.

Excellent casting all around in this. No surprise to anyone, but Michael B. Jordan gives a terrific performance. He does a great job of making each of the twins separate characters with separate personalities, storylines and wants for each. Musician and acting newcomer Miles Caton also gives a really solid performance as the Smokstack twins' cousin, musician Sammie Moore, a guy who loves his music and looks up to his more dangerous cousins. Caton gives a very real performance, and is sort of the core of the film.

Jack O'Connell is also a lot of fun as the main villain Remmick. Director/writer Ryan Coogler (Black Panther/Creed/Fruitvale Station) could've gone with a one note monster with him, but he is surprisingly affable and three-dimensional (while also being an uncomfortable threat when the scary stuff happens), and his main goal may surprise you.

Wonderful cinematography (including three REALLY well shot moments that steal the show). The movie is shot in a way I'd describe as "stark" color. Not darkly lit, but it has a harshness to it. Coogler and the cinematographer and editor do a solid job of having Jordan act opposite himself. The threats in this look appropriately off-putting.

Music is a real focal point of the movie, and Sinners makes great use of songs and a stand-out score by Ludwig Goransson. 

The one thing about this film that may not work for some people is that the introduction is very long. It suitably sets up the people and place, but one could get bored.

Highly recommended. This is one of those movies where everything works and really drags you in.  This is one of those rare horror movies like The Menu or The Substance that transcends being merely just horror.