I've reviewed films for more than 35 years. Current movie reviews of new theatrical releases and streaming films are added weekly to the Silver Screen Capture movie news site. Many capsule critiques originally appeared in expanded form in my syndicated Lights Camera Reaction column.
Just two years after the disturbing Danish horror film of the same name, a twisty and much more broadly comic 2024 American remake of Speak No Evil (B-) provides a highly watchable cautionary tale about two families who become friends on vacation and discover an altogether different relationship when they reunite on one couple’s home turf. James Watkins adapts the story from the austere foreign language template and directs this new version with gusto, offering a witty waltz through modern mores in which tensions rise on the grounds of a remote farmhouse. James McAvoy is the larger than life standout of the story as a burly alpha male who looks like he wandered off the set of a Brawny commercial. The actor relishes the wily role and brings a smoldering menace to the tale, dialing up the gamesmanship until the film’s flimsy final act. Scoot McNairy is effective in a thankless part as the wimpy, reticent foil, and Mackenzie Davis is far more interesting and nuanced as his sometimes steely spouse. The film is less an exercise in terror than a mash-up of comedy of manners conventions and home invasion conceits. The child actors land some intriguing moments in their own right as the fractured families realize their escalating riffs until all are rendered mute. The plot gets far-fetched and careens deeply into high camp, devolving from competent paranoid thriller into a “throw everything including the kitchen sink” showdown. All the while, McAvoy makes his mark, including some witty role play in a restaurant and crooning ballads of ’80s pop songstresses. If you like watching awkwardness get amplified, see this flick in a packed theatre and expect a surround sound of bewildered reactions at many characters’ bad decisions. It’ll have you at “oh, hell no.”
Out on Film presented by GILEAD has announced the lineup of films and events for the 37th Anniversary edition of the Atlanta-based LGBTQIA+ film festival.
Both an Oscar and BAFTA qualifying film festival, Out on Film will open on Thurs., Sept. 26 with Anthony Schatteman’s Young Hearts, about a 14-year-old who realizes he has fallen in love with his new neighbor but interactions with family and friends bring more questions than answers. The Southeastern premiere of Marco Calvani’s High Tide will take place on Closing Night, Sun., Oct. 6. The film follows a young undocumented immigrant (Marco Pigossi) searching for purpose in Provincetown, who starts an intense and unexpected new romance. The supporting cast includes Oscar winner Marisa Tomei, Jams Bland, Bryan Batt, Chrissy Judy’s Todd Flaherty and Mya Taylor.
Centerpiece screenings include Juan Pablo di Pace’s Duino, Andrea James’ and Puppett’s Becoming a Man in 127 Easy Steps and Kat Rohrer’s What a Feeling. Out On Film will host 15 world premieres as part of the 2024 festival.
Out On Film 37 offers a diverse selection that includes 35 features (22 narrative films, 12 documentaries and one special event), five streaming-only films and 111 shorts films (in 18 shorts programs) for a total of 151 films.
“Our 37th Anniversary presentation is a wonderful celebration of celebrated films from all around the world and from Atlanta,” explained Out on Film Festival Director Jim Farmer. “We’ve never had this much ATL in our festival. I’m also particularly proud of our short films, which includes work from Emmy nominee Nava Mau, Meg Statler, Elliot Page and Alex Hedison and Jodie Foster.”
Since its official inception in 1987, Out On Film has grown to become one of the major LGBTQIA+ film festivals in the country. Now one of USA Today‘s 2020 Reader’s’ Choice picks as one of the top 20 film festivals in North America, Out On Film hosts an 11-day film festival in the fall as well as programming throughout the year.
High TideA House is Not a DiscoYoung HeartsDuinoClose to You
Director Tim Burton raises an undead franchise with a story so sputtering it seems more like a merciless cash grab than a creative revisit to the ghastly scene of the crime. Despite the nostalgia factor reserved for the 1988 original film, Beetlejuice Beetlejuice (C-) offers too little too late as characters return to their countryside home for more adventures in and out of the afterlife. The big surprise is Michael Keaton, three decades after originating an iconic mischievous performance as the titular demon, doesn’t miss a beat in picking up where he left off in his high jinks; he’s largely an underused comic delight and gets to partake in a gaggle of fun gags including one in a foreign language. Winona Ryder (her character now a reality show ghost hunter) and Catherine O’Hara (still a dotty artist and stepmom who is rarely home alone) reprise their roles too with flickers of gusto but are overshadowed by Jenna Ortega as a new protagonist with some far fresher takes. The first hour of the film suffers from exposition overload, with obtuse explanations – some pithy and some prolonged – as to why certain characters aren’t present in this episode. The second hour is largely unexpurgated madness and mayhem, with frivolous plot points featuring Willem Dafoe and Monica Bellucci going absolutely nowhere fast. Thankfully sight gags and sing-a-longs are stitched together in the final act for old times’ sake, equal parts fringe and cringe. The humor and gore are sometimes a bit darker than the first, but the movie’s devil-may-care spirit consistently conveys it’s not working all that hard to impress. There’s a twist or two and a bit of novelty at the very end that stand out, but mostly the movie feels like returning to one’s old haunts where nothing is functioning as effectively as it did before. Even Danny Elfman’s music only comes alive when riffing on past themes. After all these years, Burton still loses track of story in service of shiny objects, even if some are clever indeed. This sequel may appear in some ways like a dead ringer full of zingers akin to the first film; but it mainly plays like a sketch stretched out to feature movie length.
Our human protagonist embarks on a “too good to be true” mission in a film that is often stylistically a good bit better than one would expect. 2024’s Alien: Romulus (B+) directed and co-written by Fede Alvarez, is the seventh installment in the long-running series as well as an “interquel” set between the events of the 1979 Ridley Scott original and the James Cameron 1986 sequel. In this film, a group of young space colonists scavenging a dilapidated space station confront one of the most terrifying life forms in the universe. Fascinating actress Cailee Spaeny is the head and shoulders standout in an otherwise unremarkable ensemble, and the dialogue isn’t going to win any awards; but the production design, spectacle and action sequences are all dynamite. Alvarez definitely makes his distinctive mark with a top-tier entry in the saga, buoyed by sinister cinematography courtesy of Galo Olivares, nimble editing by Jake Roberts and gripping orchestral music by Benjamin Wallfisch. As far as the film’s twisty plot points, there’s enough toxic masculinity and planned parenthood to fuel a national political campaign. There aren’t a lot of wasted shots once the action fully whips itself into an interstellar frenzy; then it’s almost too much of a good thing with a barrage of impressive stunts and sensational chases. This movie offers an entertaining thrill ride with plenty to enjoy for fans of the franchise.
The show must go on for maximum security prisoners participating in a rehabilitative theatre troupe in Greg Kwedar’s tenderly humane and moving real-life drama Sing Sing (A). Colman Domingo marvelously anchors the story as a long-time inmate on the verge of a clemency hearing who has become the central journeyman performer in an acting class coached by a character wonderfully played by Paul Raci. Sean San Jose is also splendid as one of the central prisoners, and many such as Clarence “Divine Eye” Maclin brilliantly play their true-life selves. Kwedar has a real eye for the humanity of the characters without ever overly sliding into sentiment, and there are funny touches in the original work the men rehearse and present (their populist work includes characters ranging from Hamlet to Freddy Krueger). Bryce Dessner’s cerebral music offers a wistful, delicate accompaniment to the story. Domingo steals the show with a feast of a performance, and the whole ensemble shines with poignancy and panache. It’s a remarkable tale encouraging viewers to rethink perspectives and engage differently with men who may not have otherwise gotten their second act of redemption. It’s a fantastic entry on the 2024 film festival circuit certainly en route to Oscar glory.
Director Greg Kwedar describes the film to Silver Screen Capture on the red carpet of closing night at the Atlanta Film Festival 2024:
Serendipitously, Coppola protégé Akshay Bhatia has made a short film about an offer that can’t be refused in the sophisticated and splendid cautionary tale The Preakness (A). One drunken night, a down-on-his-luck ranch owner and horse trainer (Jeffrey Pierce) receives a visit from a mysterious and insistent lobbyist (Gena Shaw) with a proposition that could change his personal destiny and possibly history. The movie begins with a soliloquy about slaughterhouses with enough extraordinary exposition to fill a meatpacking district; it’s fascinating stuff that transcends the two-hander form. Soon a deal with a devil is on the proverbial table. There is rich subtext in the dialogue between the hunter and the prey, and both Pierce and Shaw give masterclass performances imbued with mounting tension. Bhatia stages the hard-hitting chess moves of his compelling narrative with impeccable precision, set to the syncopation and paranoid pounding of Dan Deacon’s brilliant score. The literary luster of the work is evocative of “The Cask of Amontillado” or “Everything That Rises Must Converge” with cunning cataloguing of history, lyrical flashbacks and flash-forwards and searing consequences. The movie’s directing, writing, acting and crafts are top-notch and promise to intrigue and fascinate audiences in its grip. Topical themes and pop psychology collide in this spellbinding work.
Want to know the identity of serial killer The Butcher, who smothers and scatters frightful fragments of his helpless victims for the world to witness? His name is M. Night Shyamalan, and two and a half decades since his brilliant trick ending Best Picture nominee, he’s been consistently guilty of serving up large helpings of uneven cold product. The promising premise of his paranoid thriller Trap (C-) is that Philly police know a multiple murderer is at large and planning to attend a major concert, and the squad endeavors to contain and apprehend him in the arena before the show is over. Josh Hartnett and Ariel Donoghue play the zany zaddy of a father and the eye-rolling daughter at the center of the action in the general admission pit of the music event, with Hayley Mills as a mysterious sniffer of sociopaths leveraging her nose for this nuisance (please tell me she wasn’t cast in the film because she starred in the original Parent Trap, and it just seemed like too good a play on words!). Shyamalan stages a mild fantasia of a show-within-the-story on the stage with R&B singer Saleka (she’s perhaps the sassiest discovery) parallel to the pressure cooker of the coliseum as its own experiment for an escape artist. What starts out not feeling particularly well acted or authentic simply gets more preposterous by the final act. It’s poorly written and paced and rarely ratchets up the action or trademark turns to much significant effect. Parts of the movie are suspenseful and others boring, and the far-fetched elements fail to work as a cohesive whole. Nobody wins in this slow-burn setlist, especially the audience. This moviemaker needs someone who can control his inner demons which keep getting manifested as feature films.
Like Once and The Commitments before it, Rich Peppiatt’s Kneecap (B-) follows in a grand tradition of Ireland-set ragtag musical dramas with a splash of comedy and political revelations thrown in for good measure. Set in post-Troubles Belfast, this Sundance tuner tells the origin story of the titular trio of real-life bandmates — Liam Og O hAnnaidh, Naoise O Caireallain and J.J. O Dochartaigh — rapping a blend of English and native Irish rhymes for politically charged times. The characters become accidental activists as their Gaelic native tongue is on the brink of being banned by the government. Kneecap’s music sweeps viewers up into a ketamine-fueled, energetic series of episodes to encounter the meaning of pure defiance, laced with funny animated lyrics and playful surprises. Michael Fassbender helps ground the grassroots story as a martyred leader in exile. He’s head over heels better at acting than his fellow mates in the ensemble; by what the Kneecap musicians lack in natural acting, they make up in manic energy. It’s a rollicking, rebellious rap revolution with a heart for preserving the best of one’s cultural heritage and a lovely sense of anarchy.
The All-Movie Hotel opens this weekend, brainchild of The Godfather and Apocalypse Now film genius and wine entrepreneur Francis Ford Coppola, who remodeled and massively upgraded an economy motel in Peachtree City, Georgia, to accommodate lodging and work space for members of his production staff completing his latest self-financed film, Megalopolis, lensed in the Southern state. He has transformed the property into the hybrid 27-room luxury hotel plus post-production facility no one knew they needed; and now that it’s open for booking, it’s like a dream come true. The All-Movie Hotel is pioneering, playful, professional, practical and available to filmmakers and the generally curious. It’s the world’s first filmmaker hotel.
I had the pleasure of being the very first guest (other than the man himself!) in the hotel’s Francis Ford Coppola Suite, where the writer/director developed his recent cinematic creation, and I’m pleased to share ten observations from this delightful experience.
#10 This new facility is an unexpected glimpse into the mind of an artist/auteur.
The “All-Movie” moniker is a spin on the filmmaker’s “All-Story” publishing ventures, and Coppola’s own narrative is on display in the whimsical way he curates props, artwork, books, literary magazines and other inspiring elements throughout the new hotel. A frequenter of Atlanta’s local movie palace Plaza Theatre where he recently screened his latest cut of The Cotton Club and celebrated a birthday, and a guest lecturer at Georgia Film Academy where he found a variety of apprentices and technicians for his latest film project among the talented students, Coppola shares his generous community spirit throughout this innovative complex. You’ll find classic film-editing tools as well as the latest ultra-secure technologies throughout the building, indicative of his decades-long fascination with all the ways you can push the boundaries of cinema.
#9 It’s a truly unique space for readying sophisticated film and content.
Editing bays, ADR sound recording and mixing suites, on-site equipment and IT, screening rooms, a green room and even a recording stage for small productions or pick-up shots are rippled through the new complex with ethernet ports and secure private lines for corresponding with render farms and others in the moviemaking ecosystem. On-the-rise filmmakers and Coppola collaborators Akshay Battia and Jordan Holifield give insightful tours for businesses interested in bringing their productions to the space. One observer called said the complex is “like a film cruise ship.”
#8 The venue’s welcoming hospitality is phenomenal.
From the unconventional lobby environment featuring film props and artwork evocative of Coppola’s wine country to creative lodging configurations such as a Tokyo-inspired suite, the hospitality team at the All-Movie Hotel provided attentive and sensational service at every step of the stay. Expect offers of warm towels, refreshing waters or fruit spritzers and revitalizing espressos in every nook and cranny. The team even arranged films to view in the screening room (I had a hankering for Coppola’s The Outsiders now that it’s also been adapted into a Broadway hit, plus they kindly hooked my friends and me up with big-screen viewing of the #ParisGames opening ceremony.) Those in housekeeping, security and all disciplines were remarkably friendly and shared their love of “Mr. F” as some affectionately call their imaginative leader.
#7 It’s one of the few places a guest can experience the fascinating aura of the buzzed-about Megalopolis.
Few films this year have experienced the kind of buzz Megalopolis has received after debuting at the 2024 Cannes Film Festival, with IMAX release planned and national distribution through Lionsgate September 27. The film’s dystopian sci-fi and Roman aesthetic dots all facets of the All-Movie Hotel with stern statues of John Voight and Dustin Hoffman, gladiator standees, set signage, lots of towering columns and an unforgettable gilded hawk seen in the movie’s trailer and currently perched behind the hotel’s pool and patio. Being in the space where cast and crew toiled on this longtime passion project lent a magical quality to the stay. Filmed at nearby Trilith Studios and throughout Georgia with an ensemble including Adam Driver and Aubrey Plaza, Megalopolis shot on location at places such as Woodruff Park, Gas South Arena, Atlanta’s Bank of America Building, Georgia Public Broadcasting and The Tabernacle. The new All-Movie Hotel proved convenient during filming and will be so for future productions. Sources say a next production will be in-house at the hotel in the next few weeks.
#6 There are culinary wonders in this hideaway.
Leave it to a Francis Ford Coppola hotel to serve great wine, in my case delivered with fresh fruit trays worthy of “New Rome” denizens. The in-house culinary team members brought trays of room service with an array of delicacies including a delicious spinach frittata and peach pastries. It was a joy to dine right where the director has often enjoyed his morning coffee, with cooking appliances he personally picked out for the suite and for The Green Room kitchen renowned for communal cooking by the crew during the movie shoot. Talk about next-level “crafty!”
#5 It’s located in a “golf cart town” community in Georgia’s bustling filmmaking community.
Evidently Coppola enjoys golf cart communities at other resorts where he has invested, so it’s not surprising he fell in love with Peachtree City, known for winding trails to renowned restaurants such as Mediterranean eatery The Beirut. The hotel hooked me up with a red golf cart to explore the town, where my buddies and I enjoyed dinner and drinks at new tavern Hobknob as well as scenic detours to Frisbee golf courses and shopping districts via elaborate tunnels, pathways and bridges now mapped on GPS for non-natives to the neighborhood.
#4 Film history and artifacts abound.
We got to be pinball wizards on The Godfather game machines, explore other Megalopolis loot and spend time in “The Dorothy” screening room, named for Coppola’s mentor Dorothy Arzner, a trailblazer as a woman behind the camera making Hollywood films. A vintage box office window festoons this high-tech set of suites where both the director and Battia programmed classic and contemporary films for those gathered at the hotel.
#3 The amenities are lovely and make for an inspiring stay.
Screening, swimming and workouts were all on the weekend agenda with rooms for all these activities and more. Well-appointed suites included high-end cooking appliances and decor as well as comfortable beds, spacious showers and an array of amenities to help relax after a day of creating. The fitness room is still labeled the “Fitting Room,” used for costuming actors for recent shoots. Both usages of the room come with floor to ceiling mirrors, after all.
#2 It’s a hoot for fanboys, fangirls and film enthusiasts.
I brought some of my eclectic collectibles including a European Blu-Ray of Twixt and a Captain EO plush, and the staff was more than willing to discuss their own cult favorites from the Coppola catalogue and beyond. There was lots of love for One from the Heart. The elaborate posters for Apocalypse Now in the Green Room and an original piece of artwork gifted to Coppola by Akira Kurosawa when they collaborated on Kagemusha were wonders to behold for this film fan.
#1 The All-Movie Hotel is also a celebration of family.
Coppola, so celebrated for his gifted family tree of creators who join him in artistic pursuits, has clearly imbued his new complex with something for everyone, including young people who may come along for productions. Bunk beds, hopscotch, classic games an even a bevy of property cats give the property additional enchantment. Coppola is pictured with a grandchild in the suite that bears his name.
Like many of the filmmakers’ great works, his All-Movie Hotel continues to grow and expand – a work in progress, always. New landscaping is expected to further shroud the space from commercial lots that bookend it, and my tour guides shared more monitors and technologies continue to be installed,
Special thanks to general manager Luvia Martinez and the whole team for helping customize and optimize my experience! Clearly I encourage a visit.
Here, Francis Ford Coppola describes his vision of the All-Movie Hotel:
Additionally, here’s a link to the hotel’s site and reservation engine:
In the service of a more mature and madcap Marvel installment, Disney has cracked open its most violent and vulgar vaults to unleash a buddy comedy adventure with its own crass love language. The mouse is definitely out of the house with superkillafragilistic, zipadeedickjokes, hakunayomama abandon. Except for over-staying its welcome by a short hair, Shawn Levy’s Deadpool & Wolverine (A-) is an absolute laugh machine throughout with a singularly sensational “meta”-morphosis of the superhero form. If there were a fifth and sixth wall to break, consider them toppled. The plot involves snarky mercenary Deadpool (a series best performance by riotously funny Ryan Reynolds) recruited to safeguard the multiverse by uniting with his would-be pal Wolverine (Hugh Jackman, in great stoic form for action and comedy) to save the world from an existential threat and villain (Emma Corrin at the height of her powers). Despite their outward swagger, both titular costumed crusaders must overcome a crisis of confidence, and it’s in their tentativeness and vulnerability that many of the film’s most delicious zingers and gags are born. It helps to know comic book, movie studio and pop cultural lore to fully follow some of the funniest and most subversive laugh lines. The stunts and action choreography are top-notch with excellent needle drops and kick-ass sass rivaling the first film in the series. The film outwardly acknowledges past Disney/Fox rivalries and casting incongruities, and it remedies some of the vexing variances in clever and convincing ways. Expect some stale conventions to get upended and some new directions for the franchise to come of age based on this fierce installment.
Plan to get sucked up, whisked away and a bit wonderstruck by an utterly crowd-pleasing entry into this summer’s multiplex fare. Lee Isaac Chung’s 2024 action film Twisters (A), ostensibly a standalone sequel to the 1996 tornado disaster flick, is both practically and metaphorically about Americans coming together to weather the storm. Daisy Edgar-Jones and Glen Powell, both magnificent in their physical and emotional roles, play very different leaders of chaser teams with divergent goals converged in the heartland of Oklahoma. The film’s humane exploration of characters ranging from a committed entrepreneur played by Anthony Ramos to a wily mom portrayed by Maura Tierney help the film transcend its deceivingly simple storytelling contours. The movie’s visual and sound effects are superb, peppering realistic rural landscapes and quaint hometowns with impressive funnel fantasia. Chung’s film deftly asks viewers to re-examine how neighbors should treat one another, elevates the pursuit of science and philanthropy into central themes and doesn’t waste a moment of its running time with anything short of human or natural revelation. With a backdrop of Benjamin Wallfisch’s gripping score and rip-roaring country music needle drops, this observant and opulent film gorgeously fills the screen all the way through a very exciting finale including meta homage to the ritual of gathering for entertainment. This is a wonderful companion piece to Jordan Peele’s Nope, another smart reflection on spectacle by an American auteur. Expect to be pleasantly surprised by this well assembled action epic.
A tightrope wire of unsettling mood and ominous dread, writer/director Osgood Perkins’ Longlegs (B+) is fairly certain to secure its place as the year’s iconic horror movie. Maika Monroe is magnificent in a very controlled performance as an FBI agent with psychic skills assigned to a decades-spanning unsolved serial killer case with evidence of the occult. Blair Underwood is effective as her by-the-books boss and Alicia Whitt memorable as her concerned mother, but it’s Nicolas Cage as the incredibly creepy title character who steals his brief but indelible showpiece sequences under unrecognizable prosthetics. He’s unhinged in all the best ways. Our protagonist heroine discovers a personal connection to Longlegs and endeavors to stop him before he strikes again. The film reveals its mysteries at a deliberate pace and maintains a singular vision including immersive cinematography by Andrés Arochi punctuated by Zilgi’s spellbinding music. Perkins doesn’t lunge for obvious jump scares but instead maintains a terrifying tone for most of the film’s duration, with many of the film’s shocks occurring in broad daylight. His blend of supernatural and psychological suspense pairs nicely with horrifying imagery of brutal carnage, porcelain dolls and bygone nostalgia of seemingly innocent bucolic days. It’s an eerie tale well told.
