"The Green Knight"
Buried somewhere in the vast literary Arthurian legends is a poem called “Sir Gawain and the Green Knight.” The unknown 14th century-authored work tells of a great knight named Gawain who serves on King Arthur’s famous Round Table. On a night of great feasting, the twisted and literally-colored green Green Knight appears to issue a challenge to Arthur’s men: Any brave man may step forward to offer up a fatal blow, but if he fails, then the Green Knight will execute the failed knight in exactly one year. Sir Gawain leaps up with a heavy axe to swiftly end the challenge, and he fails. Sir Gawain’s life is on the clock. 

The film is a masterful, cinematic take on this little known Arthurian poem. Writer and director David Lowery clearly uses his history as an experienced cinematographer in filming a mythical set piece of almost epic graphic novel proportions. The rich colors and powerful blending of the almost fantasy-like atmosphere create a darkened fantasy film not seen since Tom Cruise’s “Legend.” Leading the undersized role of Sir Gawain is actor Dev Patel, who has been nominated across so many award shows he will surely hit that Oscar win at any time. He plays Sir Gawain as a seemingly brave man who doubts himself under the epic shadow of his uncle, King Arthur, played here with a quiet sensitivity by “Mission Impossible” series perennial bad guy, Sean Harris. Given the weighty plot and traditional Arthurian regulars who appear, the film somehow carries the audience from scene to scene with an almost effortless prodding. 

The source material here is original, and you can tell that Lowery took the best lines straight from that Middle Age chivalric poem. Part quest, part sword and sorcery, “The Green Knight” is one of the best films to ever capture the more untold parts of the Arthurian legend. Haunting, cinematic, and virtuous in its ambition, this film is sure to entertain.


"Queen Bees"
In cinema history, there are several aging-ensemble casted films that have the uphill task of cranking out pure comedic joy. Ron Howard’s “Coccoon” is the best example of such a film, where the older folks engage in youthful pastimes. In director Michael Lambeck’s comedy “Queen Bees,” the best scenes lie not with slapstick visuals, but instead with witty and soulful dialogues. The film stars Ellen Burstyn as Helen, an older widow always locking herself out of her home (whenever she’s not burning it down). Her family has reached a breaking point, and she’s off to Pine Grove for a brief stay at the swanky retirement community. She’s quick to find that the environment is anything but genial, as she learns that the place is gossipy, ultra-dramatic, and catty beyond belief. To help guide her through the motions, a bevy of colorful older residents begin opening up to her. 
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The cast here is solid: James Caan, Ann-Margaret, Loretta Devine, Jane Curtin and Christopher Lloyd. A widow, Helen is inexplicably drawn to the charm of fellow resident, Lothario Dan, played here with a plucky spirit by actor James Caan. While the film has its great share of heavy emotional subjects, overall it is a witty crowd-pleasing comedy with a lot of laugher and just the right touch of soul.

"In the Heights"
Hollywood lately has only been putting out one big musical film a year, it seems. Even before the throes of COVID-19, not many were cranked out. “La La Land,” “Rocketman,” “Hamilton,” and “Bohemian Rhapsody” were all fantastic, award-winning musicals that received some of the highest praise among film critics and movie fans. Even with movie theaters still operating on limited opening schedules, one musical is out there right now that, like the above mentioned ones, is simply too good to pass up.

“In the Heights” takes place in the little-depicted borough of Washington Heights, which sits above the more affluent part of Manhattan. Set in a traditionally Latin neighborhood amidst the struggles of social pressures and gentrification norms, the film zeroes in on pair of delightful actors, Anthony Ramos and Melissa Barrera, who have big struggles and bigger dreams. Ramos portrays the levelheaded Usnavi, who has the potential opportunity to move back to his family’s native Dominican Republic to reopen his father’s beachfront bar. Barrera plays the attractive role of the local beauty tech who aspires for something a little more in the city.

“In the Heights” boasts a massive ensemble cast, and we get some minor storylines along film’s journey. But for the heart and soul of the film, Usnavi and Vanessa are our focus, and what a colorfully fantastic and upbeat scene they make for us! The song and dance numbers here are vibrant cultural spectacles pulled off with precision like moves, and they have a depth and passion beyond the ages. Each little character that comes and goes has a story, a battle that they’re all fighting, unknown to outsiders. The crossover of vignettes almost have an anthology feel to them, but instead they paint a much larger picture of a thriving community on the upswings of hope. Director Jon Chu has done a masterful job in adapting this award winning musical written for the stage by Quiara Alegría Hudes and Lin-Manuel Miranda and turning it into something fresh and exciting with musicals scores that have to be heard to be believed. You need that cool summer musical film refreshment?  “In the Heights” has it.

"Great White"
There remains in me a great unslaked thirst for preposterous shark films. Of course, nothing comes as close to aquatic film perfection as “Jaws,” but for every killer shark film that comes along, I always find myself making comparisons. “Great White” stars a largely unknown Australian cast that is lead by actors Katrina Bowden and Aaron Jakubenko. In the film, the couple heads up a seaplane business, and clients fall prey to a shark attack during an excursion. Thus begins the larger portion of the film that’s based in aquatic survivalism, but true ichthyologist film fans will notice quite a few nods to other killer shark films from cinema history As a whole, shark films always carry a high level of suspense, as you never know just what is lurking underneath those wavy currents. Director Martin Wilson does an incredible job of making you feel safe one moment, and then twisting you in your seat with suspenseful dread the next. “Great White” is a decent, tightly acted shark film that indeed has a bite. ​

"Wrath of Man"
Madcap British filmmaker Guy Ritchie truly leaves no thrilling plot device left standing in his latest action picture, aptly titled “Wrath of Man.” With such a title, you know that there will be little left in terms of characters and personal property standing by the end of the film, and, with action superstar Jason Statham leading the way, you just know it’s gonna be a wild, wild ride.

The film stars Statham as Patrick Hill, a new and muscled employee of the Fortico Security company, which serves as an armored car service. Before long, on what’s presumed to be his first official run, there’s an attempted robbery of Patrick’s truck that he’s able to defend, dispatching the perpetrators with ease. Too much ease, to be precise. Ritchie’s films are known for having more deep character subplots than an onion’s got layers, and “Wrath of Man” is no exception. Opposite Hill’s storyline is the anti-hero subplot involving a former military platoon member named Jan, played with a ruthless cunning by actor Scott Eastwood, son of the uber-famous and legendary Clint Eastwood.
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“Wrath of Man” is a filmed quite well, with an above average cinematographic pace that moves with the action. It is one of those action pieces where the characters all carry guns and you tend to hear a lot of clicking, bullets being loaded and triggers snapping. Ritchie, who also wrote the film, is a master of the “work, shoot, swerve, double-cross” heist film where nothing is as it seems, and everything changes on a dime. Unpredictable, “Wrath of Man” is a surprisingly well-made heist film and does more to cement actor Jason Statham’s credibility as the best leading action picture actor working today.


"Land"
​“Walden” by Henry David Thoreau is perhaps one of the most classic pieces of literature most students are ever introduced to in school. The writer describes the nurturing silence of nature bringing solace to the tired soul. Watching the film “Land” was at times like watching a contemporary film on Thoreau’s most famous work itself. The film stars actress Robin Wright (who also directed) as the melancholic Edee, a woman who flees to the confines of nature deep within the Rockies after an unspeakable tragedy upends her world. Her initial venture into self survival alone in the woods doesn’t go as planned, but in the panic of it all, she manages to find friendship in a local hunter named Miguel, played with rustic charm by award-winning Mexican actor Demián Bichir. Both characters in the film are what most would consider loners, and they’ve self-isolated to one of the loneliest areas known to man, the unforgiving wiles of nature. There’s a slow build between the two in the film as Miguel teaches Edee how to physically survive while she teaches him emotionally live. The film itself runs just 90 minutes, but I found myself wanting more. Wright has managed in her directorial debut to give us characters, exposition, climax, and resolution in such a concise time that it’s nothing short of brilliant. I truly hope she has another turn in the director’s chair very soon. ​

"The Father"
Watching “The Father,” I was reminded of another “tour-de-acting-force” from a British actor that I covered a few columns back. The late actor John Hurt portrayed a terminally ill musician with fading gusto in “That Good Night.” Hurt’s character begrudgingly made amends with his estranged family, as his knew his time was short. With “The Father,” we have a similar setup as the overly talented actor Anthony Hopkins plays a man (named Anthony) lost to the throes of dementia. His remaining family members try their hardest to balance his mental outbursts against finding strides that resemble a somewhat normal life. Both characters in both films are fading fast as they try to remember the good times and the people around them. 

The film is actually based on French playwright Florian Zeller’s own hit, “Le Père.” Zeller himself serves as both a first time director here and as the screenwriter as well. His cast of characters is small, but quite powerful in their acting prowess. British actress Olivia Colman has perhaps the most thankless job in the entire film, portraying Anthony’s transient daughter Anne. Early in the film she brings along her boyfriend, Paul, who is played by actor Rufus Sewell. 

Hopkins’ acting here is world class, as his portrayal of a dementia patient is what earned him the Academy Award for Best Actor at the 2021 Oscars. “The Father” is a most real and most heartbreaking film in its portrayal of dementia patients with a sometimes grim, but unfiltered, camera lens.    


"Sound of Metal"
There’s indeed a cruel fate in losing ones livelihood over physical impairments. In “Sound of Metal,” we meet the drummer of a heavy metal band named Rueben, who is slowly losing his hearing with a warning that it may go away entirely one day. Such a rotten diagnosis reminds me of drummer Rick Allen for the band Def Leopard. He lost his whole arm in a car crash just as the band was reaching the pinnacle of its stardom. Did it stop him? No; instead Allen relied on a custom drum kit to keep on rocking and is still with the band as its drummer. But in the film, Rueben needs expensive ear implant surgery to possibly restore his hearing. Hearing loss isn’t his only demon to battle, as Rueben also is a recovering addict. Seeking help and shelter with his longtime girlfriend, Lou, played here with gritty purpose by actress Olivia Cooke, Rueben begins to rationalize what’s evolving in his ever changing and newfound world. 

“Sound of Metal” was nominated for half a dozen Academy Awards and won two for Best Editing and Best Sound. Sound is what this film is really all about, delving into what we humans hear, try to hear, and ultimately end up hearing. Director Darius Marder is able to completely do away with any stigmas attached to disabilities. Actor Riz Ahmed absolutely shines here in the lead role of Rueben, and he is certainly an actor to keep an eye on in the future when it comes to powerful, award worthy roles. 

"Godzilla vs. Kong"
Toho Studios in Japan was king of making rubber-suited monster movies during the 1960s, with none more popular than “King Kong vs. Godzilla.” In that Ishiro Honda directed classic, a furry looking Kong was employed to defeat Godzilla, atop Mount Fuji no less. The cheesy (but fun) rumble had Kong emerging victorious in the end. Only 59 years later, movie fans get a stylish, CGI (computer generated imagery) heavy update for new fans to enjoy. But will it end the same way?

The buzzing social media hype surrounding “Godzilla vs. Kong” is to be believed, as this film is essentially a three-round heavyweight bout of astronomically colossal proportions. The film is loosely the third part of a trilogy following 2017’s “Kong: Skull Island” and 2019’s “Godzilla: King of the Monsters.” To describe the film’s heady sci-fi plot is irrelevant, as is describing the lead actors because there simply aren’t any. The monsters are the stars, and any human involved is simply part of a massive ensemble cast with no real actor getting more screen time over another. Godzilla is essentially tearing up the world and scientists (who don’t appear to work for any sort of particular organization) decide to employ Kong to stop him. Not so fast my movie friends! Godzilla, if you remember, has atomic breath (a blue fiery spitball, if you will), and Kong must counter this in order to win.
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The film delights and dazzles with special effects by journeying everyone off to the center of the Earth for a legendary weapon. That’s where this film becomes a winner, mostly with eye-popping special effects, situations, and slams the likes of which you’ve never seen on a screen before. Not that all of the famed Godzilla body suit work actor Haruo Nakajima went through was for naught. “Godzilla vs. Kong” is the first official film to start the 2021 summer blockbuster series, and you won’t find a more fun or punchy escapist film than this one.     


"Nomadland"
At some point in everyone’s life, there simply becomes too much of everything. Too many possessions, too many obligations, or simply too much drama. It can dangerously pile up to the point of wanting to get away from it all. Writer and director Chloe Zhao seizes that sort of realization and creates a film that zeroes in on just how to handle such an event. “Nomadland” stars Academy Award winner Frances McDormand as Fern, a woman who, upon the death of her husband in a dried up Nevada town, decides to hit the open road in a van and travel the country looking for greener pastures. Not moving for any sort of permanency or stability, this is straight up nomadic life. Living out of her van, she hooks up with other nomads in an offbeat community where she learns more tricks of the trade. Because of the on-the-move lifestyle, Fern comes across many people from different backgrounds who all have their reasons for living this nomadic lifestyle. Sweeping cinematography dashed with staccato bits of humorous poignancy, “Nomadland” is easily the best film of 2021 so far.

"Safety"
A lot of movie fans and critics have issues with sports films in general, and there are two main reasons for that. First, the sport and its rules might be something wholly unfamiliar to them, and they lose interest quickly. There is also a preconceived notion that all sports films are formulaic by screenplay design. Typically, a ragtag team of misfits is coached by a flawed game manager with nothing to lose against a rival squad that typically dresses in all black and looks to settle everything in “the championship game” at the end. With viewers locked out of cinemas due to COVID-19, Disney stepped up to the line and released its long gestating football film “Safety” to streaming audiences everywhere. Not only are there no misfits, brooding coaches, or rival teams dressed in black, there’s not even a championship game. 

The film stars actor Jay Reeves in the true biographical role of Ray McElrathbey, a fresh faced defensive player on the 2006 Clemson Tiger football team. New to college athlete life, Ray absorbs himself into campus as much as he can while fending off phone calls from his kid brother Fahmarr, who insists things aren’t right back at home. Sure enough, their mother loses custody of Fahmarr, and faced with the prospects of a seedy group home, Ray takes Fahmarr in at Clemson while trying to balance roles of father figure, special teams ace, and college student. Director Reginald Hudlin doesn’t resort to slapstick situations with Ray and teammates hiding Fahmarr from a bevy of college coeds. Instead he opts for a softer approach, showing the big brother role that many young men need in their lives. A crucial role in the film is that of a journalism student named Kaycee, played wholesomely by actress Corinne Foxx (yes, daughter of Academy Award winner Jamie Foxx). She takes something of a romantic interest in Ray and eventually uses the power of the pen to help bring Ray and Fahmarr’s brotherly bond full circle. There are sweet moments of mischief and football folly here, but for a family sports film to end without that championship game but still make you feel you just won one, that’s something special. 


"Promising Young Woman"
​Carey Mulligan is an actress who I hope not only receives another Oscar nomination but follows through with a win. Admittedly, I’ve been a fan of hers since watching her brilliant performance in 2009’s “An Education.” Like many actresses out to win, I have a feeling that her performance here in director Emerald Fennell’s “Promising Young Woman” could help her to clench that gold statue. 
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Mulligan stars as Cassie, dutiful best friend to the tragic Nina, who is brutally assaulted and murdered. Subsequently, Cassie takes it upon herself to dole out revenge to those involved with Nina’s death. This isn’t merely a formulaic sort of revenge film. I simply cannot put my finger on the film genre this falls under. Thriller? Comedy? Drama? Black comedy? Perhaps a black dramedy is the best genre portmanteau I can muster here. But it is also a quite lurid op-ed on male/female boundaries. This film hits at a deeper undercurrent on what is wrong with relationships in society today, and therein lies the power and tragic beauty of this film.     

"The Midnight Sky"
It’s the year 2049 and Earth is in terrible trouble. Multiple pandemics have yielded an Earth event so devastating that the reaches of outer space are the only saving grace. Scientist Augustine Lofthouse, played with a quiet humility by actor George Clooney, has discovered a moon near Jupiter than can restart and sustain mankind. Can it be reached?

Based mostly on the science fiction bestseller “Good Morning, Midnight” by author Lily Dalton, Clooney himself produces and directs this film, which doesn’t really resort to special effects or aliens in order to be entertaining. Instead, the great middle of this film is dedicated to humanity and how best to reach it. Part of Augustine’s moon plan includes the tiny crew of a lone spaceship dubbed the Aether. Heading up their mission is astronaut Dr. Sully Sullivan, acted out with exacting skill by popular British actress Felicity Jones. The wayward communication and constant attention Augustine projects towards Sullivan creates an almost father/daughter vibe that tells the audience the real heart of this film is about unyielding protection.   

At times, this film reminded me of another weighty science fiction film, “Contact,” which was built upon such father/daughter relationships from outer space. “The Midnight Sky” is a top space flight brimming with de-escalation backdropped against the end of the world full of one man’s regrets.  Deep, thoughtful, and complex, this film is one not to be missed.


"Wonder Woman 1984"
Everyone knows that the best sequels are those that serve as a direct continuation of the first film’s story and not a rehash. With superhero films, it’s a tad trickier to do so because the villains always perish at end, thus requiring an entirely new setup in a sequel. “Wonder Woman 1984” stands apart from both of these cinematic principles and is a story that could have been taken from any issue of the famed Wonder Woman comic book series, thus continuing her story. And that, my friends, is what makes this film great.

All the players from the first film are back, including writer and director Patty Jenkins, producer Zack Snyder, heartthrob supporting actor Chris Pine, and, of course, the totally alluring Amazonian Gal Gadot in the titular role of Diana Prince herself. The setting now is Washington D.C., 1984, complete with all the Reagan-esque splendor of the times. Diana is now chief anthropologist of the Smithsonian and has just employed a goofy nerd gemologist named Barbara Minerva, played by longtime SNL comedic actress Kristen Wiig.

A mysterious stone has come to the museum for evaluation after a botched robbery, and before long it’s revealed to Diana as the fabled Dreamstone, a rock so powerful it grants any wish. True to the capitalistic excess of the 1980s, a pithy businessman named Maxwell Lord learns of it and desires to control the world’s oil supply. As I reference above, what makes this film unique in sequel terms is its resemblance to a typical Wonder Woman comic book storyline that you’d read at any newsstand and not miss a beat.
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With no retread of the original film’s plot, the film flowers into one of the many adventures of the great Wonder Woman canons. “Wonder Woman 1984” still retains  the girl-power attitude from the first film, combined with a great adventure. If you’re looking to get your new superhero film fix, “WW84”  (as it appears in social media tags) is one of the more entertaining superhero sequels in recent years.

“That Good Night”

There have been great actors who’ve tragically died before their final film was ever finally released. Heath Ledger never got to see the film or accept his well-deserved Oscar for playing the villainous Joker in Chris Nolan’s “The Dark Knight.” John Cazale likewise died before the gripping and war-torn classic “The Deer Hunter” ever debuted before audiences. One has to wonder if amongst their dying thoughts were hopes of the film being a success.

Acclaimed BAFTA winner John Hurt quietly passed away in 2017, but not before finishing up a film that is just now being released posthumously. “That Good Night” is among one of his finer works that shouldn’t be overlooked just because he passed before it was released. 

Hurt stars as Ralph, a terminally ill man who cannot come to grips with his upcoming mortality. He instead makes a quick deal with someone slyly alluded to as The Visitor, a formal man dressed totally in white and played with impeccable style by the always splendid Charles Dance. A deal is made regarding euthanasia, and Ralph looks to spend a weekend with his somewhat distant son Michael and inform him of his plan. A wrench is thrown when Michael brings his comely new lady along to meet Ralph for the first time. Situations transpire that cast a whole new light on Ralph’s terminal plan. 

Hurt filmed this around the same time he was diagnosed with a late stage pancreatic cancer, which ultimately proved fatal for him after filming. There are lines of Shakespeare dialogue that Hurt no doubt learned palling around with Peter O’Toole, Richard Harris, and Oliver Reed during his younger theater days. Based partially on a British play of the early ’90s of the same name, the acting here is performed in a stage play-like way. There’s no better way for a plucky old thespian to bow out. 


“The Informer”

I have a thirst for preposterous action films. Saturday matinee-esque serials are the best, but every once in a while there’s a film that comes along that would play more to the Saturday night crowd, and I’m here to tell you there’s nothing wrong with that. “The Informer” is such a Saturday night film, and it stars Joel Kinnaman as Pete Koslow, a special agent who became an informant for the FBI in taking down an Eastern European mafia group. Thinking his mission was finished, Pete finds himself drawn back into a violent world where he must endure a prison stint while working to save his family on the outside. This is one of those actioners where anyone could be a double agent, or mafia hit man. The cast is rounded out with Clive Owen and the always-dependable Rosamund Pike.

​“The Informer” comes off like a version of Martin Scorsese’s Oscar winner “The Departed,” with bad cops, good cops, corruption and literal mafia generals. The prime difference is that “The Informer” carries a bit less drama and a few more body bags. The violence in this film isn’t cartoonish or over the top, but by the end of the film you cannot help feel anything but satisfied with the wild ride you’ve just been on. Looking for the perfect streaming action film for a Saturday night? “The Informer” is a solid choice.