Tag Archives: Movies

Movie Review: “Jurassic World Rebirth”

Dinos roar again in sixth sequel, with an all-new cast and Spielberg-ian overtones of the 1993 original

Jurassic World Rebirth
Starring Scarlett Johansson, Mahershala Ali, Jonathan Bailey & Rupert Friend
Directed by Gareth Edwards
Rated PG-13

In theaters Wednesday, July 2, 2025

Dinosaurs became extinct some 66 million years ago, until, that is, director Steven Spielberg brought ‘em back in a big way. His Jurassic Park in 1993 established a dino-mite film franchise that’s still roaring, now into sequel number six.

In Jurassic World Rebirth, set several years after the events of the previous film, 2022’s Dominion, the Earth’s climate has proven unwelcoming to laboratory-bred dinosaurs. (Despite the franchise title, it’s just not “Jurassic” enough.) So, a team of covert operatives infiltrate an abandoned dino research facility on a remote island now inhabited by crossbred dinosaur mutants, which continue to thrive in the wilds of the equatorial tropics. They’re on a mission to extract dino DNA, while there are still some dinos around to provide it, that a pharmaceutical company intends to use for medical purposes.

What could possibly go wrong?

Scarlett Johannson stars as a mercenary for hire, lured by a multimillion-dollar payday. Ditto for the boat captain played by Oscar-winning Mahershala (Moonlight) Ali. They’re both working for a tagalong pharmacy rep (Rupert Friend), who also enlists a hunky-nerd paleontologist (Bridgerton’s Jonathan Bailey, who also starred in Wicked). To keep things interesting, they all cross paths with a papa Manuel Garcia-Rulfo (from The Lincoln Lawyer) and his three kids, who just happen to be on their own collision course with dinosaur island.

It’s a Jurassic movie, so of course there are monsters—in the water, in the air and romping and stomping and snarling all over the place. Director Gareth Edwards creates some intense, dramatic encounters with an array of menacing creatures, including some crossbred amphibious mutations like the terrifying Distortus Rex, with a bulbous head and six limbs, and the Mutadons, flying carnivores the size of military F-16s.  

Spielberg, who only directed two Jurassic flicks, remains onboard as a producer. Maybe that’s one reason so much of Rebirth seems to be retreading the past, with scenes that echo moments from the 1993 film and callbacks to the original, like a big unfurling museum banner that reads “When Dinosaurs Ruled the Earth,” which appeared in the closing shot of the first movie. One character misdirects a lurking dinosaur with a red flare, as Sam Neill did more than 30 years ago, and there’s another, whose greed leads him to a fate akin to Dennis Nedry (Wayne Knight) when he tried to smuggle dino embryos off the island.

There’s still that good ol’ Spielberg sentimentality, too, especially with a little girl (Audrina Miranda) who becomes a hero, her big sister’s wayward-teen boyfriend (David Iacono, from Netflix’s The Summer I Turned Pretty) who also proves his worthiness, and a cute little tagalong dino nicknamed Delores, which you’ll most likely be seeing as a mass-merched kids’ toy.

There’s plenty of talking in between the post-prehistoric action, including discussion about the situational ethics of dinosaur breeding and big pharma spending mega money to make even more mega money. It’s hard to miss the parallel to the entire Jurassic franchise, which continues to mine movie dinos for astronomical profits.

And now, in the world spawned by Jurassic Park, humans and dinosaurs continue to coexist, even though the dinos don’t really have much use for the ongoing exploitation of us puny bipeds. “They may be through with us,” says the movie’s pharmacology dude, “but we’re not through with them.” Somewhere in the distance, I hear the roar of an eighth Jurassic movie…

Neil Pond

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Movie Review: “How to Train Your Dragon”

How the new live-action redo keeps the animated original’s messaging, more timely than ever, intact

How to Train Your Dragon
Starring Mason Thames, Nico Parker & Gerard Butler
Directed by Dean DeBlois
Rated PG

In theaters Friday, June 13

A live-action remake of the 2010 animated Dreamworks flick, the new How to Train Your Dragon remains faithful to the original film’s messaging of acceptance, friendship, coexistence, family and self-discovery in its tale of a fresh-faced Viking lad who longs to be a dragon-fighting warrior. But Hiccup has a change of heart when he tames—and trains—a creature that represents exactly what the rest of his clan loathes.

It’s faithful to the original in other ways too. In many instances, it almost seems synched, framed, blocked out and sequenced shot-by-shot. That won’t do much to convince people who decry how Hollywood just seems to make the same movies over and over and over, re-mining old “intellectual properties” for new profits. In this case, it’s literally true.

Mason Thames (formerly menaced by Ethan Hawke in The Black Phone) stars as the teenage dragon whisperer Hiccup, the son of his tribe’s burly, dragon-slaying chieftain (Gerald Butler, who also voiced the original animated character). British actress Nico Parker (the daughter of actress Thandie Newton) plays Astrid, Hiccup’s competitor in the dragon-fighting arena who eventually becomes his dragon-taming ally and love interest. British funnyman Nick Frost is Gobbler the Belch, the village blacksmith.

The screen is filled with a plethora of CGI winged creatures, dragons ranging from monstrous to whimsical, pint-sized to preposterously gigantic. Hiccup has a gaggle of misfit teen friends. Everybody wears horned helmets (they’re Vikings, after all), and lots of fur. There’s a sly G-rated joke about a metal headpiece made from a female breastplate.

In a unique twist, director Dean DeBlois was also the director of the original animated film, plus its two follow-ups. This is a guy who knows his Dragons. And he also knows what works, mixing soaring, clanking, swooping visual spectacle—that might remind you of Avatar mixed with Netflix’s Vikings and a dash of Gladiator—and softer family-friendly coming-of-age drama woven into sentimental themes of a father and a son, a young man finding out who he is—and a group of comedically crusty, battle-hardened Vikings learning, again and anew, how to live in peace and harmony with something they once feared, fought and killed.

In these troubled and turbulent and fractious times, maybe that’s a message that we all need to watch—and see and hear—again.

—Neil Pond

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Movie review: “The Phoenician Scheme”

Director Wes Anderson’s latest eccentric curveball of a movie has an all-star cast in a globetrotting tale of shady international business shenanigans

The Phoenician Scheme
Starring Benicio Del Toro, Mia Threapleton & Michael Cera
Directed by Wes Anderson
Rated PG-13

In theaters Friday, May 30

Like other films by director Wes Anderson, The Phoenician Scheme is an eccentric curveball of quirky characters, dark humor, deadpan delivery and meticulous visual flair. If you loved Moonrise Kingdom, The French Dispatch, The Royal Tenenbaums and The Grand Budapest Hotel, you’ll feel cozily at home with this wildly unpredictable, globetrotting tale of an amoral, assassination-dodging 1950s tycoon (Benico Del Toro) trying to put together a massive power-grab project in the Mediterranean.

In between recurring avant-garde afterlife dream sequences, there’s international sabotage and market manipulation, oddball investors, retro-cool gizmos, an insect-loving Norwegian etymologist (Michael Cera) with a secret, and a pipe-smoking young woman (Mia Threapleton) who may, or may not, be cut out for the convent life. Tom Hanks and Brian Cranston play a pair of characters who do business over a game of basketball…in a train tunnel. There’s Scarlett Johannson, Hope Davis, Stephen Park, Riz Almed, F. Murray Abraham, Jeffrey Wright, Charlottes Gainsbourgh—and Benedict Cumberbatch as an estranged uncle with a grudge, and a golly-whopper thicket of facial hair.

A recurring line is “Help yourself to a hand grenade.” And most people do.

Benicio Del Toro, Mia Threapleton and Michael Cera

There’s a group of militant guerrilla fighters, discussions about faith and atheism, two plane crashes, quicksand, flying arrows from a crossbow, and an endearingly soft emotional subtext about the importance of family.  And oh, yeah, Bill Murray is God.

It’s all played super seriously for laughs, with everyone all-aboard the big, caustically funny running joke. Some of the faces will be familiar from previous Wes Anderson movies, but Threapleton (the daughter of Oscar-winning Kate Winslet) and Cera both shine in their debuts with the director, becoming central to the movie’s ever-evolving plotline. Here’s hoping to see them both again in another wild-ride Anderson caper.

“This is just…crazy,” Threapleton’s character says at one point. You may agree. The Phoenician Scheme is, indeed, crazy—but it’s precisely the kind of delightful absurdity that fans of Wes Anderson movies have come to expect and adore.

Neil Pond

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Movie Review: “Mission: Impossible—The Final Reckoning”

Tom Cruise goes out with a slam-bang in his supposedly last installment of the iconic big-screen spy-action franchise

Mission: Impossible—The Final Reckoning
Starring Tom Cruise, Hayley Atwell, Ving Rhames, Simon Pegg & Esai Morales
Directed by Christopher McQuarrie
Rated PG-13

In theaters Friday, May 31

In this eighth (and ostensibly final) installment of the big-screen franchise, which revived the deep-dish espionage of the iconic 1960s TV series in the ‘90s, Tom Cruise reprises his starring role as Ethan Hunt, a rogue IMF (Impossible Mission Force) agent faced with another seemingly “impossible” task— to save the world from annihilation by an all-consuming truth-eating digital parasite known as The Entity.

How’s he going to do it? “We’ll figure it out,” he says.

Figuring it out is a bit of a challenge for the audience in this nearly three-hour spectacle loaded with gravitas, self-reflection, doomsday vibes, loads of expository blather and a couple of show-stopping stunt sequences. The plot is crazily confusing, its cup runneth over with actors from previous films, and there’s a lot of talking—about what’s happening, what happened, and what it all means. In case you’ve forgotten, it throws in some greatest hits of Mission: Impossible movie highlights from the past two decades.

But when Cruise takes a deep dive to the bottom of the icy Barren Sea, to find a digital doodad left behind in a sunken Soviet sub clinging precariously to the edge of a bottomless abyss, or when he dangles with derring-do in a grand finale involving two dueling biplanes in the skies over South Africa, well, such preposterously complicated, supremely slam-bang stunt stuff makes you forget about the movie’s more, ahem, tedious passages. In case you haven’t heard, Cruise proudly does his own stunts, and in these two extended scenes, he earns a couple more gold stars—and shows where some of the film’s reported budget of $400 million went.

Hayley Atwell returns as Grace, the former thief now turned IMF agent. There’s Simon Pegg and Ving Rhames, as Ethan’s closest friends and allies. Pom Kiementieff takes a break from playing the alien creature Mantis in Marvel Guardian of the Galaxy movies to return as Paris, the French assassin with a vendetta for Gabriel (Esai Morales), who holds the key—literally—to The Entity. Angela Bassett is the U.S. president, who finds herself in a very tough geo-political spot.

If you’re looking for how the movie nods directly toward its predecessors, there’s the character played by Shea Whigam, from Boardwalk Empire, who traces the intellectual property’s genetic line all the way back to its TV roots. And hey, is that Nick Offerman as a high-ranking military general, and Ted Lasso’s Hannah Wadingham as a Navy official trying to prevent World War III? Yep!

At one point, Ethan is told that “Everything you are, everything you’ve done, has come to this.” That’s certainly true with Tom Cruise and his new Mission: Impossible, which makes a point of reminding us of its impressive run of big-screen escapism across nearly 20 years.  

The movie, which began filming back in 2022, hits screens at a time when its storyline feels especially linked to our contemporary world, with modern worries about AI and cyberspace, fraught international relations and the possibility of nuclear self-destruction. And it doesn’t appear like we can count on Ethan Hunt to come along anymore, hanging from an airplane wing or escaping from a submarine torpedo tube, to save the day.

But then again, you never know… And as we’ve learned in the movies, nothing is impossible!

—Neil Pond

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Movie Review: “One of Them Days”

Keke Palmer and rapper SZA are seriously broke besties in this riotously funny street-smart female buddy comedy

One of Them Days
Starring Keke Palmer and SZA
Directed by Lawrence Lamont
Rated R

In theaters Friday, Jan. 17

Two broke besties have a wild day in L.A. in this raunchy, riotously fun street-smart female buddy comedy that kicks off the new year’s movie season with a load of laughs. When Dreux (Keke Palmer) and Alyssa (Grammy-winning rapper SZA, making a very impressive film debut) find out a freeloading boyfriend (Joshua David Neal) has absconded with their rent money, they’re off and running a crazy gauntlet of urban misadventures to get it back.

Along the way, they engage with a gaggle of characters who all contribute to the careening comedic spin. There’s the former stripper (Janelle James from TV’s Abbott Elementary) having a very tough first day working her new job at a blood bank. Another Abbott Elementary alum, Kayla Monterroso Meija, is a stressed-out clerk at a predatory loan company with a ridiculously high interest rate. Dreux swoons for a handsome guy (Patrick Gage) in a Mercedes, until she begins fretting that he might be an axe murderer. A voluptuous temptress (Aziza Scott, from TV’s Home Before Dark) certainly lives up to her nickname of Big Booty. When Alyssa recovers a pair of pricey Air Jordans off a power line, they run afoul of the shoes’ owner, a thuggish gang leader (Snowfall’s Amin Joseph). Euporia’s Maude Apatow is a chipper new—white—resident in the girls’ otherwise all-Black apartment complex, where she becomes an unlikely ally.

SZA and Keke Palmer star in “One of Them Days.”

But the movie belongs to Palmer and SZA, who have a natural, easy-flow chemistry as they plunge right into the riotous rush of it all, while an onscreen countdown clock keeps popping up to show how much time Dreux and Alyssa have left before they’re evicted from the apartment—or worse.

It’s wall-to-wall randy, rat-a-tat-tat zippy and zingy, peppered with f-bombs and other colorful zingers not meant for little ears. See if you can fill in the blanks of this sample of dialogue: “____, I got knocked on my ___ because of them ____.”  Asides about Black hair, Church’s chicken and one character’s, ahem, well-endowment all generated waves of raucous laughter at the screening I attended.

And underneath it all, there’s the foundational subtext of scrappy young Black women navigating jobs (and job interviews), testy romantic relations, depressing economic realities and rapacious rivals, while maintaining their own bonds of sisterhood. When they toast at the end, with Flaming Hot Cheeto margaritas, you’ll taste both the spice and the rich sweetness.

“It’s ghetto,” Dreux says, taking a sip, “but it’s got a runway quality to it.” You might say something similar about One of Them Days: It’s gloriously ghetto, but it totally runs with the gritty glamour of it all.

—Neil Pond

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Movie Review: “Wicked”

Cynthia Erivo & Ariana Grande rock the not-so-merry old land of Oz

Wicked
Starring Cynthia Erivo, Ariana Grande, Jeff Goldblum & Michelle Yeoh
Directed by Jon M. Chu
PG

In theaters Friday, Nov. 22

What’s the biggest, greenest, most Wicked-ly wondrous thing in the world?

Right now, it’s this dazzling new movie adaptation of the long-running Broadway blockbuster swooping onto the big screen with the fabled backstory of the witches from The Wizard of Oz. One the most hotly anticipated films of the year does not disappoint; it’s a visually stunning, fantabulously festooned song-and-dance extravaganza with magical moments and sweeping emotions, all built majestically around costars Cynthia Erivo and Ariana Grande as the young women who eventually become Oz’s polar-opposite sorceresses…and the premise that the green “Wicked Witch” didn’t start out wicked, the beautiful Good Witch wasn’t always so good, and “merry old land of Oz” holds, and hides, some not-so-merry secrets.

Fans of 1939 movie, and the Tony-winning musical it became more than 20 years ago, will delight in the sights (Extravagant costumes! Fantastical sets! Retro-riffic gizmo-trons!), the sounds (Toe-tappers! Showtunes! Big Broadway ballads!) and the movie’s meticulous attention to detail. (If you’re looking for ideas for a new pair of glasses, Wicked wire-rims rock.)

And if you’ve seen the musical, you probably know how Wicked foreshadows events and characters that would come later in the timeline of Oz, including the Cowardly Lion, the Tin Man and the Scarecrow…and the witch who gets smushed under Dorothy’s house. You’ll find out the origins of the Yellow Brick Road (and why it’s not some other color), get a quick glimpse of the Wizard’s real name (it’s Oscar Diggs), and learn the reason those flying monkeys got their wings. And you’ll understand how Erivo’s character, an “outsider” born with freakishly green skin, becomes shaped by fate and her own empathetic sense of right and wrong, only to become reviled and feared as evil, twisted and wicked.

Jeff Goldblum serves up a touch of seductive whimsy—and wily deception—as the Wizard. Michelle Yeoh (who also starred in director Jon M. Chu’s Crazy Rich Asians) is Madame Morrible, the head of sorcery at Shiz University (Oz’s version of Hogwarts), where Glinda (Grande) and the green-skinned Elphaba (Erivo) meet as young students. Peter Dinklage is the voice of a history teacher, who happens to be a goat. Jonathan Bailey, an award-winning British actor, steals his scenes (as well as hearts) as Prince Fiyero, a self-centered hunk of eye-candy charm.

It’s all a fab fantasy, for sure, but the musical also fleshes out allegorical undertones in the books by L. Frank Baum (on which the 1939 movie was based), about lies, politics, racism and the dangers of daring to different. When Elphaba arrives at the university to the gasps and giggles of her classmates reacting to her skin the shade of grass, it harkens back to the turmoil of racial integration in the 1950s—with Wicked green as the new black.

But you won’t get hung up and weighed down by the incidental heaviness as this jubilant musical soars and unfurls its heart-tugging, fiercely pro-feminist saga of two rivals who overcome their differences and become friends—and eventually diverge onto separate paths to their future. You may be moved to applause—or tears—by infectiously buoyant songs like “Dancing Through Life” and “Popular,” the melancholy “I’m Not That Girl” or “Defying Gravity,” the colossal closing number that reminds us that “everyone deserves a chance to fly,” to be who they are, and who they want to be. There’s a lot to make you smile, think, and even laugh.

And you’ll be wholly gob-smacked by the performances of Erivo—all but surely headed now to EGOT-ville with the growing buzz about an Oscar to round out her Tony, Emmy and Grammy—and Grande, a spectacularly gifted pop singer who absolutely crushes her first major film role, in a film that will certainly wear the crown as the movie musical event of the year, a grand-scale gollywhopper that will leave audiences wide-eyed…and hungrily waiting for its part two, set to arrive next November.

Until then, keep it green, keep flying—and don’t make any winged monkeys mad!

—Neil Pond

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Movie Review: ‘Fly Me To The Moon’

Stars shine in this fanciful space-age screwball spoof spinning around a faked moon landing

Fly Me to the Moon
Starring Scarlett Johansson & Channing Tatum
Directed by George Berlani
Rated PG

In theaters Friday, July 12

In this space-age screwball comedy-slash-love story, it’s the late 1960s and America is falling behind in the moon race. The Russians have beat us in getting a satellite into orbit, then putting a man into space, and NASA is playing catchup. Can we make it to the moon before the Commies? Enter Madison Avenue spin specialist Kelly Jones (Scarlett Johansson), sent by shifty White House agent Moe Berkis (Woody Harrelson) to drum up support for America’s space program—where Kelly immediately butts heads with NASA’s beleaguered all-American launch director Cole Davis (Channing Tatum).

That’s the “meet cute” in this comedically farcical yarn with a fictional Hollywood romcom grafted onto real historical drama. Will NASA get the funding it needs—and the public support—to launch a successful moon mission? Will Johansson and Tatum’s characters fall in love? Will we learn about her secretive past, or the reason he didn’t become an astronaut? Will a stray black feline—a universal omen of bad luck—derail everything, like in Disney’s 1965 comedy That Darn Cat?

Yet another layer gets added to the story when Harrelson’s special agent demands that a fake moon landing be staged and filmed for backup in case the real one has a glitch—and Kelly brings in a flamboyant, over-the-top director (Community’s Jim Rash) to make it happen. You’ll also see Ray Romano, but mostly underused in a supporting role as a veteran NASA engineer.  Johansson’s real-life hubby, SNL’s Colin Jost, gets a cameo as a moonstruck senator.

As a kid in the 1960s, I was deep into space—wanted to be an astronaut, had toy spaceships and spaceman figures, launched model rockets and knew all about NASA’s Mercury, Gemini and Apollo missions, gleaned through copies of Life magazine and TV news. I have to say, the kid in me geeked out at just how closely this movie aligns with the way things really were, or at least seemed to be, down there in Florida at Cape Canaveral. Fly Me to the Moon is a bright blast of nostalgia for anyone who grew up interested in America’s real space race, and how our program had to scramble once the Ruskies got ahead in the game—and what fashions, and hairdos, looked like in the 1960s. In the movie, everything falls under the long shadow of the tragedy of the first Apollo mission in 1967, which resulted in the fiery deaths of three astronauts before it could even get off the ground.

The movie is also a sly nod to how advertising began to creep into everything during that era, including the space program—with breakfast drinks, wristwatches, even kids’ underwear. Kelly knows all about stretching the truth to sell a product, and Cole insists he won’t compromise NASA’s integrity by turning its space program into a flying billboard.

The romance part might not be true, but you’ll be charmed by how it all falls into place with a couple of lead actors who happen to be very easy on the eyes. Director George Berlani brings a wealth of experience as a successful TV writer and producer (Dawson’s Creek, Brothers and Sisters, Riverdale) to his role, basking his stars in a classic-Hollywood retro glow resembling something in vogue when the 1950s song from which the movie takes its title was first on the radio. And meanwhile, the war in Vietnam rages offstage, threatening to take America’s gaze off the heavens.

You probably know how the true part of this story ends, that America (spoiler alert) really did plant our flag on the moon, the Vietnam war ended and President Richard Nixon resigned in disgrace. But the real objects to set your eyes on in Fly Me to the Moon isn’t the moon, but the two stars who soar through this zippy romcom romp that jauntily blurs the lines between fact and fantasy, providing a sparkly romantic grounding to a story that’s otherwise out of this world.

—Neil Pond

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Inside Spielberg’s Fantasy Factory

A guided tour of animated DreamWorks movies

The Art of Dreamworks Animation

The Art of DreamWorks Animation

By Ramin Zahed

Hardcover, 324 pages ($50, Abrams)

 

The movie studio created in 1994 by Steven Spielberg, Jeffrey Katzenberg and David Geffen quickly became a major Hollywood player, and this handsome, high-end coffee-table book celebrates the production company’s achievements in animated films including the Shrek, Madagascar and Kung Fu Panda franchises, as well as single releases such as Chicken Run, Puss in Boots, The Prince of Egypt and the recent Mr. Peabody and Sherman. More than 320 sketches, production designs, computer-animation graphics and still reproductions are accompanied by commentary from DreamWorks artists and movie directors, making for a gorgeous guided tour inside one of Tinseltown’s most successful fantasy factories.

 

—Neil Pond, American Profile Magazine

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Slices of Masterpieces

A meticulous, moment-by-moment look at the magic of the movies

MomentsThatMadetheMoviesMoments That Made The Movies

By David Thomson

Hardcover, 304 pages ($39.95, Thames & Hudson)

Thomson, an accomplished film historian, author and the movie critic for The New Republic, painstakingly examines meticulously selected scenes from 70 films spanning a century of cinema, nothing each one’s unique contributions to the art form’s history and development. Many you’ll recognize (Gone With The Wind, Psycho, The Godfather); others are buried treasures (Burn After Reading, Sansho The Bailiff, A History Of Violence); after reading what Thomson says about them, you’ll be convinced they’re all slices of masterpieces. With more than 250 color and black-and-white photos, it’s a visually thrilling tour of the magic of the movies, one special moment at a time.

—Neil Pond, American Profile Magazine

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