Derrick Murray is a Los Angeles based stand up comedian, writer, and co-host for The Jack of All Nerds Show.
“Sinners” is bold and beautiful and kind of all over the place, but whatever misgvings you may have about the narrative construction take a back seat to all of the film’s excellence. And “Sinners” is so goddamn entertaining it doesn’t even matter if some things don’t make sense.
In a world of unoriginal IP franchises and unnecessary remakes, family friendly cinema is all but craving for something original and timeless. “The Legend of Ochi” should be a welcomed entry into this canon, a wholly original and vibrant fantasy adventure clearly inspired by things like “The Never Ending Story,” “E.T.” “The Dark Crystal,” and ‘Labyrinth.” And while there is some exceptional practical puppetry, gorgeous visuals, and the cutest creature this side of Grogu, the magic is missing from the land. In its effort to be a classic kid friendly throwback, it thrusts itself into some iconic company “The Legend…
Perhaps I’m growing weary of the massive influx of IP and remakes, reboots and franchises that take over the theater week after week. Not that all of those are bad, but there’s a longing for something original and familiar. A nostalgia for straightforward genre films they just don’t make anymore…but the kind we use to get all the time. Maybe that’s why “Drop” worked for me. It checks all the boxes of the late 90s/early 2000s thrillers, reminiscent of things like “Red Eye” or “Nick of Time,” and more recently “Carry-On.” Sure, it’s not nearly as well constructed or everlasting…
It feels somewhat wrong to be so critical of a film that seems tailored made to my cinematic sensibilities. One that is comprised of nearly everything I’ve been asking for films to do more of over the last few years. In a sea of endless IP and remakes, something like “Freaky Tales” should be a giant breath of fresh air. It takes risks, goes for broke, and is about as original as anthology films can get. It’s bombastic, self aware, hyper stylized, and a loving ode to city and cinema. And most importantly, it spends a large portion of its…
The retread of scandals and true stories are abundant in American cinema and our desire to see more of them rarely wanes. “The Luckiest Man In America” is the latest entry into the ‘based on a true story’ scandal genre, one that plays fast and loose with the facts (nothing new to these kinds of films) despite existing in a rather contained setting and timeframe. It’s a difficult film to wrap my words around, existing in a sort of forgettable yet fascinating limbo where I both appreciate and criticize the film’s ambitions. There’s a propulsive story undercut by its own…
It goes without saying that Val Kilmer should’ve been a megastar. He had all the charisma, charm, and cool needed to be the kind of superstar celebrity of the old guard. But more in love with the work than the fame and fortune, Kilmer ultimately followed a different path, one where he pursued a multitude of endeavors outside of film and solidified himself as one of your favorite actors’ favorite actors. Often the best part of anything he was end, he leaves behind a vast filmography filled with iconic performances and hidden gems that are – if for no other…
“Death of a Unicorn” meanders about without a sense of urgency, and even when the horns come out and the bodies start dropping, it never feels like anyone is all that worried about their impending doom. Nothing ever feels earned, so all of the payoffs – be it justice or reconciliation or redemption – all feel contrived rather than organic.
The reality is simple: when you sign up for Jason Statham, you GET Jason Statham. One of the last true action stars of our generation, Statham knows what he does best and rarely deviates from his day job of kicking ass and collecting checks. I’d argue he’s actually best as a comedic actor and doesn’t get enough roles to showcase his pretty solid comedic timing, but like clockwork he returns in “A Working Man,” another action thriller that reunites him with David Ayer (“Suicide Squad”) in a role that feels as workmanlike as the title would suggest. This is becoming…
I’m often the first one to harp on films that struggle to explain aspects of their world and rarely give high marks for style over substance filmmaking. The latter typically relies on vibes and visuals, two things that can elevate a film but not make one completely. Narrative gaps in world building rely on its themes and cast to power it through, and often leave far too many unanswered questions in the end. That being said, “The Assessment” forces me to break my own rules, forgiving any of its dystopian future gaps and heavily favored style and championing it as…
“Magazine Dreams” may do a few half reps with bad form, but it hits a number of PRs by putting Majors at the center.
