Author: Derrick Murray

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.

For a film about not being able to feel pain, “Novocaine” is sadly painful to watch for all of the wrong reasons. More like NovoCANT, amiright?

The Day the Earth Blew Up” is classic Looney Tunes, complete with gorgeous 2-D animation and a nostalgic longing without pandering or removing the heart and soul from its origins.

The Russo Brothers Joe and Anthony are back with another bloated budget streaming fodder. This entry once again solidifies the theory that their work in Marvel Studios’ MCU was a fluke. It’s hard to pin down just what goes so terribly wrong for the filmmakers when they are no longer in the Marvel machine, but “The Electric State” manages to capture every single one of their shortcomings. A mind boggling $320 million affair with nothing to show for it, “The Electric State” very well may be one of the worst films of year so far. Sure, it has some okay…

“Mickey 17” is funny and weird, a bold swing from an acclaimed director that doesn’t quite all come together cleanly but is better for existing than not being made at all.

Sleek and sexy, “Black Bag” may not be the best of Soderbergh, but it is definitely one of the best films of the year and another welcomed thriller from one of the greats. It’s a film that respects you and rewards you if you’re willing to let it, and “Black Bag” is worth the engagement it asks for.

“Opus” feels like ordering “The Menu” from Temu, “Midsommar” from Wish, and “Get Out” from that sketchy site that forces you to hard reset your iPhone after you checkout

“On Becoming a Guinea Fowl” is a transcendent cultural commentary that digs deep into the clashes between deep religious tradition and generational trauma.