Reviews

John Ford Coppola's self-funded risky mega-failure offers a rich tapestry of visionary appeal that delves into a new-Rome and Adam Driver as Cesar Catilina, a drug-induced dreamer of designing a futuristic vision of what appears to be a new version of New York. Replete with corruption and sleazy imagery of the elite class in gaudy Romanist attire and behind the scenes mechanicians, Coppola incorporates both an intense love story and hope for a better tomorrow. Nathalie Emmanuel co-stars as the daughter of the mayor of the city, a man who despises what Catilina is doing as a playboy and the ego-driven destruction of his city for Catilina own sleek futurist design. Suggestive images from David Lynch's Dune (1984) and Sean Young's Chani's own resemblance to Nathalie Emmanuel as Julia Cicero come through as Coppola has created an unexpectedly reasonable continuity throughout the film though at times unevenly edited and paced. Unlike many criticisms directed towards this movie, there is an important romantic theme incorporated into this film and the idea of a stand-alone visionary dreamer can ultimately transform society into something better has a vital message in today's corrupted society. Julia's own elitist character becomes transformed herself and her role as a counter-balance to Catilina and how their interaction with each other sparks a new form of consciousness towards humanity speaks loudly for the essential need for love in today's world. Strangely enough one could if attentive enough might consider this a feel good movie, something that might even be somehow a holiday movie.

Demi Moore is back in a big way, literally, back and front. Female director Carolie Fargeat has created a bare, gritty, and raw movie that depicts male obsession with physical beauty that also greatly influences women, especially for popular actresses and female performers. Even with two significant logical flaws involving money and physical conditioning, this movie with its superior cinematography, eerie sound effects, and creepy musical melodies along with a convoluted plot that is a mesmerizing slow burn for the first half of this horrifying and riveting movie requires deliberate and slow reflection for some to comprehend what the director and scriptwriter are trying to accomplish and the stunning message that this movie incorporates. For some this movie is ultimately a crazed grossed out and over the top bloody mess for others however it can be seen as a redemptive acceptance of the inner turmoil that each of us faces in daily life, especially women. Either way, Demi Moore's performance and courage to lay herself all out there is beyond superlative along with the help of her younger self stylishly played by Margaret Qualley who recently also had another off-beat performance in Poor Things (2023) and the completely obnoxiously portrayed Dennis Quaid.

Michael Fassbender plays a serious, no-nonsense assassin directed by David Fincher known for his music videos with A-List singers and for Fight Club, The Curious Case of Benjamin Button, The Social Network, The Girl with the Dragon Tattoo, and Gone Girl in this distinctively different spy movie. The beginning of the script takes advantage of a unique and fascinating fusion of a casual voice over much in the way of the television spy series Burn Notice (2007-2013) and the overly long but intriguing aspect of scoping out and waiting for one's target that somehow translate into a cool burn of an opening with a twist. Director Fincher portrays Fassbender as a dispassionate killer who methodically and coldly kills without conscience and many of his later victims realize this. In the fashion of the Bourne Identity series but without the overly stylized, techno savvy, slick action, Fassbender comes across instead as raw and gritty. One fight scene stands out for its street dirty style of action that is rarely presented in well-crafted and choreographed spy movies having instead the same frosty feel of the spy classic with Richard Burton's A Spy Who Came In From The Cold (1965). The last third of the movie seems to lose some of its shine with Fassbender facing his victims with an attempt at a directorially difficult to achieve creative charm but somewhat of a diminished outcome. There is a knife and a reprieve of sorts.

This intense foreign crime thriller, science fiction drama uses the conventional artificial intelligence clichés and banal AI characters and infuses them with a rich and dense story with wonderfully crafted human and AI characters in an authentic setting that captivates and envelops its audience in 16 riveting episodes. While the cult classic A. I. (2001) attempted to integrate artificial intelligence into a family dynamic, Better Than Us made it into a hyper-development project that rivals feature films solely devoted to family drama. The crime mystery oozes and then entraps the audience into an emotional vice and never lets go. And the depiction of artificial intelligence depiction in this movie peaks at just the right moment in time reflecting the real contemporary, neorealism of AI that is impacting on our society today around the world. Unlike Automata (2014) or even The Machine (2013), Better Than Us and its AI presentation is almost contemporary as GPT-5 and Strawberry are already being introduced to the public and offers a look of our world in several years. Like the recent sci fi block buster Chinese Three Body (2023, 30 episode series) on alien technology and its accompanying creepiness, Better Than Us keeps its audience exclusively on earth looking inwards towards technology and its impact on authentic human family dynamics and individual characters. Many of the movie's personas reveal complex motivations and behaviors that will repel and capture the audience's immersive attention in this swirling, delightful, intriguing, and brain convoluting emotional coaster ride to the appetizing and delicious end along with a much needed blooper relief inserts among the ending credits.

Jeff Goldblum headlines this dystopian, mythological cutting-edge dark comedy family drama with its fantastical incorporation of Goldblum as Zeus, the King of the Greek Gods, overseeing their contemporary world of modern day humans. A delightful, visionary sacrilegious satire, this eight episode television series offers biting and at times jarring scenes of emotional Gods' inhumanity to humans as they play with their toys people while the humans blindly pray for renewal in the gray depths of the dead overseen by Hades. The brilliant script and plot require no comprehension of formal classical mythological knowledge and uses an innovative and captivating use of ancient legends and characters to tell of universal themes surrounding death, love, selflessness, greed, and family that seamlessly blends its story into today's current youthful society of America along with its aging population. Seemingly this series is devoted to a narrower but cynical audience who comprehends its sharp humor with riveting drama and jolts of the glimpses of humanity and passion in the face of dastardly deceit and betrayal.

Released at the very end of 2023, this delightful romance movie brings forth a refreshing charm to the traditional romance drama and romance comedy genre. The script ingeniously avoids the typical stereotypes and expected plot jokes and drama commonly overdone and boringly reproduced from stogy past film stories and techniques that have dragged most of the recent romance movies into oblivion. Instead the main theme that Holiday In The Vineyard retains the prerequisite romance plot of rich man with devious mother meets poor woman and creates a new plotline that bursts forth from the shackles of past staid and faded copies of romance movies from the past two decades. Instead our spoiled rich man who goes undercover encounters a completely different, extended experiences of coming of age and in embracing the theme of romance, it doesn't try to simplify itself into winners and losers but embracing the winemaking dream of bringing people together. Holiday In The Vineyards is a light romantic drama that is worthy of seeing for breaking out of the long line of simulated look alike Christmas movies that audiences have had to suffer through for years.

I will write in the first person, which is unusual because for all this movie's faults it is really good. I attempted to watch it for a second time, but there were so many flaws I couldn't keep up and became bogged down. After watching this movie for the first time like two weeks ago, I can't just keep pushing off a commentary any longer. This inspiring and important sci fi movie about humans and artificial intelligence that Jennifer Lopez starred in as well as having a producer credit is really a must see movie for its substance and the future of humanity. The pacing of this movie is good and the tension between a human and an artificial intelligence is decent and competent in its depiction. I would agree that there are many small problems with the logic of this movie in many places, yet the main storyline and performances are such that it resonates and makes up for any of the movie's inconsistencies. I don't usually accept such imperfections, but the importance of this movie is such and the emotionality and tone require at least one viewing while attempting to disregard anything that annoys the viewer if possible. I wish I could have been more detailed in my objections to this movie, but it isn't worth my time and instead just go see the movie for its contents, action drama, and the essential human-AI interaction, it may just actually save humanity.

Scarlett Johansson and Channing Tatum star in this delightful drama romance loaded with humor set during the Apollo moon race with the climax of the movie centered around the moon landing itself. Unlike most romance comedies, the comedy in this movie is more authentic humor than just the typical comedy in most romcoms. The emotional drama is smoothly scripted and the authenticity of the acting and the period setting makes for a surprisingly excellent movie. The pacing is good, the plot works well, and Scarlett Johansson's character is slick but well performed. Channing Tatum plays it straight but with sight gags that are believable. Perhaps the most remarkable departure from his typical comedic persona is Ray Romano demonstrating his versatility as an actor. Except for two moments in this movie, this movie would have been perfect, the scene of a U. S. Senator announcing his vote needed to include more explanation of why he voted the way he did offering a very reflective and connecting even more to a large portion of the movie's audience and the secret that Johansson carries with her throughout most of the movie that when the reveal occurs seems underwhelming. Fly Me To The Moon stands out from any other romantic comedy for its dedication to those 400,000 people over a period of 10 years to bring one person's promise come true. Johansson, as one of the producers of this movie, should be commended for her support and involvement in this wonderful film. This movie has depth, heft, and emotional resonance for this vital moment in the history of mankind.

This Kevin Costner paid for three hour epic western has all the elements of an epic: big scale, big scenes, big performances, big plot. There is sort of an homage to the western classic How The West Was One (1962) that three directors take to shoot the two and three-quarters hour film. In some ways Costner's movie is even more raw and gritty than Clint Eastwood's Best Picture Oscar, The Unforgiven (1992). Horizon taken from the title name of a flyer that apparently inspires the white man's expansion into the western Americana reveals a tense, layered conflict between the Native Americans and the mostly white settlers and soldiers. Though perhaps not intended. The difficulty of keeping track of the primary characters forces the audience to pay closer attention to the characters and the sometimes horrific trauma many characters suffer. A relatively balanced depth of characterization, the intense action, and the personal drama immerses the audience into a revealing movie that depicts human against human and the tangible necessity of human connections and understanding. The music complements the movie and the cinematography are well-crafted by Kevin Costner's personal perspective. A great emotional and compelling experience on the big screen.

Welcome back to emotions and some new ones that appear when Riley, now a teenager, reaches a biologically important stage in her life that creates a lot of problems. The sequel has some great sequences about growing up and teenagers can relate to with a solid message about the role our emotions play in all our lives. TThe focus this time is on friendship and the need to fit in. He animation takes an appropriate a back seat as usual but allows for a dazzling fantasy exploration inside various people and resonates with vibrant, appealing words of wisdom. Great movie with plenty of humor, drama, action, sadness, and of course "Joy."

First, I am a lover of Garfield so what follows is obviously biased. Nevertheless, this full length animated cartoon movie is one of the best I have come across. The plot centers around an origination story and the present story about a mysterious disappearance that Garfield and friends must save themselves from. What is powerful about this movie is not just the pacing, the excellent cartoon comic sequences as well as the longer movie scenes, the comedy, but also the emotional humanity flowing out of the screen and affecting the audience on a deeper level than most, similar to the animated dog movie Bolt (2008). Maybe it is just the genre or narrow children's targeted storyline that audience member might criticize this movie, but for those who love Garfield, this movie is a joy to watch and give them a much more comprehensive, fuller personality of Garfield as a total identity instead of the traditional stereotypical version that is often presented in cartoons and television.

His John Karsinski written and directed and supporting character is a charming and delightful and at times visual animation fest with good emotional drama. The story unfolds with the sad development of an unhappy girl who discovers something magical in an upstairs room in the building where she is staying with her aunt while her father is also facing his own problem. The story evolves somewhat slowly for today's hyper-fast young generation, but the few families with their children in the movie theater seemed to be quite satisfied with the movie. No complaints or crying out loud at all. The overall direction, performances, and visual design seem to be a touch extra from the traditional family movies, bringing together elements from other movies and creating something fresh and captivating, an excellent beginning to this year's emerging summer season. Cailey Fleming as the girl who is struggling with becoming an adult, Ryan Reynolds as Cal who the audience gets to figure out through to the movie's end, John Karsinski allows himself a superb minor but important role not to take away from the charming Bea and Cal relationship, and even the aunt played by Fiona Shaw who became a known actress from her role in the hit spy television drama Killing Eve (2018) all give strong performances lending to a satisfying blend of acting, characterization, visual fantasy, and plot-driven story with plenty of humor, sadness, tenderness, growing up sort of, and entertainment worth the cost of admission or streaming. The beginning of the ending credit scenes also an additional smile.

This Ryan Gosling and Emily Blunt rom-com while a typically seven out of ten movie entertainment makes an upgrade to eight because of the directorial and writer's risk taking in attempting a storyline that deviants from more predictable, traditional movie plots. With a charming number of add on ending credit scenes and the atypical use of a split screen scene, The Fall Guy focuses on the behind the scenes role of stunt doubles and a rather convoluted mystery behind the disappearance of the main star of the science fiction action adventure movie within a movie. The romantic undertones and overtones between Ryan Gosling as a talented stunt double and Emily Blunt as a camera woman with higher ambitions have already started off before the movie even begins and proceeds to evolve over the course of the entire movie with good moments between the two actors. The action, drama, and the comedy are fused together in a difficult balance that eventually succeeds on the screen. The Fall Guy is entertaining and well done with a carefully but difficult to edit into a creative and somewhat unusual and entertaining storyline.

This television series based on the Chinese author Liu Cixin's The Three Body Problem (2008) later became an American version entitled 3 Body Problem (2024) shown Netflix. This review is based on the first ten episodes of thirty episodes for comparison purposes to the American version of eight episodes of the first season. This series omits the violence of the cultural revolution and instead focuses its attention on nano-material scientist Wang Miao who is changed into a female character, Augustina "Auggie" Salazar, in the American version and for most of the ten episodes appears more like a crime mystery with a rather obnoxious counterterrorist detective Shi Qiang who becomes a British intelligence officer, Clarence "Da" Shi, a much more likeable character in the American version. Shi Qiang seems miscast as an unnecessary stereotype from American films. The slow pacing of the Chinese version may be too plodding and with insufficient action for American tastes. The plot unfolds rather inscrutably, typical of the Asian mindset. The special effects are crude but what stands out in the Chinese version is the opening and closing credits sung in oddly English with eerie lyrics and fashioned almost like a homage to many of the late James Bond themes as well as at times a rather unique use of flashback scenes or continuing storylines as the ending credits roll. The extended attention paid to Wang Wiao and his family is rather intriguing as to copes with the strange events of deaths of scientists around the world that is given much less American airtime as well as Vera, one of the scientists who commits suicide early on. The two televised versions of Three-Body are very different from each other so far with the American version more of an ensemble (strikingly more socialist nature) effort while the Chinese version is surprisingly individualistic (striking more Western in nature) and at the same time with also a surprising environmental message that seems to be left more in the background in the American version.

Instead of becoming more intriguing and compelling the second third (episodes 11 to 20) becomes more cumbersome and bloated. What started as an individualistic focus on characterization unlike the Netflix ensemble of a team effort creates an increasingly unbelievable storyline of a major crime thriller. With the world and global security interest at stake, the Chinese version of Three-Body requires the audience to believe that only three individuals would be assigned to uncover the mystery of scientists committing suicide instead of an international team (ensemble) of well-versed specialists. The cultural revolution storyline belatedly gets quite a bit of attention and yet almost becomes a separate story in itself unlike the compelling back and forth, interacting past with the present used in the Netflix version. Unlike the Netflix series, the Chinese includes another darker plot running parallel and in addition to the predominate Shen Yufei's presence in this series. The amazing goggles of the Netflix series is replaced by a dated animated virtual reality consisting only of famous figures and historical periods attempting to solve the Three Body Problem that really does not offer the same tantalizing and unpredictable approach taken with the Netflix Series.

By the end of the second third of the series, one is left with a simplified version of previous sci fi storylines from other movies becoming an us versus them, cloak and dagger thriller, a three body problem that currently scientists and mathematicians have already come to the same conclusions in our real world without having to go through the unnecessary gyrations described in this series. With the American penchant for mysteries over the decades and exposure to a multitude of science fiction movies, the mystery of what is going on is fairly obvious early on the Netflix Series and instead the audience must wade through the Chinese version becoming frustratingly obtuse and inscrutable like the stereotypical image of China itself. The mysteries being sought by scientist Wang Miao and detective Shi Qiang that come to light in these later episodes have already been mostly uncovered by an American audience and deduced much earlier in the Chinese version, except for the Chinese protagonists in this series. Unfortunately, even the opening and closing credits become repetitious and loses its originality from the earlier episodes. The most fascinating series experience oddly comes from the slow evolving character of Shi Qiang who seems from his interaction with Wang Miao and Miao's daughter becoming a more rounded and at least tolerable and perhaps even likeable person at times.

The last third of this series presents a strikingly different style as if directed by a different director. The first part of the rest of the series comes across as a crime drama followed by a scientific mystery drama, followed by a primary focus on a character that has a significantly reduced role in the Netflix version and that was more smoothly intercut in that version whereas in the Chinese version the shift to the cultural revolution presents a period drama that includes an excessive amount of narrative explanation while the ending portion of this series has a rather low-grade animation continues with an excessive narrative explanation almost as if the televised versions is more of a reading from script or from a book dialogue. The disjointed presentation tone of the series has its highpoint in how polished both the crime and science drama episodes come across offering captivating mystery investigative and experimenting research approaches to deliver their stories. One of the lingering questions regarding the Chinese version plot is how long it takes for the main characters to realize what is going on and why physics does not exist. It just seems with so much sci fi in American culture could Chinese culture be so insulated from or resistant to alternative scientific explanations?

This television series appears to be based on the Chinese author Liu Cixin's The Three Body Problem (2008) that later became a Chinese movie in 2023 and likely the English translation by Ken Liu (2014) which won a Hugo Award. The plot switches between the terrifying event during Chinese Cultural revolution and later to the present day with the mysterious death of scientists around the around as well as involving the actual dilemma of predicting the orbital paths of three bodies in space. The Netflix first season is powerful and at times captivating but at the same time concluding with a disappointing inconclusive ending. One of the most original science fiction portrayals in years, 3 Body Problem has some problem with pacing in places, one or two unnecessary subplots, the earlier semi-light tone quickly darkening in later episodes, and a few scenes that really don't much rational sense that perhaps were included more for dramatic effect unlike the more consistently, scientifically, and practically filmed Interstellar (2014). The group ensemble seems less focused and compelling than those found in The Magician (2005) and Threshold (2005) television series and less dynamic than the multi-faceted sci fi television series Fringe (2008). Other outstanding movies with an alien, time themes include The Arrival (2016), the Fountain (2006), and the cult classic Slaughterhouse Five (1972). Nevertheless this series includes some of the most exotic visually titillating set designs and eerie ominous alien features that make the series stand out at times and worth experiencing along with some high emotionally intense dynamics and intimately personal turmoil among characters. Hopefully Season Two will bring better satisfaction that Season One strongly suggests.

Look closer and one might discover that Emma Myers took time out from her role of Enid of the new cult classic Wednesday television series (2022) to become another girl this time or 'er mother in this new family comedy that loosely reprises Jennifer Garner from her starring role from 13 Going On 30 (2004) again playing a mother or 'er a teenager. There is still some doubt that Jennifer continues to look as great as she does in this movie or maybe she does. Rita Moreno, 10 days shy of her 93rd birthday when this television movie was released. She also has a co-starring role here as well as one of the very few performers to win an Oscar, an Emmy, a Tony and a Grammy, thus becoming an EGOT. Even Howie Mandel from America's Got Talent was retained to play a role in this fun, family movie. This predictable family comedy hits some nice emotional highs later in the movie and adds to the ironic chaos ensuing when members of this family offer up "a multitude" of displaced body characters. However, this movie misses the highest of marks by not offering the audience more subtle distinctive differences in age behavior that at times seems to make these characters act relatively the same age as themselves. There are a few times that the wrong character is given more scene attention at the wrong time for the context of the movie especially with the parents in their younger bodies not taking more charge absently mindedly as they would more likely do. Mostly this movie keeps it together with a good number of funny scenes with a reasonable plotline that remains consistently entertaining with a decent tie-up of loose ends. An enjoyable romp, if not a classic movie experience.

This uneven portrayal of a live Barbie doll played by Margot Robbie along with Ryan Gosling as Ken creates a Mattel movie with heart that hits some nice emotional notes. Will Ferrell has the unfortunate casting as Mattel's CEO in a role that slapstick comedy that comes across at odds and does not play well either in the real world or Barbie Land, like an out of place reformed Wile E. Coyote from the old Road Runner animation (1966-73). The opening Barbie Land scenario seems to go on for too long and the intriguing opportunity for Barbie to experience the real world seems too short as well as the divided focus between the real life mother and daughter and their experiences as well as the daughter's feelings which seemed to evolve too suddenly. While the Barbie Land sets are amazingly cute and the acting in Barbie Land had a dazzling sense of toy land fascination, the overall intriguing plot seemed somehow dated and underdeveloped even for young kids today. The movie as a whole had sufficient freshness of style, Margot Robbie's impressive acting, and a dramatic plot sufficient to retain marginal sustained interest to watch the move all the way through to the end to warrant a summer vacation land of entertainment for two hours.

Is this a good movie? It is hard to describe. The pacing ultimately becomes very slow. With dramatic, eerie thriller elements from Cube Zero (2004) and the latter part of the television series Person of Interest with Amy Acker having a similarity with Sara Mitich playing Eileen in Control, this movie has its moments. Also included are sci fi components from Lucy (2014) and the emotionally wrenching scenes like from Reminiscence (2021), and the more boring but stylistically strange We've Forgotten More Than We Ever Knew (2016) as well as the classic horror movie Silent Hill (2006). Somehow the movie feels incomplete with its understandable and cyclical movie style. Emotionally intriguing, but not completely satisfying with somehow a missing and important piece of the movie element omitted for a full-length feature film. Nice attempt but consider the horror movie Dark Water (2005) or 1408 (2007) for a similar edgy but full-storied feature. This movie could have been much, much better as a one-hour television episode on The Outer Limits (1995).

A frustratingly good movie. First why does one need to have Houston as part of the movie title as Whitney herself was such a great musical star herself. But the movie itself reveals the possible dilemma of attempting to really create a great movie of a great performer. The major problem with this movie was the difficult editing decisions made to reduce this broad ranging career into bits and pieces of her life that left so many storylines of her life truncated and leaving so much out. Perhaps it may have been the movie industry itself that failed Whitney because what if a risky financial decision had been made to make a two-part movie or at least a televised mini-series of at least four or five episodes. Could it be possible that the life of a single individual was too large to be an excellent single movie? This single movie had some great moments, but unfortunately, became too choppy with too many loose ends of underdeveloped storylines, including the Whitney's mother and why her dominance became so submissive, the Whitney's business and finances, Whitney's expensive rehabilitation. There were too many gaps, including a better understanding of her drug use and her decision-making which at various points become quite annoying in regards to her father and Bobbie. But really, this is Whitney and she shined in this movie, but both Whitneys probably deserved more.

Two years after Anna Kendrick won her best supporting actress Oscar in Up In The Air, Kendrick headlined this acapella based movie to near perfection. With plenty of great singing voices and what appears to be a deliberate attempt to avoid the traditional storyline of the popular drama outline and romantic relationships, along with good casting, there is a refreshing, and more than an original note in the air about this movie. Nevertheless, there is a discordant note with the inclusion of perhaps unnecessary grossness in several scenes due to perhaps the comparative inexperience of the director as well as an underdeveloped DJ career that Kendrick's character sought instead of the more polished but subtle 2006 Devil Wears Prada version. What also stands out is the atypical avoidance of scanty female costumes often used to capture the more sensual attention of viewers instead allowing the strength of the vocals to rightly take main stage. A great, if not quite perfect, light and serious musical drama.

Visually quite stunning with delightful and creative designs, shapes, and forms while the storyline is less than original without much in the way of intellectual or emotional, ethical depth of other recent Marvel movies. Apparently this movie was focused on being acceptable to a broad audience range, including young people, Quantumania loses some of its sharp refreshing focus. The created living entities of the quantum universe are more anthropomorphic (human-based) perhaps to be more relatable to children does not reflect the diversity or original forms of life or new-life that would really make this film stellar. As even as special as the set designs and special effects make for a gorgeous setting, there is still room for more crisp, detailed and immersive design work. Some backgrounds end up being mere basic animation projections that do not come up to the level expected of contemporary Marvel productions. Yes, this movie provides an amazing backdrop or canvas and yet the substance and plot of the movie does not rise to the same level. What one ends up with is a movie with a lot of flash but less than satisfactory bite.

This vibrant and authentically executed story of a young woman from a meager family against her father's wishes goes to Tokyo to become a dancer. The immersive, sharply etched quality of photography closely follows the woman played by Bambi Naka as Yume through various behind the scenes life of real Japan with plenty of appetizing exposure to apparently real dancers in many different settings including Hip-Hop, Go-Go, S&M, and modern. There are elements of Bill Murray's character experiencing Japan in the Oscar Best Picture nominee Lost In Translation (2003) and some of the crisp cinematography from Stanley Kubrick's Eyes Wide Shut (1999). This dance movie far exceeds the typical dramatic storyline of almost any film in the dance genre in its efforts to depict real dance and living life without pretention or fictional drama that often exudes from most other dance movies. Instead, the audience is invited along with Yume to actually experience pieces of her life as she seeks a foothold in Japan as a dancer. The only two obvious weaknesses that hold this movie back from near perfection is the just slightly undeveloped reveal of how Yume is able to really afford to stay in Japan even as great glimpses of her being a hostess and another dance job further on in the movie and her climatic physically painful dance competition routine of the movie just does not quite have the amazing choreographic power to convince the audience of its importance to the movie's ending (under-utilizing her adopted crow stage name and limited use of the stage with a custom that does not allow her to really show off herself as she dances physically or visually nor do we really see much of the audience making dance competition less than authentic). Nevertheless, Dreams On Fire is one the best dance movies produced.

Your typical commoner girl (this time a writer with writer's block) recently dumped and a "typical" prince who happen to meet on this beautiful marine preserve and the rest is predictable. This movie has a slightly different bent in which the reveal happens earlier than usual and the resulting dilemma takes more time to resolve while the writer is confronted with more of a intellectual problem than usual. The scenery is gorgeous, and the pacing is competently presented. For those interested in the by now well-used rom-com story with a little more bite, this movie has all elements that romantics have come to expect and a tad bit more.

A boy reluctantly goes to visit his uncle and his family in Mexico and comes across a mystical animal. There is nothing new about this version of this family movie, but the introduction of the bilingual, bicultural tonality is refreshing. Christian Slater appears as a rather vague scientist-poacher persona that is given a less evil characterization than most black and white adventure movies. This movie also offers a taste of Mexican culture, including the Mexican wrestling phenomenon as well as a suggestion of dementia in a soft dramatic way. Chupa is a pleasant, predictable family entertainment that is flavored with environmental concerns offers up a simple, well-paced story.