Moonshot

By: Andrew Wing

Moonshot is a 2022 American science-fiction romantic comedy film directed by Chris Winterbauer and written by Max Taxe. It stars Cole Sprouse (The Suite Life of Zack & Cody, Riverdale), Lana Condor (X-Men: Apocalypse, To All the Boys film series), Mason Gooding (son of Cuba Gooding Jr., and he recently starred in Scream - see Ted’s full review of that here), Emily Rudd (Fear Street trilogy), and Zach Braff (Scrubs, Garden State).

The plot follows a college student, Sophie (Condor), who helps a barista, Walt (Sprouse), sneak onboard a space shuttle to Mars. Together, they join forces in order to be reunited with their significant others, embarking on a lively journey that takes them wildly off course.

The film was released on HBO Max on March 31, 2022.

THE GOOD

With as crazy a year as 2022 has already proven to be when it comes to movies, Moonshot completely went under my radar. I actually didn’t even catch it until it popped up on the HBO Max homepage one day last month. Needless to say, I did some research and saw that it was starring the guy I grew up watching every morning before school in Cole Sprouse from both The Suite Life of Zack & Cody and The Suite Life on Deck, so I knew right then and there that I had to check it out. Aside from that, it also starred Lana Condor who was the star of the Netflix To All the Boys trilogy (2018-2021) that I actually really enjoyed watching. Despite all that, I had never heard of the director before and it is labeled as a sci-fi rom-com which is a blend of genres that I don’t know if any film before has tackled all at once. With all that said, were the familiar faces enough to make this a quality movie that is worth the watch? Keep reading to find out!

I am not going to write a dissertation on this, so let’s just get right into it. This film pleasantly surprised me as I enjoyed it from start to finish. It was a unique story that was very well written by Max Taxe, and the fact that the director Chris Winterbauer was able to blend these three very distinct genres together and make a solid movie is very impressive to me. Continuing with Winterbauer, there was more he did that impressed me. None of his directorial choices were off the charts or mind-blowing, but he knew what he was trying to make and what he was working with, and that led to him having a pretty good feature film debut if I do say so myself, and I look forward to seeing what he does next!

Next with the performances, and it’s only right that I start with the two stars. Both Cole Sprouse and Lana Condor were great, but Sprouse is definitely the main character of the film and his performance was the best in my opinion. Sprouse has really just been doing the CW television series Riverdale for the past five years, which I admit I do watch, but it’s not that great of a show, to tell the truth. However, he starred alongside Haley Lu Richardson in the 2019 romantic drama film Five Feet Apart and he was great in that, and after another good performance in this, I really hope he starts getting more roles in movies. Yes, I am biased when it comes to him just because I loved him and grew up watching him on the Disney Channel, but he is really a talented actor and he put that on full display here.

With Condor, she was perfect in her role. As I said, I loved her in the To All the Boys trilogy, and in this, despite it still being a romantic film, she showcased some more of her acting skills with some comedy that I didn’t see coming. Her chemistry with Sprouse I thought was fantastic, and there is no denying that she has a very bright future ahead of her. Sprouse and Condor were the stars of the show no doubt, but all of the performances helped make the movie as enjoyable as it was. From Mason Gooding, Emily Rudd, to Zach Braff who played a sort of comedic Elon Musk type of character, all of the actors played their roles tremendously.

Other quick things I want to touch on when it comes to Moonshot were the cinematography, production design, visual effects, and also the soundtrack. The cinematography was done by Brendan Uegama and I will now remember his name as I thought there were some stunning shots in the film. The look of the film wasn’t on the level of some of the other sci-classics from the past decade like Gravity, Interstellar, or the lesser-known Ad Astra, but it added a lot to the film and continuing with the look of the film, the production design was superb when it came to the shuttle they were on, and the VFX were miles better than I thought they would be when I hit play. And lastly, the soundtrack was solid. It was very modern as it included a lot of the top songs from the past year, but it brought the film to life and it meshed very well with David Boman’s score.

THE BAD

Yeah, so if you can’t tell yet, I was pretty pleased with Moonshot. It was a fun watch, it was better than expected, and I would recommend it, but despite all that, it did have its flaws. First, it’s important to note that this film will not be in any awards conversations later in the year, and there is nothing wrong with that. But just to address some of the things I didn’t vibe with when it came to Moonshot, it was predictable like most rom-coms are, I think it could have been a good ten to fifteen minutes shorter but it didn’t bother me too much, and lastly, the side characters that were meant to be funny were terribly not funny. I won’t name names, but there was one character who to me was literally just trying to be like Kate McKinnon from Saturday Night Live and it was annoying, to say the least. Other than that, Moonshot definitely has more good than bad and I liked it.

THE VERDICT

While it won’t be in the awards conversation towards the end of the year, Moonshot was surprisingly pretty good as it’s a rom-com set in space that features two great performances from both Cole Sprouse and Lana Condor. Sure, it was predictable like most romcoms are, but it was a fun watch from start to finish and it also had a solid modern soundtrack and some stunning visuals.

TED TAKES RATING - 7/10

Moonshot is now available only on HBO Max. Check out the latest trailer below.

Memory

Memory is a 2022 action thriller film directed by Martin Campbell, known for GoldenEye (1995), Vertical Limit (2000), and Casino Royale (2006), from a screenplay by Dario Scardapane who was a contributing writer on the FX crime thriller series The Bridge. It is based on the novel De Zaak Alzheimer by Jef Geeraerts, and is a remake of the novel's previous adaptation, the Belgian film The Memory of a Killer (2003).

Alex Lewis is an expert assassin with a reputation for discreet precision. Caught in a moral quagmire, Alex refuses to complete a job that violates his code and must quickly hunt down and kill the people who hired him before they and FBI agent Vincent Serra find him first. Alex is built for revenge but, with a memory that is beginning to falter, he is forced to question his every action, blurring the line between right and wrong.

The film stars Liam Neeson, Guy Pearce, Monica Bellucci, Harold Torres, Taj Atwal, and Ray Fearon.

Memory hit theaters on April 29th, courtesy of Open Road Films.

THE GOOD

As Liam Neeson movies often do as of late, Memory sort of came out of nowhere for me. When I first came across it I expected a direct to on-demand release, so I was surprised when it received a wide release in theaters. Naturally, as a Neeson fan for obvious reasons I made it a point to check this out as soon as it hit theaters knowing full well it could be a gimmicky cash grab and a waste of my time. I made my way to the theater, grabbed my ice cold soda and large heavily buttered popcorn, and proceeded to my seat just as the trailers started. So, did Memory deserve the wide theater release it received? Keep reading to find out!

First and foremost not only is this one of Liam Neeson’s best films as of late, it is a very solid crime thriller with quality acting, an engaging and often intense story, and my favorite takeaway a very satisfying conclusion. Films that fall into the revenge thriller genre need to get viewers invested, but they also need “damn right!” fist bump moment as the story comes to a close. Memory not only gives us that satisfaction, it also offers up more substance than you might expect from what could have easily been little more than another run-of-the-mill cash grab with a few big names attached. Neeson will forever be remembered as the man with a particular set of skills in the hugely popular 2008 crime thriller Taken, but we all know he is much more than that. But, for what it’s worth, the man thrives in this genre and I have no issue whatsoever with him sticking to his guns, literally and figuratively. The film opens with a dark noir feel to it which is prevalent throughout the film and a big reason why everything works as well as it does. The dark tone and mostly top-tier acting allow viewers the opportunity to get fully immersed in the film while deep down hoping for the end the film deserves.

I touched on it already but the bread and butter of Memory is without a doubt the story, as well as the acting of course. Dario Scardapane was the man behind the screenplay, and let me just say he has a knack for this sort of storytelling rooted in harsh realities. As I touched on in the intro, Scardapane previously worked on the FX crime thriller series The Bridge, which ran from 2013-2014 and starred Demián Bichir and Diane Kruger. If you haven’t seen this series, you need to. It is INTENSE, and deals directly with the deep-seeded issue revolving around the lack of interest in all of the women that disappear over the border in Mexico every single day. It ran for two seasons and is streaming on Prime Video and Hulu if you want to check it out.

At the heart of Memory the premise shares quite a few similarities, as it opens with a joint task force between Mexico and El Paso FBI working to take down a human trafficking ring. Bureaucracy gets in the way over on the U.S. side as it often does, leaving agent Hugo Martinez, the contributing agent from the Mexico side of the border, feeling frustrated as it is all too often easy to forget the atrocities they deal with every day, and the sad fact that a missing person in Mexico is somehow deemed less important. That is the underlying message for the film, and helps to fuel Hugo’s character played by Harold Torres, as he proceeds to defy orders in a collective effort to do what’s right.

Liam Neeson is 69-years-old and he is still churning out his trademark action thriller films, that is insane right?! For that reason before I dive too much into the acting for Memory I need to give this guy his hard earned credit. Neeson made his acting debut in 1978, and has since racked up 139 acting credits according to IMDb, with three films in post-production and one currently filming. This guy is an absolute work horse! It’s funny because the project that is currently filming, In the Land of Saints and Sinners, has almost the same exact premise as this film. But hey, as they say if it ain’t broke don’t fix it. The Irish actor surely found himself type casted somewhere along the way thanks to his big 6’ 3 frame and brooding presence, but he is a very versatile actor, showcasing his softer side in films like Love Actually (2003). A fantastic film of his from 1989, which I would bet most of you have never even heard of, is the crime thriller Next of Kin where he stars alongside the late and great Patrick Swayze. That is a fantastic film well worth watching, and is now streaming on Prime Video. Check it out!

So to get back on track and talk about how the cast did in Memory starting with Neeson of course, I thought this was one of his better performances as of late. He was given a character with a ton of depth allowing him the opportunity to not just beat the living crap out of people which he still does and does well, but also to express a great deal of emotion as he struggles with old age and a willingness to do what is right. As a hitman with a strong moral code, I really enjoyed his character. Even though he is a bad guy just by the nature of his profession, he still finds a way to be sympathetic and relatable which I thought was a testament to his abilities as an actor. Starring alongside Neeson is Guy Pearce who plays FBI agent Vincent Serra who is hot on the hitman’s trail. Neeson and Pearce form a complex relationship as it turns out they both want the same thing. I was sold on Pearce’s character from the start and really liked how invested he was in this role. As far as performances go, Pearce delivers the best the film has to offer. It’s interesting that Pearce plays in a film about a man slowly losing his memory as he previously starred in Christopher Nolan’s crime thriller Memento (2000), which has a few prominent similarities.

All things considered Memory is a very technically sound film, which should come as no surprise considering veteran director Martin Campbell is captaining the ship. I thought the camera work throughout the film was that of a man who knows his way around a crime thriller, giving us some great action shots, as well as some great shots designed to build suspense. Sticking with the noir style the film had a very dark feel with each shot feeling like it mattered more than just what you may be seeing on-screen at any given moment, which I thought was a testament to David Tattersall’s cinematography. Neeson’s character works alone so the film relies heavily on feel and tone, which the cinematography helps contribute too. To say Tattersall is a veteran would be an understatement, as he worked on the 1999 drama The Green Mile, and more recently the intense revenge thriller The Foreigner, which we reviewed back in 2017 (check it out here). That film is now streaming on Netflix. I was also pleased with the music/score from composer Flotek, as he helped to keep the dark tone.

THE BAD

This is easily one of Neeson’s best films as of late, but it is not perfect. Overall the screenplay impressed me, I just felt like at times the dialogue either felt forced or unnecessary. The acting which was a bright spot for the film did fall a bit flat during a few of the more intense scenes from some of the supporting cast, but it wasn’t a deal breaker. It was also a struggle to accept a Liam Neeson character with vulnerabilities, because well he is Liam Neeson, but I eventually warmed up to the idea. Memory does feel a little slow at times and could have probably cut out a few scenes for that reason, but even more than that I think they left something to be desired during the more pivotal scenes as they were building towards the film’s conclusion. Also I loved the ending, but I can think of a few small changes that would have made it even better. But the bottom line is this, the film has quite a bit more in the good column compared to the bad, which is really all we can ask for at the end of the day right?

THE VERDICT

A gritty crime thriller unafraid to shine a light on a serious issue plaguing our society, Memory is easily the best Liam Neeson film as of late as he teams up with Guy Pearce while offering a very satisfying final act. As I talked about in the review, my expectations for this film were admittedly grounded but I left the theater very satisfied. The story kept me engaged and intrigued from start to finish, and also kept me guessing to the very end. I also really liked how the plot felt so relevant and important which allowed viewers the opportunity to get invested. A revenge thriller like Memory lives and dies by how it closes things out, and as far as that goes they did the film justice and then some.

Personally I think the majority of the criticism from critics is unwarranted, especially when you take a step back and look at the film as a whole. I mean, at the end of the way what are we comparing it to? Memory is not without it’s flaws, but the overall experience is more than worth a trip to the theater if you enjoy the crime thriller genre, or just can’t get enough of Liam Neeson kicking ass. I say bring on both!

TED TAKES RATING - 7.2/10

Memory is now playing only in theaters. Check out the latest trailer below.

The Northman

The Northman is a 2022 epic action-packed revenge thriller from visionary director Robert Eggers, co-written by Eggers and Sjón. It is Eggers 3rd film after he directed and co-wrote The Witch (2015), and The Lighthouse (2019). The film is said to be very loosely based on the story of Amleth, which was inspired by Shakespeare's Hamlet.

Prince Amleth is on the verge of becoming a man when his father is brutally murdered by his uncle, who kidnaps the boy's mother. Two decades later, Amleth is now a Viking who's on a mission to save his mother, kill his uncle and avenge his father.

The all-star cast includes Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, and Willem Dafoe.

The Northman made it’s debut in theaters on April 22nd, courtesy of Focus Features.

THE GOOD

I can’t even begin to explain how excited I was to see this movie after the first trailer released, and seeing it a few times in theaters only compounded that excitement. Robert Eggers is a man that values the finer elements of filmmaking, and if you take the time out to watch a film of his, you know you are in for for a real treat when it comes to storytelling and technical mastery. I became a huge fan of his after seeing The Witch, and The Northman served as a reminder of why. I knew I had to see this movie in theaters, and I knew I had to see it on the biggest screen possible. So, was I in for a treat as I hoped or did I leave the theater disappointed? Keep reading to find out!

It would be impossible begin a review for The Northman without talking about the man himself, writer/director Robert Eggers. Eggers, who looks like he could have starred in the film with his full beard, is originally from Lee, New Hampshire. The 38-year-old began his career as a costume and production designer, and quickly became known for his obsessive attention to detail. His debut film, the horror thriller The Witch (2015) also starring Taylor-Joy and set in 1630’s New England, which I (sort of) reviewed way back in 2016 (full review here), really set the tone for his filmmaking career. Next he did another horror film set in the 1890’s called The Lighthouse (2019), which he co-wrote with his brother Max. If you are paying attention you’ve noticed the trend of films that are set way back in the day, and that is beginning to become his calling card of sorts. Eggers himself has said he refuses to do a film set in present-day, and to be honest, I don’t blame him. First of all, present-day is scary enough as it is, and second of all filmmaking is supposed to be a form of escapism, and we are allowed a unique form of that when we are transported to a time so long before us.

Robert Eggers has done it yet again! As advertised, The Northman is an epic fantasy adventure spread across vast countryside’s, complete with jaw-dropping visuals, exceptional acting, incredibly immersive storytelling, and the perfect payoff in the final act. The story is told in chapters, and to say that it included everything you could possibly want in a Viking-era film would be a huge understatement. I need to see it again as soon as possible just to soak it all in because quite a lot happens as I am sure you can imagine. The costume and production design will have you in absolute awe, which is no surprise considering Eggers’ background.

The first thing I noticed about The Northman was just how purely massive of a film it was, which just sucked me in right away and kept me on the edge of my seat. The story is just a fantastic blend of ultra-violent Viking-era goodness with dashes of folklore which added a layer that was just icing on the cake for me. I won’t give anything away of course, but Eggers finds a way to blend fantasy and reality within the confines of the story in such a way that you can’t help but feel connected to the characters and their journey. Man, I just want to sit in the same room with Eggers and listen to this guy talk about how he makes his incredible vision come to life on-screen.

As much as the incredible scale of the film and the gorgeous visuals matter, they wouldn’t be effectively utilized without storytelling that really in so many ways defies all odds. Co-written by Eggers and the talented Icelandic author Sjón, who recently co-wrote the 2021 horror drama Lamb, the screenplay is without a doubt the backbone of the film. It is just so intensely detailed and well thought out that I couldn’t possibly bang out a review right after seeing it, I needed at least 24 hours to process. Plus, I am finding it increasingly difficult to talk about how amazing of a film it is without giving anything away. But, as always I will stick to my spoiler-free promise. I know my wife won’t see it so I tried talking to her about the movie and she just looked at me like I had 6 heads, so yeah, YOU (just picture me pointing like the old school Army recruitment poster) need to see this so I have someone to dissect it with. Just prepare for hours of slowly marinating in the delicious juices of quality storytelling.

Just to scratch the surface, the story itself is built around Alexander Skarsgård’s character Amleth, and the trauma he endured as a child. The journey he embarks on that is fueled by relentless revenge is as incredible as it is grueling, and you can see the unrelenting determination in his eyes and in his mannerisms. Once you see Skarsgård and his 6 foot 5 inch physical specimen of a frame maniacally roaming a poor village covered in blood while wearing a damn wolf as a hat, and just straight murdering people like they are nothing more than mosquitos, you’ll know this movie means business. The wolf part is significant but I won’t get into it to avoid spoilers, but I will say that the character of Amleth is the absolute last person you want to piss off. Trust me on that. Without giving anything away, the film does include a really cool scene that I can only describe as the Viking version of rugby, and it was such a cool addition to the film that also proved to be a pivotal piece of the story.

If I had to describe the acting for The Northman in one word, it would have to be groundbreaking in terms of how big of an impact it had on the film. You can tell by just reading names off the cast list that it is pretty much stacked, but some certainly contributed more than others. The majority of the screen-time is reserved for Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman, and Claes Bang. I know I talked about Skarsgård some already and his overall impact on the film, but it simply cannot be understated. His performance was just insane in my opinion, and considering what he likely had to endure to deliver such a performance, he is more than deserving of a Best Actor nomination at next year’s Academy Awards. He just crushed this role.

Starring alongside him is one of Hollywood’s fastest rising stars in Anya Taylor-Joy, who made her feature-film debut back in 2015 with The Witch. in 7 short, or very long years if you want to point out 2020-2022, she has become a household name. I was a fan of hers after seeing The Witch and knew she was an up-and-coming actress, and we even got a shout out from her on social media when we did our review. Also, is it weird to say that Taylor-Joy became a woman right before our very eyes in The Northman?! But in all seriousness, the talented 26-year-old actress from Miami, Florida is deserving of her success, and her performance in The Northman was nothing short of spectacular. I bought into her character from the outset, and loved the relationship that developed between her and Skarsgård. The chemistry was absolute fire, with one particularly intimate scene that just blew my mind, and I see a best supporting actress nomination in her future.

Next up is a generational actress in Nicole Kidman, who made her acting debut back in 1983. Although she only has a single Oscar win which is a travesty if you ask me, she is without question one of the best out there. In the film she plays Queen Gudrún, the mother of Amleth, and to say there is more than meets the eye with her would be selling you short. Her character is extremely complex, allowing Kidman the opportunity to utilize her full range of acting talent and she does just that. The final chapter of the film offers up some very intense and exciting, if not a bit cringeworthy at times, scenes including her and Skarsgård. A supporting actress nod could be in her future as well, although her limited screen-time compared to Taylor-Joy may hurt her chances. Danish actor Claes Bang stars as Skarsgård’s uncle, and the films primary antagonist. I thought he was fantastic throughout the film, and I enjoyed trying to figure out his character as he seemed to transform within the films primary story arch. Bang also manages to somehow match Skarsgård’s intensity, which was no easy feat trust me. Ethan Hawke stars in the film as well, but he plays a much more limited role as Skarsgård’s father. But rest assured, he is fantastic in his limited minutes as per usual. Be sure to check him out this summer in the horror thriller The Black Phone (preview and trailer here).

The supporting cast is aplenty so I can’t touch on all of them, but from one of my all-time favorite actors in Willem Defoe, to Iceland native musician turned actress Björk who is amazing as The Seeress (check out the films alternate posters if you have a chance), right on to Olwen Fouéré, Gustav Lindh, and Elliott Rose, the list is long and trust me when I say everyone brought their A-game, and then some. And if you were expecting me to make mention of Alexander Skarsgård's real-life brother Bill, the star of the It remakes, he had to drop out of the film due to scheduling conflicts after production halted due to the pandemic.

The camera work was as good as you will ever see, with every single shot feeling so genuinely intentional and raw. I loved how Eggers made it a point to always ensure each frame had a primary focal point, which speaks to his keen eye for detail. His chemistry working with Blaschke is obvious as the two work very well in sync with each shot, ensuring that viewers always feel close to the action and immersed in the environments. Eggers previously worked with him on his first two films, The Witch and The Lighthouse. Admittedly I have a sweet spot for amazing cinematography and I couldn’t take my eyes of the screen even if I wanted to. I often found myself mesmerized and just staring off into this world that was created for us to enjoy. Louise Ford did a great job with the editing as well, making sure that even though the film had a ton going on, it all felt seamless and it all just flowed really well. She also worked with Eggers on The Lighthouse. They were able to create a few long-shot scenes as well, most importantly during the films finale.

Next I have to talk about the films score which was just chilling and invigorating all at the same time. You just knew when something important was about to happen, and Skarsgård’s imposing presence was always matched with a burst of musical energy. It was hard to describe what exactly I was hearing at any given time, but the sound always had an upbeat and thrilling feel to it. After reading up on Robin Carolan and Sebastian Gainsborough, I learned that the two have worked together for quite some time under Carolan’s independent music label, Tri Angle. Gainsborough specializes in a combination of electronic and orchestral music. The label has collaborated with several artists over the years, but singer/songwriter/actress Björk was one of the early supporters. Björk, who plays a supporting role in the film, seemed to have had some influence when it came to bringing Carolan and Gainsborough to work on The Northman, as this is the first film score the two have worked on together, or separately for that matter. Quite a way to break in to the business, and judging by Eggers seemingly unrelenting loyalty working with many of the same people on his projects, I think it is safe to say we will be hearing from this duo again.

Taking a break from gushing over the beauty of the film for just a moment, the sheer scale of The Northman is quite an experience in itself. The gorgeous and vast Icelandic filming location offered the film an opportunity to feel as grand as it’s cast and story. I loved everything about this setting and the way that it made the world Eggers was able to create feel larger-than life. Each time the camera panned back and allowed the environment to take over the frame, I was in pure awe. It got to the point where I just couldn’t wait to experience the next shot just to take it all in, and I absolutely preferred the daylight scenes as it allowed me the opportunity to really take it in.

Now we have arrived at Eggers 3rd and by far his biggest film as far as budget and scale, The Northman, and his first film not to be under the umbrella of famed independent film distributor/production company A24. From the outset it is clear this is one of his films as his signature style is felt throughout. Whether it be the attention to detail that stays true to Norse mythology and the Viking age, the masterful detail in the sets throughout the film, or the incredible costume design, it was clear this was a film he took great pride in making.

THE BAD

I have very little to harp on when it comes to this film, but I feel like a few things should be mentioned. A film from Robert Eggers isn’t meant to appeal to mainstream audiences, and The Northman is no different. But in no way is that a knock on the film itself, quite the opposite to be honest. He isn’t concerned with CGI or cheesy action sequences, he wants to immerse viewers in this world he has created right before your eyes, and he wants you to take something away from it. This means you will be treated to stunning visuals and some very creative camera work which oftentimes take center stage, but that is just part of his genius. At the end of the day he is an artist offering up a piece of himself to allow us to experience something truly special, and for that I am thankful. So let that serve as a bit of a heads up in terms of what to expect, but if you give the The Northman a chance, it will pay off huge in the end trust me.

Okay this a Viking-era film, set in the year 914 to be exact, so needless to say it is extremely violent. I lost count in terms of how many heads were permanently removed from their bodies, but it was closing in on John Wick headshot numbers. But let me say this, The Northman really isn’t as violent as it could have been, and that is a testament to Eggers and his vision. He isn’t concerned with blood and guts for the sake of blood and guts, he wants substance that will help move the story along in an authentic way. He wants you to feel and experience the violence of the film as it is a necessary element to the storytelling, but he finds ways to get the point across without being overly in your face. But, the film is still very violent pretty much from start to finish, with a few holy sh*t that just happened type scenes, so just brace yourself for that and you will be fine.

THE VERDICT

An epic tale of revenge brought to life by stunning cinematography and transformative performances from Alexander Skarsgård and Anya Taylor-Joy, The Northman is a powerful and expertly crafted film that serves as yet another notch in the belt of talented writer/director Robert Eggers. I mean, Braveheart meets 300? Interested? Yeah, I thought so. The film is just a clinic when you talk about the technical side or better yet the finer elements of filmmaking, the beating heart of film if you will.

The Northman is as massive as it is unique, and without a doubt begs to be seen on the big-screen as it is a special experience you won’t soon forget. I know I didn’t touch on the awards potential too much during the review, but if this film isn’t named in a ton of categories at next years Academy Awards, I will throw my remote through my TV, and regret it immediately. So with that being said, please, please, please for the love of all things cinema and all of the men and women who pour blood sweat and tears into making a film like this possible, go and see The Northman in theaters to ensure that talented directors like Robert Eggers continue to be entrusted with creating quality films like this. He is the future of filmmaking and his films need our support, so go see this movie as soon as you can. And if you are anything like Andrew or myself, you’ll want to see it two or three times at least before purchasing the Blu-ray when it releases just to soak it all in. Highly recommended.

TED TAKES RATING - 9.5/10

The Northman is now playing only in theaters. Check out the latest trailer below.

Everything Everywhere All at Once

By: Andrew Wing

Everything Everywhere All at Once is a 2022 American science-fiction action film written and directed by Dan Kwan and Daniel Scheinert (collectively known as “Daniels”). It stars Michelle Yeoh (Crouching Tiger, Hidden Dragon, Crazy Rich Asians), Stephanie Hsu (The Marvelous Mrs. Maisel), Ke Huy Quan (Indiana Jones and the Temple of Doom, The Goonies), Jenny Slate (Saturday Night Live, Parks and Recreation), Harry Shum Jr. (Glee, All My Life), with James Hong (Chinatown, Big Trouble in Little China) and Jamie Lee Curtis (Halloween franchise, True Lies, Knives Out).

The plot follows a Chinese-American woman (Yeoh) being audited by the Internal Revenue Service who discovers that she must connect with parallel universe versions of herself to prevent a powerful being from causing the destruction of them all.

Everything Everywhere All at Once premiered at South by Southwest on March 11, 2022. It began a limited theatrical release in the United States on March 25, 2022, before a wide release on April 8, by A24.

THE GOOD

Where do I start? Ever since this movie premiered at SXSW in early March, the buzz has been completely insane. As a massive fan of everything A24 has ever put out, I remember going through their scheduled films to be released in 2022 and seeing this film and being like WTF is this movie with way too long of a title? However, after doing some research and seeing that it was to be directed by Daniels, the directing duo that gave us Swiss Army Man (now streaming on Showtime), which is the most unique film I’ve ever seen, and also seeing the involvement of the famous Russo brothers as producers, I knew this movie would be special. And so many people would agree. Since releasing in March, the reviews and ratings for this film have been as good as any film since Parasite back in 2019, which just so happens to be what I think is the best movie ever, so you shouldn’t be surprised when I say that I was not going to miss this once I got the opportunity to see it. Well, I did, but was it so good that it can already be heralded as one of the best movies of the past decade? Keep reading to find out!

I won’t waste any more time, I absolutely freaking loved this movie. It was as good as advertised, if not better. This movie has been a sensation and it’s easily one of the coolest original films that have come out in the past decade, and we as a society of film lovers, need more movies like this. I know it’s early, but I truly think this will be my favorite movie by the end of the year and I agree with the statement I’ve heard that it’s already one of the best of the decade. I mean this movie just hit it out of the park on all levels. But for you, someone who maybe hasn’t seen it yet and is reading this review to determine if you will or not, let’s break down every part of this film and find out why it’s so damn good.

We might as well start with those that created this work of art. As I said in the intro, this film comes to us from Daniels. It took one film, Swiss Army Man, for me to fall in love with them. It’s an overlooked movie, but it’s amazing and fantastic, and definitely one of my favorite movies of the past few years that I’ve watched. But this new film of theirs is just on another level. With Everything Everywhere All at Once, they give us everything they have to offer cinema and it was a fucking treat. The amount of energy and density packed into every second of this movie is insane and that’s why I loved it so much. It’s so impressive how they even pulled off what this movie is because on many levels the multiverse concept that tackles five different genres shouldn’t also be able to make you cry and be heartfelt. Like none of that should really work here but somehow they made it work and for that alone, I would love to see them get a Best Director nomination at next year’s Academy Awards.

Their directing was perfect, but what was more perfect was their script. As I mentioned, the plot follows a woman going through these alternate universes to try and ultimately save the world. More than that though, and I know this film’s genre is said to be a science-fiction action film, but it’s really a swirl of genre anarchy as you can also throw in comedy, black comedy, drama, and maybe even some thriller and some romance in there too. This film really has everything, pun intended, and this script deserves to be put in a museum somewhere because it’s straight gold. As I said, it fires on all cylinders but the comedy was the best in my opinion. It made me laugh out loud as the physical comedy is absolutely hilarious. There are a lot of really great gags, and there’s one revolving around the famous Disney Pixar film Ratatouille that nearly made me piss myself. Also, as an action film, it was phenomenal. It’s one of the most exciting that I’ve seen as the middle of the film is nonstop action full of endless possibilities. The action and the comedy just went together seamlessly and it was all extremely awesome.

Continuing with the writing, as fun as it gets, the writing allows us to get enveloped in the world on an intellectual level. They are able to take us through this odd and complex world and make us understand it. Despite all of the craziness, I loved how they kept the core of the story the core of the story, and that’s the mother and daughter relationship who are just these mediocre ordinary people living in a laundromat trying to get by. For all the movie's genre-bending rides it takes us on, they ultimately come back to that story and the familial connection was beautiful, and that’s all a testament to Daniels' superb writing. All in all, I have a hard time seeing a script to come out this year that’ll be better than this, and with that said, go ahead and give them the Oscar for Best Original Screenplay right now.

Now it’s time to touch on some of these performances. First with the star of the show, Michelle Yeoh. Yeoh is no newcomer to the film industry and she has been acting for almost forty years and has starred in some pretty big movies, but after seeing her in this, I really think this is what she’ll be remembered for when she calls it quits. She was responsible for the majority of the emotional moments in the film thanks to the connection she has with both her daughter as they share the generational drama and also with her husband. More than that though, with the film being 139 minutes long, I’m not joking when I say she is on screen for almost all of it. I was just in awe of her performance as she really showcased her wide range of skills with the film touching on so many different genres. She is always digging into this character and bringing it out to us as she is constantly delivering in every moment. She can kick ass thanks to her martial arts training, she can make you laugh, and as I’ve hinted at, she can certainly make you cry, and her performance was so crucial to the movie working as a whole in the first place. With all of that said, I would be ecstatic to see her get nominated for Best Actress, and if she won I would absolutely love it because she’s been at this for a while now, and she deserves it!

Next with what might’ve been the best performance of the whole film, and that belongs to Ke Huy Quan. I was shocked to learn that he was the same actor who starred in two huge movies back in the 1980s, as Short Round in Indiana Jones and the Temple of Doom, and Data in The Goonies. Despite me finding out before the movie though, I still would like to think I would’ve recognized him as his voice has not changed one bit since the 80s. For real though, Quan stole the show. His character is really endearing towards the end as he gives us arguably the most emotional part of the film. Throughout the film too, he switches back and forth between being the protagonist’s husband Waymond, and also the Waymond from another universe, and that was super amusing and that showed how talented of an actor he is.

Another huge standout like Quan was Stephanie Hsu as she played the daughter. You connect a lot with her character especially towards the end as she has some of the most touching moments in the film. But aside from that, her character is really fun and some of her line deliveries were hilarious. I could totally see her getting a Best Supporting Actress nomination, but after seeing what she does in this movie, I can really see her being a star sometime in the very near future.

To be honest, I really liked all of the performances and I bet they’ll win an award for an ensemble, but I wouldn’t forgive myself if I didn’t touch on the performance we get from Jamie Lee Curtis. Curtis plays the IRS inspector agent Deirdre Beaubeirdra, and I was really happy with the role she was given here. She played this curmudgeon character perfectly and she had me laughing in all of her scenes.

Now onto the tech side of things, let’s talk about the film’s unbelievable editing. The editing of a film is definitely one of those things that you can usually go through an entire film and not even think about it, but as a person who watches a ton of movies, I’ve paid more and more attention to a film’s editing and Everything Everywhere All at Once’s is maybe the best I’ve ever seen. Back to the action scenes, the combat was very stylized and the coverage of all these scenes was great as we got to see some of the choreography play out over a longer take. As fast as this film goes, the editing never felt like it had rapid cutting that is often quite annoying, but they just gave it this frenetic and urgent pacing that was top notch. Every cut felt very deliberate and necessary and I never felt like I got cheated out of moments. The editing allowed us to see exactly what’s happening, and it shined through to me personally by being able to see it in a theater. As I said, it was some of the best editing I’ve ever seen, and because of that, it should win Best Editing too at next year’s Academy Awards.

Continuing with the technical side of things, let’s talk about the overall sound of the film. The degree of sound this film uses is something we don’t too often see and it’s very similar to the way Dune (see my full review here) used sound to make sure that we were going through every single moment with the characters. Really though, every five seconds is its own journey in this movie and it added so much to the viewing experience. You can lock in a Best Sound nomination too if you’re keeping track reading this. Not just the sound, but the score too was astounding. It was done by Son Lux, and it included collaborations with musicians Mitski, David Byrne, and André 3000, and I bet you are about to be shocked, but I see them getting an Oscar nomination as well. In conclusion, the sound and the score worked together to take you through that journey and the film would be so different if they didn’t make the musical choices they did.

Before I close and start making this into a dissertation, I just wanted to touch on some other small things I appreciated about the film. The costumes and production design were amazing. Some of the outfits are Cruella-level weird, and to show you why that might be helpful to all of the nominations this film will get, Cruella (see Ted’s full review here) won for Best Costume Design at last month’s 94th Academy Awards. The production design though was so cool. This thing takes place in a corporate office building and because of the production design and how they shaped the lighting in all of these scenes, we feel like we go on this whole journey despite being in the same location for most of the film. Also, and you should have been expecting this if you’ve ever read a review of mine, but Larkin Seiple’s cinematography was sick. Lastly, I liked how it touched on both existentialism and nihilism. With nihilism though, which is really the belief that nothing matters in the world, I loved how the film tries to offer an antidote to that sort of existential dread. There’s no denying that at some point in our lives we’ve maybe taken on a nihilistic mentality and this movie was a comforting reminder that we can still find love and joy in life despite the perceived smallness of our own existence.

THE BAD

You guessed it, I don’t have much bad to say about this film as it will be receiving the best score I’ve given a film in a few years. Honestly, though, I really loved everything about this movie and I think most people will feel the same way. Two things I will say though are that it is long with a 139-minute runtime, but it definitely flies by, and second, it can feel overwhelming because there’s so much to take in at first, but once you begin to understand what’s going on your mind will be at ease. Needless to say, I will definitely still be giving it a rewatch to one, pick up on some things I missed, and two, more importantly, to just bask in its undeniable glory.

THE VERDICT

Without question, Everything Everywhere All at Once is one of 2022’s must-see films as it is a cinematic masterpiece of epic proportions. You can already lock in the fact that this will be regarded as a classic film as the performances are amazing, it’s technically impressive, and thanks to Daniels, the film effortlessly blends both a heartfelt tone and an otherworldly imagination.

I think it will dominate at the 95th Academy Awards, but even if it doesn’t, it will still be one of the most fun movies I’ve ever seen. I was blown away by Daniels as they reached into their imaginative tool kit and gave us unapologetically the wildest film ever. Despite all the craziness, thanks to their phenomenal script, the story makes sense as we get this great family story that will make you feel so many different emotions. It’s just a blast from start to finish and you need to see it in theaters while you can.

TED TAKES RATING - 9.9/10

Everything Everywhere All at Once is now playing at Smitty’s Cinema. Check out the latest trailer below.

The Unbearable Weight of Massive Talent

The Unbearable Weight of Massive Talent is a 2022 action comedy film directed by Tom Gormican, who co-wrote the screenplay with Kevin Etten.

Nicolas Cage begrudgingly accepts a $1 million offer to attend the birthday of a billionaire super fan. When things take a wild turn, Nic is forced to become a version of some of his most iconic and beloved characters in order to extricate his wife and daughter from the fan who is a notorious drug lord.

The film stars Nicolas Cage as a fictionalized version of himself, along with a supporting cast that includes Pedro Pascal, Sharon Horgan, Ike Barinholtz, Jacob Scipio, Lily Sheen, Neil Patrick Harris, and Tiffany Haddish.

The Unbearable Weight of Massive Talent made it’s debut in theaters April 22nd, courtesy of Lionsgate.

THE GOOD

When I first read about The Unbearable Weight of Massive Talent, I will be honest I wasn’t quite sure what to think. But when I watched the trailer, I grabbed my calendar immediately and blocked off April 22nd. And I am not a calendar guy at all, so this was a big deal. Literally everything about this movie grabbed my attention, and I honestly didn’t even care if early release feedback was negative. I was ready. Just for a little background, Andrew and I are hardcore Nic Cage fans, devoted followers you might say, just not in a cultish way. And listen we have heard it all, you are either #teamnicolascage, or you think he is a wannabe actor who has been riding his uncles coattails since his first feature-film role in the 1982 cult classic, Fast Times at Ridgemont High. It was the last time he was officially credited as his birthname, which was Nicholas Kim Coppola. Apparently his stage name of Nicolas Cage was taken from the Marvel comic book character, Luke Cage.

Just to offer up a bit of background on the man, the myth, the legend, Cage, born January 7th, 1964, in Long Beach California, is the nephew of famed director/writer/producer Francis Ford Coppola (his father’s brother), who has been in the business since the late 50’s. He’s just the guy who directed and co-wrote The Godfather (1972), The Godfather: Part II (1974), and The Godfather: Part III (1990), no big deal. Easily one of the most influential names in the history of cinema. But, it’s not Cage’s fault he is his uncle, and he surely ended up paving his own way. I could talk about the history of the man all day long, but you are here to find out if The Unbearable Weight of Massive Talent is worth your time or not, so keep reading to find out!

I absolutely loved this movie, big surprise right? But it is for reasons that stretch well beyond my appreciation for one Nicolas Cage. The film is genuinely funny and well-intentioned, the acting was sublime (obviously), the screenplay was creative, engaging, and more than anything else relevant, and the technical aspects of the film were top notch. Now sure we are talking about a movie where Nic Cage plays a fictional version of Nic Cage, but that is just part of the genius behind the film. And if you are still questioning his abilities as an actor, assuming you haven’t seen The Rock (1996), Face/Off (1997), or Gone in 60 Seconds (2000), just check out his recent under-the-radar and painfully underrated indie gem Pig, which Andrew reviewed back in August (read the full review here), now streaming on Hulu. He absolutely crushed it in that movie.

The Unbearable Weight of Massive Talent is just vintage Nic Cage, an actor that always makes his presence felt in any project he is involved with. Sure he’s had his fair share of duds, but with almost 110 acting credits on his resume, four of which are currently in post-production, that is par for the course, and they have all contributed to the man he is today. if you don’t think he is one of the hardest working actors in the business, you just aren’t paying attention. In the film he is a struggling actor who even though he has had a long and successful career, he is still having a hard time making ends meet. He is also more disconnected from his daughter than he ever was, and as he points out during the film, it is impossible as a parent to be close to a 16-year-old. Just so much of The Unbearable Weight of Massive Talent hit home for me, and the film just felt like such a rewarding experience.

The Unbearable Weight of Massive Talent paints Cage as an actor that is obsessed with film, and is always talking about how you can’t conceivably pick your all-time favorite film from 100+ years of quality filmmaking. He points out that what might be your favorite in the moment could depend on your mood which would of course influence the genre you might prefer, which rang true to me considering my wife always tells me she needs to be in the “right headspace” to watch an intense crime thriller like the True Detective series on HBO, whatever the heck that even means. Anyway, he is portrayed as a film fanatic who loves what he does, too much in many ways, and it all feels so authentic considering his roots. I mean, this guy grew up around film and still wanted to make it his life’s work, now that is saying something. His character is just delightfully naïve and well-intentioned, and very likable.

Throughout The Unbearable Weight of Massive Talent, we are treated to several clips of Nic Cage classics, including the films opening with a glimpse of the 1997 classic Con-Air, and I thought this was such a nice touch. For the film to work, we needed to envision Cage as a larger-than-life figure, which he already was of course, but plenty of background and relevant reasons are provided to help convince the naysayers. For my money, Javi, the alleged drug kingpin played by Pedro Pascal, was the perfect character. He played a Nicolas Cage “superfan”, and to say he was well-versed on the man’s career would be an understatement. He had a shrine documenting all of his classics, a few of which that were more of Easter eggs for true Cage fans, and this got me real fired up. Love him or hate him, Nicolas Cage has acted in a ton of movies in the last nearly 40-years. If you don’t consider that impressive, you may need to re-evaluate your priorities.

Naturally, we have to touch on the acting in The Unbearable Weight of Massive Talent. I will do my best to not focus too much on the performance of the great Nicolas Cage playing the great Nicolas Cage, but he really was that good. Cage grabs the wheel and drives this film from the outset which was more than okay with me. I just loved this fictionalized version of him, and I could personally watch him go about his business all day long. Starring alongside Cage is Pedro Pascal as Javi, and he was nothing short of amazing. The chemistry between these two actors was just perfect, making the film feel like one of the more genuine buddy comedies in recent memory. Pascal isn’t necessarily a big name to your average film fan although he has played roles in some big films and shows including Wonder Woman 1984 (2020), Kingsman: The Golden Circle (2017), Game of Thrones, and The Mandalorian, but I can’t picture anyone playing this role as well as he did. He just has such a presence on-screen that matched Cage perfectly, and the two were so much fun to watch.

The supporting cast was flawless as well, from Tiffany Haddish and Ike Barinholtz as the CIA agents, to the always fantastic Sharon Horgan as Cage’s wife, and Lily Mo Sheen as Cage’s daughter. The London native is the daughter of Martin Sheen and Kate Beckinsale, and by the end of the film I genuinely believed she was in fact Nic Cage’s daughter. I really enjoyed how her relationship with Cage developed throughout the film. I am a HUGE Neil Patrick Harris fan, and I enjoyed his limited screen time as Cage’s agent. I enjoyed Paco León as Javi’s sociopath of a brother, and felt like he really owned his role. I can’t think of anything negative to say about the entire cast.

THE BAD

Alright, so this section is going to prove difficult for me. First of all, I am a Nicolas Cage guy. Many of you may not be, and I suppose that is okay. Needless to say if you have an issue with Nicolas Cage you may very well have an issue with The Unbearable Weight of Massive Talent. But, with that being said, it may actually turn out to be the exact opposite. Let me take a few minutes to explain. First and foremost, Nic Cage plays a fictionalized version of himself very much rooted in a reality that seems true to what you would expect a struggling yet well-known and successful actor to be going through.

He comes across as genuine and grounded, even if he may annoy the crap out of his 16-year-old daughter due to his obsession with old cinema. The film itself just works as it manages to take a simple yet intriguing concept and craft an experience for viewers of all ages. I realize I am straying off track a bit, but unless you just don’t enjoy action comedies, The Unbearable Weight of Massive Talent checks all of the right boxes. I suppose they could have given Neil Patrick Harris a bigger role, but that feels nitpicky.

THE VERDICT

An immersive and hilarious trip down the Nicolas Cage rabbit hole, The Unbearable Weight of Massive Talent is a fresh take on the action comedy genre that provides relentless entertainment value while also serving as a love letter to fans of film. Bottom line, I thought this movie was fantastic. I went in expecting something at least moderately along the lines of a slapstick type comedy, but it was so much more than that. The film is extremely self aware, the entire cast is fully invested, and somehow everything just works. Plus, the replay value is no joke and I can’t wait to see it again. I will also be adding the Blu-ray to my collection as soon as it becomes available. I was already a big Nic Cage fan as I made very clear throughout the review, but after watching this movie I can’t wait to go back and re-watch all of his classics throughout the years. Do yourself a favor and see The Unbearable Weight of Massive Talent in theaters sooner than later, you’ll be glad you did!

Once you see the film you will likely be intrigued by the numerous name drops of classic Nic Cage and non-Nic Cage films and want to know more, so when that time comes go ahead and check out this very helpful and detailed write-up from Mashable.com by clicking this link.

TED TAKES RATING - 9.3/10

The Unbearable Weight of Massive Talent is now playing only in theaters. Check out the latest trailer below.

Father Stu

Father Stu is a 2022 biographical drama film written and directed by Rosalind Ross, in her directorial debut. The film is based on the inspirational true story of Stuart Long.

After surviving a motorcycle accident, a former boxer and longtime agnostic starts to wonder if he can use his second chance to help others, leading to the surprising realization that he's meant to be a Catholic priest.

The cast includes Mark Wahlberg, Mel Gibson, Jacki Weaver, Teresa Ruiz, Malcolm McDowell, Aaron Moten, Cody Fern, and Winter Ave Zoli.

Father Stu made its debut in theaters on April 13th, courtesy of Sony Pictures Entertainment.

THE GOOD

Admittedly Father Stu snuck up on me somehow. As a native New Englander, I am a Mark Wahlberg aka Marky Mark guy through and through and will support any project he is involved with. I go back to some of his earlier more under-the-radar films like the 1998 action-comedy The Big Hit, or even the 1996 thriller Fear. Or a pivotal point in his career was when he played Bobby Mercer in the 2005 gritty crime thriller Four Brothers, which I felt was the first film where he was an absolute badass. Let’s get back on track though, so Father Stu somehow flies under the radar for me to the point where I forgot about the movie entirely until I’m on a walk with my kids, and I meet some new neighbors who mention the movie after my movie review website comes up in conversation. Naturally, I’m like what the heck am I doing and I make sure the film is on my radar going forward. I will say though, that I decided against reading up on the true story the film is based on, preferring to be surprised instead. So, did I regret my ignorance or was Father Stu a waste of 2-hours of my life? Keep reading to find out!

Okay, so I’m an idiot because this movie was really, really good. Father Stu tells an emotionally charged true story that will tug on your heartstrings throughout while serving as a perfect opportunity for star Mark Wahlberg to yet again prove that he is one of the best Hollywood has to offer. At this point in his career, Wahlberg has plenty of money. Whether he is acting, producing, or dabbling in some other kind of business venture, his success is undeniable. But, instead of packing it in and taking the easy road by cashing a big check for some direct-to-streaming deal (not a direct knock on Adam Sandler, butttt….), he is showing up in a real way and making movies that matter.

I really liked how the film somehow finds a way to make humor a constant throughout even the most emotionally charged scenes, which for me was a testament to the writing as well as a collective effort to take advantage of Wahlberg’s abilities as an actor. Stuart Long’s story will hit you like an emotional bag of bricks, that is a fact. But the lighthearted moments are sprinkled throughout to ensure that the audience has an opportunity to experience a wide range of emotions. Oh, and we are treated to a ton of great one-liners, and an abundance of bad language just for good measure. At one point, Wahlberg is banging on Gibson’s trailer door and he comes to the door telling him he is going to wake the entire neighborhood, to which he responds “this ain’t no damn neighborhood, it’s a trailer park!”. That is just an example, but it had me laughing pretty good. We get a great deal of great banter like this between Wahlberg and Gibson, which was a real treat if you ask me.

As you probably figured out from the beginning of this review, the acting was very much a sweet spot for me when it comes to the success of Father Stu, but I will talk about that more later in the review. Right now I wanted to touch on the other vital part of this film’s success, and that would be the screenplay. I might be getting ahead of myself a bit, so let me pump the brakes. As film critics, or just regular guys who enjoy talking about movies which is how Andrew and I would describe ourselves, oftentimes the best part of doing a movie review is the tidbits you discover while doing a bit of research while writing the review. Granted, that can lead you down quite a rabbit hole, but it is often worth it.

I am still wracking my brain on this, but not only is Father Stu the directorial debut for Rosalind Ross, but it is also her feature-film writing debut for the screenplay. Oh and one more fun fact, the 31-year-old writer/director has been dating the 66-year-old Mel Gibson, who also stars in the film as Stuart Long’s father, since 2014. She also birthed his 9th child who was born in 2017, and yes I said 9th as in right before the even number of 10. For those of you bad at math, myself included, Gibson was around 35-years-old when Ross entered the world. I know it sounds like I am being overly critical of Gibson or Ross for that matter for their life choices, but I promise you I am not. More power to the happy couple. Most of Hollywood may hate Gibson for this reason or that, but for my money, he is still one of the most talented individuals in the industry whether he is acting or directing, I mean his 2016 film Hacksaw Ridge (our full review here) was nothing short of fantastic. Plus, people may not realize this, but not only did he star in the epic film Braveheart back in 1995, but he also directed it as well. Yeah, Mel Gibson is Hollywood royalty and anyone who says otherwise can go pound sand.

I touched on it briefly already, but the acting was without question the icing on the cake for me with Father Stu. Mark Wahlberg was incredible in what is considered a passion project for him. Father Stu was not only an emotional commitment from him as an actor, but it took a significant toll on his physical well-being as well. As someone who trains like a madman, Wahlberg had to transform his body to make this role insanely believable, and he does that and then some. His physical transformation is absolutely mind-blowing. During one of the later scenes in the film when it is the most evident, the entire theater shared a collective “oh wowwwwww”. It honestly catches you off guard. Even though this is based on a true story, Wahlberg’s portrayal of Stuart Long felt so incredibly genuine, that I swear the two men became one and the same. For me, that is a testament to Wahlberg and his commitment to such an important role. As well as a special tribute to a special man.

The next best performance, even though it was a much smaller role comparatively, was delivered by Mel Gibson who played the role of Stuart Long’s father, Bill. I love me some Mel Gibson, a fact that I likely already made quite clear in this review, but he was stellar in this role. Even with his fairly limited screen time, Gibson’s character progression was very impressive, and I enjoyed watching his relationship with his son grow. It was clear from the outset that he was dealing with a great deal of unresolved trauma, but thanks to his performance we get to see quite a transformation. Where Stu and Bill end up compared to where they started is almost difficult to describe, but man was it amazing to experience. The other transformative performance was delivered by Jacki Weaver, who can someone go from playing Bradley Cooper’s sweet as pie mother Silver Lining’s Playbook to a massive BI**H in the hit television series Yellowstone. The bottom line, she has impressive range as an actress. I can’t say enough great things about her in the role of Stu’s mom Kathleen Long as she developed insane chemistry with Wahlberg and Gibson, ensuring that by the end of the film you won’t have a dry eye in the theater.

Father Stu also included some great supporting roles that contributed a ton to the film, including Teresa Ruiz as Stu’s love interest Carmen and Malcolm McDowell as Monsignor Kelly, both of which played their respective roles well, especially McDowell. Aaron Moten as Ham, a man who befriends Stu as he begins to work towards becoming a priest, and last but surely not least Cody Fern who played Jacob, a complicated man who becomes a big part of Stu’s journey.

THE BAD

If you have been paying attention during this review, my guess is you are ready to just skip over this section. If not, you may want to go back because the odds are you missed a few paragraphs. But in all seriousness, I am struggling to find anything truly negative to say about Father Stu. It may not be the most polished film from the technical side of things, but we are also dealing with a debut film from the directing and writing side of things. But, I’m honestly not sure if that even matters. The bread and butter of this film is the story, and how well it was executed. That’s it. I went in a bit blind as I said before in terms of what Stuart Long’s story entailed, and his story resonated with me on so many levels which is likely part of why I enjoyed the film so much. At the end of the day, criticizing this film as a whole is an attempt to take away from how hard Rosalind Ross and the entire cast worked to tell this incredible story, and that is no bueno if you ask me.

THE VERDICT

A heartfelt and powerful true story that will have you tearing up one second and laughing the next, Father Stu is an inspirational journey made possible by an incredibly talented cast. The entire cast shines, and it was clear and obvious from the start that this was a passion project for Mark Wahlberg, as he just seemed to be incredibly invested and sacrificed a lot. Even though certain parts of the film are more entertaining than others, it is never boring and I felt like the 2-hours really flew by. As the end credits began to roll we are shown some photos of the real Stuart Long, and I just sat there and took it all in. Father Stu is a movie that matters, and one I highly recommend seeing in theaters.

TED TAKES RATING - 8.7/10

Father Stu is now playing only in theaters. Check out the latest trailer below.

Master

By: Andrew Wing

Master is a 2022 American psychological horror-thriller film written and directed by Mariama Diallo in her directorial debut. The film stars Regina Hall (Girls Trip, The Hate U Give), Zoe Renee, and Amber Gray (Hadestown musical).

The film follows three women as they strive to find their place at an elite Northeastern university as old as the country. However, when anonymous racist attacks target a Black freshman (Renee), who insists she is being haunted by ghosts of the school’s pasts, each woman must determine where the real menace lies.

Master had its world premiere at the Sundance Film Festival on January 21, 2022, and was released in the United States via Prime Video on March 18, 2022.

THE GOOD

While you can go ahead and put it on the record that the horror genre is probably my least favorite of movie genres, you can also put it on the record that psychological thriller is one of my favorites. With Master, we get a psychological horror-thriller film that premiered at the Sundance Film Festival where it received generally favorable reviews. It reminds me of Hereditary, another psychological horror film from a newcomer director that premiered at Sundance, and let’s just say that film was pretty good and it was easily one of the best horror films of that decade. So with all that said, is Master on track to be the 2022 version of Hereditary? Keep reading to find out!

My answer is maybe. We will really have to wait and see, and while I don’t know if I see Master being one of the best horror films of this decade when I look back eight years from now, I definitely do see Master being regarded as one of the best horror films of this year for sure. And a big reason why I say that is because of what Mariama Diallo does with her direction in just her debut. I saw online that this film took inspiration from The Shining, one of my favorite movies ever, regardless of genre, and I could definitely see it in this film. It showed the most just by how creepy and scary this film was. I will talk more about what I liked about Diallo’s direction aesthetically later in the review, but I think she definitely passed the test as a director in her first outing. I judge a horror film on if I can watch it at night or not, and with this, I had to hit the pause button at night and have it wait until the sun was out, and that’s a huge testament to Diallo. Simply put, this film is terrifying at times, and I can’t wait to see what she does next.

Not only was Diallo’s direction impressive but her writing here was astounding. On the surface, it’s a social horror, but deeper down it’s a damning examination of racism on college campuses, and not just what one student experiences, but how a whole institution is tainted by this white supremacy. All the white administrative figures in the film refuse to see or acknowledge it, but all the people of color face it every day, and the film does a great job at painting these universities as being defensive, unwilling to change, and even worse, as using black staff members as tools to further uphold and bolster the institution to meet the modern-day demands of diversity and inclusion. So yeah, it’s a heavy film to watch because of the screenplay, but it’s a great script and it does a good job validating these experiences people have as they step onto a majority-white campus.

Now to the performances. All of the performances were amazing here, but the three main players that portray the three women were fantastic. First, with Regina Hall, she gave a great performance and I was shocked by how good she was. When I think of her, I immediately think of comedy, but in this, she shows that she is an excellent dramatic actress. Next with Amber Gray as she played the biracial English teacher. She was solid, especially towards the end when she is given more dramatic scenes. And lastly with Zoe Renee as she portrayed the new student on this campus. I was super impressed by her, and something tells me this won’t be the last horror film we’ll see her in because she was incredible in this.

Lastly, and you knew this was coming if you have read any of my reviews, but this film looked really nice. It was filmed in New York, so you can’t go wrong there, and the film’s general look reminded me a lot of another great horror film, Get Out, just with the way it was lit. All in all, I was blown away by Charlotte Hornsby’s cinematography here, and I will keep an eye on her. Now I said I would touch on Diallo’s direction aesthetically, so here it is. In film, especially in films of this genre, a great way to build tension in a scene is to leverage the shot selection to individual shots, and in Master, Mariama Diallo frames each character individually and it adds so much tension to every scene. By shooting a single character in each frame, each moment built on the next one as the audiences awaited to hear and see the next character’s reaction, and it was just so well done from start to finish.

THE BAD

There’s no denying that I really enjoyed the film, but there was one thing that really brought it down in my opinion, and that would be the fact that it focuses too much on the supernatural horror elements more than the social horror. The social horror elements were what really terrified me here, and I get that the supernatural played a very heavy role in the plot, but I still felt it was a little unnecessary by the time the film concluded. It was just clunky, and I didn’t see how the supernatural related to the social themes so that dropped the film some points for sure. I just don’t know why they went that way, but it was still an overall solid film.

Another thing I’ll bring up that was disappointing when it comes to Master is that it really slows down in the second act. The first third of the film is amazing and its final act as a whole is superb despite me not loving the ending, but the middle is pretty messy. That’s also the same time where they bounce around between social horror and supernatural the most, but I’d be lying if I said the film didn’t lose me midway through it a little bit. You’ll see my score shortly, but I think if that middle was a little better and not so slow, this movie’s score could’ve been much higher.

THE VERDICT

With what will definitely be one of the best directorial debuts of 2022 from Mariama Diallo, Master is a psychological horror-thriller that breaks down a New England university that claims to be one focused on diversity and inclusion but is rather a foundation of hatred and white liberalism. The performances are great, especially Regina Hall, but I really loved how Diallo confronted this particular issue in a way that I haven’t seen another movie do. It gave me a different perspective which is important.

Sure, they overfocused on the supernatural horror rather than the real-life ones, it’s pretty bleak, and also very damning, but it’s a good film and I’m certain it will be one of the best horror films of 2022 by year’s end.

TED TAKES RATING - 7.8/10

Master is now available only on Amazon Prime Video. Check out the latest trailer below.

The Bubble

By: Andrew Wing

The Bubble is a 2022 American comedy film directed by Judd Apatow from a screenplay co-written with Pam Brady (best known for her work on South Park). The film features an ensemble cast that includes Karen Gillan (Marvel Cinematic Universe films, Jumanji: Welcome to the Jungle), Iris Apatow (Knocked Up, This Is 40), Fred Armisen (Portlandia, Saturday Night Live), Maria Bakalova (Borat Subsequent Moviefilm), David Duchovny (The X-Files, Californication), Keegan-Michael Key (Key & Peele, The Prom), Leslie Mann (Apatow’s wife, This Is 40, Blockers), Kate McKinnon (Saturday Night Live, The Spy Who Dumped Me), Pedro Pascal (The Mandalorian, Wonder Woman 1984), Guz Khan (Man Like Mobeen), and Peter Serafinowicz (Shaun of the Dead, The Tick).

The film’s plot takes place in the midst of the COVID-19 pandemic and follows the cast and crew of a blockbuster action franchise, Cliff Beasts, as they attempt to shoot a sequel while quarantined at a posh English hotel.

The Bubble was released on April 1, 2022, by Netflix.

THE GOOD

When I first saw the trailer for The Bubble, I was pumped. I mean it was coming straight to Netflix and it was from director Judd Apatow. If you haven’t been living under a rock for the entire 21st century, then you would know that Judd Apatow has been killing it. From The 40-Year-Old Virgin, to Knocked Up, to Trainwreck, Apatow has been responsible for some of the best comedies we have ever seen. Add in the fact that his most recent film, The King of Staten Island, starring Pete Davidson that came out in 2020 was freaking amazing, and I had every reason to think The Bubble would be a solid comedy. But was it? Keep reading to find out!

Spoiler alert. It was not. Trust me when I say that I will address the many things I did not like about this film later on in the review, but let’s start on a positive note. There’s no denying that this film has a stacked cast, and while they don’t all give great performances, there still were a couple. First with Karen Gillan as she is kind of the main character of the story. I really like Gillan and I obviously love her as Nebula in the MCU, but this makes two straight years where she has given good performances in Netflix films following last year’s Gunpowder Milkshake (see my full review here). She is really starting to show how skilled she is as an actress and I cannot wait to watch her double role in the upcoming sci-fi thriller film Dual (see our preview here).

Gillan was definitely the best in my opinion, but a close second would have to be Maria Bakalova. Bakalova became a star in 2020 after starring in the hilarious sequel Borat Subsequent Moviefilm. She was so good in that, and the fact that she went blow for blow in a comedy alongside the legendary Sacha Baron Cohen showed her capabilities. Well, she put them on display again here, and she was easily the one responsible for the majority of my laughs here. The only other actor I thought gave a good performance here was David Duchovny. I know he’s a big name thanks to starring in The X-Files, but since I’ve never seen an episode of that, I’m not too familiar with him as an actor. However, I’ll definitely be watching more of him in the future because he’s good at his job. He just played his character perfectly here as the arrogant workaholic and he was one of the only bright spots of this film.

In closing, because there really isn’t a lot of good to say when it comes to The Bubble, I will say it made me chuckle a couple of times. I certainly didn’t laugh as much as I had hoped once I pressed play, but there were some pretty funny moments. Unfortunately though, the majority of them came from Bakalova’s character who didn’t get nearly enough screen time, or they came in the form of cameos from other big names who were only on screen for a minute maybe. We had Benedict Cumberbatch as himself in what was a very weird scene, Daisy Ridley as an exercise AI, John Cena as a stunt coordinator, and lastly, my personal favorite, James McAvoy as himself. At the end of the day, it probably isn’t a good sign when a viewer’s favorite moments don’t even come from the main cast members, but I just enjoyed them a lot and they potentially saved this film from getting goose egged.

THE BAD

I won’t lie, this movie sucked. You’ll see when I give my score, but I didn’t think it was possible for there to be a movie I’d watch this year worse than Home Team (see my full review here), but boy was I wrong. I realized very quickly that this movie had no idea what it wanted to be and that is really the worst thing when it comes to a movie. To reference Home Team again, at least that knew what it wanted to be, and I can at least have a little bit of respect for that, but this I have no respect for whatsoever. I just cannot fathom what Judd Apatow did here. Like this is such a massive s**t stain on what was almost a near-perfect resume. He is a legend of the comedy genre, and some might even call him the GOAT with how many phenomenal films he’s made, but I don’t know, in what world did he think this movie was okay? 

Next, let’s address the performances of the other members of the cast. As I already mentioned, this cast was stacked and I was intrigued by it. They weren’t all terrible, but some are just incredibly bad. I mean we got Fred Armisen, Keegan-Michael Key, Kate McKinnon, and many many more, and they all gave career-worst performances from them without a doubt in my mind. It was truly so disappointing, and I hope whatever these guys do next is better than this because if it isn’t, they might have a hard time getting future phone calls for projects. 

Another thing that stunk about this movie was the fact that it was way too long. Over two hours? Are you kidding me? The perfect comedy is around the 90-105 minute range in my eyes and this one was just so bad I couldn’t wait for it to be over, and they couldn’t even do me that service of ending it faster. In conclusion, this movie has zero re-watch ability and the worst part of it was that it just was not funny. I don’t even think a younger version of myself would’ve thought this was funny, and that is saying a lot.

THE VERDICT

With the film’s self-awareness absolutely nowhere to be found, The Bubble is a very tough watch and it’s a massive flop from director Judd Apatow. Sure, Karen Gillan and Maria Bakalova both gave good performances, but as good as they were, the many more bad performances from other legends of modern comedy gave this film no chance.

I mean the purpose of me writing these reviews is obviously to get y’all to check them out, but this might not be worth your time, because it was certainly a waste of mine. I’m still going to suggest checking it out just so you can experience it for yourself. The good news is that it’s a free movie with it being a Netflix original so go ahead and give it a chance and please share your thoughts with me!

TED TAKES RATING - 2/10

The Bubble is now available only on Netflix. Check out the latest trailer below.