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McCoy on Movies: THE LONG WALK

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Stephen King’s first novel hits the big screen in all its dystopian, depressing glory

“Roads? Where we’re going, we’re definitely going to need roads.” Ray Garrity (Cooper Hoffman, center, with arms folded in white t-shirt) makes the endless trek until one man remains standing alongside his fellow contestants. (Pictured from left to right): Barkovitch (Charlie Plummer), Stebbins (Garret Wareing), Hoffman, Peter McVries (David Jonnson), Art Baker (Tut Nyuot) and Parker (Joshua Odjick).

CAST:
Cooper Hoffman (Ray Garrity)
David Jonnson (Peter McVries)
Tut Nyuot (Art Baker)
Ben Wang (Olson)
Garrett Wareing (Stebbins)
Joshua Odjick (Parker)
Charlie Plummer (Barkovitch)
Judy Greer (Ginny Garraty)
Mark Hamill (The Major)

WRITER: JT Mollner (screenplay by); based on the novel by Stephen King

DIRECTOR: Francis Lawrence

THE PLOT: Based on the first book Stephen King ever wrote and later published under his Richard Bachmann pseudonym, THE LONG WALK is set in a dystopian world of the 1950s/60s where, after a war, America now hosts an annual competition. The premise? Fifty boys – one from each state – compete to see who can walk the longest. The winner receives a prize of riches beyond their wildest dreams. Seems simple right? Not quite.

there are several stipulations. First, each walker must maintain a speed of 3 miles per hour. Second, they cannot leave the confines of the road. Third and most importantly, if they stop walking and/or fall under the required speed, they will receive a warning. Then a second warning. And then a third and final warning.

If they don’t start walking again within 10 seconds of that third and final warning, they have “their ticket punched” – a.k.a. they are shot to death right on the road. That means no sleep, no bathroom breaks. Nothing – just walking on the open road until their is only one last man standing.

The Long Walk has brought out many contestants this year. Among them are Art Baker (Tut Nyuot), a religious teen who wears a cross around his neck, Stebbins (Garrett Wareing), a seemingly perfect rabbit built for the long haul and Olson (Ben Wang), a wisecracking kid with a New England accent. There’s also Barkovitch (Charlie Plummer), who’s always got a foul wise crack ready and the silent and strong Parker (Joshua Odjick). But one young man, Ray Garrity (Cooper Hoffman) has a very specific reason to join The Long Walk, one that not even his loving mother Ginny (Judy Greer) knows, which is why she can’t talk him out of joining the contest. Also joining the contest is Peter McVries (David Jonsson), a young man with a very noticeable scar on his face that wants to win to change the world for the better.

 

But as the contest drags on, Ray and the rest of his fellow competitors will be tested in ways they never could have imagined … And the road is unrelenting, unforgiving and most of all, uncaring on THE LONG WALK.

 

THE REVIEW: A long time ago – college for me, specifically – I sat down with a group of friends to watch Darren Aronofsky’s Requiem for a Dream. The story of four drug addicts living in 1990s New York City, it was gripping, unrelenting in its deep dive into the psychosis of each of its lead characters and easily one of the best done films I had seen of its type at that point in time. It struck such a nerve with me that any hint of ever wanting to do drugs, casually or other-wise, faded away much like the Sara Golfarb’s grip on reality in the film. The film was so well done, in fact, that a friend of mine dubbed it “the feel bad movie of the year,” a quote I revisit often and have previously in this very blog.

Given the captivating performances delivered by the film’s cast, Hoffman and especially Jonsson in particular, the unflinching violence executed throughout the film’s 108 minute runtime and themes explored – death, authoritarianism, vengeance, the good dying young, etc. – I may now have to update my reference. For THE LONG WALK, even in a form greatly altered from the source material, is everything Requeim was in 2000: Excellently directed, acted … And a film you’ll likely never want to watch more than once.

The novelization of THE LONG WALK was the first book Stephen King ever wrote. Having that reality sink in makes the story that plays out hit even harder in watching young men endure what they do onscreen, director Francis Lawrence drawing you into each of their worlds in excruciating fashion.

In one moment, you get to watch some of the boys enjoy true friendship, encouraging each other to stick together and survive a test with no cheat code. The next, you’re watching their worlds shatter as another one goes down, bringing them back to the reality of the inhumane task at hand. As the world watches them continue to trek the blacktop, it almost serves as a reminder for what often feels like modern life: No matter a person’s character, desires, intentions or will, all that awaits them all is death, save for one lucky one who gets to revel in the spoils of their fallen fellow man.

For those who enjoy acting, the art of bringing a character to life and the interplay between them, THE LONG WALK succeeds at every step. You will undoubtedly pick your favorites, be moved by their recklessness, their camaraderie and their desires … Only to time and time again be distraught by what unfolds. The ending may also leave those unfamiliar with the book a bit unenthused as Lawrence’s one mistake may be in not letting the symbolism be more blatant, especially after putting the audience through a grueling journey with his characters.

In short, if you are able to stomach the violence and hopelessness to enjoy the dynamic performances, THE LONG WALK is likely to captivate your attention … And make you say you can never sit through it again. If not, well, THE LONG WALK will feel like an even longer watch where, much like each contestant, the pain of the journey was not worth signing up for in the first place, no matter what the supposed prize may be.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

McCoy on Movies: Honey Don’t

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Margaret Qualley shines in a dark, LGTBQIA+ dark comedy
that’s not as bright as her performance

Don’t have time to read a full, detailed movie review? Been meaning to talk about a movie for a while but just haven’t gotten around to telling a friend? Have no fear – get caught up with Quick Hits!

“Take notes … I’m the best thing about this film and you
know it.” Honey O’Donahue (Margaret Qualley) investigates
in a scene from Ethan Coen’s HONEY DON’T! Credit:

 

Karen Kuehn © 2025 Focus Features LLC. All Rights Reserved.
HONEY DON’T! 
 
There are exactly two reasons to see HONEY DON’T, the second installment of Ethan Coen’s “lesbian b-movie trilogy” written alongside his lesbian, non-traditional partner Tricia Cooke: (1) To watch Margaret Qualley, who stars as a queer, Bakersfield, CA-private eye that’s more masculine 1925 than she is 2025 in her demeanor, own every scene she’s in and (2) the gratuitous surely to some and likely not gratuitous enough to others nudity and sex crammed into the film’s 90 minute run-time. (Those who cheered the removal of the Pulse Nightclub crosswalk in Florida need not buy a ticket for reasons that should now be overtly obvious.
Moral objections to seeing LGTBQIA+ characters on screen – along with possibly the most corrupt preacher of the year in Chris Evans as drug dealing, murdering, fornicating church leader Drew Devlin – notwithstanding, HONEY DON’T finds Qualley outperforming the thin-yet-familiar material she is given to work with at every turn. That’s not to suggest that the other actors don’t bring their best to their roles as much it is to say what they were given to work with is b-movie pulp at best and sometimes, not in the best way. The film is far better, however, than the first installment in the Coen/Cooke three-pack, the long-forgotten, ostensibly goofy Drive-Away Dolls, but it’s staying power – outside of those who long to stare at star actors naked and/or REALLY enjoy ALL Coen brothers films (not just the hits) – is minor. Charlie Day adds a few laughs as a clueless detective, there are the standard schlubby/mysterious foreign Coen characters and quirky violence leading to a climax … But Bound, this is not.
So, if you’re wondering if you should put HONEY DON’T on your honey-do list, the answer is … Maybe – if you have 90 minutes to kill or just want to see an actress make honey out of a rather spent hive of a story that could have delivered so much more.
 

RATING (OUT OF FOUR BUCKETS OF POPCORN): 2 1/2 of 4

 

 

 

McCoy on Movies: Highest 2 Lowest

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Denzel Washington takes a musical journey to explore a man’s
morality, legacy in Spike Lee’s latest

Don’t have time to read a full, detailed movie review? Been meaning to talk about a movie for a while but just haven’t gotten around to telling a friend? Have no fear – get caught up with Quick Hits!

 
HIGHEST 2 LOWEST 
 
“I’ll just throw on a Yankees cap and no one will know I’m Denzel Washington … At best,
they’ll think I’m just Mariano Rivera …”  David King (Denzel Washington) takes a
very compromising ride in a scene from Spike Lee’s HIGHEST 2 LOWEST. © 2025 A24.

All Rights Reserved.

 

 
What is the price of fame and success? Can you retain the love of what brought you fame when the demands of your industry make it so much easier to copy and paste what’s popular versus striving for something original and true? What is the common thread between someone who wants to achieve the high life and someone who simply needs the opportunity to achieve it? 
 
While these are the central themes in Spike Lee’s modern take of the 1963 Akira Kurosawa film High and Low, the only question a potential movie goer needs to ask is the following: How much do you feel like diving into a tale as old as time that featuring a fresh coat of digital paint for the modern world? As music mogul David King, the man with “the best ears in the business,” Denzel Washington still knows how to take command of a scene, even when it may not be that compelling. 
 
Then again, Spike Lee throws in all his trademark love letter to New York elements well to advance the story of King, forced to decide between his money and saving the life of Kyle (Elijah Wright), the son of his chauffeur, Alan (Jeffrey Wright). The film’s best sequences occur hen using music – the famed Puerto Rican Day parade accentuated by the sounds of the Eddie Palmieri Salsa Orchestra as a backdrop for a key sequence, an intense lyrical back-and-forth between King and aspiring rapper Yung Felon (A$AP Rocky) – sticking with the film’s exploration of what type of a man King is: Will he be one that that values money and his legacy more than doing what is right .. Or can he do what is right at the risk of everything he has worked so hard to achieve going up in flames? While not exactly a perfect journey, it is one audiences (especially longstanding Washington fans) are more likely to enjoy than not.
 
RATING (OUT OF FOUR BUCKETS OF POPCORN):
 

 

McCoy on Movies: Weapons

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Weapons delivers imaginative, twisty suspense in market lacking such

“Hello, I’m a creepy child with a smile to match … What could go wrong?!” Alex Lilly (Cary Christopher) in a scene from writer/director Zach Creeger’s WEAPONS. © 2025 Warner Bros. Entertainment. All Rights Reserved.

WATCH THE TRAILER HERE:

 

CAST: 

Julia Garner (Justine Gandy)

Josh Brolin (Archer)

Alden Ehrenreich (Paul)

Benedict Wong (Andrew)

Amy Madigan (Gladys)

Austin Abrams (James)

Cary Christopher (Alex Lilly)

Toby Huss (The Captain)

 

WRITER /DIRECTOR: Zach Cregger

THE PLOT: WEAPONS introduces us to Justine Gandy (Julia Garner), a third grade teacher in the suburbs of Pennsylvania (or at least, one can assume that based on the colors on the license plate on her Toyota RAV4). Justine is not having a good day … And neither are the parents of the 17 children in her classroom that all have suddenly gone missing after running out of the front doors of their homes at exactly 2:17 a.m. Alex Lilly (Cary Christopher), however, seems to be just fine since he was the only one that showed up to her room the next day. 

 

While parents such as Archer (Josh Brolin) are calling for Justine’s head as he is convinced she knows more than what she’s telling, her principal Andrew (Benedict Wong) and her police officer ex-flame Paul (Alden Enrenreich) believe she’s telling the truth. But given the fact that Justine (A) has what could be perceived as a problem with alcohol and (B) was let go from her previous school, you can (C) see why more people in town are not convinced she’s as innocent as she says. 

 

But as all their stories begin to intersect, it becomes clear something evil is afoot … And this small town may never be the same ever again. 

THE REVIEW: “Well … that was … different.”

If you’ve seen one and/or both of the trailers for WEAPONS, you already know that seeing scores of people running in a trance-like state at full speed would be cause for concern in the real world … So it might come as a bit of a surprise that the film is a MUCH slower burn than you might originally believe. Likewise, whereas there is some definite gore and violence, WEAPONS is much more story driven than it is by the former, so those coming a typical hack-and-slash might need to pump the brakes on that expectation.

 

There are some issues with WEAPONS that keep it from being as great as it could be. There’s some foreshadowing that can be hard to ignore, the characters – Garner’s in particular – utilize logic that at times seems to show the absence of any and the ending may leave some desiring a bit more answers since some open-ended questions definitely remain. What the film has going for it, however, is a bit of unexpectedness to it that makes up for it that, for the average person, is enough to keep them intrigued until the film’s final act pieces everything together as to why what is happening is happening (for the most part).

In an era where most horror movies are really just psychological thrillers with a lot of cursing and jump scare scenes, WEAPONS manages to come armed with enough tension and surprise to make most moviegoers not wanting to draw one demanding a refund. Just know that whatever you think you’re getting, you likely are not … Even if you jump ahead and start to figure things out before Justine and Archer do.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

McCoy on Movies: FANTASTIC FOUR: FIRST STEPS

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Ben Grimm (Ebon Moss-Bachrach), Sue Storm (Vanessa
Kirby), Reed Richard (Pedro Pascal) and Johnny Storm
(Joseph Quinn) prepare for the moment in
FANTASTIC FOUR: FIRST STEPS.
© 2025 Disney. All Rights Reserved.

FANTASTIC FOUR: FIRST STEPS

You have to give Marvel Studios credit. For with there already being four – yes, FOUR – Fantastic Four films in existence (in case you didn’t know, there’s a 1994 B-movie that predates all the turn of the century versions and it’s … yeah), bringing Marvel’s first family to life has never been an easy challenge. This isn’t even factoring in supposed “super hero fatigue” coupled with the rise in Internet chatter about “woke” superheroes. (While the film mostly avoided the latter, some were miffed that Pedro ‘I’m now starring in EVERYTHING’ Pascal is taking up the mantle of Reed Richards, a.k.a. Mr. Fantastic.)
 
In the case of FANTASTIC FOUR: FIRST STEPS, director Matt Shakman has delivered what is easily the best take on the heroic quartet – in this case, taking place on Earth 818 and not the main 616 where we “live” in the Marvel Cinematic Universe. Whereas Pascal is able to capture the genius-yet-socially-awkward-but-underlying-caring nature of Richards greatly, Kirby makes Sue Storm’s dedication to both Reed and the concept of family integral to both the team and the overall story. Quinn captures Storm’s hotheaded (pun intended) nature, but balances it with an intelligence previous versions haven’t often shown. The most intriguing individual may be Ebon Moss-Bachrach’s portrayal of Ben Grimm a.k.a. The Thing, which focuses on all the elements of humanity his character tries to maintain despite his physical stature.
 
Now, how this iteration of the Four eventually make their collective way to Earth 616 remains a mystery, one which is only intensified by one of the two post-credit scenes following the film’s conclusion. But in the meantime, FIRST STEPS takes significant ones at re-establish the importance of the Fantastic Four along with their potential for the next phase of the MCU.
 
For longstanding fans of the comic book quartet, that’s a fantastic prospect to look forward to in the future.
RATING:

 

 

McCoy on Movies: Superman

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James Gunn brings humanity to an alien character with DC Universe lead film reboot

SUPERMAN

The most controversial movie of the year focuses on the choices we make as humans, what makes us human, fear of those different than us and takes aim at the evil corporations and billionaires do under the guise of helping society all while showing a person of color as one of the smartest on earth.
 

Go figure.

The first official cinematic entry in James Gunn’s tenure as the head of the DC Comics Cinematic Universe, SUPERMAN – the 2025 version – can be viewed in one of two ways: (1) This is a super “woke” (which ironically is the opposite of “asleep,” but that’s another conversation entirely …) film where an alien makes us look at our fear of those different from us, how they could take over and showing us this unrealistic view where all these DEI hires have to “save us” from evil, white, male billionaires …


OR

(2) This is a multi-layered film that, while not perfect, makes a character that has been portrayed historically as having one weakness as being vulnerable – not just to kryptonite, but a world that doesn’t understand him and at times, fears him. This is a film that likewise shows the true danger of letting the rich run wild with unchecked power, how propaganda can be near fatal to thought, progression and society … All while throwing in a mix of humor, secondary characters that actually contribute significantly to a story and a lead perfectly cast for his role.

Smart fans will take the latter approach.

RATING:

 

McCoy on Movies: JURASSIC WORLD: REBIRTH

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JURASSIC WORLD: REBIRTH
There’s an old adage that says, “Give a man a fish, he’ll eat for a day. Teach a man to fish and he’ll eat for a lifetime.” In the case of JURASSIC WORLD: REBIRTH, one might say, “Give a film studio a dinosaur and they’ll give an audience one really great movie. Let that same studio have a bunch of dinosaurs and they’ll give audiences the same formula with a few tweaks and watch as they keep buying tickets.”
There’s a scene early on in REBIRTH where Rupert Friend’s character explains to Scarlett Johansson’ character that over time, people lost interest in dinosaurs. That should serve as enough of a warning to the savvy film viewer to know that the next two hours are going to feature what you already know to expect from a Jurassic World film:
  • An evil corporate person who always thinks of profit over anything else to their own demise;
  • A nerdy scientist who values dinosaurs more than humans the way people who love dogs but have few friends do their pets;
  • Another example of helicopters NOT being a good idea in these situations;
  • Soldiers who seem to be trained at the Acme school of bad henchmen;
  • A character that seems like a goof at first but shows redeeming qualities;
  • A scared child that should never have been in this situation in the first place; and
  • A monster hybrid dinosaur that no one in their right mind would ever create, attendance needs of the actual park be damned.
So, despite the film’s title, there’s absolutely nothing new happening in JURASSIC WORLD: REBIRTH. But given the film’s massive July Fourth weekend box office tally, expect another Jurassic World film to spawn within the next 2-4 years.
RATING:

QUICK HITS- 60 Second Movie Reviews

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Reviews for movies you’ve likely thought about seeing in 60 seconds or less

Don’t have time to read a full, detailed movie review? Been meaning to talk about a movie for a while but just haven’t gotten around to telling a friend? Have no fear – get caught up with Quick Hits!

THE AMATEUR

Miss the days when Rami Malek was running around help take down evil corporations as Elliot Anderson on Mr. Robot? Get your fix of him taking out the people responsible for the murder of his wife while exposing government corruption in THE AMATEUR while it’s still in theaters. Instead of being your typical action movie shoot-em-up,  Malek’s portrayal of mild-mannered Charles Helle to bring more of a thoughtful exploration of a man seeking vengeance and justice, his brain being more intriguing than sheer brutality. While the film’s climax is the one moment that feels the most implausible, the near two hour joyride en route to getting there is strong enough to overcome it. Think of THE AMATEUR like watching the nerdy, undersized kid show you why you should never underestimate someone determined to use the one skill they have – their intelligence – to play chess with a bunch of criminals barely skilled at checkers.
 
 
RATING:

 
@ 2025 Disney. All Rights Reserved. 

 

THUNDERBOLTS* (a.k.a. *THE NEW AVENGERS) 

 

Miss the days when Marvel Studios paired up fish-out-of-water people who had to learn how to work together otherwise the entire world – if not universe – might perish? THUNDERBOLTS* brings those days back with a fantastic mix of humor, action battle sequences and most importantly, humanity helping to showcase the different aspects of being a hero (not to mention life) and dealing with one’s own personal demons. THUNDERBOLTS* might not only help those who often don’t feel seen to do so and come to terms with their own pasts so they don’t continue affecting their future, but also do the same for the entire Marvel Cinematic Universe. Florence Pugh shows how a strong female lead should work (looking at YOU, Captain Marvel entries) while David Harbor provides enough laughs as The Red Guardian that you should definitely consider booking his limousine service. 

 

RATING:

 

McCoy on Movies: Sinners

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Ryan Coogler, Michael B. Jordan turn in a near perfect Southern Gothic tale in SINNERS

The teaser poster for writer/director Ryan Coogler (Black Panther, Creed, Fruitvale Station) southern gothic horror thriller SINNERS. Credit: Alon Amir © All Right Reserved.

WATCH THE TRAILER HERE:

 

CAST: 

The Smokestack Twins Smoke and Stack (Michael B. Jordan)
Sammie a.k.a. Preacher Boy (Miles Caton))

Beatrice (Tenaj Jackson)

Mary (Hailee Steinfeld)

Delta Slim (Delroy Lindo)

Remmick (Jack O’Connell)

Annie (Wunmi Mosaku)

Grace (Li Jun Li)

Bo Chow (Yao)

Pearline (Jayme Lawson)

 

WRITER /DIRECTOR: Ryan Coogler

THE PLOT: Smoke and Stack (Michael B. Jordan) are twins who left their native Clarksville, Mississippi for a better life up north in Chicago long ago. Now, they are back and throwing around cash like it’s going out of style … For it seems that good fortune up north has led them back to Clarksville where they plan to open up their own juke joint. (It is 1932, after all.)

 

Their cousin Sammie a.k.a. Preacher Boy (Miles Caton) is a talented musician who’s pastor father (Saul Williams) has warned him about the perils of picking up the guitar he is fond of and playing secular music, a.k.a. the blues. But Sammie wants to follow his dreams, dreams which become stronger once he meets local legend Delta Slim (Delroy Lindo). Meanwhile, Smoke and Stack are building up their staff for their new venture, which, in addition to Delta Slim, includes local general store owners Grace (Li Jun Li) and Bo Chow (Yao), sharecropper Cornbread (Omar Benson Miller) and potions expert (and Smoke’s old flame) Annie (Wunmi Mosaku). Also hanging around is Mary (Hailee Steinfeld), a woman whose ethnic background has complicated her relationship with Stack, a.k.a. her former lover. Then again, Pearline (Jayme Lawson), a married woman in her own right, has caught the fancy of Sammie who is ready to let his little light shine.

 

All the parties find themselves in for an enjoyable opening night at Club Juke – until it isn’t. For once a man named Remmick (Jack O’Connell) comes a calling, their entire night is about to change … And all sinners will be punished for their deeds.

THE REVIEW: “No notes.” Those were the two words I texted a friend after finishing SINNERS, the latest collaboration between writer/director Ryan Coogler and his frequent muse, Michael B. Jordan. For in mixing in themes of music and its importance to the soul (literally), southern gothic themes relating to race and horror elements, Coogler’s latest film might be his best effort to date. For it is a cinematic experience of culture and storytelling that is a masterclass in creating and investing in characters and moments topped off with themes of love, loss and music.

Jordan has already staked his claim as one of Hollywood’s best young (aka under 40) talents; SINNERS finds him pulling off the remarkable task of playing twins and giving each enough depth to stand on their own. Whereas Stack is fast and smooth, Smoke is calculated, much more rough around the edges and yet both are passionate about their dreams and losses (as well as the impact of the women in their lives). Whereas Robert DeNiro’s recent turn as two mob bosses in The Alto Knights has been criticized by some as too much self-indulgence, it’s hard to imagine someone else turning in a dual performance that begs attention as much as Jordan does watching SINNERS. 

 

Likewise, whereas Steinfeld’s and O’Connell’s character could quickly become one dimensional, both – just like Mosaku as Annie – craft personalities that are intricate to Smoke and Stack’s respective stories. While most will come to SINNERS for Jordan as the headliner, it is newcomer Miles Caton that is the film’s center, both musically and in terms of many of the various themes explored during the film’s two hours and 17 minutes. Caton’s future should be as bright as his performance is memorable which, given all he asked to do in his feature film debut, is saying something.

There have been many great duos in history from Abbott & Costello to Michael Jordan and Phil Jackson … With SINNERS following their previous efforts (Fruitvale Station, Creed, Black Panther, and Black Panther: Wakanda Forever), Coogler and Jordan have proven yet again they can make fantastic cinema together, this time exploring a new realm while maintaining all the elements – humor, timing, emotion and captivating scenes – that made all their prior journeys together work. Is that because of Jordan flexing his prowess to bring Coogler’s vision to life or Coogler putting his actors in the best possible light to shine? It’s both – and that’s what makes SINNERS a top film so far in 2025. 

For like all of us, SINNERS may not be perfect, but it’s about as close to perfect as any human making a movie of its nature could hope to be. 

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

McCoy on Movies: NOVOCAINE

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Jack Quaid vehicle Novocaine likely to leave fans
of his work on The Boys in stitches

“Hello … Oh me? I’m just waiting around waiting on the next season of “The Boys” like everyone else …” Nathan Caine (Jack Quaid) takes a moment to phone a friend after being caught in a snare trap in a scene from co-directors Robert Olsen’s and Dan Berk’s action/comedy/romantic comedy NOVOCAINE. Credit: © 2024 PARAMOUNT PICTURES. ALL RIGHTS RESERVED.

 

WATCH THE TRAILER HERE:

 

CAST: 

Nathan Caine (Jack Quaid)

Sherry (Amber Midthunder)

Roscoe (Jacob Batalon) 

Simon (Ray Nicholson)

Ben (Evan Hengst)

Andre (Conrad Kemp)

Mincy (Betty Gabriel)

Coltraine (Matt Walsh)

Earl (Lou Betty, Jr.)

 

DIRECTORS: Robert Olsen and Dan Berk

WRITER: Lars Jacobson

THE PLOT: Nathan Caine (Jack Quaid) is mild-mannered 30 year-old man living in San Diego. He works as an assistant bank manager where he tries his best to help those like Earl (Lou Betty, Jr.) facing hard times. He lives alone in his apartment, playing his favorite RPG online with Roscoe (Jacob Batalon) and he is fond of wearing a tie with reindeer on it during the holidays, which, since it’s Christmas Eve, seems appropriate. 

 

Nathan also has an extremely rare – and very serious – medical condition: Congenital insensitivity to pain with anhidrosis (CIPA), which means is has the inability to feel pain or changes in temperature (and in real life, a very decreased sweating ability). People with CIPA often suffer a long road to recovery as a result of their injuries, marked by slower healing, especially when they do so incorrectly. This is why Nathan has read an extensive amount of medical books, has dummy-proofed his house to avoid running into sharp corners and even avoids chewing since he’s afraid he might bite his tongue in half – or worse. 

 

But despite living a very simple (and safe) life, there is one thing that makes Nathan wonder if he should risk it all: Sherry (Amber Midthunder), the relatively new teller at the bank where they both work. Fast-forward to a wonderful night hanging out with Sherry at an art exhibition and let’s just say why he might not be able to feel pain, Nathan is definitely feeling something.

 

What he didn’t expect to feel, however, was the terror and panic that ensues when a trio of Santa Claus-dressed bank robbers led by Simon (Ray Nicholson) enter his bank and decide to make two withdrawals: a sizable amount of cash and Sherry as a hostage. Awakening after being temporarily disposed out to discover Sherry gone, Nathan decides to do something that could change his life forever: Pursue the bad guys, save the girl and embrace the nickname that has dogged him since middle school.

And it’s a good thing he can’t feel pain – because he’s about to experience more pain than most people will in their entire life to try to save the girl of his dreams.

THE REVIEW: Far be it for me to worry about Quaid becoming typecast as as a nice guy who specializes in playing nice guys thrust into the most insane of situations given his long run on Amazon Prime’s The Boys, but … If Quaid keeps delivering performance that balance chaos, charm and great quips as he does in NOVOCAINE, it might be hard for him to escape it – not that his fans will be mad about that.

It take a true talent to play a convincing nerdy individual who can also pull off action sequences and make the cartoonish feel realistic (when it’s obvious they are absurd), but if there’s ever an actor in 2025 that excels at that, it’s Quaid. In much the same fashion his character on The Boys always has a desire to do the right thing or find a resolution for a situation, once he is forced into action, he remains a sympathetic character for whom you root. His interplay with Midthunder rivals that of his interactions with his Boys co-star Erin Moriarty; his “please don’t make me do this” to “OK, I’m going to do this and if I die, so be it” transition being on display once again.

In short, Novocaine may feel VERY familiar to fans of Quaid’s work on The Boys, but it also shows that he can be the lead in a vehicle versus a co-star (albeit in the front) of an ensemble cast. There’s nothing wrong with knowing one’s formula and sticking to it, especially when it works as well as it does in NOVOCAINE.

If that sounds like a journey you’re interested in taking, you’ll likely be a left in as many stitches as the film’s titular character.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Captain America: Brave New World

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Mackie solid despite underwhelming adventure awaiting Captain America: Brave New World

The final theatrical poster for CAPTAIN AMERICA: BRAVE NEW WORLD.  © 2025 Walt Disney Studios. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Anthony Mackie, Harrison Ford, Tim Blake Nelson, Giancarlo Esposito, Danny Ramirez, Carl Lumbly, Shira Haas and Xosha Roquemore

DIRECTOR: Julias Onah
 
THE BACK STORY: Steve Rogers may have walked off into the sunset … But that doesn’t mean America won’t continue to face threats, domestic, international and – as any dedicated Marvel Cinematic Universe (MCU) watcher can tell you – across galaxies and multiple universes. That’s why Sam Wilson (Anthony Mackie) is on the case, taking up his mentor’s mantle, complete with a new Falcon – a.k.a. Joaquin Torres (Danny Ramirez) in training by his side. In addition to a new title, Sam also has a new boss in the form of Thaddeus “Thunderbolt” Ross (Harrison Ford, taking over the role left vacant by the late William Hurt), a.k.a. the newly elected President of the United States of America. 
 
The discovery of adamantium on a celestial island (yes, X-Men fans and the five of you that liked the Eternals movie, adamantium has made its way into the main MCU) is set to once again change the world. That’s why a seemingly changed Ross is looking to shed his hotheaded reputation and lead a peace treaty involving all the world’s major nations.
 
Problem is, Ross hasn’t been exactly honest about a few things, leaving Sidewinder (Giancarlo Esposito) on the hunt to steal the precious metal for an unknown buyer. But as things unfold and land his role model, the original Captain America Isiah Bradley (Carl Lumbly) behind bars,  Sam ends up trying to prevent an international incident … Even if Samuel Stearns (Tim Blake Nelson) has plans that might otherwise sending Ross into a rage where he – and the entire world – will end up seeing red as a result. 

THE REVIEW: Given the current political/social state of America, it should come as zero surprise that if you are the type that has demonized the letters “DEI,” CAPTAIN AMERICA: BRAVE NEW WORLD is not the film for you. Likewise, if you are suffering from superhero fatigue and/or cannot see past the skin color of the film’s titular character, you should stay home as well.

 

However, if you enjoy most of Marvel Studios’ releases and are able to watch a story that focuses more on traditional superhero values (peace, a man with designs on revenge and/or justifiably using his intelligence/force for the right reasons but in nefarious ways), BRAVE NEW WORLD hits the mark more than it misses. 

 

Much moreso than in the lackluster Falcon & the Winter Soldier Marvel limited series, Mackie carves out his own niche as Cap in BRAVE NEW WORLD, paying homage to Chris Evans work in the role while putting his own stamp on the character. Wilson’s status as a black man is a minimal part of the story, which instead focuses on a man trying to honor his predecessor and serve the country that, in 2025, all of its citizens may or may appreciate his service. With Mackie’s Sam Wilson rumored to lead the next iteration of The Avengers, his performance shows he has the stamina to step into the role Evans helped define … Even if he still needs a bigger defining experience to firmly establish him as such.

 

In fact, if there is one thing that could be seen as more of a letdown, it’s the fact that BRAVE NEW WORLD simply follows the beats required of a standard Marvel adventure: There’s a hero facing some sort of internal crisis, a villain with motivations you can somewhat understand and some really good fight sequences with jokes throw in occasionally for good measure.

What BRAVE NEW WORLD needs, however, is a truly remarkable villain and definitive moments that make it feel like less of a prelude to other adventures. Nelson’s version of the man known to many comic book fans as The Leader doesn’t feel like he’s truly capable of such a name and you’ll either enjoy Ross’ gamma antics or find them too familiar to drive you. (The latter crowd is the type that almost takes more enjoyment in not enjoying something ala Comic Book Guy from The Simpsons.)

All things considered, in trying to show Sam Wilson can be just as good as other heroes, BRAVE NEW WORLD is fine … But it fails to do the one thing it needed to do, which is the exact opposite of the aforementioned sentence: Give him a adventure that make his heroics stand out in definitive fashion as compared to the rest of his peers. 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: LOVE HURTS

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Ke Huy Quan gets his kicks in action comedy LOVE HURTS

“I’m just here so I can punch your face!” Real estate agent (and former hitman) Marvin Gable (Ke Huy Quan) dodges an attack by King (Marshawn “Beastmode” Lynch) in a scene from director Jonathan Eusebio’s action romantic comedy LOVE HURTS. Credit: Allen Fraser/Universal Pictures © Universal Studios. 

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Ke Huy Quan, Ariana DeBose, Daniel Wu, Marshawn Lynch, Lio Tipton, Mustafa Shakir,  André Eriksen, Rhys Darby, Cam Gigadnet with Drew Scott

DIRECTOR: Jonathan Eusebio
 
THE BACK STORY: Marvin Gable (Academy Award winner Ke Huy Quan) is living his best life. He’s got a successful real estate practice, he’s got a nice home in the Milwaukee suburbs and everyone likes him, even his assistant Ashley (Lio Tipton) despite her obvious depression. Unfortunately, Marvin also has a past – a past that involved spending many years working under his brother Alvin (Daniel Wu), a.k.a. Knuckles, a criminal for whom he served as his top hitman. Marvin does have to contend with rival realtor Jeff Zaks (Drew Scott), who’s black belt approach to real estate is one he takes quite literal.
 
As it turns out, Marvin had one last job to complete before trying to leave the past behind: Murdering Rose (Academy Award Winner Ariana DeBose), who, alongside Renny (Cam Gigadnet) and Kippy (Rhys Darby), robbed Knuckles of $4 million. But since Marvin is in love with Rose, he just couldn’t do it. That’s a problem because once Rose resurfaces, so does Marvin’s past … And that means Knuckles, Renny, Renny’s would-be clean-up crew Otis (André Eriksen) and King (Super Bowl champion Marshawn “Beastmode” Lynch) – not to mention the mysterious, knife-wielding Raven (Mustafa Shakir) are all on the hunt for he and Rose. 
 
So what happens when a seemingly mild-mannered real estate agent is forced back into his old fatal ways? A lot – which is why Marvin is about to learn what they mean when they say LOVE HURTS.

 

THE REVIEW: 

 

After watching LOVE HURTS, a fellow critic and friend said two things, one of which I agreed with and another I did not. First, LOVE HURTS is definitely a film that, if this were 20 some odd years ago, Jackie Chan would have most definitely been feature in the lead role. That is not a knock to Ke Huy Quan, who is both believable in during the fight sequences and its mild-mannered moments due to the extensive fight training he underwent prior to filming. The point that I disagreed with is that Huy Quan deserves better, almost making it seem like the film was somewhat beneath him given its live-action cartoon nature.

Instead, I would argue that LOVE HURTS showcases a nice range of Huy Quan’s abilities, proving he can play an identifiable everyman with the ability to excel in an action film in addition to comedy or drama. While the film likely won’t find it’s true appreciation until hitting the streaming/home video market for a variety of reasons, LOVE HURTS isn’t a film that proves Huy Quan deserves better; it’s a film that once again proves he is worthy of more opportunities in larger roles. He is the film’s center in both its comedic and action-centered moments, a considerable achievement considering he is featured alongside one of HGTV’s Property Brothers as well as the national treasure that is Lynch.

Is LOVE HURTS a cinematic classic? Not at all. Is it a fun watch that you will likely enjoy more than you expect? Yes it is … And in a world where the serious nature of chaos around us is seemingly worse every day, that may be the film’s greatest gift.

 

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: You’re Cordially Invited

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“Did you touch my drum set?” Jim Caldwell (Will Ferrell, left) talks with Margot (Reese Witherspoon) in a scene from writer/director Nicholas Stoller’s YOU’RE CORDIALLY INVITED. © 2023 Amazon Content Services. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Will Ferrell, Reese Witherspoon, Geraldine Viswanathan, Meredith Hagner, Jimmy Tatro, Leanne Morgan, Stony Blyden, Celia Weston, Jack McBrayer and Rory Scovel

DIRECTOR: Nicholas Stoller
 
THE BACK STORY: Jim Caldwell (Will Ferrell) is a widower who loves his only child, his daughter Jenni (Geraldine Viswanathan). So when she returns home to tell him that she’s engaged to her boyfriend Oliver (Stony Blyden) instead of that she’s moving back home, he is taken aback to say the least. Once the initial shock is gone, he decides to celebrate the occasion by booking their wedding at the same island resort he and his late wife got married.
 
Margot (Reese Witherspoon) is a successful reality TV producer living in LA who misses her baby sister (Meredith Hagner) dearly since she is kind of her best friend, daughter and husband all in one. But when she arrives on the scene with Dixon (Jimmy Tatro) in tow, she is ecstatic to learn they are also engaged and – surprise – pregnant – to boot. Wanting to ensure nothing but the best for her little sister, she books the same place they used to spend so much time as children having fun with their late grandmother.
 
But as hotel manager Leslie (Jack McBrayer) is soon to learn, his mother forgot to inform him that both Jim had already booked the same wedding date that Margot has. (Let’s just say she was indisposed – permanently.) And since the island can only accommodate one wedding per weekend, the two headstrong would-be wedding planners are going to do whatever it takes to ensure the special day for the bride to be.
 
Even if it results in near disaster. 

 

THE REVIEW: YOU’RE CORDIALLY INVITED is a movie you can tell the cast had a lot of fun making. The characters are likable enough, the run time isn’t excessive and it’s got a few decent guffaws in the mix to keep you watching till the end. 

 

And that’s about all you really need to know about the latest film from Nicholas Stoller, which is streaming now on Amazon Prime. Because if you already have the service, it’s a nice way to kill about an hour and 40 minutes of a Friday night in or a Saturday afternoon. But given the generally silly nature of the affair, it’s not going to be the movie that makes anyone sign up for added benefits from Jeff Bezos’ studio arm.

 

Witherspoon is at her best when she plays the woman coming to grips with her situation and realizing things about herself after interacting with others. Ferrell is at his best when he’s allowed to go fully goofy while being genuine yet stupid in the process. That’s why sometimes when the jokes feel a little forced and the situations too outrageous, the likable nature of the actors is called upon again – and again – to keep things going. There are times when the film feels like it would be better served going into more a focused tone with other moments feeling like it would be better going for the full joke instead of feeling restrained. Celia Weston adds a nice amount of balance to the mix with Leanne Morgan subtly stealing each scene she’s in, but the film feels like a diet version of some of Ferrell’s better work while trying to delve into some positive messages about family dynamics, but few people will remember that with the silliness preceding it. 

 

In short, YOU’RE CORDIALLY INVITED is fine for a short stay, but more than one viewing will be enough to convince most it has overstayed its welcome.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: Red One

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Red One an entertaining albeit mismatched,
well-meaning Christmas action movie

 
“So … You know I could beat Cody Rhodes, right? All I need is one WWE contract …” Krampus (Kristopher Hivju) sizes up Callum Drift (Dwayne Johnson) in a scene from director Jake Kasdan’s RED ONE. Credit: Frank Masi/Prime © 2022 Amazon Content Services LLC.

WATCH THE TRAILER HERE:

 

 

KEY CAST MEMBERS: Chris Evans, Dwayne Johnson, Lucy Liu, Kristopher Hivju, Kiernan Shipka, Mary Elizabeth Ellis, Wesley Kimmel and Bonnie Hunt with J.K. Simmons

 

DIRECTOR: Jake Kasdan
 
THE BACK STORY: Santa Claus needs a lot of help to make Christmas happen every year. From the trolls and elves needed to sort and organize toys to those who help keep his reindeer healthy, Nick (J.K. Simmons) has plenty of assistance. That includes Mrs. Claus (Bonnie Hunt) and Callum Drift (Dwayne Johnson), the head of his security detail working under Zoe Harlow (Lucy Liu), the director of an organization that keeps track of all the creatures of the mythical world. 
 
Jack O’Malley (Chris Evans), however, is only concerned with one person and one person only: himself. That’s among the reasons he will take on any nefarious job thrown his way, the man known only as “The Wolf” on the dark web specializing in finding people that can’t be found. Unfortunately for his ex Olivia (Mary Elizabeth Ellis), that doesn’t extend to finding time to spend with his son Dylan (Wesley Kimmel).
All their worlds are about to collide, however, once Jack helps an unknown client track down a secret location in the North Pole that just so happens to be jolly ol’ – and very in shape – St. Nick’s home. Who has kidnapped Santa Claus and why is a mystery Cal and The Director realize they can’t solve, so they decide to bring in some outside help in the form of Jack – and he’s going to help them whether he as a Level Four “Naughty Lister” likes it or not.

 

THE REVIEW: RED ONE is entertaining, thanks to the strong performances of the cast, its action sequences which don’t feel overtly hokey or forced and relatable story. However, given that the aforementioned action sequences and language are far too intense for anyone under 10, the message of the film is geared more towards adults and it’s length at just over 2 hours in length, it’s also a movie without a defined audience. While the film explores one of the lost staples of Christmas – seeing the goodness in others – it also cuts off the carrot off its snowmen’s respective faces by not quite fitting into one particular audience. 

 

For all his recent WWE and athletic prowess, RED ONE reminds us that behind Johnson’s physicality also lies a man capable of conveying emotion with a simple gaze, vocal tone or smile. Johnson plays well against Evans’ character’s very anti-Captain America-like behavior, which never feels forced or included for the story’s sake. It’s the classic “I don’t like you, I don’t like you either” polar opposites formula, but it works as both Evans and Johnson execute it well. 

 

The biggest standpoint performances, however, belong to the film’s lesser-known cast members.  

Kiernan Shipka’s portrayal of Gryla, the evil Christmas witch, is never out of place, helping to make her a formidable foe once she is introduced into the story, even her own personal backstory never truly comes into focus. It is Game of Thrones alum Kristopher Hivju, however, who steals the show as Nick’s half brother Krampus, so much so that if he were to get his own spin-off film, it might do better than RED ONE is likely to do on its own.

Overall, RED ONE is an entertaining affair, but its constant flip-flopping between wanting to be an action movie and a family affair makes for a balanced experience that ends up feeling unbalanced for the very audiences it seeks to attract. It’s sort of like Cars meets The Fast and the Furious, which while entertaining on their own aren’t exactly the easiest mashup to make work together. It’s got just enough to keep you watching, but not enough to truly hook you into adding it to your Christmas classics list.

To quote the Bible verse where the quote is found, “no one can serve two masters.” In the case of RED ONE, trying to make a Christmas action movie feels like trying to serve to audiences at once, possibly to its own detriment even though, in the end, it works better than it should.

If nothing else, one thing is for sure: You’ll never look at Rock ‘Em, Sock ‘Em Robots the same way ever again.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: PIECE BY PIECE

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Pharrell Williams gets animated in director Morgan Neville’s visually stimulating and inspiring LEGO® documentary

“You know, even as LEGO® men, no one know what the heck Daft Punk looks like under these helmets!” Daft Punk and Pharrell Williams take the stage in a scene from director Morgan Neville’s PIECE BY PIECE, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC.

WWATCH THE TRAILER HERE:

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KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Morgan Neville
 
THE BACK STORY: Pharrell Williams is nothing short of a modern day musical wunderkind. He’s produced scores of hits for some of the biggest stars in hip-hop, R&B and even pop music, not to mention his work with his band N*E*R*D (No One Ever Really Dies) and his solo career. But how in the world did a kid who grew up feeling like an outsider in Virginia grow into one of the most influential music composers of the last 35 years? Through the magic of LEGO®, director Morgan Neville – along with 3D animated versions of some of music’s most important figures – seeks to explain how he built up his career PIECE BY PIECE.  

 

THE REVIEW: A story presented in a format that captures the childlike imagination, whimsy and dreams that inspired its subject, PIECE BY PIECE shows that there is not only life in LEGO® filmmaking, but why Williams’ story is one worth telling. In doing so, the film delivers a portrait of an artist that despite making millions, feels relatable to men, women and children worldwide who dare to be creative and follow their dreams.

 

An animated documentary, let alone one told through animated bricks – let alone one that has to follow scores of LEGO® films that were essentially comedies or traditional comic book-style tales – wouldn’t work for most people. With PIECE BY PIECE, however, we are given an extraordinary insight into Williams’ mind, the path he took to become who he is and the passions that drive him. But in exploring those passions and seeing how they impacted his journey, moviegoers are treated to a story visually is suited for children, but delivers insights directed at the inner child in all of us.

Director Morgan Neville makes wonderful use of the LEGO® format, using the notorious bricks many a parent has stepped on in the middle of the night to showcase different emotions with an Inside Out-like flair. The whimsical figures relay the happiness of Pharrell’s big break and realization of when he has a hit on his hands exceptionally; likewise, disappointments, failure and loss seemingly hit harder watching the animated spirit that is Williams’ fade in his darkest moments. PIECE BY PIECE works so well in both instances due to the inherent nature of both toys and, as its subject mentions in the film, the ability to use them to craft a world out of one’s own desires and creativity.

The LEGO® format allows Neville to bring the complexities of Williams’ creativity and worldview to life in a manner that might not work as well in a traditional format, leading to eye catching imagery memorable as the soundtrack. Remarkably, one needn’t be a Williams fan to enjoy the storytelling of the film nor catch the inspiration it provides (although it certainly would help – brush up on your Golden Era hip-hop and 90s R&B, kids!).

In inviting us to come experience his story, Williams will likely end up inspiring the film’s audience to go explore their own … And that, in addition to clever humor, perfectly sequenced storytelling and a thumping soundtrack, is what makes PIECE BY PIECE a masterpiece.

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: Saturday Night

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Jason Reitman’s dramedy brings to life the chaos behind the magic of the origins of Saturday Night Live

The teaser poster for director/co-writer Jason Reitman’s SATURDAY NIGHT. © 2024 Columbia Pictures. All Rights Reserved.

WATCH THE TRAILER HERE:

KEY CAST MEMBERS: Gabriel Labelle, Cooper Hoffman, Rachel Sennott, Ella Hunt, Cory Michael Smith, Dylan O’Brien, Matt Wood, Lamorne Morris, Nicholas Braun, Kim Matula, Tommy Dewey, Nicolas Podnay, Ellen Boscov, Emily Fairn, Andrew Feldman, Taylor Gray and Mcabe Gregg with J.K. Simmons and Willem Dafoe

DIRECTOR: Jason Reitman
 
THE BACK STORY: On Oct. 11, 1975, the world was introduced to the original Not Ready for Prime Time Players, a.k.a. the cast of a comedy and music program called NBC’s Saturday Night, known today as Saturday Night Live. Fast-forward some five decades later and Saturday Night Live – SNL for short – would go on to not just become a hit, but an institution that would go on to birth the careers of some of the biggest names in entertainment.

 

But for those in the know, it wasn’t always that way; in fact, the first episode of the now iconic show almost never made it to air. But if young upstart producer Lorne Michaels (Gabriel Labelle) – along with the backing of his estranged wife/staff writer Rosie (Rachel Sennott) – has anything to say about it, that’s not going to happen.

 

It seems that NBC’s cash cow, Johnny Carson, has gotten into a tiff with the network, making Michaels and his company a potential pawn for their ongoing negotiations with their star. But despite that – in addition to fighting actors, drug use, potential censorship, production problems and a network executive (Willem Dafoe) ready to pull the plug on everything, Michaels isn’t ready to give up anytime soon. For the show must go on, as they say, and in the case of Saturday Night, go on it shall.

 

THE REVIEW: Saturday Night is a lot like an episode of Saturday Night Live itself: It takes a while to find its footing, but once it does, it showcases the magic that has enabled the show to stay on the air for 50 seasons and counting.

 

Labelle captures the spirit of young Michaels perfectly, emulating everything from his famous brevity in conversations and the fine line between his confidence/anxiety to his ability to wrangle talent that often needs saving from themselves. Much like his real-life counterpart, Labelle’s performance is the glue that holds the film together, existing as the one constant in the sea of chaos that is and remains SNL.

 

Of course, Labelle wouldn’t be able to shine so brightly without the efforts of the cast, each providing an insight into both the absurdity of putting on a show like SNL and the humanity underscoring it.

 

Whereas Dylan O’Brien is terrific as the young, vibrant version of Dan Aykroyd that was bold, fierce and energetic, Cory Michael Smith embodies the on camera smug hilarity on camera – and documented egotistical terror off – that is Chevy Chase. Likewise, whereas Nicholas Podany, Taylor Gray and Mcabe Gregg capture the hungriness of young Billy Crystal, Al Franken and Tom Davis all hop sing for the chance to get on the air. Tommy Dewey perfectly presents the IDGAF nature of the late Michael O’Donoghue, Ella Hunt projects Gilda Radner’s eternal optimism to see the good in people and situations in spades. Cooper Hoffman’s embattled Dick Ebersol adds drama to the mix without ever feeling like he’s being dramatic for the sake of it, an important distinction that showcases his on screen skill.

 

Who arguably shines brightest in an ensemble cast about a show featuring an ensemble cast of differing personalities and experiences? Matt Wood and Lamorne Morris (no relation) as John Belushi and Garrett Morris, respectively. Whereas Wood hauntingly channels the mercurial complexity that was Belushi as both the artist and a man, Morris showcases the regalness and talent of the man with whom he shares a surname.

 

Then again, there’s really not a bad performance in the bunch, with everyone from J.K. Simmons as Milton Berle to Finn Wolfhard as an NBC page adding another ingredient to a near perfect dramedy recipe. If anything, one may feel a little melancholy for Laraine Newman as Emily Fairn’s portrayal comes across a tad like that of a small-town girl in over her head. (There also are hints at a romantic subplot with O’Brien’s Aykroyd that never come to fruition on screen, both in terms of portrayal and story.) Ironically enough, the film’s relatively unknown cast mirrors the spirit of the 1975 group of hungry performers looking for a chance, their performances showing the same talent and potential of their real life counterparts.

 

Of course, director Jason Reitman has to be given a massive amount of credit for pulling off Saturday Night as a film telling the story of the famed TV show. (A feat which he nonetheless does close to the actual show’s 90-minute airtime to boot.) The end result? A film that is essentially a love letter to an entity that has gone on to inspire thousands of comedians and actors over the decades by presenting all of the drama and hard work to entertain millions. 

 

That, in the end, makes Saturday Night worthy of a curtain call – or at least a viewing at your local cineplex.

 

 

 

 

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):