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Tabari McCoy

McCoy on Movies: Are You There, God? It’s Me, Margaret

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Childhood adolescence shines in cinematic adaptation of Are You There, God? It’s Me, Margaret

“Just think – in 50 years from now, parents are going to be worried about their kids twerking!” Margaret Simon (Abby Ryder Forston, far left) hangs with her new friends Janie Loomis (Amari Price), Nancy Wheeler (Elle Graham) and Gretchen Potter (Katherine Mallen Kupferer) in a scene from director Kelly Fremon Craig’s take on the classic – and controversial – children’s book ARE YOU THERE GOD? IT’S ME, MARGARET. Credit: Dana Hawley / Lionsgate © All Rights Reserved.
DIRECTORS: Kelly Fremon Craig

KEY CAST MEMBERS: Abby Ryder Fortson, Rachel McAdams, Bennie Safdie, Kathy Bates, Aidan Wojtak-Hissong, Elle Graham, Amari Alexis Price, Katherine Mallen Kupferer, Kate MacCluggage, Echo Kellum and Isol Young

WEB SITE: https://www.itsmemargaret.movie/

THE BACK STORY: Based on the Judy Blume book of the same name that is likely once again a candidate for a ban, ARE YOU THERE, GOD? IT’S ME, MARGARET stars Abby Ryder Forston as Margaret Simon. Living in New York City, 11 year-old Margaret finds her life suddenly turned upside down when her mother Barbara (Rachel McAdams) and father Herb (Benny Safdie) tell her they are moving to New Jersey following his promotion. The news isn’t exactly welcomed by Margaret nor Herb’s mother, Sylvia (Kathy Bates). (Margaret has no idea how her mother’s very devout Christian parents feel about the movie, however, since she hasn’t spoken to them in over a decade since Barbara decided to marry Herb, who is Jewish.)
Arriving in her new town, Margaret begins to make some new friends, all of whom have their own distinct personalities, so whether she’s hanging with the seemingly way too mature for her age Nancy Wheeler (Elle Graham), the more level-headed Gretchen Potter (Katherine Mallen Kupferer) or Janie Loomis (Amari Alexis Price), a.k.a. the black friend, Margaret quickly learn junior high school in a new environment is going to bring a ton of new experiences.
Along with those new experiences are the ones that hit home on a more personal level, such as maturity, waiting on herself and her friends to … to put it mildly, “become women” physically and finding out what religion she ultimately wants to be when she is older. And thanks to a classroom assignment by her new teacher Mr. Benedict (Echo Kellum), she’s going to likely find an answer to that question sooner than later.
It’s definitely going to be quite the year for young Margaret, her friends and family … Especially if she never gets any answers from the all-powerful being she’s constantly asking questions of …

 

THE REVIEW: Coming of age tales are classic source material for movies – and for good reason: Everyone who is an adult was once a child and that former time period is so critical to shaping the latter that it’s something to which everyone can relate. The 1970s may serve as the setting, but ARE YOU THERE, GOD? … proves itself to be a timeless tale from childhood into adolescence that should help bridge gaps between generations.
A film like this does not work without its young stars being (1) interesting and (2) compelling to make the story feel like both to its audience. Forston does a spectacular job at Margaret, conveying every insecurity, anxiety and ultimately, revelation in a fashion that is exciting, confusing and memorable as childhood itself. This isn’t a role defined by its complexity; it’s a role that is complex because of it’s seeming simplicity – yet to pull it off successfully, Forston must strike a balance between episodes of maturity and innocence as well as precociousness and brattiness.
While Fortson pulls them all off, it is worth mentioning how well she not only plays against her older, adult counterparts but also alongside her youthful castmates. Watching the interplay among them brings all the complexities of that super-awkward time in life front and center … Which makes the moments when they come to their own realizations or force the adults in their lives to do so all the better.
That, in fact, is one of the most telling things about what makes ARE YOU THERE, GOD? … So entertaining. A friend of mine attended the premiere with me; at one point, I could tell she was having a visceral reaction to a major plot point. Asking her why after the film was over, she said it’s because it made her, a 40 year-old woman, feel vulnerable. When the actions of children on screen can take you right back to a similar moment in your youth, you know the film is connecting with its target audience. (As was the case with my friend, there are several moments in the film that one may find intense not for what it depicts but for their ability to make the audience recall similar embarrassing moments in their own life.) That’s not to suggest the film is only for mothers and daughters, however. Men would stand to learn a lot on how to converse with the women in their life – or at the very least, help rightfully remove the stigmas associated with certain aspects of womanhood.
ARE YOU THERE, GOD? … seeks to de-mystify some of the most (or seemingly at the time young women experience them) mysterious times of youth and instead show them as a natural part of life. In today’s climate, however, that likely will make it the subject of fodder for pundits and traditionalists to debate what audiences it is and is not well-suited for. (My friend did say she felt the film was ‘too real’ at a certain point, so take that for what you will …)
Those issues notwithstanding, ARE YOU THERE, GOD? … may find its main character seeking the guidance of a higher power, but it definitely should help entertain – and educate – its audience to be a little more mature.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

 

McCoy on Movies: The Super Mario Bros. Movie

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Video game movie adaptations level-up with stellar and fun The Super Mario Bros. Movie

“Sega Ge-ne-who?” Mario (voiced by Chris Pratt), Princess Peach (voiced by Anya Taylor-Joy) and Toad (voiced by Keegan-Michael Key) in a scene from Nintendo and Illumination’s THE SUPER MARIO BROS. MOVIE, directed by Aaron Horvath and Michael Jelenic. © 2023 Nintendo and Universal Studios.
DIRECTORS: Aaron Horvath and Michael Jelenic

KEY CAST MEMBERS: Chris Pratt, Anya Taylor-Joy, Keegan-Michael Key, Jack Black, Charlie Day, Seth Rogen, Fred Armisen, Kevin Michael Richardson and Sebastian Maniscalco 

WEB SITE: https://www.thesupermariobros.movie/

THE BACK STORY: Inspired by the longstanding series of best-selling video games, THE SUPER MARIO BROS. MOVIE finds Mario (voiced by Chris Pratt) and his younger brother Luigi (voiced by Charlie Day) trying to get their small plumbing business off the ground. Their old boss Spike (voiced by Sebastian Maniscalco), however, keeps giving them guff about it and the rest of their family doesn’t seem to be as supportive as they would hope for, either.
Then, in a magical series of events, Mario and Luigi slip – quite literally – down into a pipe only to discover they are no longer in Brooklyn anymore. While Mario has entered the Mushroom Kingdom ruled by the benevolent Princess Peach, Luigi has found himself in a much darker world where the monstrous Bowser (voiced by Jack Black). Making matters worse is the fact that Bowser wants to marry Princess Peach, who wants nothing to do with him … So when he discovers that Luigi is the brother of the man that may foil his plans for world domination, Bowser is determined to take out the competition.
With the Mushroom Kingdom doomed without a hero, his brother in need of rescuing and a desire to prove himself, Mario – along with a help from a few friends that should be familiar to longstanding gamers – is ready to level up.

 

THE REVIEW: THE SUPER MARIO BROS. MOVIE is good. In fact, it’s far better than you would likely expect it to ever be and capable of being in the first place. Why? Because thanks to a clever script, voice cast that nails their respective roles and visuals that pay tribute to the games that inspired them and bring them to living digital life, MARIO BROS. delivers a film that is enjoyable across generations without needing a cheat code to entertain.
Taking elements from the Super Mario games as well as Donkey Kong Country, Super Smash Bros., Luigi’s Mansion, Mario Kart and Diddy Kong Racing,  MARIO BROS. cleverly blends various games together to create an enjoyable, engaging story that’s fun for adults and children alike. Those who grew up running through pipes, dodging fireballs and seeking power-ups will appreciate the way they are woven into the fabric of the Mario Bros.’ world, as they will certain homages to the Nintendo Entertainment System (NES) and other prominent titles of that system’s era.
Similarly, younger fans will enjoy the adorable nature of Toad and his fellow toadstools, the classic villain who wants to be loved as perfectly played by Jack Black and Mario’s relatable nature as a small guy that comes up big when it counts. While fans of Charles Martinet may be sad the original voice of Mario isn’t featured more prominently in the film (yes, he’s in there), there’s no need to fear. Say what you want about Pratt, but he does an extremely commendable job giving life to everyone’s favorite digital plumber with Charlie Day doing the same for his green hatted brother.
In a role it seems like he was born to voice, Seth Rogen makes Donkey Kong a very fun ape to be around; Fred Armisen likewise does a nice job voicing the Larry David-like Cranky Kong with veteran cartoon voice actor Kevin Michael Richardson giving a perfect voice to the Emperor Palpatine-like sidekick to Bowser.
Throw in some well-constructed humor – Black really does play Bowser perfectly – action sequences that are perfect tributes to the games that inspired them without feeling forced and a perfect run time (the film is barely over 90 minutes with credits and it’s nearly perfect. Will that inspire a sequel? Probably – and if/when it does, it will have a lot to live up to for certain.
Fortunately, Nintendo’s and Illumination’s partnership shows that when someone puts care into a video game film adaptation, it won’t leave audiences looking to pull the plug and restart their cinematic console.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: AIR: Courting a Legend

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“Man, I’m telling you – one day we will sign and then end our business relationship with a rapper from Chicago and both moves will be great for business!” Howard White (Chris Tucker, pictured) discusses the basketball shoe game with Sonny Vaccaro (Matt Damon) in a scene from AIR: Courting a Legend. Credit: Ana Carballosa © Amazon Content Services LLC.

WATCH THE TRAILER HERE: 
DIRECTOR: Ben Affleck

KEY CAST MEMBERS: Matt Damon, Ben Affleck, Chris Tucker, Jason Bateman, Chris Messina, Matthew Maher, Viola Davis with Marlon Wayans and Matthew Maher

 

 

THE BACK STORY: Long before Nike was the worldwide leader in all things athletic apparel, the Beaverton, Ore. based company was known for running shoes … And not much else. For in the basketball shoe market, Adidas was king with Converse running a close second. In 1984, the era of Reaganomics, revolutionary technology, sitcoms and the explosion of pop music icons, third place meant being last to the point that if something didn’t change, Nike CEO Phil Knight (Ben Affleck) was faced with the prospect of shutting down his company’s basketball division altogether.
Sonny Vaccaro (Matt Damon), however, believed there was one athlete that could change the company’s fate if they could just get him to sign with the company. Who was that man? None other than the man who would eventually go on to be known as “His Airness” – and in the eyes of meany, the greatest competitive athlete of all time, Michael Jeffrey Jordan (played by Damian Delano Young).
Problem is, everybody knows that Jordan is not going to sign with Nike. His intentions are to sign with German-based Adidas despite the loss of its founder and namesake Adolf Dassler. And not only does Jordan’s agent David Falk (Chris Messina) know it, so does Nike Basketball exec Howard White (Chris Tucker), Head of Basketball Marketing Rob Strasser (Jason Bateman), Jordan’s former USA Basketball coach George Raveling (Marlon Wayans) and Jordan’s mother, Deloris (Viola Davis).
But since he’s a gambling man and believes that Jordan is the future of not only Nike, but basketball itself, Vaccaro isn’t ready to take “no” for an answer, what is about to transpire is going to change the sneaker industry forever … As long as he can find a way to get Jordan to sign on the dotted line …
THE REVIEW: Ask any dedicated sneakerhead what is the most important sneaker of all-time is and the odds are beyond good that it will be one with the famous “Jumpman” logo. For as AIR illustrates in great, gripping detail, one man can in fact change the world – and the efforts Vaccaro and company went through to get him is as an American story as sneakers are an industry.
With an all-star ensemble cast, you’d expect each actor in AIR to, much like a basketball team itself, play their positions well en route to trying to achieve their championship aspirations. AIR‘s squad does so on an all-star level from start to finish, each role meaning something no matter how big or small it may be.
Whereas Damon’s Vaccaro is the point guard keeping everything moving and functioning, Tucker comes in with flash and scores in bunches when he uses his charisma and quick wit. As shark-like agent David Falk, Messina’s interactions with Damon’s character likewise play out like intense one-on-one scrimmages.
Affleck’s portrayal of Knight captures all of the Nike head man’s famous (alleged) quirks expertly with Bateman coming in to play the veteran teammate that tries to keep things calm but knows he can’t stop Damon’s character from doing what he’s going to do, so he’s willing to sacrifice to do what’s best for all involved. Add in Davis’ strong performance as Jordan’s mother and the cast is a delight to watch.
Kudos must also be given, however, to the painstaking detail with which Affleck crafts AIR. Every 80s homage – from the fashion and music to the technology involved (remember when having a car phone was a big deal?) serves to enhance the film’s aesthetic as much as its storytelling. In re-creating that world so well, it really showcases the 80s entrepreneurial spirit that was so crucial to Nike’s growth so well in addition to setting up all the dominos that would fall following its historic deal.
In short, those looking for a great film with equal parts of comedy and drama, inspiration and inspired storytelling, AIR is worth lacing up your sneakers for and heading to the theater this spring.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: Creed III

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Michael B. Jordan’s directorial debut has flash but lacks true punch to be a true title contender

“This is my Wakan, er, ring!” Titular character Adonis Creed (Michael B. Jordan) raises his fists in a scene from Jordan’s directorial debut CREED III. Credit: Eli Ade © 2023 Metro-Goldwyn-Mayer Pictures. All rights reserved.
 WATCH THE TRAILER HERE:
DIRECTOR: Michael B. Jordan

KEY CAST MEMBERS: Michael B. Jordan, Jonathan Majors, Tessa Thompson, Mila Kent, Wood Harris, Thaddeus J. Mixon, Spence Moore II, Florian Munteanu and Phylicia Rashad

 

THE BACK STORY: The third installment in the Rocky spin-off franchise, Creed III finds titular character Adonis “Donnie” Creed enjoying the good life. He’s retired, his wife Bianca (Tessa Thompson) has become a gold record earning music producer and their daughter Amira (Mila Kent), save for one would-be bully at school, is seemingly happy.
But it wasn’t always this way.
You see, back in his troubled youth (portrayed by Thaddeus J. Mixon), Adonis had issues at a group home where he was living with his best friend Damian “Diamond Dame” Anderson (Jonathan Majors, played as a youth by Spence Moore II). Dame was an aspiring Golden Gloves champion … And then came the fateful night where everything changed. Fast-forward 18 years later and Dame, thanks in part to a decision made that aforementioned night and one later made by Adonis’ mother (Phylicia Rashad), isn’t remembered at all.
He will be, however – which is why he’s ready to show Adonis that while he may be the champ, there’s no nemesis like an old friend …

 

THE REVIEW:
As Jordan’s directorial debut, the positives about Creed III are that the film looks good visually, there are some  … interesting sequences (one in particular) and the action sequences are fine by the previous films’ standards.
Then there’s the actual movie itself as a story … And that’s when things seem to feel a bit punch-drunk.
Look, Rocky and Creed films are never going to be great with certain logic points, but there is one plot point that – if you think about it – derails the storyline and plot points for the latter half of the film. (The logic the characters exercise or, more often, don’t, makes turning your brain off necessary to get through it.) Likewise, there hasn’t been good defense by a boxer in a Rocky movie since, well, ever and the referees make the ones in the WWE (or, depending on your favorite football team, a certain spots league) look competent by comparison.
Those complaints aside, the main problem with Creed III is that despite some opportunities to maybe explore some topics that could have made the film feel unique or even poignant – the idea of black rage, misguided youth, the impact of parents on children among them. Unfortunately, Creed III instead comes across as another so-so Rocky movie (think Rocky V). This wouldn’t be the case, of course, if the characters’ had better logic. Seriously, the decisions the characters make often seem ludicrous at best with reasoning that feels just as silly as the choices themselves. That makes it hard to buy into much of the film itself, which, given the nature of the average Rocky/Creed film, is essential.
Let me put it another way. As a four decade (and counting) fan of “sports entertainment,” a.k.a. professional wrestling, the key to the enjoyment is (1) appreciating the athleticism of the performers that (2) makes it able for you to suspend your disbelief that the outcomes aren’t pre-determined. These are live action movies unfolding before your eyes. With Creed III, the film never reaches a point where you are able to do the latter. Sure, Jordan, Majors and co. are in phenomenal shape and look the part, but the film lacks an element that makes you go “all in” and buy completely into the story. On a positive note, Mila Kent is precocious as Amira and does a great job throughout the film all the way to setting up her own movie one day(?).
With Creed III, Michael B. Jordan shows he knows what a movie should look like, how a first, second and third act are supposed to work and how to add visual style to the final product. Unfortunately, the story is so … familiar and logically flawed that it’s just hard to want to go the distance with it. Again, there are points raised that could have developed into something more than the standard boxing fare. The film looks good stylistically, Jordan shows he has potential to deliver a good product … But the film just lacks the punch – pun intended – to deliver the knockout blow you would hope it would.
Creed III comes in with all the hype of a title contender … But in the end, the franchise’s championship days – however short they may have been – are behind it.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

McCoy on Movies: Cocaine Bear

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Elizabeth Banks’ horror/dark comedy delivers exactly what it promises to uproarious, unadulterated fun

“This is what happens when you party in the woods in the 1980s!” The titular character lets loose with a little bit of snowfall in a scene from Elizabeth Banks’ inspired by true events dark comedy/horror COCAINE BEAR. Credit: © 2023 Universal Pictures. All rights reserved.
 WATCH THE TRAILER HERE:
DIRECTOR: Elizabeth Banks

KEY CAST MEMBERS: Keri Russell, O’Shea Jackson, Jr., Christian Convery, Alden Ehrenreich, Jesse Tyler Ferguson, Brooklynn Prince, Isiah Whitlock, Jr. Kristofer Hivju, Hannah Hoekstra, Leo Hanna, J.B. Moore, Aaron Holliday, Ayoola Smart, Kahyun Kim, Margo Martindale and the late Ray Liotta

 
THE BACK STORY: Inspired by true events – but definitely taking them to previously unforeseen highs (pun intended) – Cocaine Bear takes place in 1985 in the Chattahoochee National Forest. Why? Because that’s where a drug dealer (and millions of dollars of pure, uncut cocaine) crash landed. That’s a problem for Daveed (O’Shea Jackson, Jr.) and Syd (Ray Liotta), a pair of southern drug dealers who cannot afford to upset their Latin American connections by letting all those drugs go missing. That prompts Syd to order Daveed to find Eddie (Alden Ehrenreich) – a.k.a. Daveed’s trying to-go-straight partner and Syd’s son – to leave St. Louis and head towards Chattachoochee.
Syd, Eddie and Daveed won’t be alone in their hunt, however, for the forest happens to be roaming with colorful characters on this particular day. There’s Olaf (Kristopher Hivju) and Elsa (Hannah Hoekstra), an engaged couple hiking their way through the forest, animal specialist Peter (Jesse Tyler Ferguson) and Liz (Margo Martindale) the park ranger who fancies him and the teenage gang of the ponytail (Leo Hanna), the guy in the vest (J.B. Moore) and their leader (Aaron Holiday).
Also in the woods are thirteen year-old duo Dee Dee (Brooklyn Prince) and Henry (Christian Convery), who are about to learn that skipping school was the worst decision they could have made that day. Why? Not just because Dee Dee’s mom Sari (Keri Russell) is going to be very upset with them, but because a black bear has just found massive amounts of cocaine.
If you can’t imagine what’s going to happen next, you should probably look at the title of this movie again and get prepared for a journey unlike anything else you may see in 2023 … Or ever again.

THE REVIEW: In an era full of sequels, re-treads, dystopian futures and superheroes, Cocaine Bear carves out a niche for itself by delivering EXACTLY what its title promises: A 500-pound apex predator coked out of its mind running crazy in the middle of a forest causing hilarious – and at times, gory – chaos.

The bear is obviously the star attraction; what makes director Elizabeth Banks’ film entertaining and not an erratic mess, however, is the work of all the humans around it. The story is easy to follow, the actors deliver solid performances by playing things straight and Banks’ pacing keeps things snapping along so that nothing drags except the victims once the star sinks her claws in them. The laughs happen naturally, the shock moments are effective and not gory for the sake of being gory and the characters are likable enough and more developed than one would expect going in to the film.
Make no mistake, however: Cocaine Bear isn’t trying to be an Academy Award-winning film by any stretch of the imagination. However, it takes a wild concept and makes it an entertaining one from start to finish. Prince and Convery are great young stars to carry the film, Russell is completely believable and Martindale is a hoot as the park ranger. (If only Whitlock, Jr. had found a to work in his trademark catchphrase from The Wire, everything would be complete.)
While the world doesn’t need a sequel, it definitely can have a great time partying down with Cocaine Bear – just make sure the only snorting you’re doing is from laughing and everything should work out just fine.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

 

McCoy on Movies: TILL

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Academy Award contender is unflinching, unapologetic in its depiction of a definitive American tragedy, turning point

“This is one of the few smiles that anyone watching this film will see given the gripping, emotional impact of this film.” Mamie Till Mobley (Danielle Deadwyler, left) prepares to send her son Emmitt (Jalyn Hall, right) on his ill-fated trip to visit family in Mississippi in a scene from TILL, directed by Chinonye Chukwu, released by Orion Pictures. Credit: © 2022 ORION RELEASING LLC. All rights reserved.

WATCH THE TRAILER HERE:

DIRECTOR: Chinonye Chukwu

KEY CAST MEMBERS: Danielle Deadwyler, Jalyn Hall, Sean Patrick Thomas, John Douglas Thompson, Kevin Carroll, Tosin Cole, Whoopi Goldberg, Roger Guenveur Smith, Frankie Faison and Haley Bennett

 

THE BACK STORY: Based on one of the most infamous incidents of lynching in American if not world history, TILL stars Danielle Deadwyler as Mamie Till Mobley. Living happily in Chicago, she has her own apartment, a good job and a loving son in Emmitt (Jalyn Hall), a happy-go-lucky as can be 14 year-old excited to soon visit his cousins in Mississippi. 
 

Arriving down south, Emmitt is not accustomed to the dangers of being black in 1955. That all changes, however, when he inadvertently whistles at Carolyn Bryant (Haley Bennett), a store owner who doesn’t take kindly to his “You look like a movie star” compliment. Want to know who else didn’t take it as a compliment? The white lynch mob that brutalized Emmitt to the point a closed casket funeral was recommended after his body was found in the Tallahatchie River.

Mamie, however, wanted the world to see what hate did to her only child. And oh would the world ever see …

THE REVIEW: Emmitt Till. Martin Luther King, Jr. Medgar Evers. Tamir Rice. Phillip Pernell. Yusef Hawkins. Eric Garner. The Tulsa, Okla. massacre of “Black Wall Street.” Amadou Diallo. Michael Brown. Philando Castile. Trayvon Martin. Ahmaud Arbery. And despite what Kanye West and others like him think, George Floyd. And these are just the names I can name off the top of my head in my 40+ years on earth. All assassinated, lynched and/or killed in – and this is as loosely as the word can be used – “controversial” circumstances. All black men.
Like me.
According to the NAACP, nearly 5,000 lynchings occurred in the United States between 1882-1968. And those are just the known instances. In TILL, the audience receives brutal reminders for the latter 80 minutes of the film of the savagery, brutality, frustration, exhaustion, pain and injustice that continue – albeit less overtly and fortunately nowhere near as frequently – to this day. Unfortunately, the film’s unflinching portrayals of one of the most societally impactful events in modern American history, through no fault of its own, inadvertently result in a problem the film cannot fix. For in showcasing all the aforementioned savagery, brutality, frustration, exhaustion, pain and injustice, the film inherently runs into problems: (1) The risk of feeling like 2 hours of cinematic torture for African Americans and (2) making white audiences at the very least leaving feeling guilty and, at the very worst, invoking all the common privileged responses (“That was decades ago,” “We don’t have lynchings today,” “Movies like this just make things worse,” etc.”) one might expect.
When reviewing films, I try to leave myself out of analysis as much as possible. With TILL, I can’t deny just how inherently connected my world is to his some 67 years after his murder. My parents were children at the same time Emmitt Till was alive. Like Till’s mother, my mother worries every time I travel to a different city where she isn’t there to protect me. Like Till’s would-be adoptive father, my own dad worries whenever I jog in a neighborhood where the main demographics don’t match mine. (And we won’t even get into dating in a post O.J. Simpson world.) And like Emmitt, I am my parents’ only child and they both know they can’t protect me from the world at large, despite how much they try.
TILL is one of those type of films where you wish the people that need to see it the most (self-destructive African-Americans falling into the trappings of a system where they are behind the proverbial 8-ball in far too many circumstances; whites who deny what I just wrote to justify their position or deny a societal advantage). Instead, the audiences most likely to see are older blacks who for whom the Civil Rights movement is not part of a potentially-banned textbook, but their own history and liberal whites who want to actually understand and avoid repeating history. Then again, watching the film and realizing – as it details after the final haunting frame – that the Emmitt Till Antilynching Act DID NOT BECOME LAW UNTIL THIS MARCH may have the reverse effect of the inspiration it seeks to provide.
With apologies to the film’s cast and crew, TILL is a beautifully directed, emotionally gripping film that I cannot and will not ever be able to watch again. Deadwyler will be a deserving Academy Award nominee for her performance and Chukwu should receive Best Director consideration as well.
However, given America’s history of being built on the the backs of and benefitting from black pain, I just don’t have it in me to sit through another screening of TILL. For after years of important yet heartbreaking experiences watching (and not watching) so many films of its ilk, I don’t have any more grief I can afford to expend for the sake of my mental health.
In a world where stories like this, this and this are still happening today, I just can’t. TILL is an excellent movie I can’t watch because the instances of life imitating art imitating life are simply too much to bear. Throw in the fact Till’s murderers got away with it and then ADMITTED THEY DID IT LESS THAN A YEAR AFTER HIS DEATH and Carolyn Bryant will likely NEVER have to face the music for her role in Till’s death and I just can’t take it. At the screening I was at, there was nary a dry eye in the house (for the most part). I, however, felt myself beginning to tear up and then stopped. I just don’t have any more black grief I can expend.
Then again, maybe I should apologize to the memory of Ms. Till. After all, my mother and father still have their son and I am living in a world poor Emmitt’s death (I pray) has been made better as a result of his tragedy.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

McCoy on Movies: HALLOWEEN ENDS

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Horror franchise delivers most definitive chapter yet to finally bring closure to the story of Laurie Strode and Michael Myers

“This is not the yoga class I signed up for!” Laurie Strode (Jamie Lee Curtis) battles her longstanding nemesis Michael Myers a.k.a. “The Shape” (James Jude Courtney) in a scene from co-writer/producer/director David Gordon Green’s final(?) installment in his trilogy, HALLOWEEN ENDS. Credit: Ryan Green/Universal Pictures © 2022 Universal Pictures

 

WATCH THE TRAILER HERE:
 

 

DIRECTOR: David Gordon Green

KEY CAST MEMBERS: Jamie Lee Curtis, James Jude Courtney, Rohan Campbell, Andi Matichak, Will Patton, Kyle Richards, Michael Barbieri, Marteen, Destiny Mone, Joey Harris, Keraun Harris and Nick Castle

 

THE BACK STORY: Over the course of 40+ years, Laurie Strode (Jamie Lee Curtis) has been obsessed with one man: Michael Myers (a.k.a. “The Shape,” portrayed by both James Jude Courtney and Nick Castle), who has been killing people left and right in their (thankfully fictional) Haddonfield, Ill since the 70s.
Editor’s note: Halloween started in the late 70s and it’s now the early 2020s … But he’s only been killing people for 40+ years … The math does pan out.
Now, Michael hasn’t been seen since escaping from a mental facility and going on a murder spree where he LITERALLY WHOOPS AN ENTIRE TOWN’S COLLECTIVE *** as seen in Halloween Ends. But while Michael’s rampage became the biggest story in Haddonfield since his original one, the shattered town seemingly has needed a new boogeyman to take his place to direct their hate.

Enter Corey Cunningham (Rohan Campbell).

Babysitting Halloween night in 2019 for a local rich couple, an accident occurs that forever changes his life. Now, in Michael’s absence and Laurie’s lack of activity – she is writing a book and trying to move on with her life – Corey’s unfortunately become the town pariah, except to everyone but one person: Allyson (Andi Matichak), Laurie’s granddaughter that she has taken in following the murder of her parents by – you guessed it – Michael.

But as Allyson and Corey get closer, Laurie starts to notice a darkness in the latter that makes her fearful of what’s to come. But since Michael hasn’t been seen in an olympics and Halloween is approaching, she might want to be a little more concerned about a man who has gone through more kitchen knives than a season of Top Chef …

 

THE REVIEW: If you’ve ever seen me do stand-up in the month of October, there’s a chance you’ve seen me eviscerate just how silly the previous installments of the modern Halloween trilogy is. From the over-the-top characters, bad foreshadowing dialogue and ridiculous yet gory kills and plots, the first two installments were for die-hard fans only.
Now, with Halloween Ends, we get an unexpected story-rich tale that is still loaded with over-the-top characters, gory/zany kills … And what may be the most definitive chapter of the series … to date.
Look, when you walk into a Halloween movie, it’s best to turn off the logical part of your brain. Halloween Kills, however, does a little to acknowledge how some of the past films have been a bit wild (to say the least), really trying to build up the idea of what makes someone evil (there are two types of evil as Laurie narrates for the audience). Likewise, the character development is unusually strong for a Halloween movie, which is weird since at least 9 out of 10 people that will be watching are coming to watch Michael fight Laurie (or vice-versa) and see who wins and/or survives (if either does).
But all those things aside, make no mistake: While Halloween Ends is the easily the best of the modern trilogy, it’s best-served for the die hards that love Halloween (either the movie or this film series), the Michael Myers character (there’s no real re-inventing the wheel there), Jamie Lee Curtis or just have to find closure after seeing the first two movies. Will all of them like it? Will all of them hate it? The answer remains to be seen – but there is definitely an ending.
Otherwise, the best thing about Halloween Ends is that it ends – and it is a definitive ending as you can have for a horror movie and a franchise that should by all accounts be over once its namesake holiday passes.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: THIRTEEN LIVES

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Colin Farrell, Viggo Mortensen lead dramatic based on true events tale that should garner Academy Award contention

“Yes, there is more water up ahead … But luckily, no sharks!” (L to R) Colin Farrell as John Volanthen, Joel Edgerton as Harry Harris and Viggo Mortensen as Rick Stanton in THIRTEEN LIVES, directed by Ron Howard, a Metro Goldwyn Mayer Pictures film. Credit: Vince Valitutti / Metro Goldwyn Mayer Pictures © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved
WATCH THE TRAILER HERE:
 

 

DIRECTOR: Ron Howard

KEY CAST MEMBERS: Colin Farrell, Viggo Mortensen, Joel Edgerton, Tom Bateman, Chris Jewel, Paul Gleeson, Thira ’Aum’ Chutikul, Sahajak ’Poo’ Boonthanakit, Popetorn ‘Two’ Soonthornyanakij, Thiraphat ’Tui’ Sajakul, Sukollawat ’Weir’ Kanarot and Pattrakorn ’Ploy’ Tungsupakul
THE BACK STORY: In 2018, a Thai soccer team of twelve boys and their head coach (Teeradon Supapunpinyo) ventured into a cave after practice. Then, much to their dismay, monsoon season started far earlier than expected, flooding the cave and trapping them inside. Once their families realized what had happened, their story captivated the nation and then the world, drawing attention from rescue volunteers around the globe.
Among those who find themselves motivated to help John Volanthen (Colin Farrell), the grizzled Rick Stanton (Viggo Mortensen) and anesthesiologist Harry Harris (Joel Edgerton), three veteran British cave divers. On a short list of recommended experts, the trio arrive on the scene only to discover things are far worse than they ever anticipated. But with a combination of help from the local governor (Sahajak ‘Poo’ Boonthanakit), the leader of his rescue team (Thira ‘Aum’ Chutikul) and the thousands of villagers and volunteers that come to help, the boys and their coach may have a chance to survive an extremely dire situation just yet.

THE REVIEW: There are two compliments I can give THIRTEEN LIVES that should sum up how good the Ron Howard-directed drama is: One, it’s the best work I’ve ever seen Colin Farrell do, which is high praise considering I have not always been a fan of his work (see Recall, Total) and two, the film at times feels more like a documentary than a scripted affair based on true events. There are no hokey “man up” inspirational speeches, the doubt, panic and anxiety of the situation is felt by multiple characters in a manner that never feels forced or inauthentic and the story, which is captivating on its own, features multiple insights into everything from Thai culture to the commonalities of humanity across borders. At no point in time do you feel like you’re watching characters; instead, you are watching people simply trying to help other people do something extraordinary than few of us likely could.
If the film has one flaw/deterrent, it would be it’s 2-and-a-half-hour run time. Then again, given the two-plus weeks the boys were stuck in the cave, that’s a small sacrifice to make to take in a compelling tale worthy of Academy Award consideration in several categories come next year.
THIRTEEN LIVES almost feels like a bit of a misnomer for the film title-wise. For the movie may begin with your focus on 13 lives, but by its end, it’s incredibly difficult to think about the thousands of people that came together to save them and others that will be inspired by their efforts.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

McCoy on Movies: Bullet Train

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Brad Pitt leads ensemble cast through violent, entertaining action comedy

“So … Who’s your favorite character on Atlanta, man?” Lemon (Brian Tyree Henry, left) gets acquainted with Ladybug (Brad Pitt) in a scene from David Leitch’s BULLET TRAIN. Credit: Scott Garfield © 2022 Sony Pictures Entertainment. All rights reserved.
WATCH THE TRAILER HERE:
 
 
DIRECTOR: David Leitch
KEY CAST MEMBERS: Brad Pitt, Aaron Taylor-Johnson, Brian Tyree Henry, Hiroyuki Sanada, Bad Bunny, Zazie Beets, Joey King, Logan Lerman, Andrew Koji, Michael Shannon … And three special players in small but entertaining roles
THE BACK STORY: An Americanized re-envision of the 1975 Japanese film of the same name, Bullet Train stars Brad Pitt as Ladbybug. Ladybug, of course, is a fake name, one given to Pitt’s character by his employer, a mysterious voice on the other end of a cell phone that has left him several supplies in a locker at a Japanese train station.
You see, Ladybug has been instructed to get on a bullet train heading toward Kyoto and simply grab a briefcase with a sticker on the handle. That’s it. It’s so simple, in fact, that Ladybug knows something must be wrong the job. But, having been trying to get himself in order following deep conversations with his therapists, he takes the gig as a fill in for the person who was supposed to do it and aboard the train he goes.
As fate – and trust me, fate will play a big role upon this train – would have it, Ladybug’s instincts prove right. For you see, upon this train is quite the cast of characters. There are Tangerine and Lemon (Aaron Taylor-Johnson and Brian Tyree Henry, respectively), a pair of brothers who have the briefcase in question as well as the facially-tattooed son of the White Death, a well-known Japanese crime lord.
Also on the train is Kimura (Andrew Koji), the son of the mysterious Elder (Hiroyuki Sanada), a man who knew the White Death would be, well, the death of the crime family to which they both once belonged. Kimura’s son is in the hospital after being pushed off a roof, which has driven him (at the Elder’s behest) to seek revenge … But on whom? Then there’s the Prince (Joey King), a seemingly innocent school girl who is definitely not what she seems.
And with the train stopping at stations along the way – and various characters being able to enter and exit at will – Ladybug is going to learn and learn rather quickly that he’s likely going to need a lot more therapy if he ever gets off this train.
THE REVIEW: What happens when you let the director of Deadpool 2 create a film that features just the right amount of insane violence with humor and plot twists to keep you engaged? You get Bullet Train, a near perfect thrill ride of gun, knife and swordplay, characters that should not be charismatic since they, for the most part, are all terrible people and 2 hours of turn-your-brain-off-and-just-enjoy-it fun.
As much as he has been tabloid fodder for most of his career, it’s easy to forget just how good of an actor Pitt can be. Bullet Train finds him at his comedic best, exhibiting flawless comedic timing while making you intrigued to see what his character will do (or have to deal with) next. The same can be said for Taylor-Johnson and Tyree (in what might be his best big screen role to date, presenting a character who is capable of both great violence and great sensitivity (and sometimes in the same moment).
That’s not to overlook Zoey King in her role as Prince, a character that the audience will love to hate but can’t just because of how great her performance is. Even the minor/secondary characters are given roles that add up to big laughs/moments under Leitch’s direction, a skill he utilizes as well here as he did in Deadpool 2.
Now, that’s not to suggest Bullet Train is for everyone. The language is harsh and the violence is on a Mortal Kombat level from start to finish (and I mean the video games, not the most recent movie) to the point the recent-released The Gray Man might feel competition. Unlike that film, however, Bullet Train never takes itself too seriously and instead is presented in a tongue-in-cheek fashion that knows you’re in on the jokes and balances that with characters dedicated to their cause.
In short, in a summer in short supply of competition, Bullet Train should reach no. 1 with a bullet given its high joke ratio, body count and quality of all the things that happen in between.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

McCoy on Movies: The Gray Man

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Ryan Gosling, Chris Evans star in the Russo’ brothers shootout-heavy live-action video game that isn’t one

“Say something else about Drive and you’re gonna get it!” Six (Ryan Gosling) in a scene from Anthony and Joe Russo’s action thriller THE GRAY MAN. © 2022 Netflix. All rights reserved.
WATCH THE TRAILER HERE:

 

DIRECTOR: Anthony and Joe Russo

KEY CAST MEMBERS: Ryan Gosling, Chris Evans, Billy Bob Thornton, Regé-Jean Page, Ana de Armas, Dhanush, Jessica Henwick, Alfre Woodard and Julia Butters
 
THE BACK STORY: Based on the novel of the same name by Mark Greaney, THE GRAY MAN stars Ryan Gosling as Six. Serving time in a Florida prison, he is offered a chance to leave by the mysterious Donald Fitzroy (Billy Bob Thornton) … But there’s a catch: He must work for the FBI as an assassin called in to take out the worst of the worst – but as a shadow operative, working “in the gray” allows them to disavow any knowledge of his existence.
After a job goes sideways, however, Six learns that what he thought he knew to be true may not exactly be the truth – and now, his life may be in danger as a result. So once he starts digging for answers, CIA Director Carmichael (Regé-Jean Page) starts intensifying his efforts to stop him – which results in bringing in the loosest canon possible: Lloyd Hansen (Chris Evans), a washout of the same program that birthed Six. Lloyd is determined to bring down Six by any means necessary … And if that means involving Six’s former partner (Ana de Armas), Fitzroy or even Fitzroy’s niece Claire (Julia Butters) in his scheme, so be it.
But Six is going to do whatever he has to do to survive and protect those closest to him, no matter how high the body count may be.
THE REVIEW: Ever wonder what would happen if you could make a movie that was 1/2 standard spy thriller and 1/2 a live action video game with guns a’blazing? Well, if so, THE GRAY MAN – which by its end feels like an AR-15 lovers’ best dream – delivers on that premise exponentially.
Gosling does the thing you would expect him to do fairly well, mixing his “I’m good looking, but I can be serious and brooding” thing well against Evans’ absolute playful yet psychopathic Lloyd. If there was ever a role to make people not just think of him as Steve Rogers’ alter-ego, this would be it as Captain America would likely vomit in disgust at what Lloyd does from the moment he gets on screen to the final credits. The ladies of THE GRAY MAN get in their fair share of moments as well, be it de Armas in the standard sexy-yet-serious-and-troubled foreign spy operative you’re not supposed to be sure of who’s side she’s on or young Butters in the too smart for her own age until gunplay starts Dakota Fanning/Man on Fire role.

Seriously though: THE GRAY MAN‘s tonal shift from worldwide spy thriller to live-action video game is so dramatic that it almost – almost – becomes comically enjoyable. Then again, in a country where 330-plus mass shootings have occurred this year, it might be either the best-or-worst timed release this summer. Having not read the source material, I cannot speak to whether or not the novel on which THE GRAY MAN is as standard issue as it is on film, but once the bullets start flying and body count piles up sky-high, it really doesn’t matter.

What will matter is how much you enjoy watching good-looking people in wild, crazy shootouts (replace the cars in the Fast & Furious franchise with bullets) … And given its mix of humor and gunplay coupled with our current national vibe, THE GRAY MAN will likely add up to plenty of views in theaters and streaming smart devices nationwide.

 

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

 

 

McCoy on Movies: Minions: The Rise of Gru

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Minions: The Rise of Gru offers more of friendly-if-not-familiar animated entertainment

“Fine, fine – I’ll tell you the story of my how the guy who voices me once did a sequel to a popular Jim Carrey he’d rather forget about!” Gru (Steve Carrel) finds himself flanked by Bob (left) and Kevin (right) in a scene from Illumination’s MINIONS: THE RISE OF GRU.  Credit: © 2022 Universal Studios. All rights reserved.
WATCH THE TRAILER HERE:

 

DIRECTOR: Kyle Balda

KEY CAST MEMBERS: Steve Carell, Taraji P. Henson, Alan Arkin, Lucy Lawless, Dolph Lundgren, Russell Brand, Michelle Yeoh, Danny Trejo, Julie Andrews and Pierre Coffin
 
THE BACK STORY: While we know him as the world’s greatest supervillain now, Gru (Steve Carell) was once a 10 year-old boy who just aspired to one day be known as such. His inspiration? The Vicious 6, a band of villains led by his hero Wild Knuckles (Alan Arkin). But as fate would have it, for as little as Gru knows about how to be a world-class villain, Knuckles is just as aloof how his status of the Vicious 6’s leader may soon be up for grabs. For Belle Bottom (Taraji P. Henson) has her own ideas for who should be in charge and the rest of the crew – giant robotic-claw armed Jean Clawed (Jean-Claude Van Damme), evil sister Nunchuck (Lucy Lawless), Swedish roller-skating champ Svengeance (Dolph Lundgren) and Stronghold (Danny Trejo) – does as well.
So, when young Gru ends up in San Francisco with his hero facing the wrath of the Vicious 6, it’s going to be up to his minions to save him … If they can get their act together first.
THE REVIEW: Can you believe it’s been more than a decade since Steve Carell’s animated villainous alter-ego came into our lives? Well, if three Despicable Me movies and its subsequent two Minions spinoffs hadn’t made you aware, the lovable little yellow, goggled creatures have been entertaining audiences for a dozen years.
And, as much as I wish minions were real so I could have one or two of my own, the series is starting to become a bit stale as the bananas they covet.
At an hour and 30 minutes, Minions: The Rise of Gru isn’t a long affair – and for good reason. The story is a bit minimalistic and feels very familiar from start to finish. That’s not to say the film isn’t without its moments, however. The backstory of Dr. Nefario is entertaining and Michelle Yeoh as an acupuncturist with a secret life helps make Bob, Kevin and Stuart’s martial arts escapades fun enough and San Francisco feels as alive as it ever has in animated form.
That being said, there’s really no new ground being broken in the The Rise of Gru and it likely won’t win the franchise any new fans that weren’t enthralled with the first four films. Then again, it’s simplicity might help keep it light years (pun intended) ahead of the competition.
Maybe next time out, they’ll just think of bringing a ripe banana to the show instead of one that is starting to turn a little brown.

 

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

 

 

McCoy on Movies: The Lost City

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The Lost City

 

“Wait – there may be a script for ‘Miss Congeniality 3: Where’s the Magic, Mike?” over there! Romance cover model turned would-be jungle savior Alan (Channing Tatum) and the woman behind his success, Loretta Sage (Sandra Bullock) try to escape the jungle in a scene from THE LOST CITY. Credit: © 2022 Paramount Pictures. All rights reserved.
 
WATCH THE TRAILER HERE: 

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DIRECTOR: Aaron and Adam Nee
KEY CAST MEMBERS: Sandra Bullock, Channing Tatum, Daniel Radcliffe, Da’Vine Joy Randolph, Oscar Nuñez, Héctor Aníbal and Brad Pitt
 
THE BACK STORY: Loretta Sage (Sandra Bullock) is three things: (1) A frustrated archeologist-type researcher who’s (2) settled for being a best-selling romance novel writer who’s grown tired of her creation, especially because (3) she’s not over the death of her husband several years ago. Alan (Channing Tatum) is better known to the public as Dash, the fictional male hero featured in all Loretta’s books.

So, what happens when Loretta is forced by her publicist Beth (Da’Vine Joy Randolph) to do a book tour with Dash? Well, disaster, as you might expect. But you know what’s even worse than a bad press event for Beth? Having the son of a rich man in the form of Abigail – yes, Abigail – Fairfax (Daniel Radcliffe) kidnap your writer because he believes her writings may actually make her the one person qualified to help him find an ancient “Crown of Fire” of red diamonds in a remote jungle.

But for Alan, this is simply the perfect opportunity to be the hero Loretta has always written Dash out to be …

 

THE REVIEW: The Lost City is 2022’s version of Romancing the Stone … Except it’s not. Instead, it’s more like a cold Mountain Dew on a hot summer day: It’s enjoyable as you consume it, only to realize that it probably was a lot worse for you than you originally thought once it’s gone.
The film isn’t officially a remake of Stone … But you’d be hard pressed to watch Michael Douglas and Kathleen Turner’s 1984 flick and not feel like it’s a diet Dew version of its predecessor. Tatum does everything he can to keep the rather predictable (and utterly ludicrous even by romantic comedies in a jungle standards) story together. Radcliffe’s performance is … something, as are the majority of non-memorable side characters. Joy Randolph is given a nice slot as a dedicated woman who just happens to be black (and not the other way around), but at a certain point, The Lost City just becomes your standard fish-out-of-water romantic comedy with plenty of tired one-liners. (Poor Oscar Nuñez … That’s all I’ll say about that.)
Here’s the rub, though: None of what I just said will matter to most as the film’s core demographic: Ladies who like the romantic fantasy depicted in most of the books that its female lead hates she is good at writing. It’s an audience pleaser you can watch on a date night, with your mom on a mother/daughter day and “cute” enough to offset its eyeroll-inducing moments.
In the words of Will Ferrell’s fictional son Texas Ranger in Talladega Nights: The Ballad of Ricky Bobby, The Lost City is “all jacked up on Mountain Dew!” But America loves to do the Dew, which means that if you’re looking for a mindless and cute comedy that prefers those things over originality, by all means visit The Lost City.
There are worse places you could take an “uncharted” adventure cruise if you like cubic zirconia films masquerading as gems.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

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McCoy on Movies: I Want You Back

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Jenny Slate, Charlie Day team up for affable
I Want You Back in time for Valentine’s Day

“And if you look here, you’ll find the scenes were we could insert our old sitcoms respective co-stars!” Emma (Jenny Slate) and Peter (Charlie Day) star in a scene from director Jason Orley’s romantic comedy I WANT YOU BACK. Credit: © 2022 Amazon Studios. Courtesy of Amazon Studios. All rights reserved.
 
WATCH THE TRAILER HERE: 

DIRECTOR: Jason Orley
KEY CAST MEMBERS: Jenny Slate, Charlie Day, Scott Eastwood, Gina Rodriguez, Manny Jacinto, Clark Backo and Luke David Blumm
THE BACK STORY: Emma (Jenny Slate) is in love with Noah (Scott Eastwood). Peter (Charlie Day) is in love with Anne (Gina Rodriguez). The problem is Noah and Anne are no longer in love with them, Noah and Anne having respectively found their ideal partners: A woman with her own baking business – and the ambition Noah seeks in a mate – in Ginny (Clark Backo) and the physically fit artist, well, as much an artist as a middle school theater director can be in Logan (Manny Jacinto).
What Emma and Peter don’t know, however, is that their very sad, dumped paths will cross since they work in the same building. That chance meeting will lead to the hatching of a plan to break up their exes’ new relationships, making them realize they should go back to Emma and Peter.

But if you think that plan is going off without a hitch, you’ve apparently never watched a romantic comedy …

THE REVIEW: You know what’s nice about I Want You Back? It’s not the comedy, which works more than it doesn’t. It’s not the chemistry among the leads, which feels a lot like they are such best friends that it almost becomes annoying when they don’t see it. No, it’s how the film doesn’t really insult your intelligence with over-the-top zaniness and delivers characters whose actions never feel like they happen for the sake of a joke. Instead, you get a film with nice enough, likable people that by the time the film gets to its eventual conclusion, you’ll think about the qualities of each character you might wish to find in a partner of your own.
You’ll think about the nice aspects of relationships, the path one must take to discovering what they are meant to do in life, risks and rewards and how little things truly do make for the most significant memories, or perhaps the most significant aspects that determine who is and isn’t right for you if you’re lucky enough to find them.
At the very least, it should make you realize it’s not the person you used to have you want back, but rather the feelings they made you feel when things were great – and for that, I Want You Back is worth renewing your Amazon Prime membership back (at least for another month of movie watching).
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

McCoy on Movies: JACKASS FOREVER

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Jackass Forever brings gross out humor to its apex

“Oh this is going to hurt … But that’s what you paid to see!” “Danger” Kenneth Ehren McGhehey prepares to come face to face – literally – with a venomous friend in a scene from JACKASS FOREVER. Credit: © 2022 Paramount Pictures. All rights reserved.

WATCH THE TRAILER HERE: 

DIRECTOR: Jeff Tremaine
KEY CAST MEMBERS: Johnny Knoxville, Steve-O, Chris Pontius, Dave England, Wee Man, Danger Ehren, Preston Lacy, Sean ‘Poopies’ McInerney, Zach Holmes, Eric Manaka … and introducing Jasper and Rachel Wolfson
THE BACK STORY: Really – you want a back story for a Jackass movie? How’s this: The old crew is back again and up to their old, crazy, disgusting habits … And they’ve brought a few celebrity friends along for the (final?) ride.

THE REVIEW: Have you ever seen a Jackass movie before? If the answer is “no,” you may not be ready for the boatload of full frontal male nudity, the scenes where PETA would not be concerned for the health or safety of the animals or insects involved or the amount of fluids that factor heavily into much of the 96 minutes on film. In short, this is not a film for anyone not yet old enough to drive, your older grandparents who prefer thought the Smothers Brothers were too dirty back in the 1960s or anyone that you are worried about having to show strong moral fibers around.
If body parts being repeatedly being smashed, male gentalia in general and fluid o’plenty doesn’t bother you, well … You will likely find yourself equally grossed out and crying laughing at the crazy, ridiculous things you see happening in high definition in front of you on screen. (Thank your lucky stars the film is not in 3-D!) You’re going to get Johnny Knoxville and company do their best to do their worst, succeeding more often than not. There’s even a fitting tribute to the late Ryan Dunn at the end, which, for a film that is probably thisclose to being a NC-17 affair, has more heart than you’d expect as you can tell this bunch of jackasses is having fun injuring each other some 20 plus years later and counting.
If this is the last Jackass film, it goes out with a literal bang all its fans will love … And make its detractors surely head home and pray for their souls.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: SPIDER-MAN: NO WAY HOME

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Spider-Man: No Way Home swings to emotional high with epic performances, storyline and surprises

“All right … If I move too much more I just KNOW I’m gonna rip my spider-suit!” Peter Parker (Tom Holland) prepares to face what may be his toughest challenge yet in a scene from director Jon Watts’ SPIDER-MAN: NO WAY HOME. Credit: Matt Kennedy © 2021 CTMG. All rights reserved.
WATCH THE TRAILER HERE: 


 
DIRECTOR: Jon Watts
KEY CAST MEMBERS: Tom Holland, Zendaya, Jacob Batalon, Benedict Cumberbatch, Alfred Molina, Marisa Tomei, Jon Favreau, J.K. Simmons … And a couple other people who you really be excited/surprised to see.

 

THE BACK STORY: Peter Parker, having had his identity revealed to the world by the former Mysterio (Jake Gyllenhaal) after his latest adventure, finds himself in a position he never wanted to be in: The most famous person in the world, half of which believes he committed a murder. Luckily for Peter, he still has his the support of his beloved Aunt May (Marisa Tomei), his best friend Ned (Jacob Balaton) and his girlfriend M.J. (Zendaya). But with J. Jonah Jameson (J.K. Simmons) leading the charge to bring him down, he just wishes everyone in the world would forget who he is so he could focus on his goal of getting into M.I.T. with his friends.
And that’s where Dr. Steven Strange (Benedict Cumberbatch) comes into play.
Peter wants Dr. Strange to cast a spell to eliminate his name – along with the fact he is, well, you know, Spider-Man – from everyone’s memory. Reluctantly and against the advice of Wong (Benedict Wong), Dr. Strange eventually concedes to help Peter out … Only for Peter to keep changing the conditions of the spell. As you might expect, this ends up changing the spell forcing Dr. Strange to stop it before it gets out of hand.
It’s not until Otto Octavius – a.k.a. Doctor Octopus a.k.a. Dock Ock – appears to hunt down Spider-Man  does Peter realize just how out of hand things have unfortunately become. For you see, while Doc Ock recognizes the suit, he doesn’t recognize the teenager inside it – and for good reason: The spell has opened up the once thought to be mythical multiverse, allowing in anyone who ever knew who Spider-Man was to enter …
… And the best enemies are old enemies as he’s about to find out.
THE REVIEW: With apologies to Martin Scorsese and Ridley Scott, Spider-Man: Far From Home is proof that superheroes haven’t ruined movies. In fact, in delivering the most emotional superhero movie since Avengers: Endgame, it does quite the opposite. No Way Home isn’t a superhero movie with a story about good guys and bad guys; it’s a movie about people with extraordinary powers trying to deal with the various aspect of humanity (responsibility, love, the perils of fame and power, the search for purpose and identity, etc.).
Holland once proves his mettle worthy of the Spider-Man suit with his performance as Parker, which is deepened by the turns of Zendaya, Batalon, Tomei … And all the others that have either grown with his character or add depth to it with their presence. Holland’s Peter may have started off the most immature of the bunch (purposefully), but by the film’s end, he is by far it’s most thoughtful, powerful and ready for the role as the possible emotional core to fill the void left by his predecessors’ absence.
Likewise, Zendaya and Balaton provide several fun moments while maintaining the emotional core of being Peter’s main support system. Even Cumberbatch’s presence as the hardened father figure that eventually has to come to love the son he never asked for (metaphorically speaking – this is NOT a spoiler that he’s actually Peter’s dad, Internet nerds!) adds to Parker’s character.
Unfortunately, it’s hard to say more without giving away spoilers in the film, which, depending on what you consider a spoiler, there are easily about a half-dozen depending on if you stick around for the ENTIRE closing credits. What can be said, however, is that director Jon Watts nearly two-and-a-half hour opus is the most emotionally connected (and heartstring tugging) entry into the Spider-Man film series to date – and possibly its best. While the framework of the multiverse may provide the canvas for a lot of things to come together, Watts attention to detail (coupled with his actors’ dedication to their craft) create what is arguably one of the top five Marvel films to date while maintaining all the qualities that make Spider-Man unique.
With a beloved preceding film legacy (even with its missteps) comes great responsibility … And Spider-Man: No Way Home is a great film worth its weight in webs.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: King Richard

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Biopic about Venus and Serena Williams’ father Richard serves up enough positive content to outweigh its drawbacks

“Girls, don’t you make fun of your daddy … These high socks and short shorts made many a NBA player a lotta money from the 1950s to about 1992!” Richard Williams (Will Smith, center) walks with his family – wife Oracene “Brandy” Williams (Aunjanue Ellis, far left) and their daugthers. From left to right: Tunde (Mikayla Bartholomew), Venus (Saniyya Sidney), Serena (Demi Singleton), Isha (Daniele Lawson) and Lyndrea (Layla Crawford, covered up behind Smith) in a scene from director Reinaldo Marcus Green’s drama KING RICHARD. Credit: Chiabella James © 2021 Warner Bros. Entertainment Inc. All rights reserved.
WATCH THE TRAILER HERE: 


 
DIRECTOR: Reinaldo Marcus Green
KEY CAST MEMBERS: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Daniele Lawson and Mikayla Lashae Bartholomew with Tony Goldwyn and Jon Berenthal
THE BACK STORY: Hailing from Shreveport, Louisiana, Richard Williams (Will Smith) isn’t the most respected man by his own admission. His wife Oracene – “Brandy” (Aunjanue Ellis) for short – loves him, however, as do his daughters: Tunde (Mikayla Bartholomew), Isha (Daniele Lawson), Lyndrea (Layla Crawford, Venus (Saniyya Sidney) and his youngest, Serena (Demi Singleton). While Tunde is set to soon graduate and go on to college and Isha is doing quite well in her studies, it’s Venus and Serena that Richard has the biggest plans for: The two biggest female tennis stars in the world. 
 
A dreamer and a little bit of a schemer, Richard has a couple of obstacles in his way: (1) He doesn’t have any funds to pay the coach he’s looking for to take his girls’ training to the next level; (2) He wants a coach to take the girls on for free … and (3) Since they live in Compton and (4) Are black and live in Compton, Cali., it’s not exactly an enticing prospect to most coaches. But Richard will not be shaken no matter how much life – and the local neighborhood thugs, hating parents of opposing players and anyone else – tries to keep him down. 
 
He has a 78 page plan for his daughters’ future he has no plans of deviating from by any means, even if it results in plenty of conflicts, potential missed opportunities and millions of dollars in the process.
THE REVIEW: An audience pleaser perfect for those who like films that are (1) Based on true events and (2) Present an overall, uplifting message, King Richard hits more than misses and accomplishes the goal of honoring – save for Smith’s terrible “N’awlins” accent – it’s subject’s achievements and their significance.
The film is a crowd pleaser in the fact that while it touches on certain aspects of the Williams’ story, it never goes too deep into the aspects that you know exist. This includes the racism that he and his daughters faced on their journey, Richard’s personal relationships as well as the gang violence near their home that had a very personal affect on their family. That’s possibly why the film’s best moments come in the instances where these subjects are touched upon, versus some of the lighter fare that that provides both comic relief and a bit of an after school special vibe at times. (The best exchange is by far the sequence where Richard and Oracene discuss their marriage in a raw yet productive fashion in a way to which that many couples – possibly Smith himself given his real-life spouse’s “entanglement” – can likely relate.) But knowing that this film is meant to focus on the positives and overcoming barriers, it’s understandable why it doesn’t dig deeper into these things. It does enough for you to get the point, even if there are times it seems a bit familiar.
That being said, King Richard ultimately presents a portrait of an imperfect man trying to do the best he can for his family, even if at times his actions seem to (or do) accomplish the exact opposite of that task. Jon Berenthal gets to show his range as an actor playing something other than a gun wielding heavy for a change as the oft-manipulated by Richard tennis coach Rick Macci and Ellis is a fantastic female counterpart to Smith’s Richard.
The film wouldn’t work, however, without the performances of Sidney and Singleton as Venus and Serena, respectively. Their athletics match their ability to deliver emotional connection to the audience, their talent underscoring their father’s drive and sometimes misguided actions since he knows what they could achieve one day. 
 
Given what they have achieved, director Reinaldo Marcus Green’s tribute to the man largely responsible for getting them on their way to do so might not exactly be fit for a king … But it’s definitely close enough.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):