June 27, 2025
I’ve had this running joke every once in a while where I start my blog by saying it might be a good distraction from the events of the world. Unfortunately, that seems to be the case more and more, even to the point where I find myself plowing through my neverending movie watchlist to get my brain away from the depressing news of the day and lose myself in the art of moviemaking by cinema’s greatest directors. As always, it’s important to stay informed, but when you dread opening your favorite news app to learn which circle of hell we are in each day, it’s good to use your hobbies as a distraction from time to time.
With that in mind, if you are looking for a distraction, whether it’s to find some films to check out, or just to kill half an hour reading my rambling thoughts, I’m here for you. Let’s jump into this month’s movie report.
Yup, That’s a Wes Anderson Movie! – The Phoenician Scheme
Some directors have a storytelling and filmmaking style that is 100% an acquired taste. At the top of that list for directors working today is probably Wes Anderson. I am an admirer of Anderson’s work and even devoted an entire blog post to his filmography in 2021, which you can read here. Some of his movies work for me better than others – I consider The Royal Tenenbaums (2001) a masterpiece and The Fantastic Mr. Fox (2009) is pure creative genius on display. And I think 2014’s The Grand Budapest Hotel is a terrific comical farce with impeccable production design. But with his newest film, The Phoenician Scheme, I’m starting to wonder if I’m getting a little tired of the bit.
I was lukewarm on The French Dispatch (2021) and as much as I liked the sentimentality and creative nesting doll story of 2023’s Asteroid City, I realized I was getting a little tired of the deadpan dialogue that is featured throughout his movies. I get it – it can be funny when someone is staring dead-eyed into the camera and saying something slightly comical. But, when it’s the entire movie, it gets a little exhausting. During The Phoenician Scheme, I found myself practically begging for someone on screen to show some emotion. And maybe that’s just me wanting to see a director that we know is very talented try something different.
The story of The Phoenician Scheme has a good premise. Benicio del Toro plays a powerful businessman who decides to make his daughter the beneficiary of his estate. In the opening sequence, he survives his sixth assassination attempt. It seems several of his rivals would love to see him out of business forever. Father and daughter travel around to meet with various rivals to work out the terms of a business transaction (full disclosure – I had a hard time following that part of the plot) and interact with a number of characters played by very familiar faces that have become part of Anderson’s film troupe.
Of course, the film has all of the trademarks of a Wes Anderson picture – beautiful production design and costumes and another top-notch score from Alexandre Desplat, a frequent Anderson collaborator. As far as performances go, del Toro is very good and Mia Threapleton is terrific as his daughter. I learned afterwards that she is the daughter of Kate Winslet, which makes a lot of sense when you see how talented she is. Rounding out the main characters is Michael Cera, who gives a very good performance as del Toro’s assistant. All in all, it’s not a bad movie. I found it amusing, I just wish it were funnier and didn’t feel like his other recent films. If you are “all in” on Anderson’s work, you will probably have a good time. I’m holding out hope that he goes in a different direction for his next project. The Phoenician Scheme is now playing in theaters.
A Worthy Addition to the Franchise – Ballerina
One of the highlights of Daniel Craig’s last hurrah as James Bond in 2021’s No Time to Die was Ana de Armas’s (too) brief appearance. She played Paloma, a CIA agent that helps Bond in an extended sequence, displaying talent that had audiences saying, “Give us the Paloma spin-off!” after No Time to Die ended. Well, we kind of got that with de Armas playing the lead role in the John Wick spinoff Ballerina.
Quick sidebar on Bond. It was just announced that Denis Villeneuve has been tapped to direct the next Bond film, to which I say, “Sign me up.” Can’t wait for that one, but first he needs to make the third Dune film, coming to theaters next year. Ok, back to Ballerina.
This film is set between the third and fourth Wick films and while it helps to have seen those movies to fully appreciate the lore and world-building created by that franchise, it’s not a necessity to enjoy Ballerina. If you’ve seen those movies and like them, I’m pretty sure you will have a fun time with this one.
De Armas plays Eve Macarro, who was taken in by the same crime syndicate / assassination training program depicted in the Wick films, after her assassin father was murdered when she was young. We see her develop into a top-notch assassin and witness a few of her jobs, depicted in high-octane action sequences typical of these films. Eventually, she learns the identity of the man responsible for her father’s murder and sets out on a mission for revenge. An overused plot these days? Sure, but it serves the purpose. And that purpose is to put de Armas in exhilarating sequences where she has to utilize all of her skills to take down the deadly assassins in her way. And let’s just say that these set-pieces are outstanding. I didn’t know that a flamethrower and a dozen grenades could be used in such creative ways.
Now, as much as I liked this movie and even wondered if we’d get a sequel, I’m concerned if that will actually happen. Ballerina was reportedly plagued by production problems, including a retooling of the story and the addition of new action sequences to make it more like a typical Wick film. Plus, they recruited Keanu Reeves to play his iconic character in a few scenes. Word around Hollywood is that the initial test screenings went poorly, which necessitated all of these changes, leading to a ballooning budget and a delay of the release by over a year.
Now, do I care about that? Of course not. However, the film hasn’t exactly knocked it out of the park at the box-office, which tells me that the studio (Lionsgate) might not be willing to take a chance on a sequel. But they have to do something with this franchise (it’s the only one of consequence that they own the rights to) and if you saw the last installment of John Wick, you know that they can’t exactly do another movie, unless they bend over backwards to undo that ending. Long way of saying that I’m not sure we’ll get another Ballerina, but I hope we do. In the meantime, this is a worthy addition to the John Wick franchise that I enjoyed a great deal. Bonus pick: If you are a fan of the Wick films, there is a terrific new documentary about the origins of the first movie and behind-the-scenes footage of the making of all of the films. It’s called Wick is Pain and is available to rent on demand. Ballerina is now playing in theaters and will be available to rent on demand on July 1st.
Let’s Go Back to the Apocalypse! – 28 Years Later
Can a movie be gnarly and beautiful at the same time? After seeing 28 Years Later, I’m going to say yes. Oscar-winning director Danny Boyle (Slumdog Millionaire) returns to the big screen for the first time in six years with the third installment in a series about the collapse of society following the spread of a deadly virus.
Boyle and writer Alex Garland partnered on the 2002 film 28 Days Later which featured Cillian Murphy as a man who awakens from a coma to discover what happened after a “rage virus” escaped an animal testing lab. In short, it spreads very quickly and turns people into maniacs hungry for human flesh. That film was brilliant for its creative premise, as well as the way Boyle shot the movie, made to look like a rough documentary of people in peril. There was a sequel (28 Weeks Later) in 2007, but Boyle and Garland were only producers. That film was decent, but not as good as the original. With this new entry in the series, the first of three planned films, Garland has written a terrific script and Boyle has directed the shit of this movie.
The film opens with a brief prologue that exists primarily to connect to a batshit crazy ending that seems to serve two purposes: 1) set up the next movie and 2) confuse the hell out of the audience. Then, we settle on an island off the coast of the United Kingdom. We learn that the virus has been contained to the mainland, which is quarantined to protect the infected from leaving the island and from visitors going there. We meet a family of three – Jamie (Aaron Taylor-Johnson), Isla (Jodie Comer), and their 12 year-old son Spike (Alfie Williams, in a terrific performance that carries most of the movie.) Isla is suffering from an unknown illness and Spike learns about a doctor on the mainland (Ralph Fiennes, delivering his typical acting brilliance in a touching and exciting third act). Spike decides to bring his mom to the doctor in the hopes he can cure her. And you know what happens, right? Yup, the infected people get in their way.
On the surface, this is a straight-out horror movie. I mean, there is some real disgusting shit happening in parts of this film, which may lead you to cover your eyes or look away. It’s not often you think, “Hmmm, I didn’t think that would be a way to kill someone,” while sitting in a theater. That being said, there is an engaging story underneath the horror about a struggling family, a boy’s love for his mother and contempt for his father, and a unique look at a society that was frozen in time in the 28 years since the virus broke out. But there’s also a lot of gore and blood – don’t forget that when deciding if this movie is for you.
Boyle has had an interesting career with some terrific pictures in his filmography. He may be best known for winning the Oscar for Best Picture winner Slumdog Millionaire, but he’s also directed excellent films that capture the essence of England perfectly (with Shallow Grave and the two Trainspotting films), the claustrophobic story of the hiker who had to amputate his own arm after getting stuck in a cave (127 Hours), and the brilliant look at Apple founder Steve Jobs. His filmmaking style in 28 Years Later can range from the frenetic while we experience the horror scenes, to downright beautiful while we see the more emotional beats of the movie.
Boyle also has a strong track record of casting talented young actors which he did in Slumdog, Millions and once again with his new picture. Williams shows incredible range as we see Spike’s evolution from innocent boy to someone forced to face the most horrific situations anyone can imagine. Based on that crazy ending (you might need to Google it to fully appreciate it), it looks like Spike will be a featured character in the next film, which will hit theaters in early 2026. If you like horror movies (or can at least stomach them) and admire the perfect confluence of story and talented filmmaking, 28 Years Later is now playing in theaters.
Movies That Make You Think – Materialists and The Life of Chuck
I saw these two films on back-to-back days and while I can’t say that I would unconditionally recommend them, I found myself continuing to think about them for several days afterwards. That’s usually what happens when a talented writer-director brings a project to the screen, even if it doesn’t entirely work.
First up is Materialists, the new film from Celine Song, who was nominated for Best Picture and Best Original Screenplay for 2023’s terrific Past Lives. That was one of my ten favorites of that year and is a must-see for anyone who loves a touching romantic drama. Her new film was marketed as a romantic comedy (based on the trailer) about a matchmaker (played by Dakota Johnson) choosing between her poor ex-boyfriend aspiring actor (Chris Evans) and a rich finance executive she meets at a wedding (Pedro Pascal). While that is part of the plot of this movie, this is not (I repeat, NOT) a romantic comedy. There are some funny moments in the film (mostly dark comedy), but this is really a drama about the current dating world and how relationships have become commodified in our commercialized society.
Johnson’s character deals with clients who want to find their soulmate by selecting a bunch of traits like they are ordering toppings at an ice cream shop. She becomes disillusioned about her work after an incident involving one of her clients (a plot point that came out of nowhere and has a clumsy resolution) and has to decide if she values love or money in choosing a partner. For the most part I liked the story and the dialogue, but found the performances a little clunky. Much has been made about the lack of chemistry among the leads, which I kind of agree with. Song is a talented writer and I like what she is saying about our current society placing a value on relationships and the difficult part of recognizing your flaws, some of which is below the surface of what we are seeing on screen. It’s an enjoyable movie and will definitely keep you thinking about it afterward. Materialists is now playing in theaters. P.S. – If you haven’t seen Past Lives, watch it!
Next up is an adaptation of a Stephen King short story, written and directed by Mike Flanagan, who previously adapted King’s novels Gerald’s Game and Doctor Sleep. He was also the creative force behind the successful Netflix series The Haunting of Hill House. Now, The Life of Chuck is not your typical King adaptation. This is not a horror movie. Remember, King has written several non-horror novels that have been turned into movies, including Stand By Me, The Shawshank Redemption, and The Green Mile. This new film is more in the spirit of those movies than The Shining or Carrie.
The Life of Chuck is hard to describe in the literal sense as it is simply about a character named Chuck Krantz at various times in his life. The film is told in (mostly) reverse chronological sequence, with a first act that will likely leave viewers incredibly confused about what is happening and how it relates to the movie they thought they were seeing. There are some supernatural elements to this story that will test your believability and perhaps your patience, but there are some highlights.
Tom Hiddleston is terrific as Chuck in the portions of the film where he is an adult, including one dance sequence that is reminiscent of the great musicals of Hollywood’s golden era, even if it goes on a little too long. The film also features strong performances by Chiwetel Ejiofor and Karen Gillan as an estranged couple turning to each other during the stressful opening act, and Mia Sara as Chuck’s grandmother. You may recognize her as Sloane from Ferris Bueller’s Day Off many years ago.
When the credits roll on The Life of Chuck, you may be asking yourself “what the heck was that about?” or “what did that mean?” and that’s perfectly reasonable. I like movies that leave some interpretation open to the audience, making you reexamine it in the days or weeks to come and even having a different opinion on it if you rewatch it. I interpreted this film as a reminder that everyone’s life is important, and each person has their own impact on the people around them, whether it’s lifelong friends, family members, or someone you encountered just once. And those interactions, however small, can also leave a lasting impression on you. But when all is said and done, each individual’s perspective is at the center of their tiny corner of the universe. Whether you like it or not, this movie will keep you thinking. The Life of Chuck is now playing in theaters.
Lightning Round
I kind of liked this bit last month, so I’m running it back – it’s another round of “See it or Skip it.”
- Mountainhead – One of my favorite podcasts is Blank Check with Griffin and David, in which the hosts cover a director’s filmography, spending one episode on each movie. At the beginning of each episode, Griffin describes the show – “it’s a series that looks at directors who experience early success and are given a series of blank checks to make whatever passion projects they want. Sometimes those checks clear and sometimes they bounce, baby.” Well, let me tell you – this check written to Jesse Armstrong, the creator of Succession, one of the best television series in recent memory, bounced. In a big way. In this HBO Max film, four techbros gather together for a weekend retreat to play poker, compare the size of their portfolios, and make ridiculous plans for taking over the world. While they are busting each other’s chops, the world around them is burning down due to misinformation being spread on social media apps and AI programs that they control. Well, that part felt realistic, but this movie felt like a half-baked SNL sketch that would never make it on the air. The plot is paper thin, the jokes aren’t funny (I get it, satire is hard) and the characters are cartoon villains that never feel realistic, despite the realism of the outside world events. I can’t stress this hard enough – SKIP IT.
- Dangerous Animals – Because I am a self-diagnosed sicko, I see a lot of horror movies, which means when I see the same plot over and over again, it becomes kind of boring, even if the scares are good. But this month we finally got a new take on a serial killer movie, this one set in Australia. In Dangerous Animals, now in theaters, our villain is a boat captain who takes tourists out on the water to get up and close with sharks. But he doesn’t stop there – he feeds them to the sharks and films their deaths for his depraved pleasure. When he kidnaps a young woman who is an avid surfer, he quickly realizes that she’s not going to go easily into that terrifying water. This one has some gory kills (how could they not be when there is a shark involved) and features two terrific performances from Hassie Harrison as the surfer in peril and Jai Courtney as the man who may have seen Jaws too many times. If you are a horror fan, SEE IT.
- Bono: Stories of Surrender – Having been a fan of Bruce Springsteen’s 2018 Broadway special, I had high hopes for Bono’s one-man show about his life story, which he created in conjunction with his 2022 autobiography. While the stories are pretty good, there is not nearly enough music in this 90-minute film. There are only snippets of the songs, some of which were arranged in unique ways that made me curious to hear more. I’m not sure if this would have been better had it been longer and we got to hear more music, but this was a disappointment. If you are a U2 fan, I’d recommend their 2015 concert film U2: Innocence + Experience Live in Paris instead. As for Stories of Surrender? SKIP IT.
- Echo Valley – Put this in the category of “I should have known better.” This film has an interesting premise – Julianne Moore plays the mom of a troubled daughter (Sidney Sweeney) who comes home one night covered in blood, and decides to help her, no matter the cost. But this one quickly devolves into a formulaic melodrama with a thin plot and a third act that was wildly unbelievable. A true waste of two talented actresses. If you see this one while browsing on your Apple TV+ screen, I’d recommend you SKIP IT.
Another Megawatt Movie Star Vehicle (See What I Did There?) – F1: The Movie
Let’s close out this month’s report on a high, shall we? You’d be forgiven if you watched the trailer for F1: The Movie and thought, “Hmm, that kind of reminds me of Top Gun: Maverick, but in a racecar.” One of our biggest movie stars (Brad Pitt) in an action film with thrilling sequences, playing the grizzled veteran looking for one more shot at glory while training a talented rookie with a chip on his shoulder, and hitting it off with a beautiful woman? Checks a lot of boxes from my favorite film of 2022 (substituting Pitt for Tom Cruise, of course). Oh yeah, F1 was also directed by Joseph Kosinski, who once again shows why he is a terrific filmmaker, especially when it comes to the blending of action sequences, special effects, and letting movie stars do what they do best.
Pitt is sensational as Sonny Hayes, a washed-up driver who is recruited by Ruben (played by Javier Bardem), the head of an F1 team, to teach his rookie driver how to become the best. Sonny has other ideas on his mind, chief among them is proving to everyone (and himself) that he still has the talent to be the best in the world. The young driver is Joshua, played by Damson Idris, who is more concerned about his social media presence than by doing what it takes to become a better driver. But his new rival pushes him to up his game. In addition to showing the team that he still has some tricks up his sleeves, Sonny also falls for Kate, the F1 team’s technical director, played by the always wonderful Kerry Condon. They certainly have chemistry, but it’s hard not to have chemistry with Pitt. The guy’s the epitome of a movie star and I swear I could feel the charisma oozing off the IMAX screen where I saw this film.
So, that’s the setup. Is it a good movie? Well, from a technical standpoint – visually and sonically – it’s outstanding. F1 would be best seen in an IMAX theater so you can fully appreciate what Kosinski and his team pulled off. They reportedly filmed at a number of actual F1 events to capture the racing sequences as realistically as possible, and clearly spared no expense in making this look spectacular. Apparently there are a number of real F1 personalities in this film. I didn’t recognize anyone (as I don’t follow that sport), but I heard a number of reactions in the theater as people saw them on screen.
When F1 is focused on the racing sequences and the challenges that the drivers and support team face, it’s exciting and riveting. Much like 2019’s excellent Ford v. Ferrari, there is enough exposition to keep you in the story, so you aren’t totally lost if you are also not a racing fan. Although, the choice Kosinski uses to accomplish this (television announcers covering the races) gets a little grating after a time. There are a few downsides keeping F1 from being an elite movie, as the story is pretty formulaic and contains a few corny scenes. But for a summer blockbuster with Brad Pitt driving 200 miles per hour, flashing that megawatt smile, and doing movie star shit for 2 ½ hours? It’s exactly what you’d want while enjoying a bucket of popcorn. F1: The Movie is now playing in theaters.
One Last Thing
Earlier this month, we lost Brian Wilson, founding member of the Beach Boys, who passed away at the age of 82. I’m prone to hyperbole in this blog, but it wouldn’t be an overstatement to say that Wilson was one of the most impactful musicians of the 20th century, particularly when you consider the impact he had on 1960s music. Not just the surf-themed music that put the band on the map. To me, it’s more about the incredible melodies, harmonies, and production magic Wilson created in the studio.
Don’t just take it from me. Paul McCartney has called God Only Knows the greatest love song ever written and when David Crosby heard In My Room, he said he knew he would never be able to write anything better. The day Wilson died, I listened to Pet Sounds in its entirety and was reminded of the talent he possessed, not just as a singer and songwriter, but as an arranger and producer. He had an uncanny ability to hear everything in his head and somehow get it out of the musicians around him and onto tape. Tom Petty said it would not be an exaggeration to compare him to the great historical composers of classical music. Just listen to Good Vibrations, recorded shortly after Pet Sounds, with headphones on and your eyes closed and imagine someone having that much creativity to pour into just one song.
Since this is (primarily) a movie blog, I’d be remiss if I didn’t mention a terrific film about Wilson released in 2014. Love & Mercy is not your typical musician biopic. It centers on two time periods in Wilson’s life. In the 1960s era, he is played by Paul Dano (in a phenomenal performance) when Wilson began to lose his grip on reality, started using drugs and told his bandmates he couldn’t tour anymore. He wanted to just stay home and write music. This section features several electric sequences where Wilson is creating Pet Sounds. In the 1980s, Wilson is played by John Cusack (who is pretty good, even if he feels more like himself than Wilson) when he was under the control (legally and mentally) of a psychologist taking advantage of Wilson’s illness. He eventually escaped this relationship with the help of his second wife Melinda (played by Elizabeth Banks).
The film is an excellent look at a tortured man and features many of the band’s hits without glossing over the tough parts of Wilson’s life. It was directed by Bill Pohlad, who also made the terrific 2022 film Dreamin’ Wild, about two musician brothers that I covered here. So, if you’re looking for something to do this weekend, you could do a lot worse than firing up some of the Beach Boys’ best songs and capping it off with a screening of Love & Mercy.
That’s all for this week. I hope you enjoyed this look at some new releases and found some movies to add to your watch list. I’ll be back next month with a look at the new Jurassic Park movie, the return of Superman, a COVID-era film that is sure to be divisive and much more. Thanks for reading and if you’d like to be notified of future posts, you can subscribe below.