Caught Stealing (2025) ***

 

Movies that blend genres have to walk a thin line to get the tone right and maintain it. Guy Ritchie's “Snatch” is an example of one that gets it right, blending violence and humor in just the right proportions. Darren Aronofsky's latest, “Caught Stealing,” is one that struggles a bit to walk that line.

Austin Butler plays Hank, a washed up baseball player whiling away his life tending bar, drinking heavily, and hooking up with his impossibly-cute girlfriend, Yvonne (Zoe Kravitz). His shady neighbor Russ (Matt Smith) asks Hank to cat-sit while Russ is out of town, and things take a left turn when a parade of Russian, Colombian, and Orthodox Jewish mobsters come looking for Russ.

“Caught Stealing” has its share of laughs, thrills, and shocks, but they don't fit well together. The zany, heavily-accented characters are entertaining, but they are a bit too madcap for the number of shocking deaths in the film. Fortunately, excellent cinematography and an outstanding cast (including Butler, Kravitz, and Regina King) make up somewhat for the plot issues. Aronofsky doesn't hit a home run here, but he manages to make it around the bases eventually.

3 stars out of 5

Blue Moon (2025) ****

 

 

Richard Linklater is having a good year, film-wise. "Nouvelle Vague" was outstanding, and now there is this, “Blue Moon,” about a night in the life of songwriter Lorentz Hart.

In an Oscar-nominated performance, Ethan Hawke plays Hart, famous for writing musicals with composer Richard Rodgers in the 1920's and 30's. The Rodgers name, of course, is a bit more famous when paired with that of Oscar Hammerstein II. Rodgers and Hammerstein achieved great success with “Oklahoma!” and went on to become a household name, while Hart's career faded, in part due to his alcoholism, although he and Rodgers did collaborate again before Hart's death.

“Blue Moon” depicts Hart on opening night of “Oklahoma!”, a triumphant night for Rodgers and Hammerstein, and a bittersweet one for Hart. Hanging out at the bar of the restaurant where the “Oklahoma!” after-party will later take place, Hart holds court with the bartender (Bobby Cannavale) and the piano player (Jonah Lees). He regales them with his scathing opinions on “Oklahoma!”, but he mostly talks about a young college student with whom he is infatuated. Elizabeth (Margaret Qualley) is coming to the party later, and Hart intends to do two things: 1) overcome his bitterness to be gracious to Rodgers and Hammerstein, and 2) seduce Elizabeth.

Hawke deserves his Oscar nomination for this role, although I think the movie is probably too obscure for him to hope to win. He appears in every second of the film, and his depiction of a talented artist struggling with sour grapes, puppy love, and addiction is just devastating. He benefits from a strong supporting cast, especially Cannavale, whose world-weary bartender does his best to steer his friend Hart clear of the whiskey and bitterness. This is ultimately Hawke's movie, though, and he is brilliant in it.

This is one of those Oscar-nominated films that even most Oscars viewers will probably not have seen, and in truth it is not for everyone. It's an artsy, talky movie about a night in the life of a songwriter most people now, 100 years later, haven't heard of. It's really worth watching, though, if you like the kind of talky movies that Richard Linklater makes. You don't need to be familiar with the music. The piano player regales us with a few of Hart's classics to get us oriented. (It probably does help to know that E.B. White, who is quietly hanging out in the bar, is the famous author of Charlotte's Web and Stuart Little.) You don't need to know about Hart's career, as he fills us in as we go. Ethan Hawke's heartbreaking performance is spellbinding as his Hart dances the line between delusion and despair, bravery and resignation.

4 stars out of 5

Nouvelle Vague (2025) ****

 

The elevator pitch for this film is enchanting and audacious: To tell the story of the making of one of the iconic French New Wave films using the style of the French New Wave. It makes sense that something like this would come from Richard Linklater, a quirky, independent director who owes so much to the avant garde directors of the New Wave.

It would be boorish of me to try to expound on the history of New Wave cinema. Much has been written on the subject, by people much more knowledgeable than myself. One thing I do notice, the more I read on it, is that, much like Punk music (or Grunge, for that matter), New Wave did not spring up out of nothing. New Wave directors were inspired by Italian and American directors; they inspired many followers; and it is hard to define exactly what counts as New Wave and what does not. There is no question, however, that Jean Luc Godard's film "A Bout de Souffle" (“Breathless” in the English-speaking world) falls smack in the middle of the New Wave movement. Shot guerilla-style, on a minimal budget, the film is black-and-white, full of jump cuts and surreal scenes of the characters just doing things like hanging out in a hotel room, making faces. To the extent there is a narrative, it's about a girl (Jean Seaberg) and a criminal (Jean-Paul Belmondo). It is brilliant in many ways, and also confounding. Like many art films, the movie can feel more like a sketch than a fully realized work. Despite its challenges, it is must-see viewing for any cinephile, and there is absolutely no point in watching Linklater's “Nouvelle Vague” without first seeing “Breathless.”

“Nouvelle Vague” is shot, like its inspiration, in black-and-white, in French, and with a playful style that still manages (better than”Breathless”) to get across a cohesive narrative. That narrative depicts Jean Luc Godard hanging with his fellow film critics at the magazine Cahiers du Cinema, determined to graduate from film critic to film-maker. He secures limited funding and then secures a star in American actress Jean Seaberg (portrayed here by Zoey Deutch). Saving money everywhere he can, Godard shoots his scenes in friends' apartments and sans permit on the streets of Paris.

I got it in my head that “Nouvelle Vague” had an Oscar nomination, but it does not, although it did garner a Golden Globe nomination. I guess the movie is a bit too obscure for the Academy. It's in French, but it is an American film by an American director, so it wouldn't qualify for a Best Foreign Film slot. Really, this is an obscure little film about the making of a foreign film from 65 years ago. It's hard to imagine this finding a large audience, which is why it essentially went straight from the Cannes Film Festival to Netflix (after only a 2 week theatrical release),where people who like this sort of thing can enjoy it at our leisure. I hope that cinephiles will find the film. This kind of thing is what we need more of – experimentation, playfulness, and a willingness to take chances.

4 stars out of 5

One Battle After Another (2025) ****

 

Writer/director Paul Thomas Anderson is firmly established as a director who makes long movies. They tend to be good, but they are invariably well over two hours long, which serves as a barrier to watching them. It took me a while to get motivated to watch his latest, despite an Oscar nomination, but I'm glad I finally did.

Loosely based on the novel Vineland, by Thomas Pynchon, the film stars Leonardo DiCaprio as Pat Calhoun, a washed-up, former revolutionary. Back in the day, Pat and his lover Perfidia (Teyana Taylor) did explosives work for an anti-fa-type group. When Perfidia gets caught, she sells out her comrades and abandons Pat with their baby girl. Years later, Pat is raising their now-teenager, smoking weed, and being paranoid that the government is coming for them. Turns out, he is right.

Paul Thomas Anderson is a master at 2 things: recruiting great talent and blending the dark with the humorous. Both skills are fully on display here. DiCaprio is in top form, and he has great chemistry with Teyana Taylor. Benicio del Toro is excellent in a small but critical role. Sean Penn, however, steals the movie as rogue ICE commander Steven J. Lockjaw. His obsessive border cop is a mix of Captain Ahab and General Jack D. Ripper, from “Dr. Strangelove.”

Anderson manages to maintain a perfect mix of drama and comedy through this 2 hour 41 minute film. “One Battle After Another” deals with domestic terrorism, murderous government agents, brutal immigration crackdowns, and racist secret societies. He leavens the film with just enough absurdity to lighten the mood while keeping us in the narrative. Of course, the film contains some completely fantastical elements. ICE agents would never just execute people in the streets, and the U.S. government would never turn American cities into war zones just to arrest a few illegal aliens. Would they?

4 stars out of 5

Frankenstein (2025) ****

 

Guillermo del Toro ("The Shape of Water" "Pan's Labyrinth") is known for telling stories about monsters, so it made sense he would tackle the Frankenstein myth. In fact, del Toro has said that making a Frankenstein film was long a dream of his. It took him quite a while to realize the dream, as he started this project as far back as 2008. Almost 20 years later, he has given us what I think is the best film adaptation yet.

Oscar Isaac plays the titular Victor Frankenstein. Raised by a domineering father (Charles Dance), who is a renowned surgeon, Victor loses his mother as a child. He follows his father into medicine, determined to outdo him and overcome death. Victor's experiments in reanimation lead him to create a man-like creature (Jacob Elordi) from assembled body parts. Ultimately horrified and disappointed by his creation, Victor tries to destroy the Creature, but it escapes to wreak havoc on Victor's life and wander a world where it doesn't belong.

I tried reading the source material, Mary Shelley's novel, quite a few years ago, and honestly I found it boring. Maybe the 19th-Century Gothic writing style just isn't my thing. Maybe I would like it better now. Really, I think this story may just make a better movie than a book. The animation scene, for example, is barely touched on in the novel. Shelley wasn't really that interested in how the Creature was made, more on how he felt in an unwelcoming world. On film, though, the scene provides spectacular visuals, whether Victor is harnessing lightning to animate his creation, or, as in the 1994 Kenneth Branagh version, electric eels. The Creature, too, with his enormity and his patchwork of scars, is meant to be seen, not just described.

Still, del Toro's “Frankenstein” is reasonably faithful to Shelley's book, and certainly to her vision. He maintains her narrative structure, in which Victor and the Creature each get to tell their own side of the story. The classic 1931 version of "Frankenstein", starring Boris Karloff as the Creature, focused heavily on the mad scientist angle. As the film states, it was a story of “a man of science, who sought to create a man after his own image, without reckoning upon God.” Del Toro's film has plenty of mad science, but he fleshes out the characters' motivations, giving Victor much more of a backstory than he has in the book. He also fleshes out the character of Elizabeth (Mia Goth), the brother's fiance, for whom Victor develops feelings. She is barely an extra in the book, but del Toro turns her into a major character. He also gives us a more sympathetic Creature than we have seen in other versions. In every version of this story, you would have to be a monster yourself not to feel compassion for the Creature, but he is still murderous and fearsome. Del Toro's Creature does kill, but he is much less of a beast.

For my money, Guillermo del Toro and an excellent cast have brought Shelley's novel to life better than anyone so far.

4 stars out of 5

Train Dreams (2025) ****

 

Every year, Oscar nominations come out, and there are 2 or 3 films that everyone recognizes and is talking about. Then there will be 1 or 2 on the list that you never heard of. I think “Train Dreams” is one of those small, unseen films this year. It's streaming on Netflix, and you might want to check it out.

Based on a novella by Denis Johnson, “Train Dreams” is one of those pieces of fiction that feels more real than life itself. It relates the life of a character named Robert Grainier, starting with his boyhood as an orphan growing up around what would become Bonner's Ferry, Idaho. Robert does the things that most young men do: he has a family, experiences joy and sorrow, and makes a living – mostly as a logger.

For such a deceptively simple story, “Train Dreams” is quite moving and beautiful. Director Clint Bentley gets some memorable supporting performances from his cast, especially William H. Macy and Kerry Condon, and the cinematography is outstanding, depicting the Inland Northwest in all its seasons. Primarily, though, the film lives and dies on the strength of its star, Joel Edgerton, who appears in every scene. His version of Grainier is laconic. Watching “Train Dreams” is almost like watching a foreign film with subtitles – you have to pay attention to the screen to read what is happening on Edgerton's weathered face, because he rarely speaks aloud what he is thinking.

The majesty of this film is its commonality. It's sort of the antithesis of “Forrest Gump.” The plot of Grainier's life is filled not with a series of wildly imaginative adventures, but with the kinds of drama we all experience – things that occur daily to somebody, somewhere, but which seem to completely fill our world when they happen to us. Grainier weathers the storms of his life one day at a time, waiting for a big revelation that will explain to him who he is and what IT is all about. But that revelation never comes. Instead, Grainier finds that while he was waiting for that big moment when his life would really begin, his life WAS happening, one day at a time.

4 stars out of 5

Thunderbolt and Lightfoot (1974) ****

 

They really knew how to make gritty crime dramas in the 70's. Whether it was Walter Mathau in “Charlie Varrick” or Robert Mitchum in “The Friends of Eddie Coyle”, there was just something about that movie era. They could have humor without being comedies, and they could be dark without being self-consciously DARK. Maybe it was the film stock, maybe the smoggy Hollywood skies; those 70's movies just managed to show the underbelly without making too much of a fuss about it.

In “Thunderbolt and Lightfoot”, Clint Eastwood plays Thunderbolt, a bank robber. He is hiding out from the law and from his old partners, who mistakenly think he sold them out. He meets Lightfoot (Jeff Bridges), a charming car thief, and the 2 go on the lam in Montana, with Thunderbolt's ex-friends (Geoffrey Lewis and George Kennedy) in hot pursuit.

The film was written by Michael Cimino, and it represents his directorial debut. Cimino would go on to win an Oscar for "The Deer Hunter", but I think “Thunderbolt and Lightfoot” is the better film. The movies share a bleak outlook, but “Thunderbolt and Lightfoot” has a better sense of humor, beautiful western cinematography, and at under 2 hours (compared to 3 hours for “The Deer Hunter”), this is just a more enjoyable film to watch. Eastwood and Russell have great chemistry, and George Kennedy and Geoffrey Lewis make an excellent supporting cast. This is not a movie that will change your life, but if you like classic crime films, this one should definitely be on your list.

4 stars out of 5

Wicked (2024) ***

 

I'm probably the last person in what we used to call the Free World to see this movie. I came in with rather low expectations and was pleasantly surprised.

Everyone knows the premise here. “Wicked” is a prequel to “The Wizard of Oz,” from the perspective of the Wicked Witch of the West (Cynthia Erivo). Born Elphaba Thropp, her path to wickedness starts with being born green. In the land of Oz they have talking animals, but they do not normally have green people. Elphaba grows up tormented by her classmates and disdained by her father. She also happens to have psychokinetic powers that surface when she gets angry.

Elphaba winds up at boarding school, where her green skin and prickly nature once again isolate her. The chief sorcery professor (Michelle Yeoh) takes notice of her powers and has her room with Galenda Upland (Ariana Grande), a popular beauty who also longs to study magic. After the obligatory period of antagonism, the 2 girls develop a friendship.

Meanwhile, all is not well in the land of Oz. The talking animals, who were once treated as equals (even teaching at the school), are being detained, removed from their positions, even somehow losing their powers of speech. Elphaba takes it upon herself to help them, and seeks help from the great Wizard of Oz himself.

This movie was a long time coming. L. Frank Baum's novel The Wonderful Wizard of Oz came out in 1900, and the iconic film adaptation, starring Judy Garland, is from 1939. In 1995 Gregory Maguire released his revisionist novel Wicked: The Life and Times of the Wicked Witch of the West. Almost immediately there was talk of a film adaptation, but first came a little Broadway musical you may have heard of. The Broadway production of “Wicked,” starring Idina Menzel and Kristen Chenoweth, opened in 2003, and it's still going strong, making it one of the longest-running Broadway productions ever. Now, after numerous delays, including Covid, we have a film version of the musical, and it's not bad.

Ariana Grande, it turns out, is not just a pop princess, the girl can really sing! Of course, I have known Cynthia Erivo had some pipes since I saw her in "Bad Times at the El Royale." So the singing is good. The plot of the story is just okay. I'm not sure the storyline about the oppressed, talking animals actually makes sense, but I suppose it's a strong enough story overall to support a musical theater spectacle, and that's what we have here. The songs are not memorable like the ones from the original “Wizard of Oz,” but they are entertaining enough while you are watching, and I suppose that sums “Wicked” up for me: It's entertaining enough. This film only represents Part 1 of the “Wicked” story. The sequel came out this Fall, and I'll probably watch it once it is streaming free on one of my services. I know that everyone else will probably have seen it long before me, and that's ok. I'm not turning green with envy.

3 stars out of 5

Weapons (2025) ****

 

With his first solo film and first horror film, 2022's "Barbarian", writer/director Zach Cregger showed promise. His script had flaws, but it was fresh enough to be interesting, and he showed some real talent as a horror director. He demonstrated a deft use of shadow and light to create dread while making you lean forward in your seat to try to see just a little bit more. He also coaxed excellent performances from his cast. With his latest film, “Weapons”, he has written a better script, making better use of his directorial skills to live up to that promise.

The premise of the film is that one night, at 2:17 a.m., 17 3^rd graders get out of their beds, leave their houses, and disappear into the night. Door-cam footage shows them running weirdly, with their arms out to the side, and then they are just gone, without a trace. They represent all but one of the kids from Justine Gandy's elementary class. Obviously, 17 children disappearing in a small town is a massive event, and the devastated parents are understandably suspicious of their teacher. We come to understand, however, that while Justine has a drinking problem and sleeps around a bit, she is no child trafficker. Something else is going on, and it falls to Justine and one of the kid's dads (Josh Brolin) to figure it out.

“Weapons” is not a perfect movie. It suffers from some of the stupid character actions so common in horror flicks. You know what I mean: A character goes down into the basement in a situation where absolutely no one in their right mind would go down those stairs. “Weapons” does some of that.

I think we are also smart enough to figure out that an obvious parallel to this story-line is a school shooting, but Zach Cregger has to hit us over the head with the connection. At one point, the Josh Brolin character has a vision where he sees an assault rifle in the sky with 2:17 glowing on the side. 2:17 is the time his son disappeared, but the rifle has no direct connection to anything in the story. It's just distracting and gratuitous.

Those are my only 2 complaints. Otherwise, “Weapons” is a gem, a horror movie with heart, humor, real scares, and a story that gives you some satisfaction at the end.

4 stars out of 5

Training Day (2001) ****1/2

 

According to an online meme (and what could be more reliable?), the average man thinks about the Roman Empire on a daily basis, sometimes even more. I can't say that's really the case for me, but if you ask me how often I think about the 2001 movie classic “Training Day”, the answer would be, “pretty often!” I re-watch it every few years.

Ethan Hawke plays Jake, a cop hoping to make detective. His big opportunity is a chance to join an elite, undercover narcotics squad. We meet Jake on his first day, the day he will meet team leader Alonzo (Denzel Washington) and basically “try out” for the team. Alonzo shows Jake the streets, introducing him to drug dealers and informants with whom he is cozy, perhaps too cozy. Alonzo is charismatic, with an impressive arrest record, but as the day goes on, his increasingly questionable methods take Jake WAY outside his ethical comfort zone. Jake finds himself torn between his career ambitions and his moral compass.

“Training Day” has an interesting provenance. The screenplay is by David Ayer, whose other writing seems to be decidedly mixed, including some middling stuff like "End of Watch" and "The Fast and the Furious" and some crap ("Suicide Squad"). His script took a few years to get traction. Then came the Rampart Scandal, in which numerous LAPD officers were accused of wrongdoing including framing suspects, stealing drugs from the evidence room, robbing banks, and murder. It was a huge mess, and Ayer's screenplay suddenly seemed very realistic. The movie is directed by Antoine Fuqua, whose work prior to “Training Day” mostly involved music videos. For casting, the film went through a good bit of the “A-list” before settling on Washington and Hawke in the lead roles. Samuel L. Jackson was originally slated to play Alonzo, while Matt Damon, Eminem, Tobey Maguire, Ryan Phillippe, Freddie Prinze Jr., Scott Speedman, and Paul Walker all tested for the part of Jake. The film also features small roles for Macy Gray, Dr. Dre, and Snoop Dogg.

“Training Day” is pretty close to perfect, but one thing about the film always bothers me. Alonzo is supposed to be an undercover officer, but literally everyone in the movie knows he is a cop. I guess we are meant to understand that at this point in his career, his face is largely known, but his reputation for corruption makes the drug dealers trust him, or at least live in an uneasy detente with him. Otherwise, this is just a very well-told tale, told through Jake's eyes, of an idealistic cop trying to find some Black and White in a very murky world of Greys.

4.5 stars out of 5