Unrated

THE TOXIC AVENGER follows a down-on-his-luck widower who suffers an industrial accident that turns him into a powerful mutant. He targets the head of a pharmaceutical company to clean up the town of corruption and crime.

In the 80s, THE TOXIC AVENGER helped build the Troma schlock house. The original film was a teen sexcapade with Toxie fighting bullies in a gym. Now, he tackles bigger issues like corporate greed and the health care crisis.

Does this make the new film better? Not necessarily. There was a comfort to the original’s focus on over-the-top splatter filmmaking with a corny plot and loads of jiggle factor.

In this version, Peter Dinklage takes his role way more serious than he probably should, while Kevin Bacon and Elijah Wood chew the scenery as bad guys. It’s all in good fun.

THE TOXIC AVENGER is a wild ride, thought I do miss the days of Troma’s gritty, low-budget exploitation films with zero regrets.

THE TOXIC AVENGER gets three mops out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The story follows a private investigator looking into the death of a young woman. The trail leads her into dark territory, featuring international drug dealers, a corrupt pastor, and the seedy underbelly of society.

This is Ethan Coen’s second outing without his brother Joel along for the ride, and it feels like a substandard solo album from an artist who left the band. There’s a level of quirkiness you expect, but it lands with a heavy thud more often than not.

The story explores some intriguing elements, but its connective tissue is flimsy, delivering a rambling mystery that keeps having to remind you what the mystery actually is. Plus it tries too hard to be edgy, but only in a way that would have been sensational way back in the 90s.

I appreciate the bold attempt for a noir thriller under the blazing sun of the southern California desert, but in a lot of ways it feels more like an imitation than standalone film.

HONEY DON’T gets two clues out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Odenkirk plays a former assassin trying to live a boring suburban life. While paying a debt to the mob, he takes his family on vacation but stumbles into a local crime ring.

This comedy-action subgenre can be a lot of fun, and this sequel ramps up the whimsy, not falling into the darkness that some movies do.

The film is completely absurd with over-the-top characters and unrealistic situations, refusing to acknowledge the basic rules of science or marksmanship. However, being this absurd, makes it a cartoon – to the point that the climax takes place in a booby-trapped waterpark, HOME ALONE style. And boy, does it work.

The cast is spot-on, but not just with Odenkirk in his conflicted role and Connie Nielsen as his reluctantly understanding wife. Colin Hanks is great against type as a corrupt sheriff, but the MVP is Sharon Stone as the unhinged crime boss.

It’s deliciously violent and vicariously cathartic, tapping into everyone’s need to protect their family.

NOBODY 2 gets four waterslides out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

This 20-years-too-late sequel reunites us with Tess and Anna, who magically swapped bodies in 2003. Now, a similar event has happened, bringing along Anna’s daughter and her soon-to-be step-sister.

Most aspects of this film feel terribly forced – from the adults’ inexplicably successful careers to the slapstick pratfalls and reasons leading up to them. And the film clings to clichés while bending over backwards to show the challenging dynamics of the family.

Unfortunately, that first act does nothing but present a cast of truly unlikeable characters.

There is a modicum of sweetness that helps lift the ending in that Disney Channel sort of way. And Jamie Lee Curtis certainly gives it her all to be outrageous. Unfortunately, those things didn’t balance out the rest of its problems.

Maybe the target audience of tween girls will like it, but I’m not a tween girl… last time I checked.

It’s freakier, it’s fridayier, but this FREAKIER FRIDAY left me with a case of the Mondays.

FREAKIER FRIDAY gets two weekdays out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

This time, they are blackmailed into a job by a notorious criminal and have to find a way to pull things off but keep their new Good Guys reputation.

Overall, this is fun and entertaining. The excellent voice cast returns, and it’s not just low-brow body jokes. But those are in there to get the laughs from the kiddies.

The only crime committed in THE BAD GUYS 2 is going bigger for the sequel. I know film has a tarantula that’s a computer expert, and a piranha walking around on land. But at some point, the absurdity goes too far.

Where the Fast & Furious franchise took 20 years and 9 films, this movie does in 90 minutes. I’m no rocket scientist, but even I had trouble swallowing the third act.

Still, it’s a slick film that should appeal to the whole family, even if it is a bit overblown.

THE BAD GUYS 2 gets three wolf whistles out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

The story drops us in years after Marvel’s First Family acquires their cosmic powers. But don’t worry… flashbacks explain their origins if you need that. One day, they are visited by the harbinger of a god-like creature that has targeted Earth for destruction. They must find a way to save the planet without sacrificing one of their own.

This new FANTASTIC FOUR gives a fresh take on the modern superhero film by shaking up the style. We areon an alternate Earth with a retro 60s feel, evoking the charm of the classic Stan Lee and Jack Kirby comics.

One of the strengths of the film is juggling characters who have their own flaws. As much as you want to “Flame on!” and shout “It’s clobberin’ time!,” the characters have to solve problems they can’t punch away.

It’s still a superhero movie, and it connects to the next phase of Marvel crossover films. However, it taps into some real human elements.

THE FANTASTIC FOUR: FIRST STEPS gets four silver surfboards out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

With a new voice cast – including a new pop music star as Smurfette – the little blue creatures are living in peace in Smurf Village. When one of them discovers he has magical powers, the evil wizard Razamel kidnaps Papa Smurf, and the rest have to save him.

The Smurfs have never been a gold standard in animation, but they offer a certain level of entertainment value for younger viewers. So, the erratic script, sometimes low-brow jokes, and too many desperate-to-be-cool references to popular apps aren’t insurmountable problems.

At least the disjointed plot keeps moving rather than stagnating in the “let’s go to the real world” trope.

I’ll admit there are some clever moments that allow this film to rise above the problems that saddled the previous adaptations. And in spite of a script overloaded with MacGuffins, the film has a bright and vibrant tone that can be fun.

It’s enjoyable enough and mercifully short, even with the Rihanna songs crammed in to inspire downloads.

SMURFS gets two and a half smurfing smurfs out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

SUPERMAN follows billionaire Lex Luthor trying to take down the Man of Steel, while the Daily Planet tries to uncover an international conspiracy.

Having extensively read the Superman comics, I was thrilled to see a version so close to the books. Writer/director James Gunn drops us into the action with a brighter, more optimistic delivery. Gone is the darker nature of the Snyderverse; now we have Supes as the traditional Boy Scout.

This is easily the best-cast Superman film I’ve ever seen, with David Corenswet holding things together. But others stand out, like Nathan Fillion as Guy Gardner, Edi Gathegi as Mr. Terrific, Nicholas Hoult as a chilling Lex Luthor, and a slew of animators as Krypto the Super Dog.

And the film is more than just battles. It examines the nature of our own goodness, which comes from how you were raised and not necessarily where you’re from. It also looks at the purpose of journalism, which is to ask the tough questions and not pander to advertising or powerful figures.

This is easily one of the best Superman films ever made.

SUPERMAN gets four and a half capes out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

We see a lot of familiar things in the latest installment of the Jurassic Park franchise. In JURASSIC WORLD: REBIRTH, people are stranded AGAIN… on an island populated by vicious dinosaurs AGAIN… and things go horribly awry AGAIN… and somehow children end up in danger AGAIN.

More than 30 years after Spielberg’s brilliant film, this sequel/spinoff has much better visual effects, but still lacks the interesting characters and snappy dialogue.

But lets’ face it… you’re here for the spectacle, and JURASSIC WORLD: REBIRTH delivers on that. And it goes back to the heart of the franchise, leaving bizarre backstories of cloned children and international weapons auctions to make way for what amounts to a mega-budgeted Doug MacClure film.

The story offers some interesting ideas on dinosaur survival, and it’s broken into segments almost like a video game, which works in a strange way. If only every character’s tragic backstory wasn’t so forced.

JURASSIC WORLD: REBIRTH gets three fossils out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

Pitt stars as a washed up driver brought in to help a Formula 1 team win. He butts heads with the team using his unorthodox style as he also struggles to become a leader.

Directed by TOP GUN: MAVERICK’s Joe Kosinski, F1 offers the same in-your-seat action for a visceral theatrical experience. I don’t have a problem with the look, the style, or the slick delivery of this film.

But for someone who doesn’t care about racing, this movie is a bore. It’s so loaded down with recycled plot points and macho virtue signaling that it becomes exhausting by the 90-minute mark. Then you realize there’s another entire hour left.

Sure, the movie looks cool as all get-out, but it’s nothing more than an amalgamation of music videos and advertisements for the sponsors.

Fans of racing will love this, but it feels like it’s written and directed by Testosterone itself, with some script punch-ups from Sports Films Cliches and daddy issues.

F1 gets two Fs out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

ELIO tells the story of a recent orphan living with his aunt. Desperately wanting a new life, Elio sends a signal into space with a tricked-out ham radio… and miraculously gets a reply. When he is abducted by aliens, Elio convinces them he is the leader of Earth.

On its surface, there’s a lot to swallow here, but it is entirely digestible by telling the story from a child’s point of view. And with a massive dose of Pixar charm, the movie manages to be relatable to anyone who has ever felt like a bit of a misfit.

The film has many clever layers that offer wonderful messaging without being preachy or reductive.

For the kids, it’s a vibrant and fun space adventure. And for the parents, it’s an emotional ride that will catch you off guard and possibly bring a tear to your eye.

Beautifully animated and grounded with humanity, ELIO is simply a darling of a movie.

ELIO gets four and a half ham radios out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

Closely following the animated film from fifteen years ago, the story follows a young Viking named Hiccup who befriends a dragon, in spite of living in a village that constantly hunts the beasts. Hiccup must use his new relationship to show his village how to work together for everyone’s benefit.

Although it’s a bit of a slow-starter, when the movie takes off, it’s hard to look away. Using breathtaking visuals and thrilling flying sequences, this is a film that calls to be seen on the biggest screen possible.

While at its heart it’s a kids’ movie, it’s doesn’t talk down to its audience. There’s a real human side to the story, and that makes it entirely watchable by parents and older generations.

Some elements seem unnecessary to remake, like Toothless the Dragon looking almost identical to his animated version. However, there’s other elements of the live-action presentation that gives the film the extra zhuzh it needs to be awe-inspiring.

HOW TO TRAIN YOUR DRAGON gets four Viking axes out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The story follows an orphan raised by a secret society as a ballerina and assassin. When she comes of age, she goes rogue to take out the cult that killed her father.

On the good side, BALLERINA leans into what makes the JOHN WICK films so enjoyable: non-stop action, ridiculous stunts, loud fight sequences, and a sizzling cinematography popping with color and contrast.

Star Ana de Armas holds her own from a physicality standpoint, and her acting has improved over the years. She makes the character relatable but she doesn’t let her adorable side take over.

On the downside, this film is a bit much. It’s a thin story with a basic revenge set-up, though not as quirky as Keanu Reeves going after the guys who killed his dog. While the action is top-notch, the movie feels like it just moves from fight scene to fight scene without caring about the plot.

Still entertaining with a rip-roaring third act choice of weaponry, BALLERINA works.

BALLERINA gets three flamethrowers out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

KARATE KID LEGENDS follows the previous films’ template: a teenager moves to a new city with his mother and attracts the attention of some neighborhood bullies. Eventually has to fight in a martial arts contest to prove himself.

The greatest strength of this film is when it pushes the same buttons from the original. It does lay the bullying on a bit thick, but that works for the pulpy build of the secondary characters. Overall, this makes for a, breezy underdog story.

The film tries some new angles, like the kid teaching kung fu to an aging boxer, played by Joshua Jackson doing his best George Clooney impression. These elements make the film crowded – and you might find yourself checking your watch until Ralph Macchio shows up. However, they help this not be just a cheap retread.

Not as iconic as the original, it’s still an entertaining way to capitalize on the success of COBRA KAI.

KARATE KID LEGENDS gets three and a half wax ons out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

MISSION: IMPOSSILBE – THE FINAL RECKONING picks up where DEAD RECKONING ended two summers ago. Ethan Hunt has to take down The Entity, a powerful AI bent on taking over – and eventually destroying – the world. Think of it as James Bond facing off against an overblown Grok.

The MISSION: IMPOSSILBE franchise always delivers on impressive stunt work and action sequences. However, these last two films were by cobbled hubris, amounting to a six-hour two-part movie that really could have been a single, shorter feature.

THE FINAL RECKONING takes time to build to its climax, paced more like a suspense film than a summer action. In a way, it feels like a streaming series where the punch comes only in the final episode.

The final action sequence is breathtaking and beautifully shot. Unfortunately, you have to wade through a lot of slow dialogue, reiterated plot points, complicated MacGuffins, and music crescendos to get there.

Still, it’s worth a watch, especially for the cinematic experience. MISSION: IMPOSSIBLE – THE FINAL RECKONING gets three shirtless Tom Cruises out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The story follows a college student who has visions of a catastrophic accident sixty years ago. She learns her grandmother cheated Death in that accident, and now the Grim Reaper is trying to get rid of everyone who survived… and their families.

If you’ve seen any of the Final Destination movies, you know what you’re getting into. The characters are served up on a silver platter to face their gory and gruesome demise in complex Rube-Goldberg situations. And if you’re a little sick and twisted like me, you’ll find the humor in it.

The writing is passable, loaded with clichés and silliness. But, silliness is kind of the key to a film like this.

Creative, bloody, and fun, it’s not for the faint of heart. And it also has a sweet moment where audiences get to say a final good-bye to horror icon Tony Todd.

FINAL DESTINATION: BLOODLINES gets three lawn mowers out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

FIGHT OR FLIGHT tells the story of a burned government agent lured back to the job to find an elusive hacker on an international flight. The only problem is that dozens of hit men are also on the flight trying to kill both of them.

FIGHT OR FLIGHT takes up the challenge of having a massive, multi-layered brawl happen in the toughest of conditions. Most of the film takes place on the plane, resulting in some creative and high-octane sequences, often with hilarious results.

Whether its firearms, martial arts experts, or chainsaws, the things that made it on this plane are unbelievable, but that doesn’t mean that it isn’t fun to watch.

The overall story is full of clichés and is as predictable as a Harlem Globetrotters game, but it makes things work with a committed cast and its tongue firmly in cheek. This is what BULLET TRAIN could have been if it had pared down its bloated running time.

FIGHT OR FLIGHT gets three and a half bags of peanuts out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

THUNDERBOLTS* follows a rag-tag group of marginal super-villains who unite against a common enemy. Along the way, they stumble into becoming the not-so-bad guys.

It’s tempting to say THUNDERBOLTS* is Marvel’s answer to DC’s SUICIDE SQUAD, ’cause that does work on some level. However, the characters in the Marvel universe have always been rife with redemption, and it touches on how we are all flawed individuals.

While it’s a team film, the story belongs to Black Widow’s sister Yelena. Florence Pugh does the heavy lifting through a traumatic childhood and contemporary reconciliation.

This is different than other Marvel movies because it plays in a darker sandbox. Swap out the Iron Man snark for a bit of snarl and you’ve got the feel of your middle school buddies relentlessly teasing you.

In the end, THUNDERBOLTS* offers a nice diversion from the usual bright and flashy Marvel fare. Now if they would just light the actors properly so we could see what was going on, that’d be great.

THUNDERBOLTS* gets three and a half boxes of Wheaties out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

THE ACCOUNTANT 2 continues the story of an autistic man who used to make a living running numbers for organized crime. After escaping from prison, he works with a secret organization to help track down human traffickers and their victims.

This sequel continues to showcase Affleck’s talent as a relatable anti-hero, and with a more developed story of him and his hit-man brother, this film leans into the whimsy and humor amid all the violence.

Jon Bernthal plays Affleck’s brother, and the two have fantastic chemistry. This alone is enough to deliver an entertaining action film.

The script does struggle to handle a lot of things – from developing the fraternal relationship to telling a rather gruesome story about the bad guys. The movie still falls into the autism-as-a-superpower Hollywood trope rather than just portraying people with autism as… well, people, but this is forgivable in the grand scheme of action films.

THE ACCOUNTANT 2 gets three and a half deductions out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Ryan Coogler directs SINNERS, a drama about a pair of criminal twins who return home to the deep South of the 1930s to start up a juke joint. They have to reconcile their past relationships and build a new business with dirty money… oh, and there’s also a bunch of vampires out to get them.

At its heart, SINNERS is a serious drama about the lives and struggles of Black Americans in the early 20th century. The vampire angle is more secondary… or rather, symbolic in many ways.

This leads to a deeper, richer story with complex characters in shades of gray, taking a hard look at human struggles… at least until the film goes all FROM DUSK TILL DOWN on the audience.

The biggest sin that SINNERS commits is its running time. Coogler loves to breathe in his films, but that makes them drag in many points, which happens throughout this movie.

Still, Coogler delivers a solid film that is impeccably made.

SINNERS gets three blues guitars out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Malek plays a CIA analyst whose wife is killed in a terrorist attack. Seeking retribution, he wants to be trained in the field so he can go after the men who killed her.

The everyman’s revenge genre is popular, though the story still relies on his character as an IT genius for the CIA. But beyond that, a significant portion of the film plays out like a standard spy story with few stand-out thrills.

It’s not uncommon for a movie to present its best moments in the trailer, but THE AMATEUR practically turns this into an art form. Not only does the trailer telegraph every satisfying moment, but it does so with better pacing and writing than the full-length feature.

Malek seems bored throughout the movie, and the muted, dimly-lit cinematography doesn’t help. What could have been vibrant and thrilling is presented in shades of gray.

There’s a decent story hiding somewhere in THE AMATEUR, but you’ll need an expert spy to find it.

THE AMATEUR gets two encryption codes out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

A MINECRAFT MOVIE brings the viewers into the world of Minecraft, where players can build anything they can imagine. When a trouble teen and a has-been videogame champ stumble upon a portal to the Overworld, they team up with Steve to stop a threat.

Very much like the world of Minecraft, this movie is a scattershot of admittedly cool ideas with forced connective tissue. This makes it schizophrenic, trying to tap into the Minecraft mythos but also tell a coherent story.

A MINECRAFT MOVIE borrows ideas from JUMANJI to BARBIE, and as a grown-up, I felt it was a mess. A fun mess, sure, but a mess none-the-less.

Only the committed performances of Jack Black and Jason Momoa kept the film from completely falling apart.

If you’re a kid, you’re gonna love A MINECRAFT MOVIE. But I am a grown-up, so it only gets three Endermen out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The story follows a military vet who works a humble construction job pulled back into a world of violence when the daughter of a friend is kidnapped. He goes on the warpath to get her back and punish anyone involved.

This film falls into an emerging subgenre of action films about average Joes going after human traffickers. Never mind that this isn’t actually how most trafficking works. It serves as a male-centric hero fantasy.

What this movie does well is the fight sequences where Statham dispenses justice. At those moments, it’s exciting, visceral, and thrilling.

What this movie doesn’t do well is… everything else. From a nonsensical script and goofy acting to presenting the most flamboyant version of the Russian mob we’ve ever seen, where anyone over 40 dresses like a mortician and anyone under 40 looks like they use Flavor-Flav’s stylist.

Statham is good doing what he does best, but the movie as a whole with its absurd moments and cartoonish villains doesn’t quite work.

A WORKING MAN gets two hard hats out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

The latest Disney live-action remake takes a new perspective on the Mouse House’s first full-length animated film.

Rachel Zegler stars as the title character, a princess reduced to scullery maid by her evil step-mother. After being abandoned in the forest, she meets seven dwarfs who help her try to win back her kingdom.

Director Marc Webb walks a tightrope with this film, keeping true to the imagery and flavor of the original while filling in the gaps to tell a full story. After all we have to admit the 1937 version has only about 20 minutes of story, no real character development, and moments that don’t quite hold up 88 years later.

A lot is added, but it doesn’t feel bloated like BEAUTY AND THE BEAST or THE LITTLE MERMAID. With a fantastic performance by Zegler and a great look – though admittedly clunky presentation – by Gal Gadot, this new Snow White is remarkably bright, entertaining and fun.

SNOW WHITE gets four apples out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Jack Quaid stars as an assistant manager at a bank who has a crush on one of the tellers. When they finally go out, he confides in her that he has a medical condition in which he does not feel pain.

When a group of bank robbers, led by Ray Nicholson, takes the teller hostage, he embarks on a mission to save her while taking full advantage of his kinda-sorta super power.

This film has some entertaining and often hilarious action set pieces, bringing a frenetic energy to keep things going. And that’s good because there’s enough silly logic and factual nonsense in the script to make Bugs Bunny blush.

Quaid makes things work because he has taken a different image path than daddy Dennis, playing the nerdy guy in extraordinary situations. Though Nicholson channels his papa Jack too much and comes across as a bad SNL caricature.

Still, NOVOCAINE is a good time as long as you check your brain at the door.

NOVOCAINE gets three and a half epinephrine injections out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

Based on an idea by extreme horror legend Clive Barker, NIGHT OF THE ZOOPOCALYPSE follows a group of zoo animals fighting slippery, blob-like zombies infected by a mysterious meteor which lands on the grounds.

The CG animation isn’t top-of-the-line, but it delivers the necessary bite, giving it the thrills and grit of a pulpy B-movie wrapped up in cartoonish fun. The lower-budgeted nature of the movie works for its genre.

The darker R-rated tropes you’d expect from Barker are given a pass, and the gummi-worm feel of the monsters allows the film to be creepy enough but doesn’t overdo things for the Saturday matinee crowd.

The voice cast holds its own with some MVP power-lifting by David Harbour as a misunderstood mountain lion and unknown Pierre Simpson as the audience surrogate movie-crazed lemur.

NIGHT OF THE ZOOPOCALYPSE can be a lot of fun with expected twists and turns, making it a suitable gateway experience for the young horror fan.

NIGHT OF THE ZOOPOCALYPSE gets three and a half zombie bites out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

Based on a true story, LAST BREATH follows a team of divers servicing an underwater pipeline. During a rough storm, one of them is trapped at the bottom or the ocean with oxygen quickly running out.

These rescue movies always struggle to balance between reality and Hollywood flash. Too much flash, and you have a silly, over-the-top Michael Bay movie. Too much reality and you can drown the audience in minutia.

For the most part, LAST BREATH presents a realistic rescue mission, which is commendable but it threatens to undercut the thrills and dangers. It doesn’t over-sensationalizes, but the detail does get a bit much at times.

The cast is good, though they are saddled with a rough script that dumps character exposition at the start before settling into basic archetypes. Still, they do the best with what they’ve got.

I’m not a huge fan of movies like this, and some clunky editing results in awkward pacing. But if you’re into films about the triumph of the human spirit and all that jazz, you should enjoy this one.

LAST BREATH gets three SCUBA tanks out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

LONGLEGS director Osgood Perkins turns the key on THE MONKEY, which follows a pair of twins who discover a clockwork monkey in their absent father’s closet. Soon they discover it has the ability to kill people at random.

For those familiar with the original short story, you’ll recognize the set-up as the first half of the film, which covers that pretty closely. However, Perkins winds the tension tight enough to send the story off the rails in the best of ways for the second half.

Pondering the absurdity and senselessness of death, THE MONKEY delivers some of the most graphic and honestly hysterical kills outside of a FINAL DESTINATION film. It’s a huge diversion from the director’s previous slow-burn thrillers, which shows some range for him.

Even as someone like me who has read the original story several times, I was mesmerized by the audacious and graphic nature of the movie, which delivers a shock-filled bloody good time.

THE MONKEY gets four Organ Grinder vests out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

This film sees Sam Wilson as the new Captain America. When an attempt on the President’s life throws the country into chaos, Cap goes rogue to uncover a deadly conspiracy.

As with other Captain America content, this film attempts a taut political thriller. It works for the most part, though there’s some clunky dialogue and it bends over backwards to avoid being too political.

Anthony Mackie holds his own in the title role, earning the Captain America shield. And Harrison Ford is a fun as ever as the grumpy, on-again-off-again antagonist President Thaddeus Ross.

This movie has the action you’d expect from Marvel, but there are some issues. Mainly, when it comes to the comic book elements, there’s no surprises thanks to spoiler-filled marketing. I mean, Red Hulk is on the flippin’ posters, after all.

In the end, CAPTAIN AMERICA: BRAVE NEW WORLD offers an entertaining introduction into a darker Marvel Universe.

CAPTAIN AMERICA: BRAVE NEW WORLD gets three and a half vibranium shields out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

LOVE HURTS puts Quan at the center of an action sub-genre: A mild-mannered suburbanite who happens to have been a ruthless killer in another life. When a mysterious figure from his past emerges, his quiet, pensive life is thrown into chaos.

I’m thrilled to see Quan get a potential franchise, something he has deserved since the mid-80s, and he gives it his all. Unfortunately, the film is stuck in second gear.

Most scenes bounce from overly-choreographed fight sequence to an info dump of extraneous exposition, then back to a different-yet-repetitive fight sequence. Add some bad lighting and murky cinematography, it’s also kinda hard to tell what’s happening half the time.

Co-star Ariana DeBose and Quan do a fine job with what they’re given. They just aren’t given much. Quan’s character seems led by the nose, and DeBose’s character has a cliché, two-dimensional “Tee hee… Ain’t violence fun” flair. These are two recent Oscar winners, for crying out loud! For them, LOVE HURTS hurts.

LOVE HURTS gets two candy hearts out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

Based on the graphic novels by Dav Pilkey, DOG MAN is an animated film about a human-dog hybrid who becomes the hero cop. When a series of evildoers start to cause problems, it’s up to DOG MAN to keep the peace.

As a grown-up with a child’s sense of humor, I fully appreciate the off-the-wall sandbox where Dav Pilkey plays. While this isn’t as sophomoric of a set-up as CAPTAIN UNDERPANTS, the world of DOG MAN is certainly just as bonkers.

This makes for a fun and vibrant animated ride. There’s a surprising amount of character development and story thrown in here, with plenty of jokes for the grown-ups to keep their interest as well. Sure, some of the character points are a bit cliché, but I can easily forgive that in a kids’ movie.

The animation mixes a slick CGI style with the old-school stutter of stop-motion playback, offering a unique look that doesn’t feel overproduced. And I thought it was a hoot.

DOG MAN gets four pairs of underpants out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Mel Gibson sits back into the director’s chair to pilot FLIGHT RISK, about a U.S. Marshall escorting a witness from Nowheresville, Alaska to testify in the trial of a crime boss. One small snag: the pilot of the plane they’re on is an unhinged hit man.

I can’t say FLIGHT RISK is a brilliant film, and it’s a huge step down in quality from Gibson’s previous work like THE PASSION OF THE CHRIST. But he still shows off his skills as a watchable director.

Ninety percent takes place on the small prop plane in the air, which leaves the cast of Michelle Dockery, Topher Grace, and Mark Wahlberg to delivery sometimes corny and clichéd dialogue. However, they make the in-between moments work well enough.

With the production value of a bottle episode of a series, the film evokes a TV movie-of-the-week feel with an occasional dash of thrills.

Still, with a breezy 91-minute running time, it’s a decent – if not utterly predictable – slice of pulp entertainment.

FLIGHT RISK gets three Wahlberg bald caps out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

WOLF MAN tells the story of a family traveling deep in the Oregon woods, only to be attacked by an unknown and terrifying creature. While they hide and wait for help, it soon becomes clear that the father has been infected and might be turning into a monster himself.

I’m fine without this not being a one-to-one remake of the original 1941 movie. We got that fifteen years ago, and it was not very good.

This new film takes a different approach but keeps the story grounded in the myths of lycanthropy.

Rather than having a tortured character on the prowl, this version frames the wolfiness through the eyes of toxic masculinity and alpha male posturing. The wolf as protector and leader only goes so far but can be dangerous in other ways.

And there’s also a healthy dose of body horror in the works, which is very effective.
A bit too long for the meat of the story, WOLF MAN still gets three ah-oos out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

This sequel to the modest 2018 hit sees Gerard Butler as a corrupt cop reconnecting with a previous partner in crime. This time, they’re working with one of the slickest gangs in Europe… the Pantera.

I know the original DEN OF THIEVES has its fans, but I am not one of them. These films suffer from wholly unlikeable characters. I mean, if you can’t make likeable characters, at least make interesting ones. This movie does neither.

Still, if you want more of what the first film gave you, this does deliver. But dragging the gang back together seven years later feels desperate and gives us some of the chubbiest action stars since Steven Seagal in the late 90s.

The heist is needlessly convoluted. The cinematography is dark and murky. And at least half the scenes feature people dressed in black moving through dark halls to avoid other people dressed in black. And the two-and-a-half hour running time makes it even worse.

DEN OF THIEVES 2: PANTERA gets zero diamonds out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

THE DAMNED follows a group of fishermen suffering through a harsh winter on a remote Nordic beach. On the brink of starvation, they neglect to help a vessel sinking nearby for fear that it will hurt themselves. The aftermath yields weeks of terror, paranoia, guilt and revenge that threatens to destroy them all.

The bleak imagery and the surrounding fjords offer a powerful backdrop of being trapped, and the cast of international actors hold their own with limited story material.

However, the monochromatic desolation and long nights in the story make it a struggle to focus throughout. Plus, it’s a real slow-burn that makes NOSFERATU look like a Fast & Furious movie.

I respect the effort, and it’s a well-made film. However, it’s weighted down with predictability and too much foreshadowed dread. I mean, it’s in the title, for crying out loud.

Not particularly mainstream, let’s not forget its roots. Still, THE DAMNED gets two snowy fjords out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The original NOSFERATU was made in Germany without permission of the Bram Stoker estate, but it remains one of the most iconic versions of Dracula. Using different names and locations, the 1922 film lives on, this time with Robert Eggers (director of THE VVITCH and THE LIGHTHOUSE) in charge.

The film follows Stoker’s book closely, featuring a vampire traveling across Europe to bring death to a German city. Eggers borrows some plague imagery and story notes from Werner Herzog’s 1979 adaptation, and he loads the film with dark surrealism.

Lily-Rose Depp is the focus of the film as the target of the Count’s desires. She has improved her acting considerably and gives it her all in the emotional performance, though the writing still remains frustratingly one dimensional.

As an atmospheric take on the Dracula legend, it works. Though at times I wonder if Eggers’ talents aren’t the best with smaller budgets.

NOSFERATU gets three vampire shadows out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

SONIC 3 sees a new threat with another super-power-infused alien hedgehog named Shadow, bent on revenge. In an act of desperation, Sonic and his team bring back a worthy adversary to help. But it could backfire.

I may never have played the game or watched the original cartoon, but I certainly understand the appeal here. Like its predecessors, this third installment delivers a sugar-coated Saturday morning cartoon level of energy, and that reached my inner child.

With a cast of CGI characters, the movie is full of brightly-colored digital effects. Plus, pulling Jim Carrey out of retirement allows Sonic, Knuckles and Tails to be less cartoony by comparison.

Sure, the script chases a dozen clichés, juggles MacGuffins, and is loaded with corny dialogue, but that’s what people want from a movie like this.

Kids will love this. Adults who played or watched SONIC as kids will love this. And if you’re older than that, just give into the chaos.

SONIC 3 gets three and a half chili dogs out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM mines Tolkien’s appendices for the history of Helm’s Deep, the site of a major battle in THE TWO TOWERS. We go back in Middle Earth’s history when a conflict between two houses sends one on the run. Childhood friends on either side must try to reconcile their differences to save their families.

The choice of traditional 2D animation, led by famous anime director Kenji Kamiyama, brings The Lord of the Rings full circle with Ralph Bakshi’s 1978 theatrical film and THE HOBBIT TV movie. It’s an entirely appropriate medium that allows the film to embody its own universe without relying on special effects gimmickry.

The voice cast is strong, and the action in animated form is impressive. However we have seen a lot of this before, and the complex background may be lost on anyone but die-hard Tolkien fans.
I appreciate the franchise’s return to big-screen spectacle, and the animation plays well in that scope.

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM gets three and a half swords out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

The story follows a high school misfit in 1999 attending a New Year’s Eve party where he hopes to finally kiss the girl of his dreams. However, when the Y2K bug executes at midnight and the machines start a violent revolt, the partying teens have to try and survive.

I’m all for the genre mix-up we get in this film, however, the movie fails to commit to either one.

The all-night party film half of the script just strings together a series of clichés. At least the sci-fi thriller element tries to be unique. However, aside from aping the goofy opening sequence of Stephen King’s coke-fueled fever dream MAXIMUM OVERDRIVE, the story ends up stumbling into that film’s own incoherence.

Even if you’re weepingly nostalgic for 90s music, AOL, and a quote-unquote “simpler” time before social media, the lack of story depth and likeable characters found me rooting for the killer robots.

Y2K gets two dial-up modems out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

It’s been eight years since we met the Polynesian heroine Moana as she teamed up with the demigod Maui to bring peace to her people. This time around, she’s more in touch with her powers, but has a new challenge of reuniting lost tribes under the curse of an ancient god.

All of the elements that made the first MOANA shine are here. The voice cast, including Dwayne Johnson as Maui, brings the characters wonderfully to life. The animation is beyond impressive, presenting the beauty of tropical waters and islands. And there are some catchy tunes, though not as many bangers as in the first film.

This is a rare sequel that doesn’t feel like a retread, enriching the characters and offering them an exciting adventure filled with magic and monsters.

The emotional center still grounds this film, and the comic relief with the pig, the chicken, and Maui’s ego are well placed.

MOANA 2 gets four ocean waves out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

Based on the Tony Award-winning musical, WICKED takes an alternative look at the villain from THE WIZARD OF OZ and her friendship with Glinda the Good in school.

The tragic villain backstory has been done many times before – from Maleficent and Cruella Da Vil to Darth Vader and Magneto. Both Ariana Grande and Cynthia Erivo do fine jobs making the parts their own. We knew they could sing, but their acting really brings the movie to life.

Along with eye-popping production design and a handful of fantastic songs (as well as too much padded exposition in middling show tunes), this is everything the Broadway fan wants.

The Achilles’ heel is the punishing 2 hour 41 minute running time… and that’s only half of the story. WICKED: PART 2 comes out this time next year.

The first two hours drag with needlessly bloated subplots that never resolve, and unfortunately that makes for a mixed bag.

WICKED gets three broomsticks out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

RED ONE takes us to the North Pole where Santa Claus is kidnapped by an evil witch bent on punishing the naughty. It’s up to Santa’s bodyguard and a notorious criminal to save him and the holiday itself.

I get what they were thinking when they made this, which was to deliver a FAST & FURIOUS version of Christmas. But they’ve stripped out all the holiday cheer and replaced it with performative masculinity and enough testosterone to kill a bull elephant.

Dwayne Johnson and Chris Evans phone in their parts, cashing in on their blockbuster career highlights. And the script is loaded with Yuletide movie clichés – from the redemption of a deadbeat dad to the hyper-techno upgrades to Santa’s workshop – but none of it is presented in any coherent form.

There are a few decent moments – I’m looking at you, Krampus – but for a movie so focused on Christmas… there’s not much Christmas spirit in it.

RED ONE gets two roided-out candy canes out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

First up is THE BEST CHRISTMAS PAGEANT EVER, an adaptation of the beloved children’s book. The story follows a family of problematic children who take over a church’s annual Christmas pageant. And while everyone thinks it will be a disaster, things take a surprising turn.

The people making this film certainly have their hearts in the right place, putting together a charming and light-hearted movie that delivers some appropriate messaging.

The film tries to evoke the kids-eye-view that we see so wonderfully in A CHRISTMAS STORY, though when the adults turn a blind eye to the shenanigans, they just come across as horrible parents and leaders. This, along with some archaic stereotypes, rings sour at times.

The movie doesn’t hold the same punch as some of the classics like A CHRISTMAS STORY, but it’s still a sweet film with a committed cast.

I’m not sure if it will be a perennial favorite, but it makes for a nice slice of entertainment for the family audience.

THE BEST CHRISTMAS PAGEANT EVER gets three snowballs out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

HERE tells the story of a home, starting from wilderness in prehistoric times to the life of (mostly) one family. Hanks and Wright play a couple we see go from high school to retirement and the struggles they face over the years.

Zemeckis is a talented director, but he often gets distracted by gimmick filmmaking. And make no mistake, HERE’s one camera set-up perspective is the ultimate gimmick. It’s got some interesting moments, but it is loaded with challenges.

HERE tries to show a mosaic of American families, but struggles to avoid idealizing even the toughest times. And with the fly-on-the-wall perspective, too many moments feel like the stilted opening scene of a stage play. Only the acting of Hanks and Wright carry us beyond that.

As real as the human experiences are in this film, this reality reveals too many insufferable characters I couldn’t care less about.

Technically impressive but dull from the story perspective, HERE gets two bay windows out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG-13

VENOM: THE LAST DANCE finds Eddie Brock and his symbiote on the lam while an immortal being from outer space is sending an army to search for Venom. Meanwhile, under a decommissioned Area 51, a group of scientists are tinkering with other alien symbiotes.

If you liked the first two VENOM movies, you should enjoy this one because it is entirely the same type of film. Unfortunately, those movies have all be sub-par superhero pulp that feel like they were stripped from the 90s.

A surprisingly good cast – including Tom Hardy, Juno Temple, and Chewitel Ejiofor – struggle to carry the silly script, which feels like it was written by a group of hyperactive children on a diet of sugar cereal and Pixy Stix.

Goofier than the later Thor movies with overdone goopy visual effects, this superhero flick is fine, but like the other two, could have been so much better.

VENOM: THE LAST DANCE gets two and a half alien blobs out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

SMILE 2 follows a trouble pop star on the verge of a world tour. She witnesses a traumatic event and then discovers an entity has attached itself to her, appearing as horrifying visions of people smiling.

Where the first film was a lower-budgeted slow burn, this one goes big with intensity. Not just with jump scares and sound effects, but with a pounding soundtrack meant to be heard in the loudest cinema possible. Along with TRAP, it’s the second what if this happened to Taylor Swift thriller this year.

Noami Scott is the MVP, carrying the film and never behaving like the horror genre is beneath her. Her commitment to the character keeps things real… even if it’s loaded with dark fantasy.

Like other movies about a curse following victims – like THE RING or IT FOLLOWS – the SMILE series offers some interesting allegorical moments, even if the trauma-as-horror trope is a bit overworked.

Visually interesting and loaded with shocking moments, SMILE 2 gets three and a half grins out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

SATURDAY NIGHT is a real-time look at the chaos that surrounded the production leading up to its premier in 1975.

Jason Reitman directs an ensemble cast that takes you through the infighting, unprofessionalism, and unrelenting mayhem of that first night.

This is a striking look at what has become an institution, back when it was nothing more than rowdy, drug-fueled, experimental television. The show’s humble, rag-tag origins provides a stark contrast to what it has become.

The actors manage to rise above caricatures of the original players, offering some humanity for most of them beyond their antics. So fans of the show’s early years should find it relatable.

It’s a fast-paced and intense look at what live TV used to be. Sure, it runs a bit too long… but isn’t that quintessential SATURDAY NIGHT LIVE?

SATURDAY NIGHT gets three and a half hot mics out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated R

Now, JOKER: FOLIE À DEUX continues the story of Arthur Fleck as he faces Gotham’s justice system. In Arkham Asylum, he meets the mysterious Harleen Quinzel, and she latches onto him for his infamy.

There are some very strong elements here, including compelling performances by both Joaquin Phoenix and Lady Gaga. The grim cinematography has a beautiful, gritty look. And the movie channels films like THE SHAWSHANK REDEMPTION and ONE FLEW OVER THE CUCKOO’S NEST.

However, it also stumbles by not quite nailing the homage like the first film did with Scorsese’s TAXI DRIVER and THE KING OF COMEDY.

Purporting to be a musical version of a twisted romance, the songs are well constructed but overstay their welcome. And that’s a shame because those are some of the best moments in the film. Unfortunately, they put a drag on the bloated running time, which clocks in at well over two hours.

Ultimately worth a look, but loaded with problems, JOKER: FOLIE À DEUX gets three playing cards out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

Based on the best-selling children’s book, THE WILD ROBOT tells the story of a service droid that crashes on a forest island and has to survive. She takes it upon herself to raise an orphaned gosling and strikes up a friendly relationship with a lone fox. They must learn to live together and unite the animals of the forest against an outside threat.

This film manages to focus on two things extremely popular with kids: robots and forest creatures. Even though these seem very different, they blend together quite well to make a film about finding goodness inside.

This animated gem works great for the kids, but it also juggles some heavier, mature elements that will connect with the adults in the audience.

With a strong but not overpowering cast, and universal themes of community and altruism, THE WILD ROBOT offers a sweet, charming, and uplifting family film.

THE WILD ROBOT gets four cute critters out of five. I’m Kevin Carr, and that’s the way I see it.

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Rated PG

TRANSFORMERS ONE is a prequel that shows the origins of hero Optimus Prime and villain Megatron. The story goes back to their home world when they were young robots who fought together against an oppressive leader.

I don’t care how much the other movies have made, having a Transformers movie free of the chaos and beer-commercial filmmaking of Michael Bay is a breath of fresh air. Sure, it’s still noisy, cluttered and bombastic, but at least this movie is coherent.

As an animated film, it taps into the sugar-cereal-fueled excitement of Saturday morning cartoons, so it should be a winner for the kids that have these any of these various toys.

It has a limited reach to the adults in the room, but it mercifully doesn’t overstay its welcome… unlike most of the bloated live-action movies in the series.

Come for the robots, and stay for the child-like fun. TRANSFORMERS ONE gets three Autobots out of five. I’m Kevin Carr, and that’s the way I see it.

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