An Honest Liar (2014)

Documentary about James Randi, aka "The Amazing Randi." He became very popular as an illusionist, escape artist and prognosticator, appearing on television for decades. He became a particular favorite of Johnny Carson, especially when, in his later career, he concentrated his efforts on exposing those using magic to perpetrate fraud on the public.

A really fascinating man who did so much good, but it goes on a bit long. The final scenes focus on legal troubles concerning his boyfriend's citizenship, which let the wind out somewhat.

B

American Graffiti (1973)

Curt and Steve are scheduled to leave for college tomorrow, but tonight is all about cruising and hanging out one last time. We follow four storylines:

1. Steve and girlfriend Laurie, the very much in-love "it" couple, as they contemplate breaking up to avoid the whole long-distance thing
2. Curt, the promising young man who isn't sure he's ready to leave, despite the fact that he's got a scholarship
3. Terry, the awkward friend who's entrusted with Steve's car, making it actually possible he could score tonight
4. John, the cool guy with the fastest car in town, tricked into driving around all night with someone's kid sister

Mostly, this is all feel-good vibes tied together by a great soundtrack and Wolfman Jack's distinctive voice that can be heard from everyone's car radio.

B

Boy A (2008)

"Jack" has served his time for a violent crime committed when he was a child and, with the help of his case worker, he's got a place to live and a job lined up. Though he's eager to start his new life, his inexperience with the outside world and concern that he could be recognized result in an attitude of shy nervousness. He luckily gets paired at work with Chris, who surprises with his familiar yet empathetic nature. 

Meanwhile, we're getting flashbacks of Jack's lonely childhood. When he finally makes a friend, we understand how much of a lifeline that would've been for him -- how one other kid can become your whole world because they're the only one who knows you at all. In the company of friends, walking away from an obviously bad situation can feel like abandonment.

Andrew Garfield was quite good as Jack, but it's Peter Mullan as the case-worker and Shaun Evans as Chris who really make the story. They are the ones who allow us to have sky-high hopes for Jack because they support him, which is really what each of us needs to flourish.

B

A Big Hand for the Little Lady (1966)

Once a year, the richest men in the territory get together for a marathon poker game in the back room of a saloon/hotel. On that same day, a family is forced to stop for wagon repairs and take a room for the night, but it's clear that the husband 1) is dying to get into the game and 2) shouldn't be risking the family's savings to these high rollers.

It does take a while to pick up steam, but it's a lot of fun once it gets rolling.

B

Leave Her to Heaven (1945)

Novelist Richard and Ellen get together almost immediately after meeting on a train. Her family seems to characterize her more reckless decisions as normal for her -- a sign of free-spirited fearlessness -- and Ellen's mother even tells Richard that Ellen loves too hard. But they marry and Ellen throws herself into domestication. It's only when Ellen's family comes to visit that Richard seems to notice Ellen's mask slipping a bit, while mother and sister recognize her impatience and rudeness as Ellen being Ellen.

Long story short: things go very badly and I think undiagnosed Borderline Personality Disorder is to blame. Gene Tierney is both gorgeous and chilling as the calculating Ellen.

B

Speak No Evil (2024)

Two couples -- each with a child -- hit it off while staying at the same resort during vacation. When the "city" couple is invited by the "country" couple to come out to stay with them for a weekend, they accept. Though city wife is immediately on her guard (mostly because the country husband seems to delight in creating an uncomfortable atmosphere), they're determined to go with the flow in order to have a nice time.

It's one of those "what are you doing? RUN, for god's sake, you idiots" stories, which the trailer made pretty clear. So, I wasn't really ever surprised, but the mood was oppressive and it's done well. Basically, you already know if this is your type of movie.

B

Mean Girls (2024)

First: Jenna Fisher and Angourie Rice truly look like mother and daughter -- just A+ casting there. Second: the "Stupid with Love" number (watch it below) is so charming and singable that I can't stop listening to it. 

This is a really solid remake and probably would be rated higher if the first movie didn't exist at all. But, since it does, comparisons are inevitable and the big detriments for me are the non-Regina "Plastics" (they barely register as individuals) and Cady's transformation to mean girl, which was about as convincing as Sandy's transformation in Grease.

B

Deep Cover (2025)

A cop recruits an improv teacher and a couple of her students to do a quick undercover drug buy. Though nervous, their commitment to the bit gets them in deeper than expected. They are so successful in proving themselves to the gang, that it only makes sense that they keep up the ruse to get even deeper. Yes, it beggars belief, but somehow still works. 

The chemistry between the full-of-himself method actor (Orlando Bloom) the socially-awkward IT guy (Nick Mohammed) and the capable yet in over her head Kat (Bryce Dallas Howard) was silly yet solid. I'd watch a sequel.

B

The Secret Agent (2025)

Watching this, I felt like I was in Brazil in the '70s. I actually caught my breath a couple of times due to immersive scenes that felt less like I was watching them and more like they were enveloping me. That said, I wasn't ever exactly sure what was happening (history is an embarrassingly weak spot for me). I was fully engaged throughout and, as I have an aversion to films that blow way past the 2-hour mark, that's quite a feat. 

Unfortunately, I can't help but ding this for the fact that I'm not quite sure I got the point.

B

Romancing the Stone (1984)

Successful romance novelist Joan lives a solitary life -- her idea of a celebration is opening a bottle of wine and chatting with her cat. When she has to be out in public, she's ill-at-ease and uninterested in the men who are obviously interested in her. But, when her sister needs her urgent help down in Colombia, Joan doesn't hesitate even though she is ill-equipped for the adventure. Good thing the dashing Jack Colton shows up to take things in hand.

It's a fun, lightweight adventure -- I mean, Danny DeVito's one of the bad guys, so we're never truly worried that anything bad will happen. It's just silly fun with Douglas and Turner at their sexiest.

B

One Battle After Another (2025)

A far-left revolutionary group wreaks havoc on the establishment, including a facility holding immigrants on the Mexico/U.S. border. Lockjaw, the bigoted head honcho at the facility, takes an interest in Perfidia, a black leader romantically involved with Pat, the explosives expert for their group. When she has a baby, Pat's ready to scale back the work to prioritize parenthood, but she is uninterested and is eventually scooped up by authorities and pressured to talk, causing Pat to leave town with his daughter to live under assumed names.

I am not a fan of Paul Thomas Anderson, but I'm also not a hater -- he's just so inconsistent that when I hear his name I think neither "must see" nor "skipping it," but just "we'll see." For me, this one is definitely nearer the top of the list than the bottom. DiCaprio is paranoid magic here: just doing everything he can to keep his daughter safe, while coping with the mess that more than a dozen years of anti-sobriety have made of his memory. Penn also holds his own in a role that's much less fun.

This was a fun ride for sure, but Anderson needs to learn to kill his darlings -- there was no reason for this to be as long as it is.

B

Caught Stealing (2025)

Hank is just coasting as a barkeep in 1990s New York after his promising future in baseball is derailed by an injury. But when his dealer neighbor has to leave town and asks Hank to catsit, he's sucked into the criminal underworld and has to scramble to get himself out before he's taken out.

There's barely a dull moment here -- almost nonstop excitement and thrills. Yes, there are more than a couple of plot holes, but that just means you shouldn't look too hard or you'll ruin the good time you'd definitely have otherwise.

B

Dirty Rotten Scoundrels (1988)

Though both are con men, Freddy leans toward quick-score small potatoes work while Lawrence has honed his craft and has accrued tremendous wealth. Though Freddy is eager to work under Lawrence to learn the craft, he eventually bristles at not getting a cut of the proceeds and goes out on his own, much to Lawrence's dismay because, as he says, "a poacher who shoots at rabbits may scare big game away." They make a wager that whomever can swindle small-town Janet Colgate first will be allowed to stay in town while the other moves on.

This was the third time I've seen this (at least) and it holds up well. Michael Caine and Steve Martin make a hilarious comic duo -- I'm so surprised they didn't work together a few more times! That last scene is just perfect.

B

Sea of Love (1989)

Pacino and John Goodman are detectives on the trail of a serial killer who finds victims through the personal ads. In an undercover operation to gather fingerprints from suspects who respond to the cops' fake personal ad, Pacino's interest is piqued by a beauty who knows what she wants, which is not great since his judgment is immediately compromised.

It's a solid mystery buoyed by the easy-going chemistry Pacino and Goodman share, as well as the red-hot magnetism between Pacino and Ellen Barkin. I went digging to see if Pacino/Barkin had ever been an item and was completely unsurprised to find that they had been.

B

The Driver (1978)

A persistent detective (Bruce Dern) sets his sights on a slippery getaway driver (Ryan O'Neal). The story's told with a minimum of dialogue, heaps of style and some of the best car chase footage I've ever seen. Knowing that those sequences were accomplished via practical effects make them all the more impressive.

B

Abigail (2024)

One of those criminal groups who've never met & have code names are hired to snatch the 12-year-old daughter of some ultra-rich guy and hold her for ransom. They're holing up in a remote mansion without phones (to prevent tracking) for 24 hours, but it's worth it for the life-changing payday. Of course, things start to go wrong almost immediately.

This manages to be a really effective horror comedy, despite the fact that it was easy to guess the twist from the trailer/press materials. It seems perfectly set up for a sequel, and I look forward to seeing it, should there be one!

B

Don't Move (2024)

Bereft mother is considering ending it all from the same hiking trail cliff that took her son, when a stranger arrives and calmly talks her out of it. We soon find out that his motives are more opportunistic than altruistic; too bad for him he did such a good job of convincing her not to give in to the call of death that day.

This is how I like my horror: more psychological than graphic and not trying to be more than it should be. Just scare me without insulting my intelligence, then get off my screen.

B

Babygirl (2024)

Romy looks to be successful in both her career and her family. However, the very first scene hints at something being "off" in her sex life: immediately after having what looks to be mutually satisfying sex with her husband, she nearly runs out of the room to masturbate to porn -- clearly hiding this activity from him.

At work, there's a new crop of interns and Samuel captures her interest with his slightly entitled and unpolished behavior. He selects her as his mentor and she agrees after initial refusal. Somehow, though I completely missed the cues, they both pick up on her desire to be dominated and they have a couple of awkward encounters before settling on some ground rules. Though they both seem to want to keep their activities separate from the rest of their lives, she experiences jealousy when she sees him with someone else and he crosses a line when he shows up at her country home when her family is home.

Though I was kind of blown-away by the story's climax and denouement, I was mostly confused as to what Samuel picked up on. I'd assume this is just what he does and lucked into a willing participant, but we see him having a more traditional relationship, so that didn't seem to be it. This confusion rather overwhelmed the entire experience for me, making it feel like a fantasy rather than an actual possibility.

B

Love Me (2025)

A satellite orbits the Earth long after life has left the planet, putting out a greeting to any who might be listening. A still operational smart buoy comes online and responds but -- as it's not a life form -- the satellite's help program is not interested. The buoy is smart, after all, and researches the vast archives of digital content still available in order to figure out how to be a life form and, perhaps, make a friend.

This longing for connection and life reminded me somehow of City of Angels. We take this messy existence for granted and forget just how absolutely wonderful it all is. Honest laughter. A simple glass of water. Working together. Gary walked in while I was watching and I became suddenly aware of the fact that I was literally wide-eyed and slack-jawed just staring up at what appeared to be a video of a couple of Sims eating dinner on the couch. Though the ending was a bit of a miss, the rest simply captivated me.

If nothing else, this proves once again that Kristen Stewart can pick 'em.

B

The Room Next Door (2024)

Ingrid doesn't hesitate to visit when she hears that Martha is quite ill. Even though it's clear they've been out of each other's lives for quite some time, their reunion had a familial, easy energy and they're soon calling each other daily. When Martha makes up her mind that she is ready to leave her sick body, she makes a huge ask of Ingrid: accompany her on a trip, during which Martha plans to end her life.

I'm a fan of Almodovar. He's got a fantastic sense of style and never shies away from the complicated sides of life. Though the vibe is slightly different here -- I think simply for the fact that this is in English rather than Spanish -- it still delivers. Moore and Swinton are so believable and the script, somehow, doesn't dip into the maudlin. This is a friend showing up for another in an extreme circumstance.

My one issue is the ending: there's a cop on the case who is suspicious. Though we just get one scene with him, it seems like the beginning of something that just doesn't happen, which makes the film feel incomplete.

B