Reviews of “Office Romance,” “Gail Daughtry and the Celebrity Sex Pass” and “Evil Dead Burn”

12 Jul

Two new rom-coms and a zombie movie

“Office Romance”

⭐⭐ Rating: 2 out of 4

There’s plenty of turbulence — and even some flatulence — but few romantic sparks in this Jennifer Lopez showcase about a tough female CEO who gets involved with her corporate attorney. The rub is that the airline company, AirCruz, has a no-office-romance policy. It’s a fireable offense, so you’d think J.Lo’s hard-charging Jackie Cruz (she’s also a pilot) would have no problem tweaking the policy. But then where would the comedy go?

The answer doesn’t really matter since the romance between Jackie and her new, hot-shot attorney Daniel Blanchflower (Brett Goldstein), a relocated Englishman, is the least interesting thing in the movie. Goldstein’s buttoned-up Brit is best when in scenes with actors other than J.Lo, especially his sister (Jodie Whittaker, funny but underused), who’s in prison for beheading someone with a machete, or Sydney (Betty Gilpin, so good in “The Hunt”), the quirky and very pregnant number-two at AirCruz, who seemingly has a thing for Jackie and views Daniel as the enemy. Their frequent stare-downs are one of the better gags in “Office Romance,” as is Bradley Whitford (“Get Out”) as the boisterous lead counsel sidelined by a breakfast burrito. Wasted in smaller roles are Edward James Olmos as Jackie’s father, who started the airline, and Mary Wiseman as an office assistant with bad irritable bowel syndrome.

Goldstein and fellow “Ted Lasso” writer Joe Kelly (Goldstein also acts in the soccer series) throw everything and the kitchen sink into the script — the British use of the C-word, World Cup star Jude Bellingham, and sex play while dressed as a Buckingham Palace guard. Think “Notting Hill” by way of “American Pie.” It doesn’t fly, but there are a few chuckles along the taxiway of failed funnies.

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“The Invite”

11 Jul

The dinner itself is a messy and ribald look at marriage, says our review of “The Invite.”

Questions of happiness and fulfillment take center stage in “The Invite,” a barbed comedy about a couple at a bitter crossroads in their marriage. Angela (Olivia Wilde) and Joe (Seth Rogen) are further challenged by their upstairs neighbors who, over the course of a single dinner, amplify every marital tension with passive-aggressive relish. Wilde, the actress who served notice as a filmmaker with the puckishly insightful “Booksmart” (2019), then faltered with the 2022 “Don’t Worry Darling,” gets back to her funny-not-funny roots with this adaptation of the 2020 Spanish film “The People Upstairs.” 

The tart script by Will McCormack and Rashida Jones feels like it was written for the nuanced personalities of this cast. Seth Rogen centers the ensemble with his large and loud everyman, Joe, a failed musician who teaches music at a middling conservatory. Angela is a soul adrift. What defines them most as a couple — and holds them together — is their preteen daughter and their collective unease with their station in life. Bougie problems, to be sure, but palpable and real. They also haven’t had sex in nearly a year, and that’s why the dinner invite to the newish couple upstairs is such a loaded gambit. Joe wants to confront them about the raucous sex that keeps them up at night, while Angela admires the woman’s ability to have vigorous and vocal orgasms.

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“Young Washington”

5 Jul

Happy 250th, ‘Merica, from Angel Studios, which brings us this founding father and first president origin story. We might not all be in the flag-waving mood, what with MMA on the South Lawn, war with Iran and ICE raids (though maybe that gets your patriotic fervor going), but this tells a chapter of Washington’s life you might not know, his early rise from Virginia surveyor to major of a militia detachment under British command.

The time is the 1750s, a quarter-century before Washington will take command of the rebel army on the Cambridge Common. The young patriot-to-be, played by William Franklyn-Miller with bland stiffness (perhaps requisite to the role), is tasked with a reconnaissance mission in the Ohio River Valley, where the French are busily erecting forts and laying land claims. Washington and his unprepared troops get their tricorn hats handed to them.  

The French, aided by Indigenous warriors, had already adopted guerrilla tactics — shooting from the wooded hills at the red coats lined up in the meadow below waiting to engage in “proper battle.” Washington serves as an advisor to General Braddock (Andy Serkis), the British commander brought in to clean up the brink-of-war mess. Washington warns him of the new way of warfare in the New World, but Braddock’s hubris and dismissiveness ultimately spark the French and Indian War of 1754-1763, and the cocksure tactician’s own demise.  

The movie is neither as jingoistic nor Christian-leaning as the family values studio’s earlier projects, “Sound of Freedom” (2023), “Cabrini” (2024) and this year’s “David.” There’s no triumphant payoff to “Young Washington.” It more illustrates the budding resolve of the man who would later cross the Delaware and become page one in United States lore. It’s interesting and informative history, but not great filmmaking — the dialogue’s stilted, the acting at times is hyperbolic and the directional timing is off.

The best line comes from Half-King Tanacharison (Ryan Begay), leader of a small band of Seneca warriors who embed with Washington for that ill-fated recon mission but refuse to re-up, telling Washington, “When you are finished killing each other we will reclaim our land.” In the mix in small parts are veteran actors Ben Kingsley (Virginia’s lieutenant governor), Mary-Louise Parker (George’s mom) and Kelsey Grammer (Lord Fairfax). As the end credits roll, Grammer, out of costume, pleads with viewers to make “Young Washington” the number one movie in America by scanning a QR code to “pay it forward” — buy a ticket so some other American can saunter in for free and learn some history adjacent to the ongoing semiquincentennial celebration. A big ask, given the  new Spielberg movie,  Minions  and “Toy Story 5.”  

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Reviews of “In the Hand of Dante” and “Little Brother”

4 Jul

“In the Hand of Dante”

An impressive A-list cast and some astonishing visuals get wasted in this fatuous fantasy from one of the more interesting minds behind the camera these days — Julian Schnabel, the painter turned filmmaker who delivered such arty provocations as “The Diving Bell and the Butterfly” (2007) and “Basquiat” (1996). The film, based on the 2002 book of the same name by Nick Tosches, is a maniacal mashup of historical icons and modern noir. As a writer. Tosches hovered in the realm of gonzo journalism (best known for his vivid Jerry Lee Lewis biography, “Hellfire”) and made himself the centerpiece of “In the Hand of Dante,” as a writer tasked by the mob to unearth, ascertain and validate the original 14th century copy of Alighieri’s “Divine Comedy.”

The reliable Oscar Isaac plays both Nick and Dante in the two timelines. The former is recruited by a heavy named Joe Black (an underused John Malkovich) and partnered with an oafish hitman (Gerard Butler with a bad dye job) for the paper chase that naturally leads them to Italy (from Jersey to Rome with love). Along the way Butler’s beefy takes out nearly everyone they come into contact with including an elderly woman who does little more than serve them tea, a priest and even a sleeping dog.

Much of the film is stunningly shot in stark black and white by Roman Vasyanov (“Fury”), though there are switches to color when Dante is scouring the Italian coastline seeking enlightenment and inspiration. The film’s driven by a lot of pretentious dialogue about the value and vision of the central document and boasts a body count that requires at least two sets of hands. Most alluring, however, is the casting of Martin Scorsese — hardly recognizable behind a Papa Smurf beard as a religious oracle named Isaiah — and Al Pacino as Nick’s uncle Carmine. The bigger spectacle is Butler pulling double duty as the pope himself and Jason Momoa as yet another hitman in a pristine white suit, who’s saddled with some of the most preposterous and inanely philosophical lines in the film. Gal Gadot adds an angelic presence but is lost in the underwritten role of Nick’s secretary cum love interest. She also takes another one for the team as Dante’s spurned wife, Gemma. At two-and-a-half hours, “In the Hand of Dante” should have been leaner and more tightly honed. It probably could have leaned in more on Tosches’ gonzo sensibilities, as well. For the normally visionary Schnabel, this is his “Megalopolis” (2024).

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So far, so fun for Cambridge’s version of Bourbon Street

28 Jun

Special open container zones and extended hours for alcohol service have drawn crowds for World Cup watch parties, but not complaints. Central Square’s happens Friday afternoon.

From the Tartan Army to the Tall Ships,  Cambridge is a prime beneficiary of the legislative mouthful called the Act Authorizing Municipalities to Opt-In to a Temporary Pilot to Extend the Hours of Liquor Licenses and to Allow for Public Consumption in Designated Districts in Summer 2026. Maybe we can just call it Bourbon Street comes to Boston.

Cambridge was first to sign up after Gov. Maura Healey signed the bill earlier this month, giving municipalities the opportunity to extend bar and restaurant last calls by one hour (but no later than 3 a.m.) and allow participating establishments to offer to-go alcohol that can be consumed on the street in designated social districts.

The city saw it as dovetailing with the Cambridge United initiative to host soccer watch parties throughout the city for each match held at Foxborough’s Gillette Stadium (Boston Stadium is its name for the duration of the World Cup).

The pilot period started June 12 and runs through the end of July, intentionally spanning the World Cup and the arrival of the Sail Boston Tall Ships.

Somerville, meanwhile, allowed the extended last call hour, but did not enact designated public drinking districts, saying the city was not laid out in a way that made sense from logistical point of view.

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Reviews of “Masters of the Universe” and “Leviticus”

25 Jun

“Leviticus”

Nothing like a homophobic township with the power of God behind it to execute a modern version of the “Crucible,” complete with supernatural manifestations. Adrian Chiarella’s directorial debut depicts two teens who are tormented for who they are by the usual posse of bullies, as well as a supernatural manifestation.

We meet the boyishly naive Naim (Joe Bird) and edgier Ryan (Stacy Clausen) as two kids exploring an abandoned mill. They get to horsing around, trading punches and falling to the ground in a violent bear hug that quickly relaxes into a loose hug and ultimately a kiss. There it is, they’re rebel lovers going against the grain in the deeply religious rural Australian town where they live.

Naim later witnesses Ryan intimately grappling with another classmate, Hunter (Jeremy Blewitt). Jealous, Ryan tells the town’s pastor (Ewen Lesley), who happens to be Hunter’s dad. What ensues is an exorcism performed by a “deliverance preacher” (Nicholas Hope) brought in to force the gay out of the lads (Naim’s mom, Mia Wasikowska of “Alice in Wonderland,” forces him to endure the ritual because he’s too close to Ryan).

It seems hokey at first, but the brief fire and brimstone rite unleashes a personal demon that torments each boy in isolation, by taking the form of the person each boy desires most (Naim for Ryan, and vice versa). Lust is its lure, bloodlust its mission. It’s a frightening change that no one else can see, and it leads to terrible ends first for a young woman and then for Hunter. Yet somehow, their bullying classmates manage to be worse.

The film’s title refers to the Bible’s third book, which contains Old Testament laws defining sin, purity and sexual conduct that some use to condemn homosexuality.

The small-town dwellers are shepherded into an angry horde by Hope’s outsider. The performances by Bird and Clausen are pivotal, and the rest of the ensemble are also strong. But the characters of Naim and especially Ryan feel underdeveloped. The supernatural element also is wispy. The message, however, is not. Chiarella creates effective eerie and edgy moments. He’s another budding horror auteur like Kane Parsons (“Obsession”) and Curry Baker (“Backrooms”), who know how to craft mood and scene beyond their years, but have room to grow to conjure spirit and soul.

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Toy Story’s 5th another fine production

24 Jun

The much-loved franchise in “Toy Story 5” continues to tap into universal human themes with care and soul.

The latest installation of the “Toy Story” franchise extends its record as one of the most adaptable film franchises. Perhaps its success comes from its palpable themes of vulnerability — being replaced, being outgrown or forgotten, becoming irrelevant. Maybe it’s the potpourri of misfits, voiced by A-list talent, that come together to seal the rift du jour dividing them. Of course, the initial 1995 “Toy Story” set the gold standard of CGI animation and pretty much was the catalyst for the Oscar for Best Animated Feature that came into being in 2001 — the 1995 film won a special Oscar for ground-breaking animation, while “Toy Story 3” (2010) and “Toy Story 4” (2019) both won that “Best” award. It also has creative continuity — this new version is directed by Andrew Stanton, who’s been involved in the script and story from the get-go, back in the John Lasseter/pre-Disney years. Stanton’s no slouch behind the lens, with “Finding Nemo” (2003) and “WALL-E” (2008) to his credits (he did also direct the 2012 box-office flop “John Carter”).

In “Toy Story 5,” co-directed by McKenna Harris, Cowgirl Jesse (Joan Cusack) takes center focus, during an all-out effort to find a like-minded companion for eight-year-old Bonnie (Scarlett Spears), who is having difficulty making friends. In “Toy Story 3” Bonnie was gifted the olio of toys when older brother Andy grew up and went off to college.

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“The Death of Robin Hood”

21 Jun

A myth reconsidered in this grim but powerfully told version of a life that might not have been heroic.

Revisionism is a powerful dispeller of myth. Consider how Oliver Stone, Francis Ford Coppola, and Stanley Kubrick reframed the public understanding of the Vietnam War. Or how Sergio Leone, Sam Peckinpah, and Clint Eastwood cut the morally righteous reins on the American Western.

What about Robin Hood, the legend who stole from the rich and gave to the poor? A regular champion of the poor, like Mother Teresa, and a candidate for a Nobel prize? Not so much in Michael Sarnoski‘s dark reckoning, where Mr. Hood is looking for atonement before his book closes on his not-so-noble reputation. He’s played by

Hugh Jackman with world-weary gravitas, conveying sadness in his eyes and the simmer of rage in his heart.

The film is gorgeously shot by Paul Scola, who worked with Sarnoski previously on “Pig” (2021) — then again, the bare north mountains of Ireland do a lot of this movie’s heavy lifting. We learn early on that this is not Errol Flynn’s swashbuckling Robin Hood. Our Robin has been enmeshed in the cycle of violence all his life, hunted by the kin of those he killed. He’s adroit at bloodshed. There’s no flashback to show us whether the younger Robin’s deeds were derring-do or thuggish savagery.

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Winding down with old friends at Tampopo

12 Jun

Since the announcement of the closure, people have been flocking by in droves for one last donburi bowl and to wish its owner, Yasumasa Ito, the best.

When 2025 became 2026, Yasumasa Ito decided 34 years was long enough and it was time to shut down Tampopo, the venerable Japanese noodle and donburi bowl bodega in the Lesley Building in Porter Square. Cambridge Day posted an appreciation piece highlighting our favorite dishes, and lauding Ito for maintaining high quality over the years. 

That story led to this story: around Memorial Day, the Day received an email from Kotaro Moria, who lives in Kanazawa — also known as “Little Kyoto” — in Japan’s Ishikawa Prefecture. Moria told us he appreciated our story, and it was a reason why he was coming to Boston to help Ito through the last 30 days of Tampopo’s existence.

Moria studied at Fisher College 16 years ago and worked for Ito while he was here. He now runs an IT and web design firm in Japan.

“I knew Tampopo was closing,” Morita said. “Another staff member asked me to make a website so customers could send messages to Ito-san. While I was working on it, I saw a recent photo of him. He looked thinner than I remembered, and I thought that this was hard on him, and I felt like I should go help. A few days later he took me up on it.”

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Reviews of “The Breadwinner,” “Pressure” and the Netflix documentary, “The Crash”

6 Jun

Exploring war (D-Day), gender, and true crime on film

“Pressure”

Who knew that the timing of D-Day was much ado about dueling meteorologists? Obviously, David Haig, whose play about this little-known chapter of the war gets the big-screen treatment in the capable hands of Anthony Maras (the deft thriller, “Hotel Mumbai”) — and Haig, who co-wrote the screenplay. The setting is the Southwick House — a sprawling mansion in England — some 72 hours before the planned invasion that would change the course of history. General Dwight D. “Ike” Eisenhower (Brendan Fraser) tries to hone the fine details of the landing with the other commanders, including British general Bernard Montgomery and his U.S. counterpart, Omar Bradley. The big question is the weather.

Churchill recommends his chief weather guy, Scottish meteorologist Group Captain James Stagg (Andrew Scott, stoic and complex), who gets posted above Ike’s weather guy, Irving Krick (Chris Messina, Michael Jordan’s brash agent in “Air”) — and that’s where the rub comes. Krick, who notched great success in the North Africa campaigns, lives by almanacs and historical trends, while Stagg works from real-time data and tracks the current conditions. Two different methods, two different calls drive Ike and the command team bonkers with just two days until the launch. Stagg predicts 10-foot waves that would blow the landing force off course.

History books chronicle how it all plays out, but Maras and the inspired ensemble reenact it to a deeply compelling effect. Scott and Fraser, a long way from “Mummy” (1999)— anchor the film, with Damian Lewis stealing scenes as Montgomery, both anxious and devilishly cheeky. Kerry Condon makes Kay Summersby, Ike’s indispensable aide, feel essential, her warmth and resolve a counterweight to the chaos around her. Backstories about a failed earlier attempt, led by Ike, that got a lot of young men killed, and the bombing of the hospital where Stagg’s pregnant wife is convalescing, lend human depth. Some of the best insights of “Pressure” are the stark contrast between the British stiff upper lip and American maverick arrogance. The title is a play on weather pressure, the decision to go or not, and the weight of the world. Towards the end, the film shows some ancillary staging of the landing (the 82nd anniversary is nigh), but nothing that will end up in conversations with “Saving Private Ryan” (1998) or “The Longest Day” (1962).

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