“The Hunger Games: The Ballad of Songbirds & Snakes”

(Drama/Science-Fiction: 2 hours, 37 minutes)

Starring: Tom Blyth, Rachel Zegler, Viola Davis and Peter Dinklage

Director: Francis Lawrence

Rated: PG-13 (Strong violent content and disturbing material)

Movie Review:

This addition of the “Hunger Games” franchise does something the previous films do not for those who have not read the book. It engagingly creates a background to this sort of dystopian world, where children murder each other for sport. More importantly, this movie is about Coriolanus Snow, who will become president in the future, and his evolution to be the man he is in the prequel movies that take place many years after “The Ballad of Songbirds & Snakes.” As Snow’s path to influence develops, this narrative entertains more.

The Hunger Games are still new when blond Coriolanus Snow (Blyth) is tasked with training a rambunctious singer Lucy Gray Baird (Rachel Zegler). Snow is convinced Lucy Gray can win the tournament, especially if he can get audiences to be sympathetic to her cause. However, Baird has ambitions beyond fighting as a gladiator.

Rachel Zegler may appear to the lead as the attention-getting rambunctious Lucy Gray, but this movie is really about Snow. Tom Blyth plays him well. This movie starts as an origin story for Snow, and it is a worthy one, packed with good performances from leading and supporting characters.

Viola Davis is good in every part she plays. Here, she plays a very eccentric — in actions and appearance — department chief who oversees military affairs and the Hunger Games. Equally as entertaining, Peter Dinklage, who plays the dean of a very prestigious institution, is noteworthy.

Told in chapters, this photoplay has a nice buildup. It fails to sustain that with a rushed ending. It does not allow one to savor Snow’s progression to power start.

“Songbirds & Snakes” are both present in this movie. Each time these animals enter the screen, the plot becomes much more interesting. Additionally, the characters become intriguing character studies, faced with circumstances that compel them to change who they are.

Grade: B- (The odds are in your favor. Let the games begin.)

“Thanksgiving” (Horror/Mystery:

1 hour, 45 minutes)

Starring: Patrick Dempsey

Director: Eli Roth

Rated: R (Pervasive language, gore, sexual material, strong bloody horror violence)

Movie Review:

“Thanksgiving” may just set up a new holiday trend similar to the Halloween movies where Mike Myers tournaments everyone on that trick-or-treat day. “Thanksgiving” smartly takes the worst human impulses and makes behaviors the reason why humans become the targets of a serial killer who wears a mask the first Plymouth Colony governor, John Caver.

Doing a Black Friday event on Thanksgiving Day, many shoppers stampede a local Walmart knockoff. The result is some people die and others are seriously injured. An angry person who wears the mask of blank begins murdering the people in Plymouth, Massachusetts, who were present during this stampede. Soon several local or high school students are called at the center of the serial killer.

While this movie falls victim to the same tropes of other horror movies, it does make the moments fun. This is not your typical Thanksgiving movie. It is definitely of the horror genre.

Stereotypically, this script contributes suggestive attributes for characters to keep audiences guessing who the real serial killer may be. It does this effectively. Such is adequate entertainment if nothing else.

Director Eli Roth is a horror master. His movies, such as “Cabin Fever” (2002) and “Hostel” (2006) are creative. His style is just as attention-getting with “Thanksgiving.” It is a traditional horror formula with humor and thrills.

Grade: B- (Don’t be a turkey, go see it.)

“Trolls Band Together” (Animation/Adventure: 1 hour, 31 minutes)

Starring: Anna Kendrick, Justin Timberlake and Amy Schumer

Director: Walt Dohrn and Tim Heitz

Rated: PG (Mild rude humor, violence and suggestive behavior)

Movie Review:

The antics of “Trolls Band Together” are very similar to its prequels. However, this one just has more boy bands, and it makes fun of them in very complementary ways throughout the movie. Mainly, using the boy band’s names as comical wordplay gimmicks. The rampant boyband jokes need a Bandaid at moments, but the visuals create an adventure for the eyes.

Queen Poppy (Kendrick) discovers that Branch (Timberlake) and his four brothers were once members of the boy band BroZone. When one of the brothers, Floyd (Troye Sivan) is abducted by a sister-brother singing duo, Branch and Poppy must reunite Branch’s family to rescue Floyd.

Another sequel to “Trolls” (2016), “Trolls Band Together” needs a bandage to stop the overload of characters. The number of new characters plus the plot twists gives one plenty to observe. They also can give one whiplash.

Still, “Trolls Band Together” cunningly blends homage to boy bands, use of technology, action and songs. Even more, the music and color visuals are eye candy. All makes this movie enjoyable enough for parents and good for their small fries.

Although many of the jokes and antics are overly repetitive, this movie manages to keep the Trolls franchise skipping. This animated adventure would be a good swan song for these trolls, but producers appear as energetic as their characters.

Grade: B- (Take your band of moviegoers to see it.)

“Napoleon” (Drama/Biography/Action: 2 hours, 38 minutes)

Starring: Joaquin Phoenix, Vanessa Kirby and Tahar Rahim

Director: Ridley Scott

Rated: R (Strong violence, gore and grisly images, sexual content and language)

Movie Review:

Nape has all of the makings of a grand epic by Director Ridley Scott, but it likes to gravitas for a dramatic. Although Joaquin Phoenix is always superior in the titular role, he is not given the time permitted to do what he does: become the role. This is because most of the script focuses on a chronological execution of Napoleon’s life, mainly very gory and violent military campaigns and riots.

“Napoleon” starts with the beheading of Marie Antoinette, and then it moves to show Napoleon Bonaparte’s war conquests. The movie chronicles one military campaign after another mixed with Napoleon gaining power with every conquest. Eventually, he crowns himself Emperor of France.

Oscar-winner Joaquin Phoenix plays French Emperor Napoleon Bonaparte well. He has a fascinating way of making all of his performances tangible as if he is the person he is portraying. He is effective here also, despite Scott’s deliberate style of just hitting all the highlights of Bonaparte’s life through war. Ridley’s style here is similar to his “Gladiator” (2000).

When one covers the life of a person who tried to take over the world, movie producers particularly like to spend lengthy time on gruesome battle scenes of war and other violence. Albeit the attention to battle visual effects is astute in “Napoleon,” Director Ridley Scott spends too much time here, concentrating on action over substance. One waits for that powerful dramatic moment to arrive. Even when Napoleon declares himself Emperor, the moment does not resonate.

Ridley Scott shows how brilliant a military strategist Napoleon was. However, his cast only gets occasional moments to act in between those battle scenes. This does not mean the movie is subpar in any manner. Napoleon is fine moviemaking. It just lacks the bodacious audacity of a major epic of a major historical figure.

Grade: B- (From territories to cinemas, Napoleon still conquers the space for attention.)

“Wish” (Animation/ Musical/Comedy: 1 hour,

35 minutes)

Starring: Ariana DeBose, Chris Pine and Alan Tudyk

Directors: Chris Buck, Fawn Veerasunthorn

Rated: PG (Thematic elements, action and violence)

Movie Review:

Wish is another animated production by Disney. It has the old feel of a Disney animated movie. Like many tales by the corporation, this one involves magic too. That is good and bad. It is a combination of new style animation and traditional story that is interesting, yet it also feels like several already seen Disney productions.

Asha (Debose of 2021’s “West Side Story”) has a chance to go work for King Magnifico (Pine), who can grant wishes through magic. When Asha discovers not everyone’s wishes are granted, she makes her wish for this to change. Her wish to see others’ wishes come true causes a power struggle within the kingdom.

Wish is a fun movie. It offers all of the glitz and glamour one wants with Disney cartoons. The plot seems like a Disney movie of the yesteryear, especially noting this movie makes references to the studio’s classics. The overall narrative for “Wish” appears like several of the productions combined in one. “Fantasia” and “Frozen” come to mind immediately among others.

These elements do not create a memorable movie. All the elements are present for a good movie, but they do not make an impact.

Grade: C (Wish for a better magical moment.)

“Dream Scenario” (Drama/Comedy: 1 hour, 42 minutes)

Starring: Nicolas Cage, Sophie Matthews and Julianne Nicholson

Director: Kristoffer Borgli

Rated: R (Strong language, violence and sexual content)

Movie Review:

“Dream Scenario” may just be one of the most original movies you will see this year concerning a screenplay. That is where this dark comedy scores major points. It also has a talented Nicolas Cage as its lead which garners it another equally positive attribute. He excels here. However, despite its originality and able lead actor, this intriguing feature does not remain enjoyably consistent from its beginning to its conclusion.

The movie easily gets one’s attention with Nicolas Cage playing mild-mannered Professor Paul Matthews. The nerdy Matthews begins appearing in the dreams of others. In this shared consciousness, many people see him just existing without interfering with anything that happens in their dreams. An erudite Matthews becomes an overnight celebrity. He experiences all of the pros and cons that come with his new celebrity status, particularly after the dreams of others become nightmares.

This movie easily gets one’s attention when you see trailers. A man suddenly starts appearing in the dreams of others, including some family members, friends, and colleagues. That alone is a reason to see this movie to understand why. Other than some metaphysical combinations, the movie does not explain what caused this to happen. Despite that, the movie gives enough of a philosophical theory that is worth seeing for audiences who appreciate thinking photoplays while entertained simultaneously.

“Dream Scenario” expresses that all humanity shares a collective consciousness. Paul Matthews has figured out a way to share his consciousness with others. Strange or not, the concept is invitingly and invigorating for a screenplay.

Again, this perhaps, one of the most creative scripts one will see this year.

It is nice to see a movie that poses a thought yet makes itself applicable to those who want to see a psychological horror and a thinking movie combined. Plus, the story is entertaining with numerous drama moments that border on being a horror flick.

“Dream Scenario” manages to capture Nicolas Cage entertainingly and delivers some very thoughtful philosophical points about life, the nature of subconsciousness, and the greater world of instant fame.

However, it does not deliver consistently stable entertainment. It falls short of creating a conclusion that is equally grand, bold and gratifying as its initial thought. This is because this movie impresses with its nature with what comes before. This does not mean the end is not an impressive part of the movie. It is just mellow after coming down from a thrilling high.

The end may be dull compared to the beginning, but “Dream Scenario” ends in an intelligent, calculated manner. It ends depressingly like its main character, Paul Matthews. The professor is an unnoticeable person before his fame. He returns to that routine life. That, too, is intentional and well-executed by director-writer Kristoffer Borgli (“Sick of Myself,” 2022).

Grade: B+ (Best scenario: See this soon.)

“Silent Night” (Crime/Action:

1 hour, minutes)

Starring: Joel Kinnaman, Scott ‘Kid Cudi’ Mescudi and Harold Playa

Director: John Woo

Rated: R (Strong bloody violence, gore, drug use and language)

Movie Review:

“Silent Night” is a Christmas movie in the mannered similar to “Die Hard” (1988). It is set during Christmas but is far from being a holiday movie. Director John Woo (“Face Off,” 1997; “Windtalkers,” 2002) are usually action-packed violent screenplays. Movies led by him are often entertaining, even when the characters or their story are stretched. “Silent Night” continues his trend of severe violence while providing the lead character does not need words to create an amiable action movie.

This action flick contains violent moments caused by Brian Godlock (Kinnaman), a grieving father still missing his son. His pain motivates him to the point that he decides to punish those who murdered his son. He trains and plans for months before enacting his plan on Christmas Eve, the day his son was killed.

“Silent Night” is the type of revenge movie that audiences appreciate. People want to see the bad guys suffer or die in the end. They want the instant gratification of watching the bad guys fall.

In this case, the bad guys meet their end very violently. It is easier to understand the main character’s need to avenge his son. He feels that the universe in any form, including help from the police, moves too slowly. Instant revenge is needed to ease the pain he experiences.

He gets that revenge, and audiences get an actual action film with plausible actors, playing the silent protagonist.

The result is a been-there-done-that movie, but it is enjoyable, right down to the last bullet.

Grade: B- (Constant gunfire is anything but a silent night, but it beats jingles in a snowstorm.)

“Godzilla Minus One” (Science Fiction/Action: 2 hours, 05 minutes)

Starring: Ryûnosuke Kamiki, Minami Hamabe and Kuranosuke Sasaki

Director: Takashi Yamazaki

Rated: PG-13 (Creature violence and action)

Movie Review:

As a kid, I would watch kaiju, gigantic Japanese monsters in movies, with my father and grandfathers. My family appeared unmoved by some massive monster destroying cities where people were mere ants by comparison. My young mind contained fervent ideas, watching such large monsters, both terrorize and sometimes befriend humanity.

“Godzilla Minus One,” a well-done period science-fiction photoplay, brings back the fond memories. The setting for this movie is Japan during the 1940s. During post-World War II, Godzilla comes about because of atomic experiments and waste products being dumped into the ocean. Mainly poor Japanese citizens, including Koichi Shikishima (Kamiki), an ex-kamikaze pilot, are terrorized by the reptile titan Godzilla.

Shikishima and the others in this movie appear right out of a 1950s movie. Sure, Godzilla may be what everyone comes to see, but it is fine performances by a phenomenal Asian cast that shines.

Score one for the human cast members. They get to act. Their roles are sufficient and noteworthy. They are just not people Godzilla kills. Actors Ryûnosuke and Kamiki Hamabe, who plays Koichi’s love interest Noriko Oishi, are noble leads. They provide character worth following and getting to know.

Minus one is for Godzilla. The enormous plasma-blowing lizard plays second fiddle for once to his human counterparts.

Several Godzilla variations have graced cinemas and appeared on television. For multiple decades. This one is brilliantly done. It feels like something one would have seen in the 1940s and 1950s, except with good special effects, superior action, post-war regret, guilt, anxiety, love, self-reliance and notions of American Imperialism.

The old-time scenic style and writing by director Takashi Yamazaki (“Destiny: The Tale of Kamakura,” 2017) accompanies nostalgia. Both are much appreciated. Hats off to him, a fine cast and his crew for this noteworthy movie.

Grade: A- (Audiences Plus One.)

“The Shift” (Science Fiction/Religion: 1 hour, 55 minutes)

Starring: Kristoffer Polaha, Neal McDonough and Sean Astin

Director: Brock Heasley

Rated: PG-13 (Violence, and thematic elements)

Movie Review:

Time travel as part of a movie plot has become cliché. Movies about the Multiverse are now that too. For a while, only science fiction and superhero movies talked about multiple universes and jumping in between them. The multiverse is now found this way in religious films in this science-fiction Christian movie. The result is science fiction that gets in the way of religion, and religion gets in the way of science fiction.

“The Shift” follows Kevin Garner (Polaha). After encountering a strange man, Garner is transported from a dystopian world. Soon, he meets The Benefactor (McDonough), a.k.a. the Devil, who offers Garner a chance to have everything. The catch is Garner would only work for The Benefactor. Garner declines the offer, making him The Benefactor’s public enemy number one.

A man jumps from one point in the multiverse to another avoiding Satan. He could just go to church. All jokes aside, this movie lacks a common sense nature that could propel its fractured story.

Think of this as the multi-verse meets the “Matrix” (1999) meets Christianity.

This is a peculiar mix. The interesting aspect is that the characters, including The Benefactor and his associates, use technology to transport themselves across the multiverse. So, even a powerful being appreciates using new technology also. Insert your own joke here. This and other aspects make this religious movie based on the Bible’s Book of Job intriguing as it is lackluster.

Every time Garner jumps to another point in the multiverse, his character becomes more sought after by Satan. The ultimate antagonist, Satan offers Garner everything but a better science-fiction script.

Grade: C (Shifty.)

“The Boy and the Heron” (Anime/Fantasy: 2 hours, 05 minutes)

Starring: Luca Padovan, Christian Bale, Florence Pugh, William Dafoe, Mark Hamill and Robert Pattinson

Director: Hayao Miyazaki

Rated: PG-13 (Violent content, blood images and smoking)

Movie Review:

Academy Award-winning director Hayao Miyazaki (“Spirited Away,” 2001) is one of Japan’s legendary animated filmmakers. Just when audiences think he has retired, the octogenarian returns with another masterpiece.

Mahito Maki (Padovan) still grieves his mother’s untimely death. It leads him to a world of the living and the dead. There, he encounters The Grey Heron (Pattinson), a manipulative bird being who leads the boy deeper into this new world. Mahito must discover how this alternative world operates while facing self-reflection.

Miyazaki movies involve wondrous worlds, where characters exist with a variety of beings from dead loved ones to monsters. Along the way, his characters, particularly the main one, find a new place to rediscover themselves. The same narrative style exists in “The Boy and the Heron.”

Miyazaki gives audiences developed characters with creative plots. His stories have self-reflective aspects and other themes that resonate throughout his movies. Unlike numerous other animated movies, he thrives to not just have nice visuals, he wants memorable tales.

“The Boy and the Heron” exemplifies these notions. Plus, it has great voice actors in both the Japanese language and the English dubbed versions. The English features great voices. The cast is formidable. Among many, it features Christian Bale, Dave Bautista, Willem Dafoe and “Star Wars’” Mark Hamill, who is becoming the king of voices for animated movies. Robert Pattinson is unrecognizable as The Grey Heron, voicing the character brilliantly.

This photoplay appears too lengthy at bits. It is approximately two hours. However, two hours are well-spent to escape to another brilliant anime world by maestro Hayao Miyazaki. “The Boy and the Heron” could be his swan song, but audiences should not retire him just yet. He has more fantasy worlds to dazzle audiences with still.

Grade: B+ (Meet them in this inviting new world.)

“Wonka” (Comedy/Fantasy/Musical: 1 hour, 56 minutes)

Starring: Timothée Chalamet, Hugh Grant, Lane Noodle and Keegan-Michael Key

Director: Paul King

Rated: PG (Violence, mild language and thematic elements)

Movie Review:

“Wonka” is the imaginative prequel-sequel to “Willy Wonka & the Chocolate Factory” (1971), with Gene Wilder in the title role. This latest version is just as alluring as its predecessor, both based on Roald Dahl’s iconic writings. It boasts nice set designs, special effects and talented lead actor, Timothée Chalamet.

Willy Wonka (Chalamet) dreams of opening a shop in a city renowned for its chocolate. A youthful Wonka soon learns he cannot have his dream easily as the entire chocolate industry is run by a syndicate of chocolatiers. With dreams and remembrance of his mother to keep inspiration, Wonka along with his sidekick Noodle (Lane) aims for his ultimate goal, his own confectionary shop that specializes in chocolate.

Chalamet is charming in these roles because of his beautiful innocent, youthful appearance and demeanor. In protagonist roles where he is the underdog, a victim or the bullied person, he excels at these roles. His innocent appeal works as Wonka, a hardworking man who just wants to accomplish his dream.

The movie becomes more interesting when Hugh Grant enters in scene nearly one hour into the runtime. He plays a diminutive Oompa Loompa named Lofty. Grant increases the comedy. His snobbish British demeanor works effectively.

This movie is family-friendly, but it does have dark undertones. Willy Wonka faces crime lords, a corrupt chief of police and a landlord who forces him and others into a type of urban slavery.

Although a different sweetness compared to 1971 archetype, “Wonka” holds its own thanks to a nice cast directed by Paul King (“Paddington,” 2014 and its 2017 sequel). It is also worthy regarding the main character’s goal of achieving one’s dreams despite obstacles. Additionally, it contains musical numbers, nice visuals and good special effects. These offerings render a movie most members of the family can savor.

Grade: B (Sweet chocolate still.)

“Eileen” (Drama/Thriller: 1 hour, 37 minutes)

Starring: Thomasin McKenzie, Shea Whigham and Anne Hathaway

Director: William Oldroyd

Rated: R (Violent content including torture, sexual content, strong language, alcohol abuse and thematic elements)

Movie Review:

“Eileen” is a movie where the actors’ performances of their intriguing characters are better than the script. The cast acts their parts well, and Director William Oldroyd makes sure the overall feel of the movie appears to be of the 1960s, visually via set designs and attire and in the manner characters behave. The movie is intriguing, but the impression exists that much is omitted during characters’ quiet contemplative moments that could offer a better story.

Eileen Dunlop (McKenzie) is a young woman who fantasizes about sex and an adventurous life often. She works in a juvenile detention center during the 1960s. Her life is dull and unexciting. She spends most of her non-work hours adult-sitting her alcoholic father, Jim Dunlop (Whigham). Enter Dr. Rebecca St. John (Hathaway), a beautiful Harvard-trained psychologist, who is captivating and mysteriously enticing. St. John provides a new sense of exploration for the young woman. The two women’s lives change when St. John reveals a shocking secret.

Thomasin McKenzie, Shea Whigham and Anne Hathaway are excellent in their roles. McKenzie is an exceptional, talented young actress. She has been impressing audiences since “Leave No Trace” (2018). Her scenes with the amazing Hathaway are dramatic gratification at its best.

As noted earlier, this screenplay has the feel of something made 60 years ago based on visual aesthetics and character behaviors. This easily sets the mood for a story based on the novel by Ottessa Moshfegh, who co-wrote this script with Luke Goebel. Their writing, unless one has read the book, suggests much is left unexpressed which could make for a better screenplay.

Their script provides subtle hints of unobserved malfeasance but never quite allows the audience in on the offenses. Meanwhile, “Eileen” leaves audiences to infer information regarding multiple characters’ actions. The script appears as a teaser for one to read Moshfegh’s book when this movie could just show it.

“Eileen” is still a good movie. Fine performances and a surprising story are a treat. Even more, this is a good exploration of a young woman’s need for an adventurous life. Here, “Eileen” leaves an impression.

Grade: B (She is fascinating.)