Superman (2025)

David Corenswet dons the blue tights and red undies in James Gunn's hard reboot of the franchise, and the first film in the newly christened DC Universe. A lot is riding on this film in order to fulfill expectations, and Gunn has the unenviable task of building a shared universe on the shoulders of this movie, but it manages to (mostly) succeed with flying colors. It's a bold and auspicious start as we're dropped into this fully developed world and asked to keep up. There's a lot going on and it feels like we're already three movies deep. We're introduced to the "Justice Gang" (Green Lantern, Hawkgirl, Mister Terrific) as well as Lex Luthor (played by Greatest Actor of His Generation Nicholas Hoult). Krypto the dog also features heavily as an unexpected hiccup along the way.

Is it better than the first two Superman films from 1978 and 1980? Not in my opinion. But it easily stands alongside that version of the character, and it blows the brooding SnyderVerse out of the fucking water. Most importantly, it feels like a Superman movie again. This Superman resembles the golden age of comic books; he's full of hope and humanity, all about damage control and protecting creatures great and small. And John Williams's theme once again does the heavy lifting of bringing the beating heart and soul to this franchise.

So, does it do enough to wipe the bad blood left by the fallen DCEU? Only time will tell if audiences accept this new direction, but it's going to be an uphill battle as Marvel continues to dominate their own shared cinematic space.

4 punk rockers out of 5

Note: Next film in the new DCU is slated to be Supergirl, arriving in June 2026.

Werewolves (2024)

Why did I think this movie would be good? Here's a fun concept: A supermoon event triggers everyone on the planet to turn into werewolves for one night, where they all kill each other but a select few. The following year, the survivors are faced with the same dilemma with the upcoming supermoon.

Unfortunately, we're told all this information in the first two title cards and we never get to see any of it. The rest is a cheap, insipid B-movie with subpar special effects starring Frank Grillo (aka, The Grill. Will that catch on?), when all we really wanted to see were the events depicted in those title cards.

½ a good premise squandered out of 5

THE PURGE: ELECTION YEAR [2016]

Director James DeMonaco's final film in The Purge trilogy, Election Year, is frighteningly too similar to the current events going on in the world today.

On the brink of a major U.S. election, the night of The Purge means big trouble for a senator who means to put an end to the event should she be elected president.
The first two films had the potential to explore the idea with plenty of satire, metaphors and social deconstructions but never really did.  So now it seems DeMonaco has gone all out and ignores subtly with his heavy-handed critique on American violence, gun control, racism and economic inequalities.  Sure it explores some heavy themes but the exploitive b-movie violence and mayhem is still fully intact making for a twisted joyride.  Based upon the glamorization of violence, I'm not entirely clear where the film stands but one can't deny it's pulpy glee that spews forth with unapologetic pleasure.

3 Parties in the U.S.A. out of 5

THE PURGE: ANARCHY [2014]

James DeMonaco improves upon the original film by exploring everything we questioned in the first place with The Purge: Anarchy.
Much larger in scope, the second Purge film finally shows us how the rest of the world might react to 12 hours of no law and it ain't a pretty sight.  We get to see how different types of people will handle it, with some for entertainment, some revenge, some for profit and some are just plain fuckin' nuts.  It goes a bit more in-depth with the concept and impact of The Purge without ever neutering the idea.  There's some silly manboy video game violence that's quite often a bit of a stretch but all in all, it's a fine little film that wants to say more than it really does.

2½ Gods out of 5

HOMEFRONT [2013]

Director Gary Fleder's Homefront calls back to the moody action/thrillers of the '80's.
Written by Sylvester Stallone several years ago, it was originally intended as a Rambo. Star Jason Statham is given the chance to channel a softer side as he plays a family man here, while James Franco goes against his usual role as a violent drug lord.
Plotwise the film does absolutely nothing original in its genre and really is only saved by its main cast who all look like they're having a great time.  In the end, I'd call it a great renter for fans of The Stath.

3 explosive lights out of 5

DISCONNECT [2013]

Director Henry Alex Rubin's Disconnect is a riveting drama that does a fantastic job at intertwining several seemingly unrelated stories into a intense tale about the horrors of modern day technological communication.
At times it gets a bit too "preachy" and occasionally a bit heavy on the drama but it's perfect pacing and ensemble cast keep it from never getting boring.
It's infuriating, heartbreaking, morally confusing and when it all comes down to it asks the viewer to compassionately look at humanity from all different angles whether you want to or not.  
Definitely a film that wholeheartedly deserves more attention than it's woefully received.

4 anagrams out of 5

END OF WATCH [2012]

David Ayer (writer of Training Day and The Fast & The Furious) sits in the director's chair for his crime thriller End Of Watch.

No stranger to films about the crime riddled streets of South Central Los Angeles, what Ayer lacks in originality he makes up for it with stark realism.  Jake Gyllenhaal and Michael Peña give everything they've got for their bold and surprisingly heartfelt performances.  The film's biggest problem is it's pointless use of a "found footage" style of shooting that at times is quite distracting.  Still, it's a pretty solid film that sadly seems to have been quickly forgotten for some reason.

3 knives in the eye out of 5

MOTHER'S DAY [2010]

Director Darren Lynn Bousman (of the Saw franchise & Repo! The Genetic Opera) tones down the outrageous schlock and hits a little closer to home in the brutally violent home invasion thriller Mother's Day.  Rebecca De Mornay can play batshit crazy like the best of them, however the rest of the cast pales in comparison.  As home invasion films go, this might be one of the better ones as it keeps you guessing what's going to happen next.  As good films go, this doesn't quite qualify, due to weak character development.

2½ boiling water hurts more on the inside out of 5

MY SOUL TO TAKE [2010]

Director Wes Craven steps off his throne of Campy Slasher Flicks and into another steaming pile of shit.

My Soul To Take is an uninspired boring mess that seemed to be made to solely fill contractual obligations.  It's uncharismatic cast fill the shoes of stereotypical characters who act nothing like teenagers.  Old Man Craven has no idea what a typical teenager is and it becomes quite clear that he should stick to having other writers do the work for him.

Just crap.  Utter, utter crap.

½ shitting n' puking condors out of 5

THE GREY [2012]

Liam Neeson continues his run of angry, violent revenge/survival films in the unsettling and dreary The Grey.

Directed by Joe Carnahan, this suspenseful piece of depression tells the story of plane crash survivors struggling to stay alive in the wilderness of Alaska while being hunted down by a pack of vicious wolves.

The Grey is brutal, unapologetic and void of all hope yet manages to wrap all that around a meaningful heart that allows you to actually care.  

Plus, those wolves are feckin' scary.

3½ leaps of faith out of 5