Sorry, Baby (2025)

A woman navigates the tricky aftermath of a "bad thing" that happens to her. It's grim, bleak and feels like it misses its mark most of the time, especially the attempts at sardonic, "quirky" humor which doesn't really mesh well with the material. The main character was annoying in so many different respects, and the frivolous tone really rubbed me the wrong way. It's all glib setups to show how unfairly she's being treated and keeping her trapped in a "victim" mindset. I found the whole thing off-putting and, quite frankly, it's exhausting. It's very much a case of false advertising too, because the kitten barely figures into it.

1 jury duty exemption out of 5

MANCHESTER BY THE SEA [2016]

If there was an award for dreariest film of the year, then writer/director Kenneth Lonergan's Manchester by the Sea would be the front-runner for such an accolade.
After his brother dies, a troubled man is forced to return to his hometown to take care of his mourning nephew, where his tragic past creeps up with no remorse.
The film's biggest strengths are it's acting talent, with Casey Affleck & Lucas Hedges taking center stage with what I feel is the best onscreen chemistry of 2016.  The actors are only as good as their material and there's plenty of mesmerizing scenes and dialogue to keep the audience captivated.  It is a bit slow in moments but no matter what you can't help but keep drawn into the films devastation.

4 bar fights out of 5

THE ZERO THEOREM [2013]

Director Terry Gilliam returns to his bizarre dystopian future form, as explored in Brazil and 12 Monkeys with The Zero Theorem.
Christophe Waltz does a fantastic job playing the tragic Qohen Leth who's lost in a world that doesn't want or need him.  The earnest Qohen is on the constant search for a definitive meaning to life but is assigned the job of confirming human existence is meaningless, which in turn gives his being some sort of purpose.  Gilliam's dismal paranoid future is candy colored and rich in texture which gives it a absurd sense of menace.  The film's making a pretty bold statement but it never feels heavy-handed and still pleases with it's eccentric characters and outlandish sets.
A fine return to form for Gilliam that reminds us sci-fi films can still be personal to the film-makers and not lost in a sea of merchandise.

3½ Churches of Batman The Redeemer out of 5