Halloween Horrorfest: Beast (2022)

 

There is something about movies like Beast, this sort of man vs. nature survival horror that is so palpable to me. It's easy for me to imagine myself in the situation the characters are facing and wonder what would I do in their shoes? Which is probably what made this movie so effective for me as I squirmed in my seat as the movie played out in front of me. 

Recently widowed Dr. Nate Samuels (played by Idris Elba) and his daughters Mae (played by Iyana Halley) and Norah (played by Leah Sava Jeffries) are taking a vacation at the Mopani Wildlife Reserve in South Africa. Upon their arrival, they are greeted by family friend Martin Battles (played by Sharlto Copley), who helps oversee the Wildlife Reserve. They settle in at Martin's house and the following day, he takes them out to tour the Reserve. He introduces Nate and his daughter to the local Lion Pride, including two he helped raise from cubs. Martin notices one of the lions injured but will not let him get close enough to examine it. When they visit the local Tsonga village, they are shocked to find it deserted, with a number of residents dead. Martin quickly surmises a rogue lion is responsible and hurries everyone back to their car so they can go report the attack. On the way back, they encounter a severely injured Tsonga man in the middle of the road. Nate tries to help him but the man soon dies. Martin attempts to track the lion but gets ambushed before the Lion comes after Nate. He runs back to the car, taking cover with Mae and Norah. When the Lion attacks the car, Mae tries to drive away but in the chaos winds up crashing the car. Now, stuck in the middle of the African wild with his two daughters, no working radio and no way to drive out, Nate has to figure out how to not only survive but protect his two daughters as well.     

The film was directed by Baltasar Kormakur from a script by Ryan Engle. Together, they craft a lean little horror thriller flick that is suspenseful and kept me on the edge of my seat. There is an efficiency to the way the film sets up it's characters and the story. None of it is particularly groundbreaking, but it works well enough. I thought it was a nice touch that they set up a motivation for the Lion in that the rest of his pride was wiped out by a group of poachers and therefore the Lion learned that man, any man, is a potential threat and would make sense he would lash out. It did make for an interesting viewing experience for me as on one hand when the Lion was attacking Nate or the kids I hated him, but when he was munching on the Poachers, I was all, "I'm rooting for the Lion. I hope he swallows your friends whole." Still, the filmmakers keep an unrelenting pace to the film as Nate and the girls move from one challenge to another trying to get out of their situation. The Lion attacks are intense and the effects are damn near flawless. All of the lions in the film are CGI, but I had to look it up just to make sure, that's how good it was. 

Idris Elba leads the cast and is quite good in the role of Nate. His character is clearly not a man of action but rather a capable and compassionate doctor. At the start of the movie, his character is in a rocky place with his two daughters and the trip was meant to try and repair their relationship. You really get a sense of the guilt his character is carrying as he tries to repair that relationship. Yet, when the action starts, he is equally great as a capable hero, but also one who is clearly scared out of his wits but trying to keep it together for his kids. Sharlto Copley does well as Martin and plays off Idris Elba quite well with a good report that perfectly conveys their characters long friendship. Iyana Halley and Leah Sava Jeffries do well as Mae and Norah. It would be easy for their characters to just be screaming potential victims, but they do well fleshing out their characters and making them relatable. It helps that the film allows both at different points be active participants in trying to get out of their situation as well, allowing both opportunities to be heroic in their own right that I loved seeing. 

Beast is a pretty simple, straightforward flick that is a lean, suspenseful movie. Once it gets going, it hardly let up and kept me on the edge of my seat throughout. It delivered exactly what it promised and delivered it well. I can't really ask for much more than that. 

Halloween Horrorfest: Mr. Harrigan's Phone

 

I have long been a fan of the works of Stephen King, a Constant Reader if you will, so I will always look forward to an adaptation of one of his works, even if they don't always nail the tone of the original work. When I heard they were adapting Mr. Harrigan's Phone, I was curious to see how it came out. The result is a very different, but very good, film. 

Craig (played by Jaeden Martell) is a young man who has had a rough time in life after losing his mom at a young age. He lives in the small town of Harlow, Maine with his Dad (played by Joe Tippett). After seeing him read a passage from the Bible in Church one Sunday, he receives an offer from Mr. Harrigan (played by Donald Sutherland), a wealthy retired businessman, to come read to him three times a week since his eyesight has started to fade. He offers to pay the boy five dollars an hour for his time. Craig agrees to the arrangement and as the years pass, a sort of friendship develops between the two as both begin to enjoy the intellectual discussions that develop from the books they read. When Craig starts High School, he starts having trouble with a bully, Kenny (played by Cyrus Arnold). When he turns to Mr. Harrigan for advice, he is advised to deal with adversaries swiftly and harshly. One Christmas, Craig gets the newly released iPhone and enjoys having it. When a lottery ticket given to him from Mr. Harrigan wins him a prize of $3000, he decides to buy one for Mr. Harrigan as well. Initially resistant to the new technology, he comes around when he realizes he can get stock market results and news in real time. The more he uses the phone the more he realizes the dangers inherent in way information is freely exchanged without any cost, correctly predicting the rise of fake news as well as other innovations such as pay walls for legitimate news sites and advertising tailored to your own search history. When Mr. Harrigan passes away suddenly, Craig is saddened to have lost his friend, all the more so since he's the one that finds the body. At his funeral, Craig slips Mr. Harrigan's phone into his suit pocket before the casket is buried. Trying to deal with his grief, he calls Mr. Harrigan's phone and leaves a voice mail. The following morning he is shocked to see he got a text message back, with a cryptic message of only a few letters. Initially spooked, he eventually shrugs it off as a technological quirk. When he is once again bullied by Kenny, in despair Craig once again calls Mr. Harrigan's phone, saying he wished Kenny would get what he deserves. Not long after, Kenny is found dead in a freak accident. Now really spooked, Craig can no longer ignore the fact that his friend is somehow communicating and helping him from beyond the grave. 

The film was written and directed by John Lee Hancock from the novella by Stephen King. The film is an unusual one in that it is a mix of coming of age drama and spook story and yet it worked remarkably well for me. A large part of what made the film work for me is that it took the time to really establish the bond between Craig and Mr. Harrigan before the latter character shuffled off the mortal coil, giving the film it's emotional core. The story's emphasis is far more on the relationship between Craig and the enigmatic Mr. Harrigan, as well as Craig coming to terms and moving on from his friend's death than on jump scares, shocks or gore. That is not to say the film doesn't have a few decent creepy moments throughout, it's just not the focus of the film. Hancock handles those moments well without overshadowing the entire film, which for the most part is a surprisingly warm film more focused on friendship and overcoming grief. Hancock gives the film a deliberate, almost leisurely pace that fits the story he's telling, working to capture genuine emotion and introspection that I appreciated.         

The film has a strong cast led by Jaeden Martell and Donald Sutherland. Martell really conveys his character's intelligence and thoughtfulness as well as his struggles having left him a bit emotionally closed off. He crafts an endearing performance, making it easy to empathize with his character throughout the film. Sutherland crafts an intriguing character with Mr. Harrigan, crafting someone who clearly has some skeletons in his closet and had a reputation of being something of a ruthless businessman, as is hinted in his conversations with Craig. He could be generous to his friends, but at the same time was not someone who you ever want to be on his bad side with. Sutherland strikes just the right note with his character, conveying plenty with a softly spoken line as he offers advice or wisdom to his younger friend. Joe Tippett gives a nice, understated but warm performance as Craig's dad. He really coveys his character's struggles with the loss of his wife as well as being a single parent raising his son, but also wanting to be a supportive and loving father. Cyrus Arnold makes for a decent antagonist for Craig, doing what he can with a fairly stereotypical role.   

Mr. Harrigan's Phone is an interesting entry in the pantheon of Stephen King adaptations and one's reaction to the film is going to vary depending on what the viewer is expecting. Those going in expecting a coming of age drama with the addition of some creepy supernatural elements are most likely going to come away very satisfied with the film. Those expecting a hair-raising, scary movie are likely going to be a bit disappointed. This one is focused on it's characters and, given the nature of the story, that is where it should be. It is a film I went into expecting it to be a scary movie and found a richer, warmer, and heartfelt movie in it's place. Yet, it's perfect for Halloween viewing, especially for those looking for something a little more unique or something that won't keep them up at night.  

Halloween Horrorfest: Mary Shelley's Frankenstein

 

Initially conceived as a companion piece to Bram Stoker's Dracula, Francis Ford Coppola intended to make Mary Shelley's Frankenstein, this film has always seemed a bit more debatable, with people loving or hating it in equal measures. Before revisiting it for this review, it had been ages since I last saw it, so I was coming into it again with only vague memories, mostly of the ending.

Victor Frankenstein (played by Kenneth Branagh) is a driven and ambitious doctor with a thirst for knowledge, pouring over books tirelessly and having to be prompted to take breaks by his mother to spend time with her and his adopted sister, Elizabeth (played by Helena Bonham Carter). When his mother tragically dies in childbirth while giving birth to his younger brother, it leaves an traumatic mark on young Victor driving him to try and understand and ultimately conquer death. While attending Medical School, he befriends Professor Waldman (played by John Cleese), who lets Victor in on his own experiments in reanimating dead tissue, which fascinates Victor and horrifies his friend Henry (played by Tom Hulce). When Waldman is killed by a patient while dispensing vaccinations (in a scene that suddenly feels far more relevant all of a sudden), Victor decides now is the time to take his and Waldman's research and put them to the test in reconstructing life. Waldman's killer is executed in the town square for his crime and his body is later collected by Victor. Using the body, along with Waldman's brain and assorted other parts, Victor is able to stitch together his creation. His desires to complete his experiments becomes an obsession, causing him to push away Henry and Elizabeth in the process. When he succeeds in bringing his creation to life, the hideous appearance of the Creature (played by Robert DeNiro) repulses Victor and he attempts to kill the creature. Frightened and confused, the Creature flees Victor's laboratory. However, when the Creature winds up being rejected by both the townfolk and a family living on a secluded farm he tries to help, he vows his revenge on Victor for what he has done to him, setting off a series of horrifying and tragic series of events.

The film was directed by Kenneth Branagh from a script by Steph Lady and Frank Darabont. Based on reports after the film came out, Frank Darabont went on the record that the movie both does and does not resemble the movie he wrote. Much of that can be from the tone that Branagh strikes with the film, giving it a big, theatrical almost operatic feel to it. The film has energy to spare as it barrels along like a freight train from one scene to another. Despite clocking in at a little over two hours, the film barely pauses for a quiet moment from beginning to end. This may be the most divisive element of the film, with some finding the tone at conflict with the story while others found it exhilarating. I, personally, happen to be in the latter group but I can understand why it would be alienating to some viewers. The film, despite carrying author Mary Shelley's name above the title, also makes some dramatic deviations from her original text, especially when we get to the climax. But with so many different adaptations of the material already, different can be okay with me.   

The film has a very unique production design to it, with very stark, large, open sets, especially Victor's attic laboratory and Victor's childhood home being impressive stand outs. Another interesting aspect is the set-up of Victor's equipment used in bringing his creation to life. With the Universal rendition of Frankenstein being so iconic, I appreciated that Branagh and his crew went in a different direction with his film, involving an elaborate setup of tubes, rails, electric eels, and a giant copper tub filled with amniotic fluid. It's a very creative bit of steampunk invention. The design of the Creature is equally unique, departing as much as possible from the more well known renditions we've seen in popular culture, especially Boris Karloff. He is still a startling sight, with deep, stark stitch work all over his body, pieced together by Victor from assorted parts. Yet, it is not so much to not be recognizably human, allowing the character to be more sympathetic.

The film boasts an impressive cast, starting with Kenneth Branagh in the main role as Victor Frankenstein. At this point in his career, Branagh was a bit notorious for his massive ego which makes him a perfect fit for the role. The Victor we see here is completely ego-centric, driven, ambitious and even obsessive if not downright reckless. He only thinks if he could and never stops to think if he should. It's an engaging and energetic performance that grabbed me from the start. It's big and it's theatrical but it fits the film. On the other hand, Robert De Niro is fantastic as the Creature. His portrayal makes his character so sympathetic as he tries to find his place in the world only to be continually rejected based on his looks. It was a challenging role, not only because of the make-up but how to play the role. For it, DeNiro observed people who had suffered from strokes to get a feel for how the character should move and speak, creating a very unique interpretation of the character. Helena Bonham Carter does well as Elizabeth even though her character isn't given much to do in the film overall, but she makes the most of it and her concerns over the course of the film do show how far Victor has fallen into his obsession. Tom Hulce does well as Henry, Victor's friend, who functions as a voice of reason throughout the film, trying to talk Victor out of continuing his experiments. John Cleese gives a rare serious acting performance as Professor Waldman and is quite good in the role as a mentor of sorts for Victor as they bond over similar interests. Cleese is able to give his character some gravitas and wisdom as he shares his research with Victor. 

Overall, Mary Shelley's Frankenstein is a more divisive film than it's companion film, Bram Stoker's Dracula. It's one I enjoyed back when it came out and one I found I  still enjoy now all these years later. Granted, I've always been a fan of Kenneth Branagh, with particular affection for his Shakespeare adaptations such as Henry V, Much Ado About Nothing, and Hamlet. So, clearly, one's mileage will vary but either way, much like it's companion film, it stands as a unique version of an oft adapted tale. Personally, that why I enjoy it. Successful or not, Branagh took a big swing with this and made something bold and interesting and I will always prefer that to boring and safe. 

Halloween Horrorfest: Bram Stoker's Dracula

 

It's hard to believe that this year marks the 30th anniversary of Francis Ford Coppola's iconic and unique re-telling of Bram Stoker's Dracula. It was a movie I long had a fondness for in my teenage years, having seen it many times on VHS. However, when I re-visited it for this review it had been quite awhile since I last watched it and it was a joy to rediscover it again. 

In 1462, Vlad the Impaler (played by Gary Oldman) has returned from a campaign against the Ottoman Empire to discover his beloved wife Elisabeta (played by Winona Ryder) has committed suicide after being falsely told that Vlad had been killed in battle. When a priest tells Vlad that his wife's soul is damned to hell for committing suicide, he becomes enraged and desecrates the church, renouncing God and vowing to return from the grave with the powers of darkness to have his revenge for his wife's death. In 1897, now known as Count Dracula, he welcomes solicitor Jonathan Harker (played by Keanu Reeves), who has traveled to Transylvania to assist the Count with finalizing his recent real estate acquisitions in London. Dracula catches sight of Harker's fiancée, Mina (played by Winona Ryder), and is struck by the resemblance she bears to his beloved late wife and believes she is her reincarnated. Leaving Harker behind, Dracula travels to London to claim his new home and meet Mina. Once there, he begins to hypnotically seduce and feed on Mina's friend Lucy (played by Sadie Frost), who Mina is staying with while Harker is in Transylvania. He also begins planning chance meetings with Mina, who initially rejects Dracula, but begins to find something strangely alluring about him. Meanwhile, Lucy grows more and more ill prompting the family doctor (and former suitor) Dr. Seward (played by Richard E. Grant) to summon his mentor to assist, Dr. Abraham Van Helsing (played by Anthony Hopkins). Upon examining her, he deduces that she is the victim of multiple vampire attacks, putting them, as well as former suitors Arthur Holmwood (played by Cary Elwes) and Quincy Morris (played by Billy Campbell) on the hunt for Dracula. 

Francis Ford Coppola directed the film from a script by James V. Hart based on, of course, the classic novel from Bram Stoker. The resulting film is one that is in many ways a big departure from both the classic Universal and the Hammer iterations of Dracula that many are familiar with, portraying the titular character in a much more tragic light and a heavier focus on gothic romance. The style of the film goes for something a bit more visually unique, while also feeling of the time periods it takes place it, going for what is visually interesting over what is necessarily 100% period accurate. Then Coppola and his crew contrasts this with the use of strictly old school visual effects, including miniatures, matte paintings and in camera effects instead of the then burgeoning array of digital visual effects. Since the bulk of the film takes place at a time when filmmaking was just beginning, it reflects the time period and the films of the time in a authentic way that adds it's own flavor to the movie. Of course, the movie also includes the hallmarks of a contemporary horror movie, including explicit sensuality and gore, adding another layer to the film as well. The costume design of the film is exquisite, giving real style to each of the characters and adding to the unique visuals of the film, perhaps most memorably for me in the armor Vlad wears in the opening scenes of the film.  

The film boasts an impressive cast led by Gary Oldman as Dracula. His rendition of the character is an interesting one and unlike perhaps any other I have seen. When we first meet him, he's a decrepit old ghoul of sorts, shut away in his isolated castle, cut off from most of society. He almost relishes the ways he torments Jonathan Harker. Yet, later when he appears in London, now on a mission to reunite with his long lost love, he's youthful, charming and romantic, at least towards Mina. It's a delicate balance but Oldman pulls it off. I also have to applaud him, even all these years later, for all the time he must have endured in the make-up chair for the various visages of Dracula he had to play, ranging from old, to a bat-like creature, to a wolf-like creature we witness in one memorable scene. It's flawless and he plays through it all wonderfully. Winona Ryder does well in her dual role as both Elisabeta and Mina, especially in the latter role as she tries to resist her growing attraction to Dracula, not even entirely understanding her draw to him. Anthony Hopkins makes for a great Van Helsing, making the character his own, with little patience for small talk and a lack of tact, often played to humorous effect. Much of the exposition of what vampires are and what they can do falls to Van Helsing and Hopkins handles it well. Now, I suppose I have to talk about Keanu Reeves. So much has been made of his performance in this film over the years, I'm not sure what else there is to say. Yes, he was probably miscast in the role, but it's clear he is trying so hard to nail the British accent and give a good performance, I just wish he had loosened up a little, tried not to focus on nailing the accent so hard and been a bit more natural in the role. Still, he's trying so hard and it's not so terrible that it ruins the movie, unlike what some others on the internet like to claim. I don't blame him for taking the role. Getting the opportunity to work with Coppola, Hopkins and Oldman would have been impossible to resist.        

Thirty years on, and I still can't quite believe it's been that long, Bram Stoker's Dracula still holds up marvelously for me. It's a brilliantly made gothic horror film, made with style and imagination, filled with fantastic performances and backed by a great script. It's got a bit more substance to it than some of the other well known adaptations (and I have by no means seen them all) to make this a more well-rounded viewing. I found it just as entertaining and engaging as I did when I first saw it back in the early 90s. It's certainly one that has lasted too, almost as immortal as it's title character, popping periodically in theater screenings around Halloween and numerous home video releases, most recently in a 4K Blu-Ray release. Watching it again it's easy to see why. 

Hocus Pocus 2

Over the course of the past 29 (!) years, Hocus Pocus has gone from box office flop (because some genius thought they should release it in the middle of summer!) to a bonafide Halloween institution rivaled only by Pumpkin Spice. For years, there were rumors of a sequel fueled by fan  demand to see the Sanderson Sisters ride again. Finally, a sequel was announced to premiere on Disney+. The question is can is possibly hold up to the classic original film? 

In 1653 Salem, young Winifred Sanderson (played by Taylor Henderson) is banished from Salem by Reverend Traske (played by Tony Hale) for refusing to marry John Pritchett. Not wanting to be separated from their sister, Mary (played by Nina Kitchen) and Sarah (played by Juju Brener) join her as they make their escape into the Forbidden Forest. Soon, they encounter another witch (played by Hannah Waddingham), who upon seeing the inherent magical talents Winifred possesses, gifts her with her spell book for her sixteenth birthday. She warns them against performing one spell, the Magice Maxima, as it is far too dangerous to attempt. On Halloween 2022, 29 years after the Sanderson Sisters' last rampage in Salem, best friends Becca (played by Whitney Peak) and Izzy (played by Belissa Escobedo) visit the Olde Salem Magic Shoppe, run by Gilbert (played by Sam Richardson). In honor of Becca's sixteenth birthday, he gifts her a candle for the girls' annual birthday ritual. Turns out the candle is a Black Flame candle, which being lit on Halloween night on a full moon by a virgin naturally brings back Winifred, Mary and Sarah Sanderson (played by Bette Midler, Kathy Najimy, and Sarah Jessica Parker). After quickly outwitting the Sisters, it falls to Becca and Izzy to try and stop the Sanderson Sisters and save the town of Salem after Winifred decides to forego her usual spells and finally do the Magicae Maxima to ensure the destruction of Salem and especially the town mayor, Jeffrey Traske (played by Tony Hale), a direct descendant of the man who originally banished her from Salem.

The film was directed by Anne Fletcher from a script by Jen D'Angelo. I was impressed that the filmmakers managed to craft a film that at once felt familiar without being too familiar. It would have been so easy for this to devolve into a more of the same sequel but it does add enough new wrinkles to keep things interesting and fresh. I appreciated the bit of backstory we got on the Sanderson Sisters at the beginning as well as how that fed into the rest of the story. Of course, there are a few callbacks to the original film as well as familiar gags, including the Sisters being baffled by modern technology. The biggest callback is revisiting the gag of Sarah and Mary having to find substitutes for brooms to ride on, this time with Sarah opting for a Swiffer Wet Jet and Mary balancing on a pair of Roombas as appropriate and funny 21st century upgrades. The plot does take some surprising turns, hitting some unexpected poignancy that I was surprised by but also appreciated, to pair with all the shenanigans and silliness. 

Bette Midler, Kathy Najimy and Sarah Jessica Parker slip right back into their iconic roles as though no time has passed at all. It is a delight to see them back in action as Winifred, Mary and Sarah Sanderson as they bicker their way through another mayhem filled Halloween night. Midler once again captures that perfect exasperation Winifred has for her sisters. Najimy is great as Mary, once again the rather oblivious and lovable sister. Parker hits the right notes as Sarah, just as dimwitted and fun-loving as ever. Whitney Peak and Belissa Escobedo make for good heroines for the film as Becca and Izzy who find it their responsibility to stop the Sanderson sisters after unwittingly bringing them back. I enjoyed the added wrinkle of Becca discovering she has some burgeoning witch powers of her own to add a new wrinkle to the proceedings. Sam Richardson has an interesting character arc as Gilbert, the owner of the Magic shoppe who tricks Becca and Izzy with the Black Flame candle he gives them to bring the Sanderson Sisters back. He grew up believing the Sisters were simply misunderstood and wanted to meet them only for them to turn out to be driven by revenge and wanting to destroy the city. Taylor Henderson absolutely slays as a young Winifred in the beginning of the film, with Nina Kitchen and Juju Brener equally capturing a young Mary and Sarah, making the prologue a delight to watch. In fact, I wouldn't mind seeing a prequel starring them showing how the Sanderson Sisters got their start. 

Is Hocus Pocus 2 as good as the original film? No, of course not. Comedy sequels are notoriously hard to pull off and this one doesn't quite recapture the spark of the first one. That's not to say it's not worth watching as it makes for an amusing start to Spooky Season and does still pair well with the original. I would say the pluses far outweigh the minuses on this one and if you're a fan of the original film chances are you'll enjoy the sequel as well. The film does include a tease for a potential third film. I'd be up for it, but I hope we don't have to wait as long.         

Bros

 

I've long been a fan of the romantic comedy genre. It's a deceptively tough genre to get right, as so much hangs not only on the conventions of the genre itself and how fresh of a story the film is telling but also the chemistry between the two leads. Of course, it also helps if the film is actually funny. I am happy to report that Bros, the new rom-com from Billy Eichner and Nicholas Stoller, succeeds on all these fronts. It is charming, romantic and frequently very funny. 

Bobby Lieber (played by Billy Eichner) hosts a successful LGBTQIA themed podcast, The Eleventh Brick of Stonewall, and also is on the board of a soon to open LGBTQIA History Museum in New York. He claims to be fine being single and finds fulfillment in his work...and the occasional Grindr hookup. On a night out with his friend Henry (played by Guy Branum), Bobby crosses paths with Aaron Shepherd (played by Luke Macfarlane), who Henry tells Bobby, is hot but boring. Still, the men keep bumping into each other over the course of the evening, each time have some snarky banter and each time Aaron suddenly disappearing on Bobby. When Bobby finally attempts to make a move, it is quickly rebuffed and the two part ways. Yet, a couple days later, Aaron texts Bobby out of the blue and after some back and forth banter over text, the two agree to hang out. As the two begin to spend more time together, it becomes clear that in many ways they are two very different people and yet a undeniable attraction exists between them nonetheless as they navigate their burgeoning relationship.

The film was directed by Nicholas Stoller from a script he wrote with Billy Eichner. Together, the two manage to craft a film that at once both subverts and honors the conventions of the romantic comedy genre. Stoller and Eichner mine a lot of humor out of gay relationships as well as the nature of dating in the age of apps like Grindr that really hit home for me as a gay man myself. They balance this with a very heartfelt look into both Bobby and Aaron's insecurities, giving the film an emotional weight in addition to the hearty laughs. It really helped me get more invested in both characters and really want to see them work things out to wind up together at the end (which is a foregone conclusion, honestly). The film also runs longer than the usual Rom-Com, clocking in at nearly two hours, but I never once felt it as I was watching it.         

The film has amassed an impressive cast that consists of entirely out LGBTQ actors, even in the straight roles, which I thought was a cool touch. Billy Eichner does great as Bobby Lieber. Of course, there are elements of the well established Billy Eichner persona on display throughout, with plenty of loud, smart-alecky moments with his character, but there are also moments where he allows his character to be more vulnerable and his insecurities come through, especially when he worries that he isn't what Aaron really wants in a potential boyfriend. It's a really heartfelt and relatable performance that hit home for me at several points in the film. Luke Macfarlane is great as Aaron and matches Billy Eichner as they trade witty one liners. But, like Eichner, he nails the deeper part of his character as well as Aaron starts to question the choices he made in life and wonders if he played it too safe. They also have fantastic chemistry with one another which made it easy to get invested in their burgeoning relationship. Guy Branum is a hoot as Bobby's friend Henry and I enjoyed his sassy repartee with Billy. Dot-Marie Jones, Jim Rash, Eve Lindley, Miss Lawrence, and TS Madison are hilarious as the other members of the Museum board Bobby is a part of as they all try to deal with the various issues of trying to get the museum up and running. Bowen Yang makes a cameo appearance as a potential investor in the museum and is hilarious as he pitches a very unique potential exhibit. 

Bros is a Romantic Comedy that manages to pull off both parts of it's genre quite well. It's genuinely romantic while also packing plenty of hearty laughs. The film has a fantastic cast and everyone delivers, including an assortment of cameos I wouldn't dare spoil. It's a fresh and funny entry in a beloved genre that we see far too little of in theatres these days, especially and LGBTQ centric one like this. 

Confess, Fletch

 

I've long been a fan of the first two Fletch movies, starring Chevy Chase as Los Angeles investigative reporter Irwin M. "Fletch" Fletcher. Of course, I was a Journalism student so of course films about a wise-cracking reporter would appeal to me. I followed the various attempts to reboot the series over the many years with interest. At one point, it was going to be a prequel with Jason Lee in the Fletch role in a film directed by Kevin Smith but that never came to fruition. Similar attempts by Bill Lawrence, Zach Braff, and Jason Sudekis to revive the series met similar fates. Imagine my surprise when this movie came out of nowhere and was just recently released in a limited theatrical and simultaneous Premium VOD release.

Fletch (played by Jon Hamm) has just arrived in Boston only to find a dead body in the townhouse he is staying in. When he calls the police to report the find, he winds up becoming the prime suspect by the two officers investigating the crime, Inspector Detective Monroe (played by Roy Wood, Jr) and Detective Griz (played by Ayden Mayeri) despite pointing out that not only did he report the crime, but also waited for them to arrive. Fletch was in town working on a story about a missing art collection belonging to Countess Di Grassi (played by Marcia Gay Harden). Fletch was on the case courtesy of his Italian girlfriend, Angela (played by Lorenza Izzo), is the daughter of Count and Countess Di Grassi. Her father, the Count, has been kidnapped with the ransom being one of the missing paintings. Fletch continues his investigation thinking the two cases may be connected and to try and clear his name. This leads him to a number of colorful suspects, including germaphobe art dealer Ronald Horan (played by Kyle MacLachlan) and a human disaster of a next door neighbor, Eve (played by Annie Mumolo), who seems to be a magnet for disaster just based on her first interaction with Fletch.   

The film was directed by Greg Mottola from a script he co-wrote with Zev Borow. The best thing the filmmakers could have done was not try to replicate the antics of Chevy Chase in the original films and they pull it off very nicely here, making the material their own. Still, the film is quite funny. They do manage to update the material to present day with ease without overdoing it. There are passing references to the pandemic, Fletch's repeated use of Uber or Lyft rides (exclaiming, "Five stars, buddy!" every time he exits one in an amusing running gag), and the current state of journalism with a certain level of wittiness. There is a delicate balance between the comedic and mystery elements that Mottola and his crew keep it throughout the film, never letting things get too silly. 

The cast for the film is magnificent. Jon Hamm does really well as the wisecracking Fletch, delivering near non-stop one-liners with ease. He makes the role his own, keeping the character quite lovable throughout all his assorted antics. Roy Wood, Jr. makes for a great foil for Fletch as Inspector Detective Monroe, who resists Fletch's attempts to help solve the case at every turn. Ayden Mayeri does well as junior Detective Griz, who tries to help Monroe solve the case while also finding more amusement in Fletch. Marcia Gay Harden is a hoot as Countess Di Grassi, adopting a very exaggerated Italian accent as her character repeatedly attempts to flirt with Fletch. Lorenza Izzo is a lot of fun as Angela and has some solid chemistry with Hamm. Annie Mumolo makes the most of her few scenes as Fletch's disaster prone neighbor, handling the comedic moments quite well. Kyle MacLachlan has fun with his character as well, the germophobic, EDM loving, art dealer and is clearly having fun with his character's eccentricities. 

Overall, Confess, Fletch is a fabulous update and reboot of the Fletch series. With a great mix of humor and mystery made this a satisfying watch. I hope this one does well enough because I would love to see further adventures of Jon Hamm as Irwin "Fletch" Fletcher. If nothing else, I know what to say every time I'm getting out of a Lyft ride now.