Clint Eastwood's Cry Macho is pleasant entertainment. Clint romances a senora and plays straight man to children and animals. There is nary a gun fired. My feelings towards the film are almost exactly what I felt about The Mule.
Yes Day is the type of B level family comedy that Disney churned out sixty or so years ago. In fact, I believe a gag in Yes Day has been lifted directly from The Love Bug. Generally regarded by critics as mediocre, I, however, found Miguel Arteta's direction to be lively and brisk. He is an underrated talent. Yes Day is better than The Love Bug, but not as good as That Darn Cat!.
Free Guy is worse than mediocre. Numerous motifs from better films are cobbled together to pad a story aimed at today's youthful gamers. Free Guy is a deeply unchallenging film that wastes a talented cast of actors and vocal talents. Ryan Reynolds' trademark snark descends into smug schtick. The highlight of director Shawn Levy's career remains, um, Big Fat Liar. Free Guy contains the final screen appearance of Alex Trebek.
RIP: Edward O. Wilson. Wilson recently described our civilization as being like the one in Star Wars, "we have paleolithic emotions, medieval institutions, and godlike technology."
Werewolves Within is amiable, but forgettable. Milana Vayntrub and Sam Richardson, both usually in supporting roles, are likeable leads. The film resembles Tremors in its mix of comedy and horror with a dash of social commentary, but it is not as good as that 1990 film.
The House is a trio of 30 minute stop motion animation films linked by the titular manse. More for the midnight movie crowd than toddlers, The House will reward fans of Jan Svankmajer and Blood Tea and Red String.
Tsai Ming-liang's 1998 effort The Hole is set in a crumbling apartment building that has been quarantined during a pandemic. The film combines horror, absurdist humor, and musical sequences. The musical numbers are more Pennies From Heaven than Top Hat. There is no attempt at thematic or narrative cohesion. Rather, the film channels feelings of desperation and befuddlement. Pretty apt for a pandemic, if you ask me. The performers throw themselves into their turns within Ming-liang's tightly controlled frame. Fun, if you are not allergic to art films.
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