Leave it to America’s Dad to make the end of the world more palatable. Tom Hanks’ latest sci-fi vehicle Finch finds the star in the titular role as a robotics engineer who is one of the last remaining people on Earth after a solar flare decimated the ozone layer. He spends his days scavenging for resources and staving off loneliness with the help of his dog Goodyear and diminutive robot assistant Dewey. Finch knows he won’t be around forever, with the threat of dangerous UV radiation and extreme weather events looming large every day, so he works at night to create a more advanced humanoid automaton to care for Goodyear. After years of trial and error, the robot, who Finch decides to call Jeff (Caleb Landry Jones), becomes operational and joins the team for a trek to San Francisco.

Compared to survival sci-fi stories like The Martian and I Am Legend, the scale of Finch is reduced drastically but the stakes remain high due to Hanks’ initial affability and also due to the rest of his crew’s vulnerability. Dewey, resembling Johnny 5 from Short Circuit, roams around on his four wheels but is defenseless against any traps that survivors may have set in abandoned buildings. Goodyear, portrayed by real-life good boy Seamus in an all-timer of a pet performance, is well-behaved and intuitive but can still end up in the wrong place at the wrong time. The nascent Jeff is deceptively strong and possesses lightning-fast encyclopedic knowledge but lacks the rapport and shorthand that Finch’s other two companions have with him.

Besides the impressive feat of carrying a movie as the only on-screen human performer a la Cast Away, another aspect of Hanks’ performance that I admired was his willingness to show a more stern side of his ailing protagonist. After Jeff is “born”, director Miguel Sapochnik treats us to a zippy montage of Finch teaching him traits like how to walk and how to carry bags but the lessons aren’t always fun and games. Even moving the RV back a few feet so that Finch can avoid the 140 degree sun rays is critical and when Jeff fails to complete relatively simple tasks like that, Finch lets him know about it. Like any father, Finch is hard on Jeff because he wants him to be able to make it on his own and when Finch’s coughing fits become more frequent, we’re to understand how little time he may have left.

Jones, who was motion-captured on-set with Hanks but replaced immaculately with CGI, gives a terrific vocal performance that starts out sterile and mechanized but grows more cherubic and soulful as his relationship with Finch thaws. His body language goes through changes too, his militaristic rigidity and inelastic gait slowly melting into a more slumped body posture like Teenage Groot from Avengers: Infinity War. My favorite detail in Jones’ physical performance is his idle hand movements, fidgeting while trying to fill uncomfortable silence with Finch and fumbling when trying to build up his fine motor skills between pit stops. The replacement of Jones, who had to wear two-foot-tall stilts to make his interplay with Hanks more organic, with the computer-generated Jeff, is nothing short of state-of-the-art.

I don’t talk about movie dogs very often, as they’re typically not integral to the plot of a film and if present in a horror movie, they’re almost always the first to go. Last year’s The Call of the Wild made the choice to completely computer generate Buck instead of casting a real-life canine, which worked better than one might expect but still felt a bit uncanny. Given the amount of time Goodyear/Seamus interacts with an imposing human in a robot costume, he does an impressive job maintaining the illusion that Jeff is an actual robot. It’s part of a trio of unconventional performances that helps Finch overcome its conventional narrative to deliver a heartwarming post-apocalyptic tale.

Score – 3.5/5

New movies coming this weekend:
Playing in theaters and streaming on Paramount+ is Clifford the Big Red Dog, an adventure comedy starring David Alan Grier and Jack Whitehall about a young girl’s love for a tiny puppy that makes the dog grow to an enormous size.
Premiering on Netflix is Passing, a black-and-white drama starring Tessa Thompson and Ruth Negga about a pair of mixed-race childhood friends who reunite in adulthood and become increasingly involved with one another’s lives.
For their grand re-opening on Friday November 12th, Cinema Center is screening Archenemy, a superhero film starring Joe Manganiello and Skylan Brooks about a teenager who meets a mysterious man claiming he lost his superpowers after arriving from another dimension.

Reprinted by permission of Whatzup

As well-regarded as Frank Herbert’s seminal 1965 novel Dune is, it’s had quite the journey making it to the big screen. First, there was a failed attempt in the mid-1970s by avant-garde auteur Alejandro Jodorowsky, whose efforts were documented in 2013’s Jodorowsky’s Dune. Then came the 1984 adaptation by then up-and-comer David Lynch, who has since disowned the film despite its small but fervent cult following. Now Denis Villeneuve, who earned his sci-fi credentials with Arrival and Blade Runner 2049, is up to translate Herbert’s expansive work to cinema and he proves that the third time’s a charm. Simply put, this is large scale science fiction done to perfection: wholly immersive, richly detailed and bursting with imagination. If you’ve been waiting to go back to the theaters, it’s difficult to imagine a better movie for which to return.

The year is 10191 and humans have populated throughout the universe. The ocean planet Caladan is governed by House Atreides, led by Duke Leto Atreides (Oscar Isaac) and his partner Lady Jessica (Rebecca Ferguson) with their heir Paul (Timothée Chalamet). By decree of the imperial emperor, Atreides is called to take over control of the desert planet Arrakis from House Harkonnen, led by the corpulent Baron Vladimir (Stellan Skarsgård). During their reign, Leto aims to make peace with the Fremen, a nomadic group of natives who vigorously protect the planet’s prized natural resource known as “spice”. After an ambush on Arrakis splits Paul and Jessica up from the rest of House Atreides, the two must navigate the treacherous deserts with the few resources they have at their disposal.

While Dune weaves in dense futuristic concepts, myriad new terminology and lots of different languages into its narrative, its primary tale is modeled after the hero’s journey popularized by Joseph Campbell. If you’ve seen The Matrix or the original Star Wars trilogy, this story template will feel familiar, even though Herbert’s novel pre-dated all of those movies. Villeneuve spices up this formula with a world that is overwhelming in its scope and exemplary in its specificity, a treat especially for those unfamiliar with Herbert’s work as I was before watching the film. There are times I allowed myself to tune out of the plot for a moment and surrender to the meticulously rendered images. For that reason, among others, this film should richly reward rewatches.

Villeneuve has assembled some talented casts in his previous films but he’s really outdone himself this time. The ensemble, which finds Villeneuve teaming up again with actors like Josh Brolin and Dave Bautista, features each actor and actress in a role that’s perfectly tailored to their skillset. For example, Charlotte Rampling is only in one scene but her chilling presence gives her limited time a memorable stamp. I can’t say I’ve entirely warmed up to Jason Momoa just yet but as a cocksure pilot named Duncan Idaho, he’s playing perfectly in his wheelhouse and makes the most of his swashbuckling screen time. As the leads, Chalamet and Ferguson get the most time to shine and both give lived-in performances that register on a deeply empathetic level.

Inexplicably, Warner Bros. has yet to officially greenlight a sequel, even though the movie is titled on-screen as Dune: Part One and it ends on a cliffhanger that explicitly sets up a larger battle to come. This is the same studio that waited to announce It Chapter Two only after It made beaucoup bucks at the box office, even though the first movie only told half of the story from the book that inspired both films. WB’s reticence in allowing Villeneuve to shoot both chapters at one time likely comes from the financial disappointment of Blade Runner 2049 but if that’s the case, why give him Dune in the first place? Even if Part Two takes longer to arrive than it would if things had been planned better, it’ll be more than worth the wait if the follow-up is as stellar as this opening salvo.

Score – 4.5/5

New movies coming to theaters this weekend:
Last Night in Soho, starring Thomasin McKenzie and Anya Taylor-Joy, is a psychological horror movie about a present-day fashion designer who is mysteriously able to enter the 1960s, where she encounters a dazzling aspiring singer.
Antlers, starring Keri Russell and Jesse Plemons, is a supernatural horror film about a middle-school teacher whose enigmatic student hides dark secrets that lead to terrifying encounters with a legendary ancestral creature who came before them.
My Hero Academia: World Heroes’ Mission, starring Daiki Yamashita and Nobuhiko Okamoto, is a superhero anime which follows a group of heroes as they try to stop a group of terrorists who are out to eliminate superpowers around the world.

Reprinted by permission of Whatzup

After a year and a half of delays, Bond is finally back. No Time to Die is the 25th movie in the James Bond series but most notably, it’s the fifth and final film for Daniel Craig since his first outing in 2006 with the franchise-best Casino Royale. Each Bond entry since then has built on top of the previous one, an attempt at serialization that makes the Craig era unique in the franchise’s history and gives this final film even more dramatic weight than it would have otherwise. In hindsight, its predecessor Spectre got caught up in the same trap that Warner Bros did with Justice League in trying to match the intertextuality of the ever-elusive Marvel Cinematic Universe without organically leading up to the climax. No Time to Die gets bogged down with canonical calculations but works best as a standalone piece of popcorn cinema.

An extended cold open reacquaints us with Bond and Madeleine Swann (Léa Seydoux) as their picturesque Italian vacation is violently cut short by Spectre assassins. Feeling that Swann must have betrayed him by tipping them off, Bond sends her away and retires from MI6 to Jamaica, only to be pulled back in five years later at the appearance of his old CIA buddy Felix Leiter (Jeffrey Wright). He’s looking for a scientist who was kidnapped in the process of building a highly-targeted bioweapon and Bond suspects that his nemesis Blofeld (Christoph Waltz) is behind the plot. Aiding Bond in his mission are old MI6 colleagues M (Ralph Fiennes) and Q (Ben Whishaw), alongside Nomi (Lashana Lynch), a new agent who undertook Bond’s 007 alias after his retirement.

When No Time To Die‘s release was pushed last year from April all the way to November, it was thought that it was due to anticipation that movie theaters would close due to the pandemic. While that is still most likely the case, part of me wonders if the plot of the movie, which hinges on an invisible infectious virus, was one of the reasons behind the film’s initial delay. As the title suggests, time has proven to be the film’s greatest enemy; fittingly, “my timing” is a punchline during an exchange between Bond and Swann. But timing is one thing and planning is another and looking back on this five film arc, it’s clear MGM could have planned things a bit better. Blofeld being unveiled as the big baddie in Spectre was premature and if development had gone differently, No Time To Die could have served as a much better precursor to Spectre.

For those who don’t care about these interwoven plot threads and just want a fun blockbuster to herald the return of the theatrical experience, the film succeeds on delivering on that promise. Much of the marketing has highlighted the action in Italy during the enjoyable, albeit overly long, prologue but there are several other setpieces that match its quality. A detour in Cuba reunites Craig with his Knives Out co-star Ana de Armas, who charms as an inexperienced CIA agent who gains experience by kicking henchmen in the face with high heels. A foggy jungle-set sequence in Norway shows an outgunned Bond using field smarts to fend off a caravan of assassins. But the most visceral action scene is saved for the third act, in which director Cary Joji Fukunaga flexes the one-take muscles he built during the first season of True Detective to satisfying effect.

While the quality of Bond films that Daniel Craig has starred in have been up and down, he’s given everything to this role and his dedication to the performances has never been in question. For a new generation of Bond fans, he has redefined who the character is and made it almost impossible to imagine someone else taking the reins from here on. Where the franchise goes from here will be the subject of thousands of think pieces and forum posts until MGM (which is, sadly, set to be acquired by Amazon) makes their next move but I’m looking forward to Craig’s post-Bond career. He did excellent work in films like The Girl with the Dragon Tattoo and Logan Lucky even during his time as Bond. Whether you view it as a season finale or a standalone episode, No Time To Die has all the time in the world to entertain and inspire.

Score – 3.5/5

New movies coming this weekend:
Playing in theaters and streaming on paid tiers of Peacock is Halloween Kills, a slasher sequel starring Jamie Lee Curtis and Judy Greer that follows the women in the Strode family as they defend themselves against the masked killer Michael Myers.
Premiering exclusively in theaters is The Last Duel, a historical drama starring Matt Damon and Adam Driver about a trial by combat ordered by King Charles VI in medieval France between a well-regarded knight and his squire.
Streaming on Apple TV+ is The Velvet Underground, a music documentary which explores the multiple threads that converged to bring together one of the most influential bands in rock and roll.

Reprinted by permission of Whatzup

It’s no secret that American remakes of foreign-language films often fall short of their predecessors. For every success like The Departed or The Girl With the Dragon Tattoo, there seem to be a handful of duds like Downhill or The Grudge — both of which were released just last year — that get lost in translation. Based on the 2018 Danish thriller of the same name, The Guilty retains many of the plot points from the film that inspired it but amps up much of the understated tension that permeated the original. This formula could spell disaster for an adaptation but in this case, the result is a hot-blooded American companion piece to the cool and collected European original that is nearly as effective.

The plot centers around Joe Baylor (Jake Gyllenhaal), an overworked police officer working 911 dispatch who receives an especially distressing call at the end of his late-night shift. The voice on the other line is that of Emily (Riley Keough), whose hushed tone and coerced responses lead Joe to surmise that she’s being kidnapped. Outside of her name, phone number and a few clues regarding her situation, Joe isn’t able to get the details that he needs to intervene in a meaningful way. With what little information he’s able to gather from the call, Joe phones other police forces like his partner Rick (Eli Goree) and his sergeant Bill (Ethan Hawke) to help find Emily before it’s too late.

The man heading up directing duties for The Guilty is Antoine Fuqua, known for helming high-octane blockbusters like the deeply silly but shallowly enjoyable Infinite from earlier this year. Predictably, Fuqua amps up the drama and emotion from its source material but wisely retains its limited perspective. With a few minor exceptions, we never see outside of the dispatch building where Joe is trying to solve this pressing case, limited to just hearing the voices of the people with whom Joe is communicating over the phone. As handsome as Gyllenhaal may be, staring at him for 90 minutes could get stale after a while but Fuqua along with editor Jason Ballantine urgently piece together the right shots to command our attention.

One of the most reliable and compelling actors around, Gyllenhaal turns in another terrific performance as a broken hero who feels paralyzed behind a desk when he knows what he’s capable of doing in the field. His work is unmistakably angrier than that of Jakob Cedergren as the composed protagonist in the 2018 original but it suits the revised time and place of this American update. Surrounded by out-of-control wildfires in modern-day Los Angeles, Joe barks orders and lashes out at fellow police officers on the phone as a result of the helplessness he feels bearing down on him. The voice cast, which also includes Paul Dano and Gyllenhaal’s real-life brother-in-law Peter Sarsgaard, is uniformly great but Keough is especially captivating as the shaken woman that captures Joe’s unshaken attention.

With its narrative primarily being told through a series of phone conversations, The Guilty has parallels to the indie drama Locke, which is effectively a one-man-show as Tom Hardy is the only actor seen on screen. Both films ask much of their central performer, dedicating the vast majority of their screen time with the camera centered solely on them. While Hardy had even less room to move as his Locke was locked into the speaker phone in his car, Gyllenhaal is still flanked by 5 imposing computer monitors and an anxiety-inducing red light that indicates when the phone line is live. Though it contains a few creaky platitudes that Fuqua couldn’t seem to resist, The Guilty is a taut and electric thriller that will keep you on the line to the final frame.

Score – 3.5/5

New movies coming this weekend:
Coming exclusively to theaters is No Time To Die, the 25th film in the James Bond franchise starring Daniel Craig and Rami Malek which finds the iconic spy getting back to work to locate a missing scientist and uncovering a sinister scheme in the process.
Streaming on Netflix is There’s Someone Inside Your House, a slasher movie starring Sydney Park and Théodore Pellerin about a group of high school students in small-town Nebraska who are terrorized by a masked assailant.
Continuing on Amazon Prime is the Welcome to the Blumhouse series, marked by a new quartet of anthology horror films centered around institutional horrors and personal phobias.

Reprinted by permission of Whatzup

Based on the Tony Award-winning smash of the same name, the new movie musical Dear Evan Hansen is an unmitigated disaster, a winding road of cringe-inducing character moments and baffling creative choices paved with good intentions all the way along. After striking out fantastically with the tragically misconceived Cats in 2019, Universal Pictures tries and fails again to translate a Broadway favorite to the big screen. If their goal is to make the division between musical theater geeks and the uninitiated even larger than it already is, then they’re succeeding better than any other major studio at the moment. This is a film that takes on tough and timely themes like teen suicide, mental health and social media but comes up with bad takes on nearly all of the subjects that it covers.

Reprising the eponymous role he created on-stage starting in 2015, Ben Platt plays a troubled high school student whose anxiety and depression stifle his ability to create meaningful friendships. On the advice of his therapist, he writes notes to himself for motivation to get through the day. One such letter ends up in the hands of Connor Murphy (Colton Ryan), a brusque classmate who is incensed by the mention of his sister — and Evan’s secret crush — Zoe (Kaitlyn Dever) in the note. A misunderstanding begins when Connor’s parents Cynthia (Amy Adams) and Danny (Danny Pino) approach Evan with the note, thinking he wrote it to Connor, who took his own life just days afterwards. Instead of clearing up said misunderstanding, Evan perpetuates the lie and insinuates himself into the grieving family, weaving tales through song of moments that never occurred between Connor and himself.

This premise may seem shockingly cold-hearted and in devastatingly poor taste — don’t worry, it is — but what makes Dear Evan Hansen so despicable is how it expands and doubles-down on its loathsome setup. First, we’re to believe that Evan doesn’t clear up the misconception about the intended recipient of the note and his relationship with Connor because social anxiety kicks in when the Murphys meet with him about it. As someone who has struggled mightily with mental health over the past two years, I’m completely sympathetic to those who battle these issues every day of their lives. However, I also believe that even someone who suffers from a particularly profound case of Social Anxiety Disorder would pump the brakes on this mix-up before a sitcom-style snowball effect would start up.

In addition to deceiving the Murphys, Evan also involves a tenacious classmate who is also battling depression played by Amandla Stenberg, the film’s sole highlight. She proposes The Connor Project, a crowdfunding effort to preserve the memory of their fallen classmate and reopen an orchard where Evan claims to have spent many an afternoon with Connor. Where director Stephen Chbosky and writer Steven Levenson look to cut corners with their shallow protagonist when it comes to visibility into mental health, Stenberg makes up ground with her authentic portrayal of a teen doing her best to overcome. I would have much rather seen a movie centered around her character for many reasons, not least of which being the good it could have done in reducing the stigma of mood disorders among the black community.

But instead, we’re forced to endure a duplicitous creep belt out song after song about his fake friendship while the Likes and Shares inevitably rack up on social media platforms. It’s utterly inexplicable to me that composers Benj Pasek and Justin Paul, who contributed to the miraculous La La Land, could come up with music as cloying and uninspired as this. Perhaps the best of the musical numbers were left on the stage but the ones in this film have the phoniness of bad contemporary Christian music. Only one sequence, set to “Sincerely, Me”, manages to do anything meaningful with the cinematic form but it’s still mired in the movie’s icky subtext of exploitation and deceit. Don’t be thrown by its pretty packaging; Dear Evan Hansen deserves to be marked “return to sender”.

Score – 1/5

New movies coming this weekend:
Playing only in theaters is Venom: Let There Be Carnage, a Sony Spider-Man Universe sequel starring Tom Hardy and Woody Harrelson which finds the titular antihero squaring off against a new alien symbiote.
Opening in theaters and streaming on HBO Max is The Many Saints of Newark, a crime epic starring Michael Gandolfini and Leslie Odom Jr. which depicts the days of the infamous Tony Soprano in his youth.
Premiering on Netflix is The Guilty, an adaptation of a Danish thriller starring Jake Gyllenhaal and Ethan Hawke about a 911 dispatcher who receives an emergency phone call from a kidnapped woman.

Reprinted by permission of Whatzup

As movie theaters around the country still struggle to replicate pre-pandemic numbers, the horror genre could ironically represent the light at the end of the tunnel. Recent offerings like Don’t Breathe 2 and Candyman both exceeded box office expectations relative to their modest budgets and it’s not hard to see why. Scary films have often appealed to younger crowds, who are the most likely to return to theaters despite lingering covid concerns. There’s also something about leaving the safety of one’s home to go into a darkened room with strangers and experience the unexpected and potentially terrifying together that streaming just can’t touch. After all, how scary can something be when you’re half-watching it behind your smartphone? I didn’t see the new horror movie Malignant in theaters but given these factors, I wish I had.

The film tells the story of Madison (Annabelle Wallis), a Seattle-based mother-to-be who is plagued by graphic visions of gruesome murders following an incident with her abusive husband Derek (Jake Abel). She observes these happenings as if she’s in the room when they take place, like a more visceral form of sleep paralysis amid waking nightmares. First, she sees Derek attacked in their kitchen, followed by a woman being abducted in the Seattle Underground. When Madison awakes, she’s terrified to learn that all of these disturbing premonitions are actually events that have already taken place while she was asleep. With more crime scenes piling up, Madison works with her sister Sydney (Maddie Hasson) and a beleaguered detective (George Young) to put a stop to the brutal violence.

Those worried about another rote scare fest should be heartened by the fact that Malignant is helmed by none other than James Wan, the mastermind behind the Insidious and Conjuring franchises. More pertinently, this is the man who made cars fall from the sky in Furious 7 and made a CGI octopus play drums in Aquaman, which mirrors the kind of devil-may-care attitude he brings to his return to the horror genre. Wan’s direction here is reminiscent of the over-the-top supernatural aesthetic pioneered by Evil Dead creator Sam Raimi, who sadly hasn’t made a horror film since 2009’s minor camp classic Drag Me to Hell. I was also reminded of the lesser-known, Ti West-directed The House of the Devil, which chugs along like a mild-mannered haunted house movie until its bombastic finale.

And boy, does Malignant ever have one of those itself. This is a film that dares you to solve what’s really going on in real time and if you’ve seen a horror movie in the past 50 years, there’s a good chance you’ll guess the broad strokes of what screenwriter Akela Cooper has cooked up. But the devil, as they say, is in the details and Wan saves the most outlandish reveals for the third act, paying off some clever bread crumbs of foreshadowing while taking things further than the Conjuring crowd may anticipate. In this way, Malignant has the most in common with another Wan feature that kicked off a mega franchise: Saw. He peppers in loads of visual cues to that surprise 2004 success, from moodily lit shots of decaying bricks to a skulking, trench coat-wearing killer who moves like the Jigsaw Killer from the Saw movies.

As distinct an impression as Malignant leaves in its final 30 minutes, I wish the film had been a bit lighter on its way there. Wan and his editor Kirk Morri could’ve cut off about 15 to 20 minutes from the runtime and I doubt much would have been missed. A movie like this really shouldn’t stick around much longer than it needs to, lest the audience give themselves time to subject the narrative to further scrutiny and uncover plot inconsistencies. There’s also heavy subject material at the beginning, involving miscarriages and child abuse, that is tonally inconsistent with the kind of campy conclusion that Wan is ultimately setting up. Malignant could have used a bit more of a surgical approach to carve out its scares but Wan proves that, even with blunt instruments, he can get the job done well.

Score – 3.5/5

New movies coming this weekend:
Playing in theaters and on HBO Max is Cry Macho, a neo-Western starring Clint Eastwood and Dwight Yoakam about an ex-rodeo star who is hired by his former boss to kidnap his Mexican son and transport him to Texas.
Opening only in theaters is Copshop, an action thriller starring Gerard Butler and Frank Grillo about a wily con artist on the run from a lethal assassin who devises a scheme to hide out inside a small-town police station.
Streaming on Amazon Prime is Everybody’s Talking About Jamie, a coming-of-age musical starring Max Harwood and Sarah Lancashire about a teenager from Sheffield, England who aspires to be a drag queen.

Reprinted by permission of Whatzup

Netflix’s newest action-packed offering Kate stars Mary Elizabeth Winstead in the titular role as ruthless, Japan-based assassin working under handler and father figure Varrick (Woody Harrelson). Ten months after a botched job in Osaka, Kate contemplates early retirement before Varrick chides (“two trips to Walmart and you’ll be back”) and convinces her to take one last assignment. High atop a Tokyo skyscraper, she lines up her shot but gets violently ill before a doctor gravely confirms acute radiation poisoning soon afterwards. With roughly 24 hours to figure out who tried to have her killed, Kate storms her way up the Yakuza pecking order while unwittingly recruiting an impressionable young girl named Ani (Miku Martineau) along the way.

While Kate isn’t as dispiritingly derivative as Gunpowder Milkshake, another rowdy Netflix dud released earlier this summer, it offers very little new to the saturated sub-genre of tough-as-nails, female-led actioners. Yes, it seems a handful of movies every summer (see also Jolt and The Protégé, both released within the past few weeks) are vying to be the next Jane Wick, even though few, if any, women are involved in the creative decisions behind these projects. Along with writer Umair Aleem, director Cedric Nicolas-Troyan seemed to look to the work of fellow Frenchman Luc Besson a bit too closely. Kate borrows liberally from the “ticking time bomb” conceit of his Lucy along with the assassin-with-a-heart-of-gold feel (and even a specific Gary Oldman line) from Léon: The Professional.

Thankfully, Nicolas-Troyan’s background in visual effects for the Huntsman and the Pirates of the Caribbean franchises translates to some kinetic action scenes that make up Kate‘s backbone. Easily the most impressive is a superb Kill Bill-esque brawl in the film’s first act, which includes brutal beats like Kate reloading her gun off of a baddie’s face and pure white shojis being painted with streaks of red. A subsequent street shootout showcases more dynamic gunplay with some neat camera tricks that are just the right amount of showy for this sort of movie. By the time we get to the final showdown, the outcome seems inevitable but the staging and editing still allow us to suspend our disbelief up to the last moment.

Though it’s well under two hours, Kate sadly peters out around the end of the second act and much of that can be attributed to the remove at which the protagonist has held nearly every character in the film. It was around that time that I simply stopped caring about Kate, her motivation and her goals. Winstead is a talented actress but she’s stuck with a one-note character whose coldness and single-mindedness become laborious after a while. She does have some quality bonding scenes with Martineau, who pushes things a bit too hard, but I can’t say that I felt fully convinced of their relationship and its consequences on the story. While it’s not totally uncommon for an all-out action movie like this, nearly every other character is essentially just fodder for Kate to eventually cut, shoot or stab through.

Perhaps it’s an issue of timing more than anything but after seeing Asians be featured so thoroughly and colorfully in Shang-Chi, it’s a bit depressing to watch Kate offer so little for its Japanese characters. While that Marvel outing had its narrative letdowns, it should be commended for filling its story with characters who had agency and development every step of the way. If Asian-cast characters aren’t being served up one by one to the violent protagonist in Kate, they’re whispering platitudes about honor and family that ultimately have no bearing on the outcome of the narrative. I’m not expecting an action movie to give every henchman a backstory but after watching Asian representation being built up on-screen over the past few years, Kate feels regressive in its efforts to sideline its non-white characters.

Score – 2/5

More new movies coming this weekend:
Opening in theaters and also streaming on HBO Max is Malignant, a horror thriller starring Annabelle Wallis and Maddie Hasson about a woman plagued by waking dreams of grisly murders that she discovers are, in fact, terrifying realities.
Playing only in theaters is Show Me The Father, a documentary which features captivating stories interwoven with inspirational truths about the fatherhood of God.
Streaming on Apple TV+ is Come From Away, a live stage recording of the 2017 musical of the same name, which tells the true story of 7,000 passengers who were stranded after the 9/11 terrorist attacks in a small town in Newfoundland.

Reprinted by permission of Whatzup