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Reviews for May 23rd, 2025

 

      Agathe (Camille Rutherford), a bookseller from Paris aspiring to become a novelist, gets invited to a Jane Austen writers residency in  Jane Austen Wrecked My Life. Félix (Pablo Pauly), her best friend and potential love interest, had sent them the first few pages of her novel without her consent. Oliver (Charlie Anson), who's not a fan of Jane Austen despite being her great-great-great-grandnephew, picks Agathe up when she arrives in England and drives her to the residency located in an idyllic part of the countryside. The screenplay by writer/director Laura Piani begins with a funny, witty and charming first act before taking a nosedive into a contrived, tonally uneven and schmaltzy romcom once Agathe arrives at the residency. She and Oliver don't hit it off right away--in fact, their personalities clash like Susan and David in Bringing Up Baby. Jane Austen Wrecked My Life isn't a screwball comedy, though, nor does it succeed in being a sparkling romcom nor a clever or subversive spoof of Jane Austen romcoms. Yes, there are Jane Austen easter eggs, but so what?  

      Unfortunately, the attempts at offbeat humor often fall flat, i.e. when an elderly man who walks around half naked in the garden. The ending feels cheesy and leaves too many subplots underdeveloped, i.e. Agathe's too brief conversation about writer's block with Beth (Liz Crowther), Oliver's mother. Jane Austen Wrecked My Life could've been as smart and funny as Amelie or Working Title romcoms like Bridget Jones's Diary, but it doesn't even come close. That said, Camille Rutherford is a revelation. She's like a cross between Audrey Tautou and Rachel Weisz, and just as charismatic. It's too bad that she's undermined by such a weak screenplay. At a running time of 1 hour and 34 minutes, Jane Austen Wrecked My Life is . It opens in select theaters via Sony Pictures Classics.  

Number of times I checked my watch: 3





 

       When his grandson, Cody (Graham Harvey), gets diagnosed with a brain tumor, Joe (Neal McDonough), a retired professional bull rider, comes out of retirement to join a bull-riding competition in hope of using the prize money to pay the cancer treatment in The Last Rodeo. Writer/director Jon Avnet and his co-writers, Neal McDonough and Derek Presley, have made a genuinely heartwarming, wise and inspirational sports drama about love, hope and second chances. Like any great sports drama, it's not merely all about the sport. You don't even have to be a fan of bull-riding to enjoy it.

      Joe has been through a lot. His wife died of a brain tumor, he turned to alcohol to numb his emotional pain, and he broke his neck when he fell after riding a bull while drunk. That was 15 years ago. Since then, he hasn't gone bull-riding and has remained estranged from his daughter, Sally (Sarah Jones). That changes when he learns of Cody's brain cancer diagnosis. He risks his life and career to save the life of his son. It's not only his selflessness that makes him a great role model, but also his genuine compassion and perseverance. The Last Rodeo doesn't suffer from preachiness or any maudlin or heavy-handed scenes. It doesn't get into the nitty-gritty of Cody's battles with cancer nor does it have it. Instead, it focuses on Joe's emotional battles as prepares for the bull-riding competition while confronting his traumatic past.

      The tender performances, especially by Nea McDonough, ground the film in authenticity and truth. Kudos to director Jon Avnet for knowing how to find the Spectacle within the film's many Truths. There are no villains on screen except for a silent one: Cody's cancer. The third act earns its uplift and leaves the audience happy to have witnessed Joe's emotional journey. At a running time of 1 hour and 58 minutes, The Last Rodeo opens in theaters nationwide via Angel Studios.  

Number of times I checked my watch: 1





 

      In  Lilo & Stitch, little does Lilo (Maia Kealoha) know that the new pet she adopted, Stitch, happens to be an alien, a.k.a. Experiment 626, who has crashed into Earth and is being pursued by Jumba (Zach Galifianakis), Pleakley (Billy Magnussen) and Planet Turo's General Councilwoman (voice of Hannah Waddingham), who's planning to destroy Planet Earth. Meanwhile, her older sister, Nani (Sydney Elizebeth Agudong), takes care of her after their parents die. Oh, and Nani might lose custody of her if she can't prove to a social worker, Mrs. Kekoa (Tia Carrere), that she has managed to pay all of her bills, get health insurance for Lilo and clean up her messy house. Oh, and there's a CIA agent, Cobra (Courtney B. Vance), investigating the mysterious crash. Director Dean Fleischer Camp and his co-writers, Chris Kekaniokalani Bright and Mike Van Waes, have made a lively and amusing, but silly, unfunny, preachy and contrived live action remake of the Disney animated classic. The plot has too much going on as it blends sci-fi, comedy and drama with very little that actually sticks.

      The comedic attempts, especially the destruction that Stitch causes, aren't very funny---although, to be fiar, kids might enjoy some of the slapstick. Unfortunately, the film doesn't develop the bond between Lilo and Stitch enough, and the messages about family and community feel tacked-on. Moreover, Stitch comes across as more annoying than cute, and the action scenes are lackluster, but at least the CGI effects and Hawaiian scenery provide some eye candy. That said, Lilo & Stitch will at least keep younger audiences mildly engaged unlike the lackluster, cringe-inducing and clunky Legend of Ochi. At a running time of 1 hour and 48 minutes, Lilo & Stitch opens in theaters nationwide via Walt Disney Pictures.  

Number of times I checked my watch: 2





 

      In  Mission: Impossible - The Final Reckoning,  President Sloane (Angela Bassett) gives Ethan (Tom Cruise) a dangerous mission to find the source code of The Entity to disable its plan to control the nuclear weapons around the world. The source code is located somewhere inside a sunken Russian submarine. It's up to him and his team, Benji (Simon Pegg), Luther (Ving Rhames), and Paris (Pom Klementi), to find it and to save the world. The screenplay by writer/director Christopher McQuarrie and co-writer Erik Jendresen suffers from too much exposition, stilted dialogue and not enough wit or comic relief. Just having characters stand around to explain the plot is lazy screenwriting. Why not have them do something else like eat or drink while saying those lines? Why treat the audience like they're stupid? Whis distrust their intelligence and imagination? Why spoon-feed them? Even the title gets explained when the villain, Gabriel (Essai Morales), says it to Ethan in one of the many stitled lines.  

      Moreover, there are also too many flashbacks to the previous Mission: Impossible films, especially the classic first one from 1996. It takes over an hour for the plot to get to the main action as Ethan dives underwater to desperately search for the source code. Those scenes feel palpale thrilling as do the aerial scenes with impressive action stunts that provide plenty of spectacle, especially on the big screen. However, those thrills are interrupted by more exposition. There are too many characters, too many subplots and not enough moments that are as fun as the ones in Mission: Impossible - Fallout. The series has officially lost its steam which is the same systemic issue that plagues the final Bond film with Daniel Craig, No Time to Die. It's never a good sign when you can feel the weight of the lengthy running time that could have easily been shortened with tighter editing and if the filmmakers were to trust the audience's intelligence and imagination more. At a running time of 2 hours and 49 minutes, Mission: Impossible - The Final Reckoning is clunky, bloated and meandering with lazy, excessive exposition and ephemeral thrills. It opens nationwide via Paramount Pictures.  

Number of times I checked my watch: 3





 

      In  The New Boy, a 9-year-old Aboroginal nicknamed New Boy (Aswan Reid) arrives at a monastery for Aboriginal children run by a nun, Sister Eileen (Cate Blanchett). He turns out to have magical healing powers.  Writer/director Warwick Thornton has made a tender, beautifully shot and lyrical, but undercooked and sugar-coated story. None of the characters come to life no matter how hard the actors and actresses try to breathe life into their role. Even Cate Blanchett's talents are wasted in an underwritten and forgettable role. With a more sensitive, bold and unflinching screenplay, The New Boy, would have packed much more of an emotional wallop. At a running time of 1 hour and 36 minutes, The New Boy opens at The Kent Theater in Brooklyn via Vertical.  

Number of times I checked my watch: 3





 

       Stelios is a captivating, heartfelt and exhilarating biopic on Greek singer Stelios Kazantzidis (Christos Mastoras). Frank Sinatra once astutely observed that, "If Stelios Kazantzidis had been in the United States, he would have had a bigger career than me." Director Yorgos Tsemberopoulos and screenwriter Katerina Bei tell Stelios' story through flashbacks when a journalist interviews him as he reminisces about his childhood in Pontus, how he rose to fame, and had three lovers, Katy (Klelia Renesi), Marinella (Asimenia Voulioti) and Vaso (Anna Symeoidou). The film gets a little darker and more revealing about the obstacles in Stelios' life as it progresses. Stelios comes across as not only immensely talented a singer, but also humble, intelligent and introspective. Christos Mastoras, who looks like a young Burt Reynolds, exudes palpable charisma as he captures Stelios' warmth and vulnerability with conviction and finds the emotional truth of his role. The same can be said about the rest of the ensemble cast including Agoritsa Oikonomou who plays Stelios' mother.

      The picturesque scenery of Greece becomes like a character in itself. Above all, the musical numbers of Stelios singing are among the most powerful moments of the film. Fortunately, director Yorgos Tsemberopoulos moves the pace along at a speed that's not too slow nor too fast. He also avoids schmaltz, melodrama and over-editing, so he lets the performances and Stelios' music carry the film without trying too hard to make it cinematic through the camera-work alone. Stelios has much more emotional depth and warmth than A Complete Unknown, Elvis and Bohemian Rhapsody combined. At a running time of 2 hours and 12 minutes, Stelios is a triumph. It opens at Cinema Village via Firestorm Entertainment.  

Number of times I checked my watch: 1