Month: January 2024

Today’s quick review: Rememory. Sam Bloom (Peter Dinklage), a man haunted by the drunk driving accident that killed his brother, approaches Gordon Dunn (Martin Donovan), the inventor of a machine that can read people’s memories, to get closure. But when Dunn dies after an encounter with one of his psychiatric patients (Anton Yelchin), Sam steals the machine and uses the memories Dunn recorded to search for the killer.

Rememory is a science fiction mystery about a device that can access and record people’s memories. Peter Dinklage stars as Sam Bloom, a loner who takes it upon himself to investigate the death of a famed scientist. As Sam scans through the memories of Dunn and his patients, he learns more about the man himself, the troubled lives of the people he was trying to help, and the circumstances leading up to his death.

Rememory comes into its own when Sam actually begins his investigation. Sam proves to be a very resourceful man, using a mixture of leverage, deceit, and the truth to get answers that no one else can. The body of the investigation consists of Sam interviewing each of Dunn’s patients. This is where Peter Dinklage shines. His acting is a perfect fit for the film’s contemplative dialogue, and he strikes the right balance of helpful and secretive.

The mystery itself works well, once it gets going. The secrets Sam uncovers range from the details of the patients’ lives to important facts about the machine itself to the truth of Dunn’s relationship with his wife Carolyn (Julia Ormond). Threaded through it all is the question of who Sam really is and why he cares so much about Dunn. The story also does a good job of exploring grief and the complex relationship people have with their memories.

Still, Rememory has some clear weaknesses. The early character work, introduction to the machine, and plot setup fall a little flat, leaving the story without a strong hook for the first twenty minutes. The stakes of the mystery are more personal than the revolutionary nature of Dunn’s invention would imply. And while the ending wraps everything up neatly, it is based solely in closure, not in confronting or overcoming some external threat.

Rememory is a cleanly executed sci-fi movie with a lot to offer the right viewer. Peter Dinklage’s performance, an interesting mystery, and resonant themes make it a worthwhile watch for anyone who doesn’t mind a slower drama with personal stakes. However, an indirect setup and the introspective nature of the story will make Rememory a miss for anyone who prefers more active stories.

For another sci-fi mystery about a man who can tap into people’s memories, try Reminiscence, Unforgettable, or The Final Cut. For a romantic drama that deals with similar themes of loss and regret, try Seven Pounds.

[6.2 out of 10 on IMDB](https://www.imdb.com/title/tt2331047/). I give it a 6.5 to 7.0 for a contemplative mystery that will not suit everyone’s tastes.

Today’s quick review: Reminiscence. On the flooded streets of Miami, Nick Bannister (Hugh Jackman) and his assistant Watts (Thandiwe Newton) help their clients escape the dismal present by letting them relive their most treasured memories. After a chance encounter, Nick falls in love with Mae (Rebecca Ferguson), a singer with a checkered past. But when Mae disappears without a trace, Nick must search his own memories for a clue to her whereabouts.

Reminiscence is a science fiction mystery set in the near future. War and flooding have devastated the United States, resulting in widespread poverty and stratification. Nick Bannister, a war veteran with a machine that can replay memories, becomes obsessed with finding a woman he knew for only a few months. Reminiscence scores points with its setting, atmosphere, and acting, but some plot missteps keep it from reaching its full potential.

Reminiscence is a textbook example of how to build a science fiction world. The setting has enough in common with our world to be recognizable, but the differences speak to a country that has been put through the wringer. The visual of Miami half-submerged under rising ocean waters gives the movie a distinct looks, while organic references to wars, a drug epidemic, and the rise of land barons all contribute to a fully realized world.

The movie also has something to offer with its characters and its themes. Nick is a classic noir protagonist, continuing his investigation in spite of the troubling discoveries he makes. Hugh Jackman and Rebecca Ferguson handle their roles well. While the dialogue can be a little wordy at times, the movie has a knack for conveying wistfulness through whispered words, poetic imagery, and beautiful scenes.

However, Reminiscence fails to put its best foot forward when it comes to its story. The mystery has a lengthy setup period with very little to sustain it. Nick cares deeply about Mae’s disappearance but the audience has no reason to, and there is no indication early on of any foul play. The mystery eventually expands into a more intricate puzzle with clearer stakes, but the best puzzle pieces are introduced too late to make a real impact.

Reminiscence has a few other shortcomings. The dynamic between Nick and Watts has potential, but there is never really a moment that catalyzes their relationship. The story introduces several potent themes, such as the addictive nature of nostalgia, but lacks the craft to drive them home in a succinct way. Finally, the memory device enables certain elements of the plot but in general it is not used in very creative ways.

Reminiscence is a solid pick for fans of moody science fiction with an emphasis on plot and world-building. Its slow start and missed opportunities may put off sci-fi fans looking for more direct action, but its otherwise solid craftsmanship and rich setting provide plenty to chew on. Give it a shot if you don’t mind the whole being a little less than the sum of its parts.

For a sci-fi crime movie that makes better use of a similar concept, try Inception. For a romantic comedy that dissects a relationship through a couple’s memories of each other, try Eternal Sunshine of the Spotless Mind. For a more action-packed memory thriller, try Total Recall. For a similarly moody and indirect sci-fi mystery dealing with memory, try The Final Cut. For a darker mystery in the same vein, try Unforgettable.

[5.9 out of 10 on IMDB](https://www.imdb.com/title/tt3272066/). I give it a 6.5 to 7.0 for strong artistic foundations and a decent but flawed mystery.

“Was that cool? It felt really cool.” —Guy

Today’s quick review: Free Guy. Guy (Ryan Reynolds), a happy-go-lucky bank teller, has his life changed forever when he meets Millie (Jodie Comer), a mysterious woman who reveals that his entire world is actually a video game. Millie, a player from the real world, joined the game to find proof that Antwan (Taika Waititi), the game’s developer, stole her code, but she finds something even more remarkable in Guy: a character who has become self-aware.

Free Guy is a sci-fi action comedy about a character in a video game. Free Guy shows what a video game might look like from the inside: a surreal world where one-dimensional characters act out the same cycles over and over again for the benefit of trouble-making players. Guy loves his life but dreams of something more, and the story deals with the fallout of his meeting with Millie, which gives him the opportunity to break free.

Ryan Reynolds carries the movie. His performance as Guy strikes the right balance between good-natured, clueless, and devastatingly funny. The movie gives him free rein to exercise his signature style of humor, and the movie complements him nicely with video game logic and a slightly absurd world to play with. In particular, Free Guy masters the contrast between Guy’s perspective and the real world, using it for both comedy and emotion.

The rest of the movie shows similar good judgment. The video game aspects are generic enough to accessible, but the details show a real appreciation for the medium. The plot uses the same broad strokes as some other movies, but it puts in enough care and effort to personalize them. Free Guy also walks a fine line with pop culture references and celebrity cameos, sprinkling them in at key moments without going overboard.

Free Guy is a fun pick for anyone who enjoys Ryan Reynolds’ style of humor. The ideas it deals with will be familiar to most audiences, but the heavy comedic bent, internally consistent world-building, and polished script give it an identity of its own. Not everyone will appreciate its humor, which can be juvenile at times, but those who enjoy it will find that the movie hits a sweet spot with its story, action, and humor.

For a more heartfelt story about a man who learns his life is a fake, check out The Truman Show. For a sci-fi video game movie that relies more heavily on action and pop culture references, try Ready Player One. For a sober mystery about life inside a simulated world, try The Thirteenth Floor. For a more surreal Ryan Reynolds movie about a man learning the true nature of his existence, try The Nines.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt6264654/). I give it a 7.0 to 7.5 for strong comedy and a nicely constructed story.

Today’s quick review: The Secret Life of Walter Mitty. Walter Mitty (Danny Kaye), a mild-mannered proofreader, escapes from his overbearing mother (Fay Bainter) and vapid fiance (Ann Rutherford) by daydreaming of heroism and adventure. A real adventure falls into his lap when Walter shares a cab with Rosalind van Hoorn (Virginia Mayo) and agrees to help her keep a book containing the location of a hidden treasure from falling into the wrong hands.

The Secret Life of Walter Mitty is a classic comedy adventure based on the short story by James Thurber. Danny Kaye stars as Walter Mitty, a quiet, unassertive man prone to grand flights of fancy. The movie features a charming premise, a likable main character, a story that is simple but effective, and a series of fantasy interludes that show off Danny Kaye’s wide array of talents.

The Secret Life of Walter Mitty makes good on its premise. Walter struggles with both the mundane chores of daily life and the somewhat more difficult task of helping Rosalind protect a book that her enemies would kill for. Danny Kaye strikes a nice balance with the character: a capable man hidden beneath a thick layer of daydreams and acquiescence. Seeing him learn to stand up for himself is a treat.

However, the movie has a hard time tying its story together. Rosalind and her book are a naked contrivance designed to draw Walter out of his shell. Walter’s daydreams are one of the distinguishing features of the movie, but they are isolated and thinly motivated. The movie also gets lost once or twice, indulging Danny Kaye’s remarkable talents to the detriment of the story.

None of this gets in the way of the movie’s strengths, but it does it a hard sell for skeptical viewers. Fans of classic comedies will find The Secret Life of Walter Mitty to be a fine choice, a romp filled with light humor, song, and a dash of adventure. However, anyone looking for a tightly plotted story with real drama will find the movie a little thin.

For a loosely similar story that places a greater emphasis on character development and action, try the remake of The Secret Life of Walter Mitty starring Ben Stiller. For a classic romantic comedy that takes a shy man out of his comfort zone, try Bringing Up Baby. For another showcase of Danny Kaye’s talents, try The Court Jester, White Christmas, or The Inspector General.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt0039808/). I give it a 6.5 to 7.0 for a particular sort of charm.

“Nostalgia is not what it used to be.” —Agnes

Today’s quick review: Hector and the Search for Happiness. Dissatisfied with his orderly life, psychiatrist Hector (Simon Pegg) leaves his girlfriend Clara (Rosamund Pike) behind and embarks on a trip around the world to learn the meaning of happiness. During his travels to China, Africa, and the United States, Hector encounters people from all walks of life who help him confront his own fears and limitations.

Hector and the Search for Happiness is a dramatic comedy and romance about a psychiatrist trying to find happiness. Over the course of several weeks, Hector flies around the globe, makes friends with strangers, and takes stock of his relationship with Clara. The film features an upbeat story peppered with moments of crisis and tied together by Hector’s continuing search for what happiness really means.

Hector and the Search for Happiness handles its story with great tact. The surface layer of the story is blunt, a series of musings on the nature of happiness that are conveniently illustrated by incidents from Hector’s travels. But at the deeper level of characters and connections, the movie is magic. The surface musings provide cover for a cathartic emotional journey that delves into who Hector is and what he wants out of life.

Two aspects of the film help it sell its story. The first is its acting. Simon Pegg and Rosamund Pike deliver powerful performances as Hector and Clara, a loving couple who are trapped by their own routine. Both the moment-to-moment comedy of the film and its emotional moments are carried by their performances, and they are joined by a likable supporting cast that includes Stellan Skarsgard, Ming Zhao, Jean Reno, and Christopher Plummer.

The second aspect is stylistic flair. The film fleshes out Hector’s journey with dream sequences, flashbacks, snippets of animation, and doodles in Hector’s notebook, all of which contribute to a charming visual style. These flourishes serve the same purpose as the encounters that drive the plot: keeping the audience happy and engaged while the film quietly moves its pieces into place for the finale.

For all of its strengths, Hector and the Search for Happiness will be hit or miss. The entire film depends on Hector and his existential struggle, which cynical viewers will have a hard time connecting with. The quaint nature of his journey and his idealized encounters along the way will strike some viewers as artificial. And even a viewer who is on board with the premise may find the conflict contrived and the payoff flat.

With these risks in mind, Hector and the Search for Happiness is a feel-good adventure that resonates strongly on an emotional level. Fans of psychological exploration, philosophical musings, or even just Simon Pegg will want to give it a shot. Viewers who prefer more organic stories with grittier drama may want to steer clear.

For a fantasy-tinged adventure with a very similar tone, check out The Secret Life of Walter Mitty. For a more bittersweet dissection of an ordinary man’s life, try Stranger Than Fiction. For a romantically oriented dramatic comedy that deals with similar themes, try Eternal Sunshine of the Spotless Mind or 500 Days of Summer.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt1626146/). I give it a 7.0 to 7.5 for light humor and a rewarding emotional arc.

“Pretty sure we’re all going to live to regret this.” —Martin

Today’s quick review: A Long Way Down. Martin (Pierce Brosnan), a disgraced talk show host, decides to end his life by jumping off a building on New Year’s Eve. But when he gets there, he finds three other people about to do the same thing: Maureen (Toni Colette), Jess (Imogen Poots), and JJ (Aaron Paul). At a loss for what to do, the four of them sign a pact that they will hold off on suicide for a few more weeks.

A Long Way Down is a drama with comedic elements about four suicidal strangers who meet accidentally. Martin is a celebrity haunted by a sex scandal, Maureen is a lonely woman struggling to support her handicapped son, Jess is the rambunctious daughter of a politician, and JJ is a delivery man with inoperable cancer. In the weeks following New Year’s, they form an unlikely friendship as they share their troubles with one another.

A Long Way Down’s best feature is its character work. Martin, Maureen, Jess, and JJ come from very different walks of life, and their personalities show in everything from their speech and mannerisms to the way they react to stress. None of the characters are perfectly likable, but they all act like real people, and one of the biggest rewards of the story is seeing them open up.

A Long Way Down has a harder time with its plot. After a promising start, the story has to resort to artificial drama to keep things moving forward. News about the pact is leaked to the press, forcing Martin, Maureen, Jess, and JJ to deal with unwanted fame while working through their suicidal tendencies. The result is a story with strong character arcs but weak connective tissue to tie everything together.

Give A Long Way Down a shot when you are in the mood for a character-driven rumination on life with flashes of comedy. The movie does not have the same narrative artistry and thematic depth as other dramas in the same vein, but its characters make it a worthwhile watch for anyone who is interested.

For a black comedy about suicide, try Dead in a Week (Or Your Money Back). For a character-driven drama that handles similar conflicts with more skill, try 21 Grams or Hard Surfaces. For a drama about the intersecting lives of strangers that has shakier execution and a more serious tone, try Powder Blue.

[6.4 out of 10 on IMDB](https://www.imdb.com/title/tt0458413/). I give it a 6.5 for engaging character work missing the vision to pull it all together.

Today’s quick review: Man on a Ledge. Framed for stealing a diamond from David Englander (Ed Harris), ex-cop Nick Cassidy (Sam Worthington) breaks out of prison and perches on a ledge 20 stories above the streets of New York. As disgraced police negotiator Lydia Mercer (Elizabeth Banks) tries to talk Nick down, his brother Joey (Jamie Bell) and Joey’s wife Angie (Genesis Rodriguez) try to steal the evidence they need to prove Nick’s innocence.

Man on a Ledge is a crime thriller about an ex-cop who stages a fake suicide attempt as a distraction for his family to clear his name. The movie has good building blocks. Nick uses a variety of tricks to delay the police, manipulate the public, and generally keep all eyes on him. Lydia senses that something is wrong and begins to question the official story of his arrest. And throughout it all is the dangerous possibility that Nick will fall.

Still, Man on a Ledge is not as robust as similar thrillers. There is only really one layer to Nick’s plan, apart from a few minor deceptions that buy him time. Joey’s heist is not as creative as the best the genre has to offer, although it does feel more plausible than the norm. And while the rapport between Nick and Lydia works well enough, it is not tense or personal enough to give the movie a strong emotional core.

Give Man on a Ledge a shot when you are in the mood for a tidy thriller with a unique premise. Man on a Ledge does not have the far-reaching plot or narrative finesse of some of its competition, but it delivers a well-constructed story with enough of a hook to keep the audience invested. Check it out if you want a nice mix of crisis negotiation, crime mystery, and heist. Skip it if you’re looking for something truly mind-bending.

For a more proactive story about a police officer forced to engineer a crisis to clear his name, try The Negotiator. For a wry crime movie about an imprisoned cop trying to solve the case that put him in jail, try Spenser Confidential. For a hostage standoff with more pathos, try Dog Day Afternoon. For a more personal story about a man poised to jump from a building under unusual circumstances, try Ledge.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt1568338/). I give it a 6.5 for solid fundamentals but not much else.

Today’s quick review: Phone Booth. Stu Shepard (Colin Farrell), a self-absorbed publicist, steps into a New York phone booth to call Pamela (Katie Holmes), the woman he wants to have an affair with. Instead, he receives a call from a stranger (Kiefer Sutherland) who threatens to shoot him if he puts down the phone. As the phone call escalates into a police incident, it falls to Captain Ramey (Forest Whitaker) to decipher what is going on.

Phone Booth is a crime thriller about a man trapped in a phone booth by a brilliant sniper. Stu finds himself outmaneuvered at every turn and forced to play the sniper’s game: confessing his infidelity to his wife Kelly (Radha Mitchell). Phone Booth spins this premise into a passable thriller, with a nice cat-and-mouse game between Stu and the man holding him hostage. However, the movie’s tenuous plot and busy presentation won’t appeal to everyone.

Phone Booth’s strengths lie in its particulars. It takes the movie a while to get Stu to a point where he understands his situation and interact with the man on the other end of the line, but once the movie gets there, it comes up with some clever ways for Stu to get into and out of trouble. Kiefer Sutherland does a great job as the caller, who is always two steps ahead, while Colin Farrell makes the most of his role.

But even with its best efforts, Phone Booth is a hard sell. The movie has to bend over backwards to make its premise feasible, using a combination of the caller’s planning and bad luck to cut off the many ways Stu has to defuse the situation. Stu is not a likable character and never really becomes one, even at his most contrite. The movie also uses an aggressive presentation style to ramp up the intensity of an otherwise static situation.

Phone Booth is a fine pick for anyone in the mood for a thriller with a unique premise. Neither the scope of its story nor the depth of its characters is enough to be game-changing, but the movie does have enough plot twists to keep the audience on their toes. Check it out if you want something short, to the point, and reasonably creative. Skip it if you’re looking for a gracefully orchestrated thriller or one with a deeper story.

For a similar thriller about a man trapped in a public place by a sniper, try Grand Piano. For a higher-adrenaline phone-themed thriller, try Cellular. For a more personal drama about a man on the phone dealing with the fallout of his infidelity, try Locke. For a crime thriller that takes a similar premise in a different direction, try Shattered. For a more human police standoff, try Dog Day Afternoon or Mad City.

[7.0 out of 10 on IMDB](https://www.imdb.com/title/tt0183649/). I give it a 6.0 to 6.5 for a decent plot with hit-or-miss characters and style.

Today’s quick review: Abduction. Nathan Harper (Taylor Lautner), a high school senior, discovers his picture on a missing persons website and learns that his father (Jason Isaacs) and mother (Maria Bello) are not who they claim to be. When killers come after his parents, Nathan and his friend Karen (Lily Collins) flee from home, aided by his psychiatrist Dr. Bennett (Sigourney Weaver) and pursued by CIA agent Frank Burton (Alfred Molina).

Abduction is an action thriller about a teenager who goes on the run to discover the secret behind his family. Unsure of who to trust, Nathan and Karen find themselves caught in a web of international espionage. Abduction offers some modest action as Nathan and Karen stay one step ahead of the people after them and piece together the truth about who Nathan is. However, plot holes and missed potential make the movie a modest success at best.

The best aspect of Abduction is its mystery. Nathan’s entire life is a sham, and his questions about who he really is are what drive the plot. Abduction also offers a fair amount of action, courtesy of Nathan’s martial arts training and a few gunfights. The movie never really goes beyond the basics of the action thriller genre, but they are executed competently and there are a few minor twists to keep the story from getting too stale.

The catch is that Abduction plays fast and loose with logic. Plot holes of all sizes abound, ranging from minor inconsistencies in the way scenes fit together to major gaps in the structure of the story. The plus side is that none of these issues get in the way of the excitement, but they do make the movie paper-thin. Questioning even small portions of the story damages it, and for critical viewers, this will be a dealbreaker.

How much you get out of Abduction will depend on what you are looking for. Viewers looking for a light thriller with a dash of teenage romance will find it to be a breezy watch. Those in it for the mystery or the action will find it outclassed by any number of other films. Give it a shot if you are not feeling too picky. Otherwise, check out any of its competition.

For a sharper spy thriller with a better mystery, try The Bourne Identity. For a more subdued thriller about a man learning the truth about his spy father, also with Sigourney Weaver, try The Cold Light of Day. For a similar style of teen romance with a sci-fi twist, try I Am Number Four or Jupiter Ascending.

[5.1 out of 10 on IMDB](https://www.imdb.com/title/tt1600195/). I give it a 6.0 to 6.5 for a decent plot that doesn’t bear close scrutiny.

Today’s quick review: Catch .44. Tes (Malin Akerman), Kara (Nikki Reed), and Dawn (Deborah Ann Woll) travel to a remote diner to intercept a drug deal on behalf of their boss Mel (Bruce Willis). When the meeting time comes and goes with no sign of the driver, they decide to hold up the diner to get some answers. But the standoff is interrupted when Ronny (Forest Whitaker), an unstable killer, tries to get in on the score.

Catch .44 is a crime drama about three women trying to get back in their boss’ good graces after a disastrous mistake. What looks to be a second chance soon turns into another catastrophe when a simple hold-up goes awry. Catch .44 aims to be a stylish crime movie in the vein of Pulp Fiction or True Romance. The setup of the movie has potential, but its execution leaves much to be desired, with a jumbled plot, weak dialogue, and flat stylization.

Catch .44’s main issue is its lack of context. The story starts in media res with Tes, Kara, and Dawn holding up the diner, then fills in the details one flashback at a time. The problem is that the movie focuses on the wrong details. Instead of fleshing out how Tes and her friends messed up the last job or who Mel actually is, Catch .44 spends its time on how Tes got to the diner, what Ronny has been up to, and aimless conversations.

Moreover, the nonlinear storytelling means that Catch .44 is always late giving the audience a reason to care. The twists are tied to information that has not been revealed yet, forcing the movie to play catch-up. The movie tries to paper over these holes with stylistic flourishes: jaunty music choices, character introductions, and cliffhangers. But without a strong hook to keep the audience’s interest, all of these devices fall flat.

Catch .44 has genuine potential. The suspicious job that immediately goes wrong, the wildcard of Ronny’s involvement, and the acting abilities of Bruce Willis and Forest Whitaker could easily be the foundation of a solid crime movie. But the execution falls short almost everywhere it counts, leaving the best features of the movie without proper support. Dedicated fans of the crime genre may want to try it, but most will want to steer clear.

For a much more successful take on the same formula, try Pulp Fiction, True Romance, or Reservoir Dogs. For a stylized crime thriller in the same vein with more sex, violence, and black humor, try 68 Kill. For a darker crime thriller about a criminal sent to a remote area on an unknown mission, try The Bag Man. For a more interesting take on small-town crime, try No Country For Old Men, Fargo, or Cut Bank.

[4.6 out of 10 on IMDB](https://www.imdb.com/title/tt1886493/). I give it a 5.0 for passable ideas and a story that never comes together.