Caught, Cheating, Paying, Fighting, Fast & Wrong

Darren Aronofsky is not a name one typically associates with mainstream entertainment, yet “Caught Stealing” finds the famously brooding auteur stepping into this genre territory with gusto. Known for the relentless intensity of films like “Requiem for a Dream”, “Black Swan” and “Mother!”, Aronofsky here trades suffocating dread for a more conventional—but still stylistically idiosyncratic—action thriller. 

At the center of the chaos is Austin Butler as Hank, a Midwestern mama’s boy meant to be a baseball star were it not for a reckless lapse in judgement. Now he’s a New Yorker tending a seedy bar, casually seeing a cool EMT (Zoe Kravitz) who’d like to give her heart to this super cutie, but fears he’s not owning his sh*t. Before that conversation can go any deeper Hank is totally caught off guard by his mohawked neighbor Russ (Matt Smith) Smith turns what could have been a throwaway supporting role into something more indelible. He’s like a more dangerous, less lovable Kramer—bursting into Hank’s life involving him in a threat he never saw coming. 

It’s great watching Hank go from clueless to almost fox like both mentally and physically once he realizes just how high the stakes are. Though some of the physical agility is admittedly implausible, given that the character is fresh off a kidney removal, his stitches and staples barely holding. The sight of Hank vaulting fire escapes and sliding under forklifts pushes believably, but Aronofsky’s knack for bodily discomfort makes it perversely entertaining.

What’s most unusual, though, is the tonal journey Aronofsky takes the audience on. The film begins as a tense, dangerous action drama, filled with dread and violence, but gradually shifts into a more traditional action film generously laced with humor. Most directors would be afraid to ratchet the tension down rather than up, but somehow Aronofsky makes the gamble work. The laughs don’t undercut the suspense; they give the audience a breather while sharpening the absurdity of the danger Hank finds himself in. All in all, a good ride.
Rating: 4 outta 5

Splitsville is a mix of marital messiness, chaotic with a touch of slapstick. Michael Angelo Covino and Kyle Marvin — the duo behind “The Climb” — return with another buddy comedy, but this time they expand their circle, delivering what they call a “love trapezoid.”

Carey (Marvin) and his wife Ashley (Adria Arjona) are on their way to spend a weekend with his best friend Paul (Covino) and his wife Julie (Dakota Johnson) at the couple’s gorgeous lake house. On the drive up Ashley asks Carey for a divorce. The deadly car accident they witness acts as a poorly written catalyst – it’s such a significant moment near the opening of the film, you think it’s going to be a major plot point or be a callback somewhere down the line, it’s neither. Carey continues, on foot, to Paul and Julie’s and asks them what’s their “secret to happiness”? Their answer – an open marriage. What follows is a humorous, occasionally absurd spiral of missteps, betrayals, and miscommunications — like a screwball comedy for the age of relationship podcasts and self-help TikTok gurus.

The film looks gorgeous thanks to Adam Newport-Berra’s 35mm cinematography. There are moments of inspired physical comedy — including a gonzo fight scene on a level of Colin Firth and Hugh Grant. And I’m always gonna wanna watch anything my girl crush Dakota is in, and yet… Splitsville isn’t quite as sharp as it wants to be. Perhaps Paul & Julie having a slightly troubled young son (Simon Webster) takes focus away from the fun of the “Unromantic Comedy” of it all. But when the movie clicks, it’s a lively, tangled snapshot of modern love and friendships. Rating: 3 outta 5

5 collaborations between these legends – “Mo’ Better Blues”, “Malcolm X”, “He Got Game”, “Inside Man”, and, now, “Highest 2 Lowest”. “Malcolm X” is the best, of course, but “Inside Man” is my favorite Spike Lee and Denzel flick. And I believe “Highest 2 Lowest” with its NYC cinematic affection will earn a place in this canon of beloved films. However, Rodgers and Hammerstein’s “Oh, What a Beautiful Mornin” seemed an incongruous start to the proceedings, although I get it was to emphasize the beauty of a New York morning bathed in the rosy fingertips of dawn. But seeing as the movie features a R&B/Hip Hop Music Mogul, seems there could have been a more contemporary song expressing a good morning? 

Not a remake, instead “Highest 2 Lowest”, reimagines Akira Kurosawa’s 1963 thriller “High and Low”, which I watched for the first time the next day after seeing Spike’s version. This was my first Kurosawa film and I’m gonna need to take a class on what makes him SO brilliant. Well directed and shot yes, but I wasn’t getting auteur vibes. “High and Low” also focuses more on the police force trying to retrieve the stolen ransom rather than the original moral dilemma of paying the ransom in the first place; making me fonder of this new version. Not to mention, Kingo Gondo (Toshiro Mifune) is blustery and despite his solid build and imposing mustache, is rather uninteresting, not the stakes, but the actor. Where uninteresting is never a word anyone can use to describe a Denzel Washington performance. As David King he delivers his trademark expressions, body language and vocal inflections, tempered with the fear of a man whose image can’t afford to crack while he weighs moral high-ground against personal aspirations and legalities, protecting his family’s assets, while being true to one who has always been true to him, and facing public scrutiny in a cancel culture. Jeffrey Wright, per usual, radiates authenticity, grounding the story with lived-in emotion. And A$AP Rocky as Yung Felon? It’s a flex. He’s charismatic and unpredictable. The other important character in the piece is the King’s stunning, yet comfortable penthouse apartment filled with priceless black art adorning every wall and a view of the city that feels criminally opulent.

There’s a couple of plot holes, nothing insurmountable. The relationship King has with his wife (Ilfenesh Hadera) and son (Aubrey Joseph) feel genuinely close knit. The over all tone of the movie is a stylish riff on a classic that brings something new to the table: while maintaining the original conversation about class, and the price of moral clarity in a city that runs on both hustle and hierarchy. Rating: 3.5 outta 5

Back in the day, I had Danny DeVito’s 1989 dark comedy “The War of the Roses” on VHS and watched it many, many times, but for some reason never bought the DVD – so it’s now been over 20 years since I’d seen it, until last night. It holds up because it’s tightly directed and I’d forgotten how artfully arranged many of Devito’s shots are focused. What I did remember is that Barbara Rose (Kathleen Turner) is the Putin of this war. She is unrelenting, where Oliver Rose (Michael Douglas) only becomes spiteful as retaliation, but never really wants to fight or the divorce. 

In Jay Roach’s “The Roses” starring Olivia Colman as Ivy Rose and Benedict Cumberbatch as Theo Rose, who although is the first to seek a divorce, when it comes to the bitterness, they are equally matched. This is a glossy, re-imagining of DeVito’s classic. Where the original reveled in brutal absurdity—a marital implosion so vicious it teetered gleefully on horror—this new version softens the edges. Roach dials down the savagery, while keeping the satire intact. The result is watchable, at times even charming, but never quite dangerous. Although the dream house is SO much dreamier in “The Roses”, kudos to Production Designer Mark Ricker, that Irish moss covered oasis is sublime, along with Ivy’s adorable We Got Crabs beach restaurant.

I knew when I saw the film had an expanded ensemble, unlike the tight triangle that anchored the original, that they would kinda ruin things and I was right. This cast of bystanders (Kate McKinnon, Andy Samberg, Zoe Chao) and more, add very little to the mix and McKinnon’s character’s constant come on to Theo wears thin immediately. Instead of sharpening the central conflict, these side characters mostly distract from it.

The heart of the film lies in Olivia Colman and Benedict Cumberbatch as the battling Roses. Some critics have complained the two lack chemistry, but I didn’t find that to be the case. Colman, with her cutting wit and simmering fury, and Cumberbatch, equal parts smug and wounded, spar convincingly. Still, when inevitably compared to Turner and Douglas—the gold standard of cinematic marital warfare—they fall short. Few pairs could generate that level of sexual tension and venomous energy today, and Roach’s more restrained direction doesn’t give them the chance to try.

All told, The Roses is entertaining enough, a middlebrow dark comedy with two excellent actors doing sharp work. But it doesn’t quite justify its existence beyond introducing this story to a new generation. Fans of the original will likely find it too tame, while newcomers may find themselves wondering what all the fuss was about back in 1989. Rating: 3.5 outta 5

Similarly to DC’s new Superman, Marvel makes a good stylistic choice of dropping us into the middle of this family’s journey rather than retreading their origin. We meet Reed Richards, Sue Storm, Ben Grimm, and Johnny Storm four years into honing their powers — a refreshing narrative pivot that allows director Matt Shakman to focus on family dynamics and world-building instead of familiar beats.

Set against a retro-futuristic 1960s backdrop inspired by mid-century modern and Googie architecture, the film’s production design is a feast, honoring Jack Kirby’s aesthetic while pushing it forward. The Baxter Building, with its sunken conversation pit and vibrant orange kitchen, feels as iconic as any MCU setting to date — a lived-in home that doubles as headquarters. (Production designer Kasra Farahani )

Casting is where First Steps truly shines. I was on board with the choices beforehand, but seeing Pedro Pascal embody Reed Richards erased any lingering doubts. His balance of quiet intelligence and emotional vulnerability nails the “big brain scientist” energy without falling into cold detachment. Vanessa Kirby’s Sue Storm is equally compelling, and together their chemistry crackles — a partnership built on mutual respect and warmth even when they may not see eye to eye on a course of action. Ebon Moss-Bachrach grounds Ben Grimm’s rocky exterior with soul, and Joseph Quinn brings Johnny Storm’s swagger and impulsive charm to life.

The plot — pitting the family against Galactus and his enigmatic herald, the Silver Surfer (Julia Garner) — is solid if not groundbreaking. It’s buoyed by character moments: Sunday dinners, lab banter, and the constant push-pull between saving the world and preserving what they have at home. Michael Giacchino’s soaring score leans into space-race optimism while still carrying emotional weight.

And yet… I left feeling just shy of fully exhilarated. Unlike “Thunderbolts” or “Superman”, which left me buzzing after the credits, First Steps coasts to a satisfying but not electrifying finish. Perhaps it’s a matter of pacing, or maybe the stakes — existential as they are … I’m not certain why, cause I loved the baby – boy did Reed F’up that press conference!

But, it’s a confident reboot and a strong MCU entry: reverent to the source material, distinct in style, and anchored by a cast that feels like a genuine family. For a franchise finding its footing, this is a solid first step. Rating: 4 outta 5