CRIME WAVE (1985)

Written, Cinematography & Directed By: John Paizs 

Editor: John Paizs, Gerry Klym and John Coutts 

Cast: John Paizs, Eva Kovacs, Darrell Baran, Jeffrey Owen Madden, Tea Andrea Tanner, Mark Hunter, Neal Lawrie, Bob Cloutier 

A young director intent on making “the greatest color crime movie ever” can’t seem to finish his script–he has a beginning and an end, but he can’t quite figure out the middle. The daughter of his landlord, excited to have a real “movie person” living nearby, tries to help by putting him in touch with a man who wants to collaborate on a script–the strange “Dr. Jolly”.

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Not to be confused with CRIMEWAVE directed By Sam Raimi and written with The Coen Brothers,  it bit are throwbacks with a kinetic comedic energy throughout that Involve crime stories. 

This movie is fast and loose. It’s silly and feels like a live action cartoon most of the time.

Crimewave feels like flipping through channels in the early days of NICKELODEON (the channel) that strange, electric moment in the 1980s when everything felt handmade, a little off, wildly imaginative, that was strange but you go it and anything was possible. As you were in on it and often the entertainment was Canadian. That comparison oddly fits, because while this is a Canadian production, it’s also brimming with a manic creativity and cartoon energy that is very much not for kids. This is playful cinema with sharp edges.

At its core, the film is a love letter to storytelling itself. It follows a director figure who seems to have at least one true believer in his talent, and through him we experience the flights of fancy that leap from his imagination into reality. The stories he dreams up, the characters he invents, and the worlds he escapes into all blur together, creating a film that feels actively alive—like it’s being written, revised, and reimagined in real time.

There’s an infectious enthusiasm to the way the film moves. We watch this creator live out adventures just as absurd and chaotic as the stories he’s writing, and the movie invites us to get lost alongside him. It’s propelled by voice, motion, and momentum, even when logic takes a backseat. That’s part of the charm and occasionally, part of the problem.

Halfway through, Crimewave reveals itself as a glorious oddity. It doesn’t quite know where it wants to go, and when it finally does arrive somewhere, it feels less like a traditional ending and more like an extended epilogue. The narrative thins out, but it does so in a way that feels intentional. Like the story is less interested in resolution than in wrapping its arms around its own madness.

Adding to the strangeness is the silent protagonist, who never speaks until the very end. Instead, everyone around him fills in the gaps, talking for him, about him, around him. Then turning the film into a chorus of voices orbiting a quiet center. It’s a bold choice, and one that reinforces the idea that this is a world shaped by imagination more than realism.

The film is more mad than you might know as the writer Director cinematographer also plays lead as the filmmaker. I guess that’s one way where you don’t have to worry about missing your lines so this might have been an extent of his imagination, placing himself in other situations or maybe it’s a confessional tale that means something bigger and is all about his writing

The score plays a crucial role in keeping everything suspended in an alternate realm, giving the film its dreamlike quality. Meanwhile, the ensemble cast jumps from character to character in a way that feels chaotic but connected, each performance feeding into the next like a chain reaction of eccentric personalities.

Ultimately, Crimewave is a fun, rare find. A movie that values invention over polish and energy over neatness. Even when it slows down to humanize its characters and ground itself emotionally, it remains entertaining, curious, and oddly endearing. It may not fully behave like a “proper” film, but that refusal is exactly what makes it worth watching.

Grade: B 

MIKE & NICK & NICK & ALICE (2026)

 

Written & Directed By: BenDavid Grabinski 

Cinematography: Larry Fong 

Editor: Tim Squyres 

Cast: Vince Vaughn, Eliza Gonzalez, James Marsden, Keith David, Jimmy Tatro, Stephen Root, Dolph Lungdren, Arturo Castro, Ben Schwartz, Emily Hampshire

Two friends navigate the dangerous world of organized crime, testing their loyalty and survival skills as they get deeper into the criminal underworld.

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I really wanted to enjoy the film. As what it does have going for it there’s a lot of colorful characters that analyze the underworld that you wish they all had their own movie to star in

Instead of this time, travel mildly science fiction film that decides to pepper those ideas in with your typical b-movie crime film.

That has a good percentage of comedy, but then chooses to sprinkle in some harder or more. I wouldn’t say emotional but serious moments even though half the time it reminds one of one of those 90s post Tarantino pulp fiction type films.

It also has a good soundtrack that helps save the film with a lot of music from the 90s in 2000s era so that there are plenty of needle drops that work certain magic of nostalgia on the audience of a certain age who this film is made for, especially with many of the pop culture references. 

As this film has it stride and when it does, it’s actually entertaining and funny, but there seem to be so many distractions and disturbances that it can’t play a straight tune harmoniously. You have to wait for those moments and hope it will play through and see how long it can last that way.

As the film has all the ingredients, great cast, surprising cameos, a dynamite, gorgeous leading lady who still deserves more screen time better roles played by Eliza Gonzalez 

In Vince Vaughn, in a double roll has the smoothness and comfort to play these types of roles, though his character from the future is far more in his wheelhouse than his more uptight version in the modern, though he does manage to make them to distinctly different characters. Though he can do this type of role in his sleep. It’s not very challenging. 

James Marsden is good in his role as kind of the straight man playing up his looks but gives him a chance to prove himself as he definitely manages to keep up with Vince Vaughn. Though nice to see him in this type of film. 

The rest of the cast in their small and supporting roles are really what help make this film, more pleasurable and one really wishes they could give this film more or a higher rating but while it’ll probably be entertaining for most specially Vince Vaughn fans it just never quite worked. It’s magic for me and couldn’t wait for it to reach its conclusion and and I guess you could call it a perfectly fine time waster but it’s not a film. I would rush back to ever see you again.

As throughout watching the film, I just kept wondering what’s this all about? Why why is this happening and it never quite answer that question so that by the end I was just happy it ended.

It’s not terrible, but maybe it’s just too average a project that one would expect from streaming at least it has its moments of good

Grade: C

PEAKY BLINDERS: THE IMMORTAL MAN (2026)

Directed by: Tom Harper

Written By: Steven Knight

Cinematography: George Steel and Ben Wilson 

Editor: Mack Eckersley 

Cast: Cillian Murphy, Tim Roth, Barry Keoghan, Stephen Graham, Rebecca Feguson, Sophie Rundle, Packy Lee, Jay Lycurgo

During World War II, Tommy Shelby returns to a bombed Birmingham and becomes involved in secret wartime missions based on true events, facing new threats as he reckons with his past and rising national stakes.

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For me, this is the first cillian murphy movie and performance. I’ve seen in which he’s played the lead so while there is more action, it still seems like he’s going with that moody cerebral acting with less dialogue and more everything is told through physicality in his facial expressions and seeming melancholy

It’s dipped into atmosphere and history thst helps shape it and enriches the material that makes it feel deep.  It sure if it’s as satisfying for the audience as it feels more for the creators. Very few characters from the show return which is a bit of a bummer.

If looking more for the gangster aspects of the characters and show or in general. You might be disappointed

All this emotion and dread fits yet gets to be overbearing. As it seems to be more what Cillian Murphy seems to enjoy and be into

with some elements of an underworld story. 

More about the machinations behind the scenes with double crosses and betrayal more at the heart of things. That as slays has a twist at the end. That makes up to how long it took to get there. 

It’s not bad to just expect bigger and better. Rather than settling for the same almost. Only like a shortened season with less of the original cast members. Though some good gust stars to help you forget and it ends the character of Thomas Shelby’s story.

No, I will say this is more made for fans of the show rather than people just coming into the characters. As it doesn’t quite exactly work as a gangster film on its own, especially when it has such a huge history, six seasons of it really.

this seems to be the ultimate series finale that at least part of me could’ve done without as I liked how the show ended for the most part. So in unless they plan on doing the next generation, I believe this might be the end of it all even though they made it seem like there would be a bunch of movies. At least we got six seasons and a movie. Which currently the show COMMUNITY is trying to fulfill that promise

Give the film a chance, but if you’re going to wait around for action, you might be disappointed

Grade: B- 

WOLFS (2024)

 

Written & Directed By: Jon Watts

Cinematography: Larkin Seiple

Editor: Andrew Weisblum

Cast: George Clooney, Brad Pitt, Amy Ryan, Austin Abrams, Richard Kind, Poorna Jagannathan, Zlatko Buric, Sergio Cota Jr. 

Two rival fixers cross paths when they're both called in to help cover up a prominent New York official's misstep. Over one explosive night, they'll have to set aside their petty grievances and their egos to finish the job.

This is George Clooney and Brad Pitt making another buddy comedy together and involving crime. This should have been a slam dunk and while the film Has its Moments. They are far and few in between. 

This is another film that seems like they are having more fun than the audience is watching it. As it tries to be formulaic and offer surprises and slights of hand. That by the end will Make the audience think the film Is smart and has an ace up It’s sleeve. Like the OCEAN’S TRILOGY the stars have been in before, but if that movie is calculus this is math 102.

It doesn’t help that the movie stays small scale

Throughout. Which would be great with lesser stars but keeping it small hinders the film and shows how thin the screenplay is. As we have to not only stay with the characters and their various arguments, but somehow find humor, charm and tension. Which the film doesn’t really Offer.

So it comes off as muddled and not a bad recipe, but like someone followed the recipe and shorted some ingredients and added too much of other ones to make up for it. 

Watching the film also makes one come to understand why these movies aren’t Memorable. You have a big name cast, a big name director Jon Watts (SPIDER-MAN: NO WAY HOME) and yet it feels stale, Small Scale and basic, because while it has locations and action. These films obviously are Made For streaming and they have little if any visual Flair and feel compacted. Director Watts even seems to include an inside joke of a Spider-man eque stunt by a young man for those in the know. Though it also leave you

Wondering was this film an audition for an ocean’s sequel. 

The stature seems shrinked then one would expect. Like making a feature film but with the limits of a television movie. Not to mention the villains are all stereotypical with an added dance sequence. 

This is similar to what the Russo brothers 350 Million movie THE GREY MAN with Ryan Gosling and Chris Evans felt like any other Netflix movie. Other then a basic script, but the directors aren’t Trying to be subtle or visually Brilliant. They are doing just enough to tell the story and do what it takes without any passion or extra Effort. Sort of like assembly room and like weathermen there are Consequences or punishments.

So it just keeps happening. As Apple+ is no better or worse then any other streaming service. Except they are newer and this feel like when the studio DREAMWORKS SKG. Everyone wants to work with them and they have stars at their disposal and seem to green light anything. As long as a big star is attached, but never seem

To bother to read the script or develop them to be better. So that they come off as basic and the only pull is the stars.

George Clooney hasn’t truly starred in a good movie in awhile. Nor has he made a hit but is still

Treated like an A-lister. When he does choose to be in a film.

Leaving the audience to only marvel at Austin Abrams. Who is the only one in the film Who feels alive and like he is trying.

It feels like the film is disrespectful to the audience by going them, but so much and not giving it their all and feeling like just enough is what the audience deserves and should be honored to get. 

As the leads seem more interested in being cool. The filmmaker seems to want to offer some kind of polished grit. That tries to make things more serious, dangerous, dark and action packed. That never comes across other than polished and dark. Nor does the screenplay come off as smart as it thinks nor as cute. 

Grade: C- 

STONE COLD FOX (2025)

Directed By: Sophie Tabet

Written By: Sophie Tabet and Julia Roth

Cinematography: Ken Seng 

Editor: Joel Griffen and Jennifer Lee

Cast: Kieran Shipka, Krysten Ritter, Kiefer Sutherland, Jamie Chung, Mishel Prada, Karen Fukuhera, Gabrielle Maiden, Adam Elshar 

In 1986, the defiant Fox breaks out of an abusive commune in search of her family. But when the queenpin kidnaps her little sister and sends a crooked cop after her, Fox has no choice but to infiltrate the very place she escaped.

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Set in 1986, though truly could be modern except for a lack of electricity and maybe the fashions. As the film plays like a throwback. Especially when it comes to retreading a familiar story. Only here from more of a female perspective. 

This was a major disappointment, especially considering the cast. As it’s one of those films where they have an actually interesting story in plot and managed to keep it moving and interesting, but at some point, the film just seems to stand there and brings no excitement, nor does it build on the things that it sets up.

It has one clever twist and definitely has style, but you can tell the films limitations because there’s so much more that can be done in the film. Just seems to leave it there and let the audience use their own imaginations which can be inventive if left for us once or twice, but not constant.

The film also offers no real surprises. You know where it’s gonna go as a telegraphs it before it gets there and then when you get there, it just does nothing new or all that interesting except for a few points and perks of the fellow.

Everyone gives a good performance, you just wish there were more to their characters or were given better dialogue, than something a little more to do. as it’s a film that seems like it’s gonna be more but plays pretty basic.

Most of the cast is female and talented females. So that they’re very few men in the film and the few that there are seem very inept. So it’s more like ladies are doing it for themselves. it is a little empowering.

Though there are two characters in the film that just seem to be there for no real reason, more in the background, but they’re not really workers nor are they henchman and they don’t seem to be the main villains even their love interest so are they just there for company it seems and while they are of some use. A little bit more towards the end, they really didn’t still really need to be there.

Going into this film, I wanted to really root for this film as it has a bunch of actresses who I really admire their work Jamie Chung Krysten Ritter, Mishel Prada, and they’re given good roles. It’s just that they all feel a little bit more cliché Mishel Prada is the only one who kind of gets the more interesting not typical role, but it still leaves her with very little to do and few chances to truly go to weird or dark places that the role seems to demand.

Though it is nice for a leading role for Kieran Shipka, who seems to be becoming quite of the character actress and has finally grown into more leading female roles.

Luckily, this film goes by fast. As it’s under 90 minutes

Grade: C- 

THE INSTIGATORS (2024)

Directed By: Doug Liman 

Written By: Casey Affleck and Chuck Maclean

Cinematography: Henry Braham 

Editor: William Goldenberg, Saar Klein, Brett M. Reed and Tatiana S. Riegel 

Cast: Matt Damon, Casey Affleck, Hong Chau, Ron Perlman, Michael Stuhlbarg, Alfred Molina, Ving Rhames, Jack Harlow, Paul Walter Hauser, Toby Jones 

Rory and Cobby, who team up to rob a corrupt politician but end up in a chaotic escape after the heist goes wrong. Pursued by police and crime bosses, they enlist Rory’s therapist to help them survive.

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Considering the cast involved and the director, this film should’ve been much better.

While he plays like a perfectly good crime caper with a good helping of comedy. It also feels like it’s all over the place, especially totally as when it does try to be more action oriented or gritty crime incomes the more comedic elements out of nowhere and then when it’s resting on its more comedic elements, it’ll have the odd intense action sequence.

Also, with its full cast, it feels like most of them are guest starring in the main plot like this is an ongoing series as very few remain throughout the film and only seemed to be there for a senior or two before disappearing and are quickly forgot not that they’re bad in their roles but again there just doesn’t seem to be that much significance for them even though they are just a piece of the puzzle

So that our main stars Casey act like who also who wrote the film and Matt Damon just seemed to be too strangers thrown into this caver together that ends up being more of a buddy comedy as they are different types of thrown in together just trying to survive all of this. Representing their hometown 

Now this should’ve worked, especially as of course, representing its location of Boston and the characters in the neighborhoods of that town but the film just feels a little too quick paste. It never seems to quite slow down for you to get a grip on what is happening or what has happened. So it’s hard for you to get your bearings, even though it shouldn’t be that confusing.

It just seems to flash here in there in the editing, intense not to focus on anything so it even feels faster than the classic 2000s MTV flash editing which only reminds you that this feels more like content more than an actual film. Which might be the result of having four editors on this film, who each might have been aiming at something different. Asbeverything feels so disposable and familiar even when trying to put a new spin or at least anspin on certain conventions.

Again the leads and cast are likable enough. You just wish that this was a film that wasn’t afraid to take its time had more consequences and was quite a bit tougher as the film is more comedic and not darkly comedic more just comedic.

It has spectacle when the film should’ve been more detailed, smaller and tighter. Noah tries to be gritty. It comes across more as a Hollywood production. Then it should which throws all credibility out the window and turns it more into a romp.

there is a certain irony that lays throughout the film whereas Casey Affleck is a best actor Oscar winner here playing more the co-lead and being more comedic or as Matt Damon, who is more thought of as a serious actor is playing the more serious role here and while he has more prestige, he does not have an Oscar for best actor, even though he does have an Oscar for writing. Yet Casey Affleck who has the acting prestige is the Co-Writer here. 

This obviously isn’t there first pairing on screen they have paired up in various projects, but this is the first time where they’ve been costars as a lead in a more comedic, an original production of their own as they were in the film GERRY as costars, and also really, the only leads in that film, as well as one of the only actors in that film

The film has come across as the type of body crime caper comedy that felt more at home in the 70s and 80s try some modernize it, but it has way too much going on for it to truly ever be centered or quite understandable

Grade: C

THE RIP (2026)

Written & Directed By: Joe Carnahan 

Story By: Michael McGrale 

Cinematography: Juan Miguel Azpiroz 

Editor: Kevin Hale

Cast: Matt Damon, Ben Affleck, Steven Yuen, Kyle Chandler, Catalina Sandino Moreno, Teyana Taylor, Sasha Calle, Scott Adkins, Nestor Carbonell, Lina Esco 

A group of Miami cops discovers a stash of millions in cash, leading to distrust as outsiders learn about the huge seizure, making them question who to rely on.

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This Is a film one wouldn’t have mind seeing in a theater as to me. It’s that exciting visual and good, too good to just be relegated to streaming.

As it has Matt Damon and Ben Affleck back together again, though for once more in a action thriller than necessarily drama or comedy in which you usually see them costarring together in now while they didn’t write or direct this, they’re strictly in this and acting capacity their natural chemistry is still there

The film takes place in Miami of all places which I have never seen filmed darker as usually it’s filmed a lot more colorful and vibrant here. It just seems so cold that it might as well have been set in Boston.

While playing like a thriller in somewhat of a mystery, it’s pretty easy to figure out but appreciate that the film still try to make you question every character and their motives and giving reasons why there is plenty of gun play and Mano y Mano type attitudes and energy throughout

Which they really show in the third act by having most of the female character, sit out the action while all the men or the big names on the poster, do it out and share the reveals as well as a few chase scenes.

The film is entertaining in directed and written by Joe Carnahan. I’m not surprised as he has always been a solid Director, who specializes in gritty action films here he does what he does best. As the film stays exciting and entertaining throughout, even though it has very few locations in the film. Makes the best of it and still makes it feel like it in its own world, but identifiable in dark

They don’t make films like this much anymore and it’s nice to see something a little more hard hitting a film that can be itself and doesn’t necessarily care too much about being politically correct. As well as a cast that can do these roles in their sleep, but while it might be casting for some of the cast, it’s about face for others and it allows them to show their range and it’s quite a good look. Is a film made for an adult audience in the action crime junkies will love.

No, of course, Matt, Damon, and Ben Affleck are the leads and get the best scenes dialogue in action, but the supporting cast does as well as as they can with what they are handed and truly do stand out.

The only problem I could foresee with this film is, if there was ever a sequel that mystery element that worked here won’t work out so well in the next film, but you could see ongoing films with this crew and their adventures and what they have to go through, but it’s fine also as just a standalone film

Grade: B- 

EANIE MEENIE (2025)

 

Written & Directed By: Shawn Simmons 

Cinematography: Tim Ives 

Editor: Chris Patterson and Dirk Westervelt

Cast: Samara Weaving, Karl Glusman, Andy Garcia, Steve Zahn, Marshawn Lynch, Jermaine Fowler, Mike O’Malley, Randall Park, Chris Bauer

A reformed teenage getaway driver is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend.

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This film comes so close, but no cigar as it does play out like an Elmore Leonard story or novel. As it has the gritty details, the quirky characters and the down on their luck protagonist.

It also has a story that is set in the underworld of crime and a high story that doesn’t overreach and make it seem like this is the score of the century or will set everyone up for life but more just a simple heist that will help all involved get out of previous trouble and be financially lucrative .

Even though it is mainly a crime story, it does take its time to be a character piece for the main character played by Samara weaving and explain her character’s choices, upbringing, and mentality, which helps, especially when she is essentially in love with a screwup 

The film has a great cast, but that is the problem while the quirky supporting character shine. We don’t really ever get enough time with them to learn maybe how they tick or just to enjoy them in general. It’s longer than blink and you miss them, but still not quite enough 

Even Marshawn Lynch, who is usually comedic gold in movies here has the chance to create such an iconic character, and while he does, what is necessary, his impact isn’t felt the way that it should nor strong as it should. It feels here more like he scripted rather than where his strength is an improv. 

Samara weaving as the lead is more of the straight woman, whereas she surrounded by all these crazy quirky characters so she lies at the heart of the film, and obviously the protagonist were rooting for .

The film stays surprising throughout as well as engaging with a surprisingly strong and down, tried ending of sorts, though it feels like there’s something missing to push it quite over the top to passable. 

As it is a film, that is entertaining enough, but not quite not worthy to play with the others in its genre. It comes across his lightweight, even though it does have some heavy material. Maybe it’s just because of the story that it tells you want it to be stronger.

Even with it quirky characters it’s surprisingly violent and hard hitting, but it still doesn’t quite make it to Mark

As the film does have the juice and the ingredients and even the recipe, but the taste isn’t quite uproot or tastes fine but not quite special as you had hoped. No matter how it tries. 

Grade: C