​"Red One" stars Dwayne Johnson, Chris Evans, Lucy Liu, and J. K. Simmons.  Released on November 15, 2024, the film has a head commander teaming up with a bounty hunter to rescue Santa Claus.

The film is directed by Jake Kasdan, who also directed films such as "Zero Effect", "Bad Teacher", "Sex Tape", and "Jumanji: Welcome to the Jungle".  Santa Claus certainly has his hands full regarding the Christmas season.  I'm not just talking about preparing to deliver countless gifts to all the good little boys and girls.  It's also a matter of ensuring that nothing bad happens to good old Saint Nicholas a few days before Christmas.  Thank goodness we got The Rock to help out with that.  We always tend to celebrate Christmas early even though Thanksgiving is just around the corner, whether by setting up the decorations ahead of schedule or watching holiday-related movies.  This year is no different, with Hollywood bringing us another Christmas film that'll likely become our new holiday tradition.  Although, this one seems more action-packed than down-to-earth and light-hearted like one of those after-school holiday television specials.  This latest action-adventure blockbuster has Dwayne Johnson and director Jake Kasdan going from tackling a video game-esque jungle adventure to exploring holiday mythologies in modern times.  With its packed cast and refreshing concept, does it deliver another gift that keeps on giving or make us wish we got a lump of coal for Christmas instead?  Let's head to the North Pole and find out.

The story follows Callum Drift (Johnson), the head commander of the North Pole security team known as the E.L.F.  They're tasked with protecting Santa Claus (Simmons) from any harm as they make the final preparations for Christmas.  Does that include him falling off the roof like in "The Santa Clause"?  However, on the night before Christmas, Callum discovers that Santa has been kidnapped by a mysterious enemy seeking to steal his magic and cancel Christmas for good.  As requested by Zoe Harlow (Liu), the director of a multilateral military organization, Callum reluctantly teams up with Jack O'Malley (Evans), a hacker and bounty hunter from the real world responsible for Santa's capture and is anything but nice.  Callum and Jack must put aside their differences to rescue Santa and save Christmas from permanent cancellation. 

It's unsurprising that whenever Dwayne Johnson is involved in a project, it's an immediate must-see for me.  Regardless of the quality, it's hard to ignore that his charisma has a knack for getting people in their seats.  "Red One" is no different, as he teams up with former Captain America Chris Evans to save Christmas, a bizarre yet intriguing concept that could go in either direction.  But, knowing me, the phrase "Dwayne Johnson saving Christmas" was enough to continue celebrating the holidays earlier than expected.  Of course, as much as I respect Johnson for his commercial appeal and my love for Christmas movies, I still have to find out whether this potential franchise starter has enough joy and merriness to make it a soon-to-be holiday tradition.

If there's one thing "Red One" should get props for, it's the world-building.  The film's rescue mission storyline provided a refreshing and impressively creative take on the holiday mythology lore, having a military organization maintaining the peace between humanity and the mythological creatures.  Of course, you also have a beefed-up Santa, a group of giant reindeer, a modern technological sleigh, and elves that resemble aliens.  Don't ask why.  Some of its world-building elements came from Callum's expositions, with Jack being the audience's perspective.  I always respect filmmakers who offer this sense of imagination and fun in these timeless holiday myths while honoring the spirit of these characters, with "Red One" being no exception.

However, despite its inventive world-building intentions, the critical factor is whether the execution of its direction and story can meet those expectations.  Well, you might as well put me on the naughty list right now because the movie's story didn't make a believer out of me.  With how innovative this modern-mythology combination turned out for this universe, it's a shame that it was overshadowed by the conventionality and mediocrity of its "joyful" plot.  "Red One" is another movie that cares less about being an Oscar-winning masterpiece and more about entertaining its audience.  I mean, why else would you bring Dwayne Johnson, Chris Evans, and J. K. Simmons on board to star in a Christmas blockbuster?  If you're hoping for this to be a groundbreaking sensation for the genre, then you're already setting yourself up to get a lump of coal this year.  However, if you prefer to watch Dwayne Johnson protecting Santa while battling evil snowmen and participating in a slapping contest with Krampus, this movie has that.  For the most part, the film can be idiotically fun with the right mindset.  It's just that everything else struggled to maintain this type of merriment for two hours straight to make it an unforgettable experience.

Thanks to the recent "Jumanji" movies, Jake Kasdan proved he could handle an action-adventure blockbuster with a refreshing twist outside his adult-rated comedies.  Was he a perfect director for these types of films?  Not really, but he had a few merits in his vision to deliver some jolliness into the humor and action.  So, I was a bit disappointed to see that Kasdan's direction for "Red One" failed to match the similar heights as the video game mishaps in "Jumanji".  It's certainly not as awful as "Sex Tape", as Kasdan did attempt to inject some holly jolly fun into its action sequences and heartfelt moments.  But when you take the charisma and comedy into consideration, Kasdan's direction weighed the film down, making me go from ho-ho-ho to ho-ho-oh-no.  I wouldn't say I was completely bored of the movie since it had a couple of chuckles from its unintentionally goofy moments.  However, as something that wants to be the next "Jumanji" in terms of its tone, the movie didn't have the proper qualities to accomplish this mission.

The screenplay was also one of the issues I had with "Red One".  The script was written by Chris Morgan, who's famous for his involvement with the "Fast & Furious" franchise, which Johnson was also involved in.  This collaboration makes sense since this film felt like an alternate universe where Luke Hobbs is rescuing Santa Claus instead of apprehending Dominic Toretto.  But regardless of how well these two worked together on the action-packed franchise, they couldn't crack the code for "Red One" story-wise.  The script follows the by-the-numbers mismatched-partners action comedy storyline we're familiar with but without the charisma and surprises backing it up.  Even most of the humor from the chemistry between Johnson and Evans didn't provide much perkiness in its deliverance and dialogue.  The only redeeming factor that gave its subpar and formulaic plot life was its themes involving finding the goodness within the naughty, mainly regarding Callum and Jack's personal issues.

As mentioned earlier, Dwayne Johnson usually has the charismatic touch needed to attract his audience, including me.  Sure, his performance in his filmography has the same type of personality: tough, skilled, commanding, and a big softie to boot.  However, he always finds a way to bring a smile to my face regardless of whether a movie he's in is good.  His role in "Red One" is no different, as his performance as Callum Drift was serviceable for his appeal and nothing else.  Chris Evans also did all right regarding his role as Jack O'Malley, but not enough to push him out of his post-MCU funk, which is again due to his lackluster chemistry with Johnson.  I wonder if having the polar bear agent, Garcia, voiced by Reinaldo Faberlle, join the duo would make a difference in their chemistry.  The only bright spots of the cast would be J. K. Simmons as Santa and even Kristofer Hivju as Krampus.  Unsurprisingly, Simmons delivered plenty of jolliness and spark into good old Saint Nicholas, which he's always done in his other recent roles.  Hivju was also a joy to watch, especially during the Krampusschlap sequence, and the prosthetic makeup worked incredibly well for the anti-Santa.

Finally, we have the film's visuals.  The visual effects were commendable for its world-building, including the North Pole, and the practical effects were pretty decent for some of the movie's mythological creatures.  However, when they're put into motion, that appeal wore off faster than Santa's hip new sleigh.  The CGI effects looked hideously muddled when combined with the dark lighting and the unnatural, fast-paced movements of the characters.  As a result, they made some of its action scenes appear either murky or unintentionally goofy.  However, I will admit that one of its scenes made me laugh due to how ridiculous the CGI looked when put into motion.

Overall, "Red One" is a big-budget Christmas blockbuster whose visual numbness and conventional shortcomings fail to add more merriness to its joyfully inventive concept.  With the right mindset, it can be a mildly amusing, family-friendly action-adventure packed with stockings of wonder and sentimental heart.  Unfortunately, those expecting anything beyond that would be treated with a hum-drum and fundamental piece of blockbuster commercialism that's anything but jolly.  I managed to find some enjoyment in its cast, action, and world-building, but that's about it.  Regarding Jake Kasdan's subpar direction, trope-heavy screenplay, and mediocre CGI effects, the film is a holiday cinematic gift that's best left inside Santa's sack.  While I may see this as another tolerable option to watch during the holiday tradition, I don't see it becoming the new Christmas classic worth being merry for.

​"The Best Christmas Pageant Ever" stars Judy Greer, Pete Holmes, Molly Belle Wright, Sebastian Billingsley-Rodriguez, Beatrice Schneider, and Lauren Graham.  Released on November 8, 2024, the film has a group of delinquent siblings joining a mother's local church pageant.

The film was directed by Dallas Jenkins, who also directed "What If…" and "The Resurrection of Gavin Stone".  He's also well-known for creating the Christian historical drama series, "The Chosen".  It is based on the 1972 children's novel by Barbara Robinson.  One of the best things about celebrating Christmas isn't the presents we receive or playing in the snow until we catch a cold.  It's about sharing hope and goodwill with those around us, including the ones who aren't nearly as merry.  Regarding what has been happening recently, we could all need some of that goodwill right about now.  So, why don't we grab some with another Christmas-themed movie that commemorates the true meaning of the holiday season: kids causing mayhem in a pageant?  Sounds like the snowy weather isn't the only thing Santa needs to watch out for this year.  This latest holiday drama from the Erwin Brothers shows what happens if you organize one of the most beloved Christmas stories of all time…and have some of the most unruly and inconsiderate groups of kids star in it.  Does this combination deliver what the title suggests, or does it deserve a lump of coal this year?  Let's find out.

The story centers on the Bradley family, consisting of mother Grace (Greer), father Bob (Holmes), and their two children Beth (Wright) and Charlie (Billingsley-Rodriguez).  They reside in a small town that's preparing for the upcoming Christmas pageant in their church, with Grace volunteering to direct the pageant.  However, the only obstacle standing in their way is the Herdmans, a group of six unruly siblings led by Imogene (Schneider) who have been causing nothing but trouble for the community.  Things get even more challenging when Grace allows the Herdmans to star in the pageant, causing the town to get even more skeptical, especially the church parents.  However, the Herdmans' involvement gave them an unexpected opportunity to show everyone the true meaning of the pageant's timeless Christmas tale.  

I rarely talk about faith-based dramas when most of them were heavy-handed in their messages and schmaltzy in their melodramas.  I know they're everyone's cup of tea regarding escaping from the negativity of the outside world.  However, most of them seemed to have focused too much on appealing to that one crowd, and it wound up impressing almost no one.  But thanks to my experience with "Ordinary Angels", another drama produced by the Erwin Brothers, I realized that these films could be good if they only focus on the storytelling and heart and worry less about the preachiness.  That alone gave me some confidence to see if "The Best Christmas Pageant Ever" could match the similar heights as "Ordinary Angels".  I also wanted to wait until I found the day to watch it with my mother because she's always into these types of movies, and I don't blame her.  Regardless of the quality, she loves films that deliver positive energy and welfare amid troubling times.

Long story short, my mother really enjoyed this movie, as I expected.  But the question I should be asking is, what do I think of this unruly tradition?  Well, let's say I'm certainly on the same page as her.  "The Best Christmas Pageant Ever" is far from the best regarding the catalog of holiday-themed family movies, but it had enough wholesomeness and holiday spirit in its narrative and direction to spread some Christmas cheer.  "Christmas Pageant" is a straightforward and nuanced tale of a mother striving to put on a church play that everyone will remember for years to come.  Of course, this is mainly due to the Herdmans participating in the play and spreading nothing but unruly chaos.  With this type of plot and its PG rating, most people would assume it would be another family-friendly comedy filled with wacky shenanigans and cheap jokes aimed at the youngest demographic.  You know, because kids love seeing characters their age smoke cigarettes.  However, that wasn't the case.

Instead of falling victim to targeting only the youngest demographic with its cheap quality, director Dallas Jenkins went for a more genuine and lighthearted approach to the topic.  As a result, "Christmas Pageant" felt more like a holiday experience made for families than just another throwaway children's flick.  Plus, it's got enough religious aspects to attract the church-going group as well.  As far as storytelling goes, the movie can be predictable with its screenplay, and some of its thematic material was underutilized, especially the Herdmans.  However, what held this pageant together was the amount of sweetness and humor it delivered for its tone and messages.  "Christmas Pageant" represents the true spirit of Christmas, which is sharing what matters most with everyone.  While the Herdmans were indeed bad seeds, most of the population, especially the church group, were pretty much worse for judging them based on their actions instead of welcoming them in the church community.  In a way, it's like a modern representation of the Nativity, focusing on the act of giving.

I only remember Dallas Jenkins from his involvement in "The Chosen", which has been quite popular with its target audience.  I haven't watched the show myself because I was concerned about not getting the appeal as much as everyone else, but I am happy they're enjoying it regardless.  With him helming "Christmas Pageant", I wondered whether his faithful vision would provide some merits in its cinematic quality.  After watching it, I was pretty impressed with what he delivered in his direction.  As mentioned earlier, Dallas Jenkins wanted to provide a more authentic approach to the family-friendly storyline instead of resorting to kid-centered humor.  The result is as heavenly as an angel.  While the pacing and tame moments may turn off younger kids, it had the proper mixture of heartfelt drama and genuine charm to delight its target audience, including me.  Plus, its narrative has a few nostalgic vibes that will remind those of a specific Christmas classic they grew up watching.  You'll know what I mean when you watch it yourself.

The cast, including Judy Greer as Grace Bradley, also did well in their roles.  Greer certainly had a vibe in her acting that was full of charm and heart, but she was also not afraid to express her character's internal concerns through her facial expressions.  She may look happy on the outside when she's attempting to keep the pageant together, but sometimes, it looks like she is close to ending it all, and I do not blame her.  Pete Holmes also had a few good moments regarding his performance as Bob despite me thinking he almost looks like Ed Helms.  I also thought Molly Belle Wright did pretty well as Beth, Grace's daughter who was just as concerned about the Herdmans as everyone else.  As for Beatrice Schneider as Imogene, the young actress certainly had the talent to showcase the character's tough personality with a seemingly soft spot.

Overall, "The Best Christmas Pageant Ever" is a sincere and suitably spiritual piece of holiday entertainment that decks the halls with a pure soul and mindful warmth.  While its predictability and tame thematic elements might not make everyone embrace the Christmas spirit, its ability to blend wholesome messages with an entertaining and endearing story shines as bright as the star shining down on baby Jesus.  The cast was good in their roles, the plot was straightforward yet heartfelt, and Dallas Jenkins' direction was solid for blending comedy and faith-based drama together without resorting to cheap shortcuts.  Considering how poorly his previous movies had received in terms of the reviews, this is a well-deserved win for the "Chosen" creator regarding his filmography.  It's also another suitable win for the Erwin Brothers, who have been keeping their track record going with their decent lineup of faith-based content.  If you're in the mood for a feel-good Christmas movie filled with laughs and tears, this film is another decent option to choose this holiday season.

​“Anora” stars Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, and Aleksei Serebryakov.  Released on October 18, 2024, the film chronicles the beleaguered marriage between a stripper and a Russian oligarch’s son.

The film was written and directed by Sean Baker, who also directed films such as “Four Letter Words”, “Starlet”, “The Florida Project”, and “Red Rocket”.  There’s nothing like a good love story to warm our hearts amid the forty-degree weather and negative press.  Of course, I am talking about the multiple romance films that have been appearing on Netflix or the Hallmark Channel, mainly the ones that occur during the holidays.  I’m not joking.  Look up what’s coming out on Netflix this month, and you’ll see how many copy-and-paste holiday romance selections are released weekly.  There is a thing as too much love, you know.  But, on some occasions, we’re in the mood for a different type of love story that’s sexier than your typical romantic endeavor.  This is one of those occasions, with writer/director Sean Baker returning to prove that there’s more soul to his filmography than their alluring appearances.  Does his latest feature film show that romance and sex can go hand in hand with the storytelling, or are we better off watching another cookie-cutter romance at home?  Let’s find out.

The story follows Anora “Ani” Mikheeva (Madison), a young stripper making a living in Brighton Beach, a Russian-speaking neighborhood in Brooklyn.  As the only stripper who speaks Russian, Ani is introduced to Ivan “Vanya” Zakharov (Eydelshteyn), the immature and dissolute son of a wealthy oligarch Nikolai Zakharov (Serebryakov).  Ivan is currently in America to study but prefers to party and play video games until the dawning light.  That is until sparks begin to fly when he hires Ani as his personal sex worker and pays her to pose as his girlfriend.  This led to them eloping during their trip to Las Vegas.  However, this also catches the attention of Ivan’s wealthy family, who threaten to tear their beleaguered marriage apart.

“The Florida Project” was my first exposure to Sean Baker as a filmmaker.  While I didn’t see it in the theater when it was first released in 2017, I did give it a shot when it was on Prime Video.  All I can say is that it was an interesting slice-of-life experience that’s also creative in his colorful vision and humane in his storytelling.  Not only that, but it also reflected Baker’s passion for showcasing some of the lesser-known groups of the everlasting population, including immigrants and sex workers.  While some of his works may sound a bit “inappropriate” regarding their concepts involving sex workers, they’re actually more genuine and grounded in their plots and craftsmanship than just two hours of people doing the “business” for money.  This was one of the reasons I was eager to check out “Anora”, which features a sex worker facing some relationship drama while performing sex acts for cash.  Another reason is Mikey Madison, whose main role has garnered plenty of awards buzz since the film’s premiere at Cannes.

It took me this long to talk about “Anora” because I was waiting for some of my favorite theaters to receive it during its wider theatrical release.  Sadly, it didn’t appear at the cinema closest to me, so I went to the one that’s a little bit farther since it usually plays specific indie movies first.  So, after all of that, was it actually worth the travel?  Yes.  Yes, it was.  “Anora” was one of the films I expected to like, but not as much as the critics.  One reason is its runtime, which is close to two hours and 20 minutes long.  Regarding its concept and the protagonist being a sex worker, I was a bit concerned that it would leave me feeling drained from all of its prolonged sexual encounters amid the dialogue-driven drama.  Another reason is that the story has that Romeo and Juliet/Meet the Parents vibe that would’ve had the disadvantage of falling into familiar territory.  However, upon watching its first act, I gradually began to understand the erotic and dynamic appeal of the film.  However, the stuff after the first act made it surprisingly better than I had anticipated.

“Anora” is a beefy yet highly invigorating and sexy love story that’s chock full of talent, comedy, and surprisingly heartbreak.  Sean Baker blended these three elements seamlessly to create a refreshing and genuinely energetic perspective of a sham relationship.  The first act is a typical but enthusiastic boy-meets-girl scenario with a spicy and seductive twist involving a stripper falling in love with a young Russian adult who’s more childish than responsible.  If R-rated sex isn’t your thing, then I’m unsure if you would handle the first hour because there’s plenty of love-making happening underneath that romance.  However, if you manage to stomach your way through the first act, you’ll be rewarded with a consistently fierce and screwball road trip that’s also surprisingly hilarious.  The remaining runtime is why I adored “Anora” and the story beats that took a more realistic and poignant approach to the topic.

As mentioned earlier, Sean Baker has a knack for showcasing the marginalized groups of the population and their everyday struggles with life’s problems amid their working-class status.  For movies like “Anora”, Sean Baker doesn’t dehumanize the prostitutes in his stories.  Instead, he provided a mixture of spiciness and humanity in their sex-driven protagonists facing the harsh and cruel values of life.  In the case of “Anora”, Ani finds her love questioned by Ivan’s actions and wealthy family, who would stop at nothing to arrange the annulment between the two.  That makes the movie more than just two hours and 20 minutes of shameless soft porn.  It’s a representation of a doomed love caused by the characters’ inappropriate and impulsive actions.  Baker’s screenplay delivered a bold approach to the topic that may not bode well for general audiences.  However, it’s also gratifying regarding its dialogue and characters because of its depiction of Ani as a human being who hopes to be genuinely loved.  As for his direction and editing, Baker had a balance of old-fashioned, subtlety, and eccentricity that made every sequence pop like a balloon, which helped keep the pace chugging smoothly despite its runtime.  It’s lengthy but doesn’t feel very lengthy due to Baker’s ability to inject pizzazz and soul into the sexy relationship and its gut-punching climax.

Mikey Madison is another actress who started gaining traction after her appearance in “Once Upon a Time in Hollywood” as a follower of the Manson family.  Following her recent role in 2022’s “Scream”, she now took center stage as a sex worker experiencing both love and heartache.  This role is making Madison a household name this year, similar to Margaret Qualley in “The Substance”.  I guess leaving the Charles Manson Family behind really can make a massive difference.  Based on my experience, I believe she deserves every praise she’s gotten.  Madison was undoubtedly alluring as Ani, but her nuanced humanity and striking edge made her performance impeccable.  She would definitely make for a possible contender at this year’s awards race.  Mark Eydelshteyn was also terrific as Ivan, whose irresponsible persona matches the actor’s authentic talent.  However, the biggest surprise has to be Ivan’s godfather, Toros (Karagulian), and the henchmen, Igor (Borisov) and Garnick (Tovmasyan).  The actors playing these characters were entertaining in their performances and surprisingly amusing without being altered into live-action cartoons.

Overall, “Anora” is a genuinely striking and consistently entertaining anti-love story whose bold narrative and talents match its traditional allure.  It’s seductive and wild to a fault, but not to the point of being distasteful or even sappy.  Underneath this sexy fantasy lies a well-crafted and smartly written outlook of an impulsive affection that’s impossible to keep together.  Mikey Madison delivered her career-best performance as Ani, and Toros and the henchmen were excellent supporting characters that worked wonders with the film’s subtle yet effective comedy.  More importantly, it further showcased Sean Baker as a worthwhile storyteller whose voice speaks for the humanity of marginalized working-class people through his eye-popping direction, screenplay, and editing.  It’s one of the movies I didn’t expect to love as much as the critics, but somehow managed to surpass that expectation easily.  This is among the best movies of 2024 that’s worth checking out if you’re a fan of Baker’s previous works.

"Elevation" stars Anthony Mackie, Morena Baccarin, Maddie Hasson, and Tony Goldwyn.  Released on November 8, 2024, the film has a father and two women venturing to save his son's life.
​
The film was directed by George Nolfi, who also directed "The Adjustment Bureau", "Birth of the Dragon", and "The Banker".  They say that the only way to go is up, but what if I told you that that isn't always the case?  In specific cases like this, the only way to live a brighter future is down.  By that, I mean down to the sea of lesser-known content releasing in theaters this weekend.  Aside from another horror movie that's been receiving rave reviews, this weekend is packed with smaller pieces of counter-programming to distract specific audiences until the holiday season.  One of them is the post-apocalyptic action thriller that sees the Falcon and Deadpool's girlfriend surviving against the creatures who are apparently not very good with heights.  Was the movie thrilling enough to make audiences want to travel down to see it, or were they safe on top of the mountainside?  Let's find out. 

The story follows a single father (Mackie) and his son (Danny Boyd Jr.).  They're some of the survivors residing on the mountaintop sanctuary three years after a group of mysterious creatures invade Earth.  However, the creatures couldn't travel past 8,000 feet for some reason.  When his son starts getting sick, the father must muster up the courage to venture beyond the safety of his home to retrieve supplies of oxygen for him.  Along with the scientist (Baccarin) and his trustworthy ally Katie (Hasson), he faces the impossible odds to ensure humanity's future. 

I first heard about this movie through its trailer, which I've seen a couple of times.  From the concept alone, it looked like something that would have gone straight to streaming but was released in theaters instead.  I guess we're in one of those moments when cinemas just decide to release whatever obscure counter-programming they want amid their sea of upcoming blockbusters.  However, its cast, including Anthony Mackie, and my thirst for sci-fi action were enough to make me consider my interest.  I was considering waiting to watch it until the weekend or until it was released on a streaming service, but my participation in the mystery movie showing made that choice for me.  At first, I thought I would be treated with "A Real Pain" earlier in advance, but instead, it was a small piece of counter-programming that's like "A Quiet Place" but with aliens that are scared of heights.  All I can say about this experience is that I wish it was "A Real Pain" instead.

"Elevation" has the makings of a riveting yet straightforward sci-fi thriller filled with nail-biting tension and alien action.  Unfortunately, the generic execution and mediocre writing failed to elevate beyond those ideas.  As a result, it became a surprisingly underwhelming and thrill-free post-apocalyptic expedition whose excitement went down as fast as the characters going down the mountain.  Upon further research, I realized that this is the second film I watched that was helmed by George Nolfi, with the first being 2016's "Birth of the Dragon".  Considering my displeasure from that Bruce Lee movie, this explains a lot.  I know that he also made two movies whose reviews were more generous than "Birth of the Dragon", but I didn't have enough interest to watch them.  At least, not yet.

That's not to say that George Nolfi didn't have some intention of making this concept work.  He's one of the filmmakers who tend to blend specific genres and touch light on philosophical and humane topics.  In "Elevation," the story blends post-apocalyptic action with deep human drama. Mackie's character, a father, is haunted by the tragic death of his wife while caring for his sick son. Meanwhile, Baccarin portrays a scientist desperately trying to discover the creatures' weaknesses, but her efforts endanger those around her. Ultimately, the film explores how the characters confront their tragic pasts to fight for a better future, all while facing the looming threat of these unknown creatures.  Nolfi certainly knows how to envision his outdoor sceneries and drama through its cinematography and scope, which I should credit him for.  However, regarding everything else, his genre blend lacked a much larger oomph in its thrills and emotion to coincide with this scale.  It certainly has a couple of action scenes that caught my attention, including the drone shot in its third act.  Sadly, they're constantly plagued by the lack of memorable characters and subpar scares to make them exciting or even terrifying.

The movie has an R rating, so surely I would be in for a violent and gory treat, right?  Well, not exactly.  It's R-rated, but it's only for language, despite the fact it has alien creatures that hunt people who travel below the intended elevation.  Of course, a post-apocalyptic thriller like this can work without any blood and guts spewing everywhere.  It's just a matter of handling the tension, frights, and mystery surrounding the unexplainable without someone shooting a gun at it.  Unfortunately, George Nolfi struggled to heighten any of these three elements, leaving me with one of the tamest and occasionally blandest R-rated films I've seen in my life.  The screenplay by John Glenn, Kenny Ryan, and Jacob Roman was also overshadowed by its formulaic genre elements, weak dialogue, and ideas that were either poorly executed or annoyingly absurd.  The prime example for the latter was its twist ending, which focused too much on teasing a sequel that'll likely never happen instead of providing a memorable story surrounding its themes.

The film did have a couple of merits that kept me from heading back up to the top, with one of them being the cast.  While they're far from spectacular, they at least made an effort to carry this 90-minute voyage with their performances.  Anthony Mackie stepped out of the Marvel comfort zone in favor of portraying a grieving father determined to rescue his son, and the result was decent at best.  I have been enjoying Mackie in some of the Marvel Cinematic Universe projects he's in, and I can't wait to see his take on Captain America in the upcoming sequel.  Still, regardless of the quality, his role in "Elevation" makes me want to see more of him outside that superhero franchise.  Morena Baccarin, who's also a part of Marvel due to her role as Vanessa in the "Deadpool" movies, also attempted to make her name outside the brand, and I thought she did all right as well.  Maddie Hasson was also an okay addition to the cast, even though her dialogue was a bit iffy regarding her attempt at humor.  As for the visual effects, I can only say that they're decent in bringing the lackluster creatures to life, and that's pretty much it.

Overall, "Elevation" fails to elevate beyond its generic premise and genre formula to stand out from the post-apocalyptic action crowd.  It certainly has the ingredients to make its straightforward sci-fi adventure worthwhile, especially with a pair of Marvel actors leading the charge.  Sadly, when combined with forgettable action scenes and lackluster drama, all I got was an unfulfilling dish of sci-fi mediocrity and tension-free absurdity.  With its subpar direction, bland thrills, straightforward screenplay, and a twist ending that's more sequel-baiting than rewarding, the film is better off staying above 8,000 feet where it belongs.  If you're still interested in watching it regardless, you're better off waiting until it's available to stream for free.  Otherwise, it's not worth journeying downward for.

​"Heretic" stars Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, and Elle Young.  Released on November 8, 2024, the film has two Mormon missionaries encountering a shocking secret from an Englishman.

The film is written and directed by Scott Beck and Bryan Woods, who also directed "Impulse", "Nightlight", "Haunt", and "65".  They also wrote "A Quiet Place" and 2023's "The Boogeyman".  Many of us have our share of religious beliefs, with some more dedicated to them than others.  However, there are some occasions when we are forced to question those beliefs and even our way of life.  One of those occasions is going through a house of horrors that not even God can help us escape from.  While October is over and done with, that doesn't mean we can't have some terrifying fun anymore, with this latest horror thriller proving this theory further.  This film seeks to give audiences one final fright before we focus our attention on the real terror of the year: the holidays…and listening to Mariah Carey's "All I Want For Christmas" countless times.  Was the film able to capture the genuine terror of religious belief to convert its horror fans?  Let's find out. 

The story centers on Sister Barnes (Thatcher) and Sister Paxton (East).  They're Mormon missionaries of the Church of Jesus Christ of Latter-day Saints tasked with going door-to-door and converting people to Christianity.  Their latest stop is a house in the woods, where a reclusive Englishman named Mr. Reed (Grant) resides.  However, despite Reed's generosity and eagerness, Barnes and Paxton eventually discover that there's more to him than they thought he was.  His true self resulted in the Mormons being trapped inside the house, and the only way to leave was to partake in a challenge set by Reed to test their beliefs.  Barnes and Paxton are now caught in a cat-and-mouse game as they attempt to prove their faith and learn more about Reed's true intentions. 

While I haven't watched as much religion-based content as everyone else, I often watch movies that combine holiness with unexplainable terror.  "Heretic" is unsurprisingly no different, as its trailer was enough to invoke my curiosity toward its mysterious and unsettling concept.  There's also the matter of the return of the filmmaking duo Scott Beck and Bryan Woods, who are looking to bounce back from their disastrously bland dinosaur thriller, "65".  Of course, that didn't overshadow the other frightening movies they're involved in, especially "A Quiet Place", my personal favorite from the duo, even though they only wrote the screenplay.  From the looks of its reviews, it sounded like their recent entry in the horror genre has already made audiences forgive them for fumbling a cool concept like Adam Driver fighting dinosaurs.  But, as usual, what matters is what I thought of this piece of holy horror.  Well, I would say it suitably stands alongside the other great horror movies of 2024 that are effective in both storytelling and horrifying chills.

"Heretic" is a brain-teasing and engrossingly unsettling roller coaster whose frights don't just come from the cast themselves but also its themes.  The film deals with the ideologies and beliefs of a person's religious path, mainly Barnes and Paxton, who are on the path of Christianity.  However, they find their faith tested when Mr. Reed claims to have discovered the "true" religion.  Instead of going for cheap jump scares or a shocking big finale like most conventional horror films have, Scott Beck and Bryan Woods went for a more subtle and philosophical approach to the topic and its horror elements, including the claustrophobic atmosphere.  This direction might not work for everyone, especially when the first act takes a bit to get to the heart of the plot.  However, in my eyes, this is another sublime example of using dialogue and discomforting aura to evoke terror and doubt.  Outside of a couple of solid scares, "Heretic" knew exactly how to get inside my skin without resorting to supernatural or violent shortcuts.

This is the second film I have watched that was directed by Beck and Woods, following "65", and I have to tell you.  After the first few minutes, I immediately knew their vision worked much better here than in "65".  Yes, the first act can be a bit draggy before the real mind games begin, but it wasn't to the point of being boring despite being an hour and 50 minutes long.  Within its tightly-sewn plot, the dialogue-driven scenes between Reed and the Mormons resemble a social gathering regarding the build-up.  It may seem harmless at first, but then you start to reconsider attending because of the discomforting and darkly humorous topics it brings up as it progresses.  But, I didn't leave right away because of how engaged I was in the conversations.  That's pretty much my way of describing the plot in "Heretic": a seemingly innocent gathering slowly becoming an unsettling religious nightmare.  Regarding their direction and screenplay, Beck and Woods delivered a subdued yet consistently tense reflection of the horrors behind religious ideology whose craft matches the duo's storytelling.  Despite liking their script for "A Quiet Place" more, I think Beck and Woods should be blessed with what they came up with for "Heretic".

Regarding the technical aspects, the clear winner has to be the cinematography, which worked wonders in capturing the immersion and dismay of its claustrophobic and darkly lit backgrounds.  The cinematographer behind these impressive wide-angle and panning shots was Chung Chung-hoon, a name you might be familiar with from other movies I reviewed like "It", "Last Night in Soho", and even "Wonka".  Regardless of the product's quality, I would still credit the guy for delivering this kind of immersion in his cinematography.  This was backed up by Justin Li's editing, which suitably resembles the film's brain-teasing sequences, and Chris Bacon's musical score.

Of course, it wasn't just the story's subdued frights that kept me engaged and even slightly uncomfortable.  It was also Hugh Grant, who is still a sublime actor worth remembering by audiences and critics, especially since he's well-known for his charming and romantic roles.  However, his against-type roles also play a huge part in his successful career, including those that are action-packed, dramatic, and family-friendly.  "Heretic" sees Grant take on a villainous and demented role in the horror genre as a man seeking to prove his findings through disturbing methods.  Undoubtedly, Hugh Grant's performance was the highlight of the movie, combining the actor's usual charismatic energy with Mr. Reed's unsettling persona to craft another brilliant against-type showcase for the actor that earns God's blessing.  He was fantastic in the role.  The film was Sophie Thatcher's latest collaboration with Scott Beck and Bryan Woods following "The Boogeyman" last year.  She was also terrific as Sister Barnes.  I was also really impressed with Chloe East, known for playing Monica Sherwood in "The Fabelmans", regarding her haunting performance as Sister Paxton.

Overall, "Heretic" preaches to the holy horror gods with a brilliant and genuinely unnerving display of religious terror and superb talent.  Its subdued approach to the concept from Beck and Woods may not convert those looking for something wild and shockingly violent in its storytelling, especially when the first act takes a while to get to the cat-and-mouse game of belief.  However, I'm one of the people who admired it for its ability to evoke something mindful in its themes instead of using narrative shortcuts for shock value.  Hugh Grant delivered another rewarding against-type performance that balances humor with discomfort, and the two young actresses were terrific with their own acting talents.  There's also Scott Beck and Bryan Woods, whose direction and screenplay effectively examine its reverent topics in an uncomfortable and philosophical light.  Those elements, along with the craftsmanship, make "Heretic" another praise-worthy addition to my favorite horror movies of 2024.  I will certainly recommend this film to those who want a last-minute dose of terror before the holiday season arrives to scare them.