Author: crunchonthis

Popcorn Perspectives with Danny Minton

Week of November 17, 2025

Wicked For Good
Rated PG for some suggestive material, action/violence, and thematic material
Rotten Tomatoes Score: 71%
In Theaters
Last year, many of the early viewers of Wicked were stunned to learn that the movie they were watching and enjoying was only the first act. Now, a year later, the second act and finale to the musical is hitting theaters, just in time for Thanksgiving. There is very little exposition in the beginning and the movie jumps straight into the fray with Elphaba wishing to take on The Wizard and her best friend Glinda wishing to play both sides to improve her own ambitions. This installment also focusses largely on the Wizard of Oz tie in as Dorothy is introduced as a weapon to stop Elphaba, and her travel companions are each created and introduced (big surprise – we already knew them) and the war against the witches commences. There seemed to be a spin on the film designed to be relevant to today’s politics, but it is subtle enough to be a friendly discussion point for movie nerds rather than an in-your-face liberal slant. As you would expect, the songs you know from the stage musical are all very-well produced here and pack a much-needed emotional punch. They did throw in a couple new songs, which I could have done without. Which leads me to my only problem with this project. I firmly believe they could have done this in one three-hour film rather than two projects. They’ll obviously make more money this way, but it would have been a much better, and possibly Oscar-winning movie, had they done it that way. Wicked For Good isn’t strong enough to compete for the big awards and might only have a chance for actress awards that might focus on the entire scope of the project, rather than the individual film on its own merits. But there was enough fat to trim here to make it a viable contender, if done as one, much longer film. But then again, dollars matter much more than art, and this film stands as living proof. A-

Rental Family
Rated PG-13 for some strong language, thematic elements, and suggestive material
Rotten Tomatoes Score: 91%
In Theaters
Brendan Frasier (The Whale) plays an actor living in Tokyo, who discovers unusual work for a “rental family” company, who rents him out to become a part of people’s inner circles. As he begins to intertwine himself into their lives, the lines between reality and acting are blurred, bonding him in a special way to the individuals he is hired to befriend and help. There’s a lot to like in this drama, from its quiet comedic turns to its tear-inducing emotional heft. Sure it’s a bit sappy, and in that way a little manipulative, but you really don’t mind as you try to empathize with not only Fraser’s character, but also with the lives of the people he is employed into as well. And Fraser is quite perfect for this role. His size makes him stand out in his environment (quite literally) and his expressive face that poses confusion combined with compassion, lends itself nicely to the part. Sometimes the movie goes a little too deep into distraction, such as his boss’s personal life, in order to make more sense of the employer, and sometimes the drama seems a little forced, but when Fraser is with his pretend daughter and his pretend old man friend, you feel like there is an adventure waiting to be had that not only pays the bills, but is also satisfying for the soul. Overall, I found the movie to be a touching and enjoyable experience that struck a chord similar to what I felt after watching Lost in Translation years ago. B+

Popcorn Perspectives with Danny Minton

Week of November 10, 2025

The Perfect Neighbor
Rated R for language
Rotten Tomatoes Score: 99%
Streaming on Netflix
This documentary hit Netflix a month ago, but somehow it slipped past my purview until this week when it won five Critics Choice Documentary Awards, including Best Documentary, so I had to immediately turn it on to find out what the hubbub was about. This jaw-dropping piece of non-fiction follows a neighborhood in Florida which is full of kids who love to play outside, as kids do. But one old white woman does not like it, and she is constantly calling the cops to come out and stop it. Most of the film consists of body cam footage from the local police, who do their best to intercede and keep the peace. From the very beginning, you know that something bad is going to happen, and you spend the first hour in anxiety and anticipation for whatever event will play out. And it is horrible. The film will hit you like a brick over the head as you watch the actions of a deplorable, racist old woman acting in ways that would make you ashamed to be associated with her or her beliefs in any way. The movie also explores and exposes the dangers in Florida’s Stand-Your-Ground law that allows a lot of racist and horrific violence to go unpunished in our country. While movies can make me tear up at times, this one is bound to have you reaching for the tissue continually as it breaks your heart into pieces. It is extremely well put together, and the evidence is displayed as fairly and un-biased as you can get in a case like this. It also gives you a special degree of confidence in local law enforcement, who do all the right things, even if they couldn’t prevent such an event from taking place. A

Popcorn Perspectives with Danny Minton

Week of November 3, 2025

Predator: Badlands
Rated PG-13 for strong sci-fi violence
Rotten Tomatoes Score: 90%
In Theaters
In 2022, director Dan Trachtenberg and writer Patrick Aison gave us a surprise, straight-to-streaming hit Prey, which pitted the predator alien against a young Comanche heroin in 1700’s America. This was enough for 20th Century to hand them the keys to the Predator kingdom, giving us this new film that leaves humans largely out of the equation. The movie starts out as two Predator brothers, called Yautja here, take part in an epic fight, which seems to be an everyday occurrence with this race. The youngest, and also the runt of the family, has been set for culling, but manages to escape for his right of passage where he must bring back one of the most deadly creatures in the universe or face certain execution. Landing on a planet where everything is out to kill you, he befriends a synthetic (Elle Fanning) from the Weyland-Yutani Corporation (Alien crossover for those in the know), who helps him stay alive and possibly obtain his trophy. But when he discovers that Weyland-Yutani is after the same prize, he must face a battle on two fronts in order to take his place in the Youtja clan. From the very onset, this becomes an extremely different Predator film. You will find yourself familiar enough with the franchise, but the story quickly endears you to an alien species who has always been determined to be the villain. But this killer with a heart of gold earns his stripes quickly and gives you something to cheer for early on, making the film that much more entertaining in the process. And because there are no actual humans, but rather dozens of synthetics, the violence only garners a PG-13 rating, since it is apparently okay to kill robots that look like humans without getting an R. There is a lot of creativity to be found here, and maybe even a better story then you might expect. It is definitely a film geared towards teens, but then again, I was a teen when I saw the original Predator, and much could be considered the same then. With solid pacing and some nice surprises, the movie should be a crowd-pleaser, if it can gain traction at the box-office. I also like what they are doing the Alien/Predator universe, which is much more subtle than Marvel’s hero crossovers, at least for now. Tying the film loosely to Alien: Earth is a smart move and many in the audience won’t even connect the dots unless they’ve seen the hit TV show beforehand. B

Frankenstein
Rated R for grisly images and bloody violence
Rotten Tomatoes Score: 86%
Streaming on Netflix
From the mind of filmmaker Guillermo del Toro comes this new vision of Mary Shelly’s classic novel starring Oscar Isaac as the disturbed inventor of a creature, played here by Jacob Elordi, who is put together from parts of other deceased humans. Through the last century, there have been many retellings of this haunted cautionary tale, but none has ever been as exquisite as this one. With true artistry in every frame, fantastic performances by the very talented cast, and a beautiful score by Oscar-winning composer Alexandre Desplat, the movie is a stunning motion picture that will certainly be in contention for awards in the next coming months. While I’m sure it will be entertaining for home viewers, I was more than happy seeing it in theaters, and hopefully those who want that experience might still be able to for a short time more. A

Popcorn Perspectives with Danny Minton

Week of October 27, 2025

A House of Dynamite
Rated R for language
Rotten Tomatoes Score: 78%
Streaming on Netflix
This fall, Netflix will be releasing many high-profile films in their attempt to take home some trophies, and the first is this intellectual thriller directed by Oscar-winner Kathryn Bigelow (The Hurt Locker). The story begins as a military installation notices a ballistic missile is headed toward Chicago and the steps are put into place to try to stop it. When that fails, the players involved struggle with what to do next. The movie basically plays over and over again, with a viewpoint of the different parts of government as they react to the situation. So you are seeing the same scenario play out in repetition until the third act, where we witness the actions of the most important individual in this drama: the President. It’s a thoughtful film filled with deep and disturbing questions about what to do, how to do it and what does failure mean. The film has a stellar cast of actors, including Idris Elba, Rebecca Ferguson, Jared Harris, Tracy Letts, Anthony Ramos and others, all of whom play small but important roles in an impressive collaboration. What I didn’t care for was the story structure, which leaves much to the imagination and is a little bit of let down at the end. I much preferred when the same scenario played out in episode eight on the streaming show Paradise earlier this year on Amazon Prime. While some might say that the questions laid before us in this movie were more important than the answers, I prefer the resolution of Paradise’s story, even if the acting and production aren’t nearly as impressive. B

Nuremberg
Rated PG-13 for the Holocaust, some language, violent content, smoking, brief drug content, strong disturbing images, and suicide
Roten Tomatoes Score: 67%
In Theaters
Shortly after WWII, the Nazis in charge made attempts to escape Germany to get to safety. Many of them were captured, most notably Hermann Göring (Russell Crowe) who was put on trial for his crimes against humanity. This film follows the capture, imprisonment and psychological analysis that occurred, leading up to one of the most famous trials of the last century. Rami Malek plays the psychologist Douglas Kelley who tried to get into the prisoners’ heads to get enough information to convict. The cast also features Michael Shannon, Richard Grant, John Slattery and Colin Hanks as soldiers desperate to seek justice against some of the worst evil this world has ever seen. As for the story, I was glad to see it and appreciated putting an image to what was formerly just something I briefly studied in college. You really can’t beat this cast with two Oscar winners and two more Oscar nominees. Unfortunately, James Vanderbilt couldn’t pull off a win here. I have no doubt he wanted to serve the story, but his vision for the project was unimpressive at best. The same screenplay directed by Stephen Spielberg or Frank Darabont would have been spectacular, and perhaps even award-winning. But here we get a movie that will be in and out of theaters in a week and maybe end up watched only by classrooms and history aficionados form here on. B-

Popcorn Perspectives with Danny Minton

Week of October 20, 2025

Mussolini: Son of the Century
Rotten Tomatoes Score: 95%
Streaming on MUBI
Italian with English Subtitles
One of my favorite directors, Joe Wright (Pride & Prejudice) created this this controversial yet stunning series that did well in Europe but had troubles getting a release in the states. The highly stylistic series follows the Italian fascist leader Benito Mussolini (Luca Marinelli) from his entry into government to the moment where he begins to assume control over the Italian people. Told over eight episodes, the drama attempts to show what kind of man can have this effect on his people, but also shows how fairly easy it is for evil people to win over their citizens when the conditions are ripe for change, especially when times are volatile and challenging for the average person. Apparently, the show was met with a lot of controversy, largely because Mussolini was presented here as being so largely charismatic. But historically, charisma explains a lot when looking at the people who blindly follow him. What becomes very obvious, very quickly is that the show tries to draw comparisons to modern day strongmen, and in particular our current administration. Much of the show, in a less than subtle manner, tries to demonstrate that there is a playbook that our sitting president follows along with in lock step. At one moment, Marinelli breaks the fourth wall (something that he does frequently) in order to tell the camera “Make Italy Great Again.” This is something that will obviously hit a lot of people the wrong way. Personally, I feel the comparisons are real and fairly made here, and our current situation only lacks the violence Mussolini showed towards his adversaries and enemies. The biggest surprise is where the show landed, on the MUBI streaming channel. With this kind of pedigree and the stellar reviews, you would think that the show would be the series du jour on a streamer like HBO or Paramount, but at least now with MUBI we get an option to finally see it, uncensored. While the cast might not be known here in the US, it is an incredible group of actors, many of whom get their chance to shine throughout the series. But what is most impressive is Joe Wright’s visionary directing, which is violent, playful and thoughtful in equal measure. I just hope a big enough audience will be able to check this one out, and possibly give the filmmakers the ability to take on several more seasons as Mussolini’s journey is only beginning when this series ends. A

Popcorn Perspectives with Danny Minton

Week of October 6, 2025

Kiss of the Spider Woman
Rated R for language, some violence, and sexual content
Rotten Tomatoes Score: 83%
In Theaters
From Chicago director Bill Condon, and based on the Tony-award winning Broadway show from Kander and Ebb, comes this story about two cell mates in an Argentinian prison who develop a close relationship during the politically-charged “Dirty War” period in the late 70’s and early 80’s. Diego Luna plays a political prisoner named Valentin, who is on the verge of losing hope when he is joined by gay window dresser named Molina, played by newcomer Tonatiuh, who has been charged with “corrupting a minor.” The relationship has a rocky start, but Molina slowly breaks the ice by telling Valentin about his favorite movie star, played by Jennifer Lopez, whose frivolous movie reenactments begin to fascinate and entertain Valentin. This has always been one of my favorite Broadway musicals, which had me super excited about a big screen adaptation. The songs are beautiful, the drama is riveting, the story is relevant to today’s political climate, and its darkness is nicely lightened up by its spirit. As he did in Chicago, Condon chose to put the songs in a context where the actors aren’t simply breaking out into a tune, but rather everything is in its proper place. Here, that means the songs are held to mostly the scenes of the movie being described, with both Molina and Valentin taking over as characters in the story. This is fine, and it works in the moment, but so many fantastic songs had to be cut because of this since they chose to not have the actual prisoners sing. This leads to the film taking a completely different direction than the staged performance, turning more into a gay romance than a fantasy and political examination within a prison drama. In this context, Lopez is absolutely perfect in the role and could receive some award recognition over the next coming months. Unfortunately, while their acting is really strong, neither Luna nor Tonatiuh have the voices needed for their roles, which at times becomes distracting. While I can appreciate the changes, I think the end result isn’t nearly as strong as it could have been had they went in a direction closer to the source material. So, my recommendation comes with a warning. Know what you are getting into here. This is not a film for all audiences and will even find some walking out or squirming uncomfortable in their seats. It is way more “Brokeback Mountain” and way less “Chicago.” This will probably limit its box office potential, but its authenticity, unique subject and style could propel its awards chances. B

Popcorn Perspectives with Danny Minton

Week of September 22, 2025

One Battle After Another
Rated R for pervasive language, drug use, sexual content and violence
Rotten Tomatoes Score: 98%
In Theaters
Filmmaker Paul Thomas Anderson (Boogie Nights, There Will Be Blood) brings us this riveting action film starring Leonardo DiCaprio as a left-wing revolutionary who, along with his team, see some success raising havoc in their younger days. But when the law comes after them hard, he goes into hiding, along with his newborn daughter from his estranged girlfriend in the group, hoping to never be found again. But sixteen years later, he finds the law hot on his trail again, led by the man that put an end to his group in the first place (Sean Penn). If we know one thing about Paul Thomas Anderson, it’s that his mind thinks differently, and his plots tend to be very complex, and many times with a perverse sense of humor. Those features are on full display here. From the opening moments of the film, where the domestic terrorist group is raiding an ICE facility, he starts to set up an intricate storyline that you won’t see coming, but that will have you glued to your seat while you try to figure it out. And when I say glued, I really mean it here. There are moments of such tension that you feel like you are attached to your seat as if you were wrapped in cellophane, unable to move until that tension is finally released. But then there is the comedy, largely delivered by DiCaprio and his daughter’s Sensei, played by Benicio del Toro, who create one uncomfortable laugh after another as they attempt to escape the wrath of a man who is hot on their trail. The talented cast doesn’t end there though. There are so many interesting characters, each with their own little stories, that give this film a world of color, like a chaotic Christmas tree. And along with his long-time collaborator Jonny Greenwood (of Radiohead) providing the music, the movie’s nuttiness is a feast for the senses as you try to figure out where the adventure is taking you. It will be interesting to see how the film resonates with audiences, as the subject matter is maybe too relevant to the moment. Even as I am writing this, there was an attack at an ICE facility in Dallas that we are just learning about. All of this could play in to how this film will be received in its theatrical release. But regardless of its timeliness (or accidental lack thereof), the film is truly excellent, and should be a favorite when it comes to potential awards over the next several months. A

Popcorn Perspectives with Danny Minton

Week of September 8, 2025

The Long Walk
Rated R for pervasive language, grisly images, sexual references, strong bloody violence and suicide
Rotten Tomatoes Score: 96%
In Theaters
For three decades, filmmakers have been trying to bring Stephen King’s 1979 novel to the big screen. From George Romero to Frank Darabont and other talented directors, the rights were acquired and then later expired. Enter Hunger Games director Francis Lawrence (he directed all but the first) who was finally able to pull off what so many before him couldn’t. The story takes place in a dystopian America after a war has left most of the country in a state of economic depression controlled by an authoritarian regime (much like in The Hunger Games). Once a year, 50 young men vie to compete in a walk where the winner takes home glory and riches and is granted one wish. Everyone else dies. There is no finish line in this walk to the death, and if you fall below 3 miles per hour, you get three warnings before a soldier punches your ticket. It’s a brutal ordeal as you can imagine, filled with gripping drama, incredible dialog, a fantastic young group of actors, and gut-wrenching violence. Leading the cast are Cooper Hoffman (Licorice Pizza) and David Jonsson (Alien: Romulus) who start out strangers only to become best of friends as they struggle through their journey. But the rest of the fairly unknown cast proves equally as impressive, giving the audience the sense that they are witnessing a movie like The Outsiders or Goonies, where pretty much every cast member has the potential to be our next generation of A-listers. And the adults aren’t bad either with Mark Hamill as The Major and Judy Greer in her heartbreaking role of the mother who can’t do anything to help her son with his path which has less than ideal chances of survival. The timing of this film couldn’t be more relevant as our current political climate is more oppressive and ominous than hopeful and it’s easy to see a dark future if we don’t course correct. Overall, I was duly impressed with this adaptation and am so pleased that they knocked it out of the park. A

The Baltimorons
Rated R for language
Rotten Tomatoes Score: 98%
In Theaters
This film festival favorite stars Michael Stassner as a former stand-up comedian who is trying to make something out of his life after a failed suicide attempt and a severe struggle with alcohol. When he chips a tooth while going to a Christmas party, he finds a much older female dentist (Liz Larsen) willing to see him on a holiday, and through a crazy path of twists and obstacles, manages to begin a relationship with her. Written and directed by Jay Duplass, this is a great little indie romantic comedy that takes you on a surprise journey that you don’t see coming and one which you are okay with just riding along to check out where it goes. The relatively unknown cast gives us believable and strong performances, and the night turns out to be rather enjoyable as we watch two lost souls find themselves and each other, in one unconventional turn after another. B

Popcorn Perspectives with Danny Minton

Week of September 1, 2025

The Conjuring: Last Rites
Rated R for terror, and bloody/violent content
Rotten Tomatoes Score: None at the time of writing
In Theaters
In this fourth and final chapter of the Ed and Lorraine Warren saga, Ed (Patrick Wilson) and Lorraine (Vera Farmiga) are happily retired, giving a lecture here and there, but convinced that they are done forever with investigating paranormal activity. But when they discover a link between a family being terrorized in Pittsburgh and their daughter, they find themselves compelled to jump back into the fray to face a demon that would officially end up being their final fight. For over a decade, this franchise and its spinoffs have had some hits and misses, but for the most part, the actual series featuring the Warrens have managed to be some of the scariest movies I can recall. Based on real cases the Warrens investigated through the years, the stories are that much more frightening due to their authenticity. While the third film didn’t really cut it for me, director Michael Chaves was given a second chance at bat here, and it really pays off. So many horror films nowadays rely on jump scares to get their audience worked up, but this one is filled with slow, chill-inducing frights that last nearly the entire length of the film. There’s relatively little gore, but there is a lot to be afraid of here. Much of this could have been solved if the characters would just learn to turn on a light switch, but where would be the fun in that? One of the things that is most creepy is the fantastic lighting where you can almost see the figure looking back at you, but it’s just dark enough that they are mostly hidden. I find their use of this trick to be masterful here and I laughed many times during the tension relief caused by a light finally destroying the darkness. I’ve been fascinated with the Warrens’ work for years, and am convinced that what they did was real and not a gimmick to build a career. Since the first film came out in 2013, Wilson and Farmiga have given us carefully thought-out characters, handled with respect in regards to their real-life inspirations. And while I’m sure the films are highly embellished versions of the actual events, I’m very satisfied with what they’ve done here, and I really enjoyed having the living crap scared out of me again. A-

Popcorn Perspectives with Danny Minton

Week of August 25, 2025

Caught Stealing
Rated R for strong violent content, brief drug use, some sexuality/nudity and pervasive language
Rotten Tomatoes Score: 81% at time of writing
In theaters
From writer/director Darren Aronofsky (The Wrestler, Requiem for a Dream), comes this crime dramedy about a young bartender (Austin Butler) in New York City who once had a shot of becoming an MLB star until a car wreck ruined his knee. One day as is coming home, his neighbor (Matt Smith) asks him to watch his cat while he heads to London to look after his dad who just had a stroke. In the litter box, he finds a hidden key that apparently a lot of people want their hands on. All is good until first a team of Russians come to look for the neighbor and instead almost beat our hero to death. To make matters more complicated, a team of Jewish assassins (Lieb Schreiber and Vincent D’Onofrio) come looking for the key also. The two worst movie weekends of the year, traditionally, are Labor Day weekend and Super Bowl weekend. If you see a film opening on one of those days, it is likely a stinker and not worth your time. But this is also a self-fulfilling prophecy as every once in a while, a film surprises you. While this is not a great film, it is way better than a Labor Day film. Fresh off directing literally the biggest movie of all time (Postcard from Earth at the Sphere in Las Vegas), Aronofsky keeps changing his style and tone from project to project. This one has a Guy Ritchie/Coen Brothers feel that should make audiences happy if that’s what they are expecting. It’s at times really funny, sometimes scary, all with a heavy dose of action and disturbing violence. The cast, for the most part, is solid, especially Butler, Smith, Schreiber and D’Onofrio. I did find Regina King rather distracting and out of place, but for the most part, the characters were fun and frightening at the same time. I did find some of the writing to be a little lazy and confusing, especially the major plot hole of the key being found in a rubber poop in the litter box. There was a good chance that if he didn’t find it, he might have accidentally thrown it in the trash with the scoop. But I digress. Overall, it’s an entertaining crime thriller with a great cast and some memorable moments. B