Starring: Benicio Del Toro, Mia Threapleton and Michael Cera
Directed by: Wes Anderson
Rated: PG-13
Running Time: 105 minutes
Focus Features

Our Score: 3.5 out of 5 Stars

Since “The Grand Budapest Hotel” in 2014, Wes Anderson fans have been chasing that perfectly symmetrical high—the kind of quirky, charming brilliance that only Anderson seems capable of. But we may have to admit: that was the peak. It’s been a decade, and while he’s delivered solid work since, nothing has quite reached the heights of “Budapest.” That said, “The Phoenician Scheme” is still a strong entry in his catalog. It hits all the Anderson notes, even if it doesn’t sing quite as sweetly.

Imagine if “The Royal Tenenbaums” had a baby with “Beirut,” and you’d get something close to The Phoenician Scheme. It plays like a living political cartoon—satirizing war-driven infrastructure plans, economic collapse, and family dysfunction with pastel flair. Zsa-Zsa Korda (Benicio Del Toro) is an aging industrialist trying to glue together the financing for his overreaching global project, while grooming his daughter, Sister Liesl (Mia Threapleton), to inherit the chaos. Along for the ride are assassination attempts, underworld syndicates, failed rail lines, a basketball game with geopolitical stakes, and Bjørn (Michael Cera), a bewildered, yet suspicious entomologist turned assistant.

For die-hard Anderson fans, this might sound like a dream. But it’s worth tempering expectations. While I enjoyed “The Phoenician Scheme” quite a bit, it never quite rises to the level of Anderson’s best. It flirts with emotional depth but can’t seem to commit. Zsa-Zsa feels more like a mustachioed “Three Stooges” character than the kind of tragic antihero Anderson has pulled off in the past.

As a pure comedy, though, the film is a delight. It’s a whirlwind of dry wit, elaborate sets, and eccentric characters firing on all cylinders. Just don’t expect the emotional gut punch of “Budapest” or “Tenenbaums.” “The Phoenician Scheme” is Anderson comfort food—odd, satisfying, and occasionally unforgettable. Maybe that’s enough.

Sam J. Jones is known best for his role in the 1980 action hero film FLASH GORDON. The film has been inspiring fans for 45 years. He also has over 75 films and numerous television shows to his credit. Other than FLASH GORDON, Sam has THE SPIRIT, THE HIGHWAYMAN, SG-1’s The Bounty Hunter and his memorable comedic performances in TED and TED 2. As an Actor-Producer for 47 years and a Marine for 53 years (once a Marine always a Marine), Sam brings a rare and unique quality to the film industry, as well as to the public speaking circuit, or as Sam would say “To the human condition circuit”.

Media Mikes had a chance to chat with Sam J. Jones about his upcoming appearance at the Tampa Bay Comic Convention, which happens on August 1-3, 2025 in Tampa Bay, FL and also 45th anniversary of the film and the 90th anniversary of the character Flash Gordon.

Here is our first interview with Sam dating back to August 2013!!!

GIBSON
LAUNCHES GLOBAL SEARCH FOR MISSING GUITAR FROM THE ICONIC UNIVERSAL PICTURES AND AMBLIN ENTERTAINMENT FILM
‘BACK TO THE FUTURE’

HUNT UNDERWAY FOR THE CHERRY RED GIBSON ES-345 GUITAR PLAYED BY MICHAEL J. FOX
THAT DISAPPEARED FROM THE FILM 40 YEARS AGO

‘LOST TO THE FUTURE’
NEW DOCUMENTARY FILM BEGINS PRODUCTION

Gibson, the iconic and leading instrument brand, has launched a global search for the world-renowned Cherry Red Gibson ES-345™ guitar that Michael J. Fox played in the 1985 hit film from Universal Pictures and Amblin Entertainment, BACK TO THE FUTURE, which became the biggest film of 1985 in the U.S. and the second highest-grossing worldwide.

The stunning guitar was showcased during the beloved film’s unforgettable “Enchantment Under the Sea” school dance scene, a pop culture moment that has inspired many musicians to pick up guitars for the very first time after witnessing the character of Marty McFly (Michael J. Fox) play the legendary song “Johnny B. Goode.” During the making of the 1989 sequel to the film, the filmmakers went to look for the guitar, and it was nowhere to be found. Now, music fans worldwide have the chance to help Gibson find the most important guitar in cinema history.

Fans who have any tips as to the whereabouts of the missing original Cherry Red Gibson ES-345 guitar that Michael J. Fox played in the film BACK TO THE FUTURE can contact Gibson via www.LostToTheFuture.com or call/text 1-855-345-1955.

Watch/share the call-to-action video for the global guitar search featuring Emmy winner Michael J. Fox and his fellow stars of BACK TO THE FUTURE, including Lea Thompson, Emmy® winner Christopher Lloyd, Harry Waters Jr., GRAMMY® winner and Academy® Award nominee Huey Lewis, and more https://youtu.be/m6RdBMtAgSA.

Released on July 3, 1985, BACK THE FUTURE scored an Academy Award® and three additional nominations and launched a franchise that would go on to earn almost $1 billion globally.

Directed by Oscar® winner Robert Zemeckis and written by Zemeckis and Oscar® nominee Bob Gale, BACK THE FUTURE was executive produced by three-time Academy Award® winner Steven Spielberg, eight-time Best Picture nominee Kathleen Kennedy and five-time Best Picture nominee Frank Marshall. The film was produced by Neil Canton and Bob Gale.

From the innovative storytelling and characters to the unforgettable guitar performance of the song “Johnny B. Goode,” the film has left an enduring impact on pop culture and remains one of the most beloved and culturally significant films of all time. The film continues to influence and inspire new generations of fans everywhere with its dynamic special effects, beloved characters, and innovative storytelling.

The discovery of what happened to the film’s Gibson ES-345 would add a critical chapter to the film’s cinematic history.

“Guitar has always been a big part of my life,” says Michael J. Fox. “When we talked about the ‘Enchantment Under The Sea’ scene in Back to the Future, I sat down with the cinematographer and choreographer and said I want to riff through all of my favorite guitarists, like doing Jimi Hendrix behind the head, Pete Townshend doing a windmill, and the Eddie (Van Halen) hammer thing, it was so cool that they were open to that, and we laid it all out there. I’m really happy with the scene because it was an expression of my love for guitar and all the great players. I didn’t realize the influence the scene had on people, John Mayer said, ‘I play guitar because of you,’ and Chris Martin said the same thing, and I am glad they took it further than I did, they went to the trouble of being really good players. I just love the guitar, and I love the movie.”

“Years ago, I was astonished to learn this beloved cinematic artifact had apparently disappeared into the space-time continuum,” says Bob Gale, co-creator/screenwriter/producer of BACK TO THE FUTURE. “Since we don’t have a functioning time machine, this effort is probably our best chance to solve a decades-long mystery.”

“This is one of the most exciting moments at Gibson for me,” says Cesar Gueikian, President & CEO of Gibson. “Back To The Future is one of the most important and significant movies of my life, and the ‘Enchantment Under the Sea’ school dance scene marked me musically in a profound way. Working with Michael J. Fox, Bob Gale and the rest of the Back To The Future team is a dream come true. I hope we find Marty’s Gibson ES-345! To everyone out there who is as passionate as I am about this iconic film, please help us find it!”

“I started searching for this guitar back in 2009 on my first day on the job at Norman’s Rare Guitars,” says Mark Agnesi, Director of Brand Experience at Gibson. “After 16 years of searching, I’m so excited to get the entire guitar community together to help find the guitar that made me, and so many other guitarists of my generation, want to learn to play.”

“Watching Michael J. Fox’s iconic performance of ‘Johnny B. Goode’ during the ‘Enchantment Under the Sea’ dance was a moment that struck a chord with an entire generation of kids, inspiring them to pick up a guitar for the very first time,” adds Todd Harapiak, Gibson Media Director. “Few moments in film have had such a lasting impact on musicians as this scene in Back to the Future, and we’re thrilled to embark on a journey to find this guitar that’s carried the legacy of film and rock history for nearly four decades.”

“This is the movie that made me want to be a filmmaker, and the scene that made me pick up a guitar for the first time,” says Doc Crotzer, Director of the upcoming documentary film LOST TO THE FUTURE. “As children of the ’80s, it is our duty to take fans of music, fans of the movie, and fans of true crime documentaries with us on this too-crazy-to-believe quest to find our generation’s Excalibur.”

In tandem with the worldwide hunt for the missing Gibson ES-345 and to further celebrate the 40th anniversary of BACK TO THE FUTURE this year, Gibson Films has now started production on a new documentary film titled LOST TO THE FUTURE.

The forthcoming documentary LOST TO THE FUTURE from Gibson Films will feature in-depth interviews with BACK TO THE FUTURE cast members Michael J. Fox, Lea Thompson, Christopher Lloyd, and Harry Waters Jr., musician Huey Lewis (“The Power of Love”), and the film’s co-creator/screenwriter/producer Bob Gale, as well as the world-renowned music superstars that have been inspired by the film over the decades. In the quest to find the elusive original Gibson ES-345 guitar, documentary Director Doc Crotzer (Roadhouse, Glee), alongside Mark Agnesi (Director of Brand Experience at Gibson), will guide viewers in the global hunt for this legendary instrument from long-forgotten film prop warehouses, fascinating vintage guitar shops, auction houses, and shadowy back alleys. The LOST TO THE FUTURE documentary will transport viewers back to 1985 to celebrate the music, culture, and defining moments of the era through a rich collection of archival photos, stories, film clips, and iconic songs.

LOST TO THE FUTURE is produced by Gibson Films and directed by Doc Crotzer.

Above: A close-up view of Michael J. Fox playing the iconic Gibson ES-345 during the “Enchantment Under the Sea” scene of the film BACK TO THE FUTURE. Today, Gibson and the filmmakers launched a worldwide hunt for the original Gibson ES-345 used in the film and announced the forthcoming documentary Lost To The Future.

• MISSION: IMPOSSIBLE – THE FINAL RECKONING
• Starring:  Tom Cruise, Hayley Atwell and Simon Pegg
• Directed by:  Christopher McQuarrie
• Rated:  PG 13
• Running time:  2 hrs 49 mins
• Paramount

Our score:  3 out of 5

It’s probably good that “Mission: Impossible—The Final Reckoning” acknowledges its predecessors. Co-writer and director Christopher McQuarrie loads the latest and reportedly final installment of the series with links to the previous films.

Nonetheless, it’s a lot to ask viewers to spend three hours following Ethan Hunt (Tom Cruise) and the Impossible Mission Force team resting on their laurels.

There are still some jaw dropping stunts, but the follow-up to “Mission: Impossible—Dead Reckoning Part One” has action scenes that play like outtakes or rough drafts of the scenes that worked in the previous movies. There are only so many times Cruise can hang from plane or other fast-moving vehicle.

Despite all the death defying moments in “Dead Reckoning,” a seemingly all-powerful artificial intelligence known as The Entity is still threatening humanity despite Ethan Hunt and company surviving time bombs and dangling train compartments. The Entity is worming its way into the nuclear arsenals of countries all over the world and doesn’t have qualms about destroying its flesh and blood creators.

It has even rejected its most fanatical disciple, Gabriel (Esai Morales), who now wants to use his insider knowledge to possibly control it. If he eventually takes over The Entity, the situation could potentially be worse than a nuclear wasteland.

The task is obviously bigger than Ethan himself can handle, so Benji Dunn (Simon Pegg), Paris (Pom Klementieff), Grace (Hayley Atwell) and Luther Stickwell (Ving Rhames) have to scramble behind the scenes while Ethan dashes, leaps, swims and hangs for dear life to prevent either enemy from gaining the upper hand.

With “Dead Reckoning,” McQuarrie was probably correct when he concluded that audiences would prefer watching Tom Cruise push his body (and his stunt doubles) to the limit than to figuring out the intricacies of artificial intelligence. He created just enough fresh obstacles for the IMF team to tackle to prevent viewers from wondering how conquering physical catastrophes can stop one that lives only online.

It took a lot of effort to fill three hours with stunts and Cruise’s trademark sprinting (in his early 60s, the actor might want to try out for the Olympics). One might feel inclined McQuarrie if he and co-writer Erik Jendresen have run out fresh ways to endanger their leading man.

In McQuarrie’s world, there seems to be a proliferation of time bombs, and the tension of seeing yet another countdown diminishes when Ethan and company discover yet another explosive with a digital fuse.

In a couple of sequences, McQuarrie cleverly switches between Ethan muscling his way past yet another impediment while Benji and company struggle to ensure that their teammate’s heroics won’t be for naught. This gives the new installment momentum it could have used when McQuarrie seems a little too content to follow the series template.

At times it seems as if McQuarrie was too eager to find ways to tie this chapter to its predecessors. The call backs are occasionally fun, but more thought seems to have gone into them than in the current tale.

Perhaps “The Final Reckoning” might have been more fun if McQuarrie and company had explored the logic behind The Entity and figured out how the IMF could potentially outsmart it. With two hackers on the squad and a thoughtful U.S. President (Angela Bassett) and the hair trigger General Sidney (Nick Offerman), one would think they’d create enough real ideas to combat their artificial foe.

McQuarrie won an Oscar for his head-twisting script for “The Usual Suspects,” so he could have taken a more cerebral approach and made a movie that still delivered thrills. Since “Jack Reacher,” he has shown a formidable eye for action scenes to go with his talent for word play. The exchanges between Bassett and Offerman demonstrate he hasn’t lost his dramatic chops, but it would have been nice if he had used them more frequently.

Watching Tom Cruise, who also produced the “M:I” series, dashing toward or from danger is usually fun, but with “The Final Reckoning,” he’s not dealing with a crisis worthy of his speed. Instead he seems be taking an unwarranted victory lap.

Overall, on a scale of zero to five, “Mission: Impossible – The FInal Reckoning” receives ★★★

• KARATE KID: LEGENDS
• Starring:  Jackie Chan, Ben Wang and Ralph Macchio
• Directed by:  Jonathan Entwistle
• Rated:  PG 13
• Running time:  1 hr 34 mins
• SONY/Columbia Pictures

Our score:  3 out of 5

A young boy becomes a fish out of water when he and his mother move to a new city.  There he is bullied and only being trained in martial arts can help him.  Sound familiar?  That’s the plot of the original “Karate Kid,” released in 1884.  It’s also the plot of the new “Karate Kid: Legends,” which plays like a cross between the familiar “Karate Kid” themed films mixed with a little “Best of the Best.”  The film is entertaining, but it’s very formulaic.

The film opens with a scene from “Karate Kid Part II,” with the wise Mr. Miyagi (Pat Morita) explain the secrets of his family’s karate to his student, Daniel Larusso (Macchio).  The scene is expanded to inform the audience that Miyagi-go karate is also based in kung-fu.

China.  Enter Mr. Han (Chan), the featured teacher in the 2010 version of “The Karate Kid” starring Jaden Smith.  These days Mr. Han runs a kung-fu academy and his prize student is Li (Wang).  Li’s mother, (Ming-Na Wen) is not happy that Li is doing, having lost a son in a fight years ago.  When Li and his mother move to New York City, mom believes LI’s fighting days are over.  As Sam Kinison used to ask, “Is she RIGHT?”

Familiar, with lots of foreshadowing, “Karate Kid: Legends” obviously hopes to ride the tails of the recently ended Netflix series “Cobra Kai.”  And while the story is easy to figure out, I can’t deny that the film is entertaining.  Li meets Mia (Sadie Stanley), a local girl who works in her father’s pizzeria.  He immediately pisses off Mia’s ex-boyfriend, who just happens to be the karate champion of the city.  And so on and so on.

What makes the film enjoyable is the cast.  Wang is both a skilled fighter and endearing young man.  When he’s referred to as the “Chinese Peter Parker,” you can imagine him in the part, bringing the same youthful feel to the role that Tom Holland has.  The supporting cast is strong as well.  Ms. Stanley plays Mia as tough but tender and Joshua Jackson, who plays Mia’s father, has certainly come a long way from “The Mighty Ducks.”  As the television commercials inform you, Ralph Macchio returns as Daniel Larusso though his role is just a little larger then a cameo.

The martial arts scenes are spectacularly done, with some amazing choreography.  Chan is 71 – Macchio is 63 – but they both move like they are in their prime.

Overall, the nostalgia of the previous films is a big drawing point for the film and it’s with those fond memories in the back of your head that “Karate Kid: Legends” excels.  Another plus, you don’t have to be familiar with the “Cobra Kai series to enjoy this film but if you are you’ll be rewarded for having done so.

While my 8-year-old grandson, Hudson, told me to write it’s “the greatest movie ever made,” on a scale of zero to five I’m giving “Karate Kid: Legends”  ★★★

2025 brings the 50^th Anniversary of the film Jaws, which was released on June 20, 1975.  The celebration will be felt from Hollywood to Martha’s Vineyard, where the film was shot.  In honor of the film’s milestone event, two new books will be released next month.

“FINATICS:  50 Years of Jaws,” will celebrate the iconic film’s influence on Pop Culture with in-depth looks at the films, television programs, books and magazines the film has inspired, as well as the recent attempts to bring the story of the film to the Broadway stage.

 Written by Media Mikes co-creator Michael A. Smith, and featuring a foreword by Academy Award winner Richard Dreyfuss, the book also highlights (50) fans (the “Finatics”) of the film from all over the world, including the United States, Great Britain, Serbia and Ukraine.

Packed with nearly 300 full color photographs, the book is a salute to the film as well as to the fans that have made Jaws the beloved classic it is. 

Also being released in June is the 50^th Anniversary Edition of Edith Blake’s 1975 book “On Location – On Martha’s Vineyard:  The Making of the Movie Jaws.”  The new edition will not only includes the original book but expanded and updated material written by Smith.  Also included are dozens of new photographs taken on the set of Jaws by Ms. Blake, a photographer for the local newspaper, in 1974 that have never previously been published.  Both books are being published by BearManor Media and will be available on Amazon.com and other book outlets.   

• MISSION:IMPOSSIBLE – THE FINAL RECKONING
• Starring:  Tom Cruise, Hayley Atwell and Simon Pegg
• Directed by:  Christopher McQuarrie
• Rated:  PG 13
• Running time:  2 hrs 49 mins
• Paramount

 Our score:  4.5 out of 5

I wonder how many of you remember the great stuntman Dar Robinson?  Robinson, along with Yakima Canut, Jean Coulter and the great Buster Keaton, who basically invented the concept, would make up the Mount Rushmore of stunt-workers, would do things no one else would even dare try.  If you’re seen the film “Sharky’s Machine,” you may remember the scene where a character doubled by Robinson went BACKWARDS out of a window of the Atlanta Hyatt Regency Hotel and, without a harness, fell 220 feet to the ground.  The year before, Robinson had jumped off the top of the CNN tower in Toronto.  I mention Mr. Robinson not only because of how he lived but sadly how he died.  While riding his motorcycle he accidentally hit the bike’s accelerator instead of the break and went off of a cliff.

Some well-known actors started their careers as stuntpeople, including Burt Reynolds, Jackie Chan and recent Oscar winner Michelle Yeoh.  Reversing that trend is Tom Cruise who, over the past four decades, has undertaken some of the most dangerous and jaw-dropping stunts ever captured on film, many of them while filming the “Mission: Impossible” film series.  And he tops them all in the latest chapter, “Final Reckoning.”

It’s been two years since we last met Ethan Hunt (Cruise) in “M:I – Dead Reckoning Part One.”  But in “film-time,” it’s only been a month.  Hunt is still on the trail of the mysterious Gabriel (Esai Morales), who has stolen a key needed to stop an A.I. type entity called, well, the Entity, from destroying the world as we know it by taking control of the nuclear arsenals of the world’s biggest superpowers.  Don’t believe me?  You could make a drinking game out of how many times “the fate of the world” is mentioned in this film.

Hunt attempts to assemble his usual team – Grace (Atwell), Benji (Pegg) and Luther (Ving Rhames) who, despite their best intentions, continue to run into lies, deceit and double-crosses.  Will Ethan and his team succeed?  After all, “the fate of the world” hangs in the balance.

Jam-packed with action, “M:I – The Final Reckoning” actually opens with a montage of Ethan Hunts greatest hits, showcasing some of the amazing adventures from the previous films in the series.  Cruise, who in my opinion may be the last great movie star, once again commands the screen and his dedication to his work, both on-screen and behind it, shows.  In this age of loud movies full of action and explosions just for the sake of being loud and having explosions, Cruise and his co-stars stand out.  There is actually an emotional element in this film that many action films lack.

The various set-pieces are skillfully directed by Christopher McQuarrie, who has not only co-written and directed the last four films in this series but has worked with Cruise on many other projects, including “Jaeck Reacher” and “Top Gun: Maverick”  He also wrote the brilliant Oscar winning script for “The Usual Suspects.”  He fills the screen with action and makes sure that the audience senses every punch, every gunshot, ever drop of adrenaline.

If the film has one drawback it may be the length.  Like “Dead Reckoning – Part One,” this film is nearly three hours long.  Many of the action scenes are extended and I don’t think the film would have suffered with a little more trimming.

That being said, this film is ana amazing way to kick the summer off with a bang!  I definitely recommend that you accept this mission.

On a scale of zero to five, “Mission: Impossible – The Final Reckoning” receives ★★★★ ½  

NEW DOCUMENTARY ‘THE BALLAD OF JUDAS PRIEST’ IN PRODUCTION FROM SONY MUSIC VISION

Film Co-Directed by Sam Dunn and Rage Against the Machine’s Tom Morello

Produced by Emmy and Peabody-Winning Banger Films

Photo Credit: Andy ‘Elvis’ McGovern

Sony Music Vision, in association with Sony Music Entertainment UK and Epic Records, today announced the production of The Ballad of Judas Priest, a new documentary about legendary GRAMMY-winning English heavy metal band Judas Priest and their epic journey to the top of rock and roll.

Co-directed by documentary filmmaker Sam Dunn and Rage Against the Machine’s Tom Morello in his directorial debut, the documentary will celebrate the legendary band’s lasting impact on music and culture with their influence reaching far beyond metal. Featuring unforgettable anthems and pop culture staples like “Breaking the Law” and “You’ve Got Another Thing Coming,” The Ballad of Judas Priest will capture the passion, resilience and enduring legacy of a band whose music and story continue to inspire generations.

Rising from humble, working-class roots in Birmingham, UK, to become global rock legends, Judas Priest didn’t just help shape heavy metal culture – they forged it. Widely credited as being one of the pioneers of the Heavy Metal genre in the 1970s, Judas Priest has sold more than 50 million records and released 19 studio albums for their legion of dedicated fans around the world. In 2022, they were inducted into the Rock and Roll Hall of Fame. With their 2024 album “Invincible Shield,” the band became the first heavy metal band to release studio albums 50 years apart. The album drew widespread acclaim, receiving a GRAMMY nomination for Best Metal Performance. This fall, they will be joined by Alice Cooper for a co-headlining tour across 22 North American cities.

Judas Priest said, “We have lived and breathed metal for over five decades, and finally in this documentary we are summoning our congregation to officially witness our lives uncensored, in a never-before-seen way…the cassock comes off, revealing Priest in all its metal glory!”

“While some may know Judas Priest for their huge hits that have shaped the heavy metal genre, there is so much more to their story,” co-directors Morello and Dunn said. “Tracing their incredible 50-year journey, this film will capture how Judas Priest both defined the sound and look of metal, but also made it a more inclusive place along the way. We are grateful to the band for allowing us such intimate, unfiltered access to their lives and look forward to bringing this film to the metal masses around the world.”

The documentary is a production of Banger Films and directed by Sam Dunn and Tom Morello. Producers include Scot McFadyen and Sam Dunn. It is executive produced by Tom Morello, Rick Krim, Sheila Stepanek, and Jayne Andrews. Tom Mackay, Krista Wegener and Abby Davis serve as executive producers for Sony Music Vision. Sylvia Rhone is executive producer for Epic Records. The film is presented and distributed by Sony Music Vision.

A documentary celebrating the 40th anniversary of the cult classic “Jaws: The Revenge” 

ORLANDO, FL – May 8, 2025 — MediaMikes.com founder and film producer Mike Gencarelli is making waves with his latest project: a new film titled “Jaws Goes to the Bahamas – A Documentary”. The film will dive deep into the making, legacy, and cult following of the infamous 1987 sequel Jaws: The Revenge — one of the most talked-about entries in the iconic Jaws franchise.   

The documentary will explore the tropical shoot, behind-the-scenes experiences, and the surprising fanbase that has developed around the film over the years. Gencarelli, media entrepreneur and owner of production company, Voight-Kampff Productions, will direct and produce the project. 

“Jaws: The Revenge may not have redefined the blockbuster, but it’s a fascinating chapter in movie history,” said Gencarelli. “It’s bold, bizarre, and strangely beloved—and this time its personal (…again). Fans deserve it and what better time than its 40th anniversary”.  

“Jaws Goes to the Bahamas – A Documentary” will feature exclusive interviews with cast and crew, production stories from the Caribbean set, and commentary from film historians, fans, and critics. The project aims to celebrate the film’s unintended charm while exploring the challenges that shaped its troubled production and cult status.  

Production is currently underway, and the film is currently crowdfunding on Indiegogo, with a Summer 2027 release planned, timed to meet the 40^th anniversary of Jaws: The Revenge. 

For updates, follow them on Facebook and to support the project, visit JawsTheRevengeDoc.com. 

In 2012, a team of three saturation divers set to perform repairs on a manifold 300 feet below sea level, suffered an accident. One of them, Chris Lemons (Finn Cole), is separated from the rest of his team and must not only climb to the top of the manifold, using limited sources of light to find his way, but survive with limited oxygen reserves. The action cuts away between Chris’s struggle, running low on air, his two teammates Duncan and David (Woody Harrelson and Simu Liu) and their determination to get him back alive, and the support from the large vessel above sea level who coordinate the rescue effort.

Last Breath is a tense, fact-based thriller that harkens back to a kind of film we don’t see much anymore, embracing practical effects for the sake of realism. Before the incident, as the team of divers acclimate themselves to the depths through a pressurized chamber, we too ready ourselves with them in a series of sets that look real and inhabited. Last Breath wisely avoids flashy camerawork and overt stylistic choices in order to ground itself. We don’t need to suspend our disbelief, because what we’re seeing is a true-to-life reenactment.

For all technical aspects, Last Breath is an expertly made picture. The acting from everyone, particularly the three leads, is excellent. And the filmmaking itself needs to be shouted from the rooftops how incredible it is. Eschewing modern green-screening and CGI effects, the filmmakers instead opted for realism by filming the underwater sequences in large saltwater tanks, which makes a tremendous difference for the viewing audience to physically see the dangers of the depths of the ocean.

If I have a problem with Last Breath, however, and I do, it’s that the documentary-like dedication to capturing the facts of the incident and ensuing rescue comes across as cold and clinical. A documentary about this incident already exists (director Alex Parkinson co-directed the documentary), and a film like this can really only go so far as our involvement with the characters will allow us to go. While all three leads bring their A-game to the film, we never get to know any of them beyond superficial characterization. Last Breath isn’t quite the deep-sea equivalent of Apollo 13 but it is well-made, thrilling and has a few earned moments of pathos when the music swells to a triumphant crescendo.

Last Breath is far from a bad movie. It’s a very good movie. It just falls short of greatness, which is a shame, because it has so much working in its favor: A great story, excellent casting and a dedicated filmmaking technique that allows us, the viewer, to go underwater with them. At the end of the day, the movie is likely going to entertain the hell out of you, it’s just not the classic that it deserves to be.

VIDEO

Last Breath is presented in 1080p high-definition video for this release. While a 4K release with HDR grading would have been nice, I’m not sure the film needs it. It looks great without it. Last Breath has a rough-around-the-edges look to it that I think works well in its favor, which is not to say it looks bad, it simply has an unpolished look that helps enhance its documentary-like realism. There are two directors of photography listed, with Ian Seabrook appropriately responsible for underwater sequences and Nick Remy Matthews responsible for everything else. The underwater sequences are incredible, particularly a scene with Chris lighting his way to the top of a manifold using only an underwater flare to light his way, casting a monochromatic red like the depths of hell.

AUDIO

The 5.1 Dolby TrueHD surround mix on Last Breathdoes an incredible job simulating the claustrophobia of being 300 ft. underwater. Rear speaker activity is constant, yet subtle, with the muffled bubbling of water all around the listener. LFEs are at a near-constant level as the action shifts to the larger vessel above sea level, as waves crash against its hull or through the dull roar of its engine. In one of the film’s best sequences, the sound design shifts suddenly from active noise to total, deafened silence and cuts to black, simulating the isolation and fear that Chris must have felt when he was severed from the rest of his team.

Supplemental features are a little limited, but honestly for a movie that didn’t do great box office, and a brand-new release on disc, you can’t ask for much more. There’s an informative audio commentary from the filmmakers, a making-of featurette and even a gag reel, which is kind of funny considering how tense and serious the film is.

Even if Last Breath falls short of greatness, the skill and craft that went into its production, along with its dedication to realism and excellent performances from its cast, make it a must-see movie at least once. With awesome A/V stats and some fun supplements that dive into its production, even if it’s not something you need to own, I recommend this.

MOVIE ⭐️⭐️⭐️, PICTURE ⭐️⭐️⭐️⭐️, SOUND ⭐️⭐️⭐️⭐️, EXTRAS ⭐️⭐️⭐️

• WARFARE
• Starring:  Will Poulter and Cosmo Jarvis
• Directed by: Alex Garland and Ray Mendoza
• Rated: R
• Running time:  1 hr 35 mins
• A24

Director Samuel Fuller helmed “The Big Red One” and “The Steel Helmet” and also served in World War II. In the press book for the former movie, he observed that “To make a real war movie would be to fire at the audience from behind the screen.”

Without putting a viewer in actual danger, Alex Garland (“Ex Machina”) and Iraq War veteran Ray Mendoza capture what a tense and frightening 95 minutes in Mendoza’s life was like.

Except for a brief moment where the troops ogle young women in a rather vigorous workout tape, “Warfare” follows them as they take over a building for surveillance. They see lots of potential attackers, but a lot of they people they’re watching are simply trying to get on with their days. As false alarms keep ringing, it’s still a shock when a real grenade explodes in their midst.

They have taken casualties, but getting back to base is challenging now that the enemy have decided to stop waiting patiently. Hostile fire is coming from unexpected directions. Getting the team out of the lethal quagmire borders on being a suicide mission.

Shot and edited in what amounts to real time, “Warfare” drops a viewer into urban combat and the horror it entails. Every shot or explosion reverberates around the auditorium. The dialogue is loaded with military jargon, and when vehicles are six minutes from the scene, you could potentially set your watch accordingly.

During these moments, “Warfare” brims with tension, but Garland and Mendoza don’t do much to orient the audience into 2004 Iraq or explain the banter. The characters and their relationships are also sketchy. We don’t know who is in charge of whom or why occupying a building that seems to be an obvious target would be such a smart move.

The cast, which includes solid performers like Will Poulter (“Detroit”), but we barely learn anything about Poulter’s Eric or his life outside the war zone. D’Pharaoh Woon-A-Tai plays a character clearly based on Mendoza himself, but we barely get to know him or how he and his unit interact.

If we knew more about they guys in the unit, it would be easier to get involved with their struggles and to care if they survive. The situation is inherently compelling, but “Warfare” misses some of its potential because it loses its energy whenever the lethal fireworks stop.

The Iraqi family inside the building are a little better drawn than in earlier films on the War on Terror and its era. Unlike, say “Blackhawk Down,” Garland and Mendoza express concern over what happens to the residents once the occupying armies are gone. “Warfare” features a coda where one of Mendoza’s former comrades in arms visits the set. It’s one of the rare moments in the movie where emotions other than fear come into play. “Warfare” succeeds at immersing viewers in Mendoza’s tour of duty, but it might have had more impact if he and Garland had come up for air more often.

• THE AMATEUR
• Starring: Rami Malek, Laurence Fishburne
• Directed by: James Hawes
• Rating: PG-13
• Running Time: 2 hrs 2 mins
• 20th Century Studios

Our score:  2 out of 5

There is a saying that everything after Shakespeare is redundant. Perhaps, but originality coupled with creativity in the non-independent/foreign language film universe has become an endangered species. Major studios are quick to attach a number 2, or 3, or 4, etc. at the end of a title. Animated classics are being turned into live-action versions at every turn as part of a money grab. So, when the trailer images of the revenge crime thriller “The Amateur” first flickered across the silver screen at the movie theater, I could not help but be excited as it appeared to be something different. Maybe unique even if it was based upon the 1981 novel of the same name by American novelist Robert Littell. However, I found myself disappointed.

“The Amateur,” which was first adapted to the Canadian silver screen in 1981 starring John Savage and Christopher Plummer, comes across as amateurish. Directed by James Hawes (“One Life”), it is filled with more plot holes than a downtown side street after a season of winter plowing and salt spreading. Relationships are underdeveloped. Character motivations are sketchy at best. Some characters come and go without reason. The action is flimsy, and the suspense is near non-existent because you know from almost the get-go who the real bad guy is, which is partly due to casting an actor who typically plays villains.

In brief, because I don’t want to waste too much of your time, Charlie Heller (Oscar winner Rami Malek, “Bohemian Rhapsody”) is a brilliant CIA agent who works in its Decryption and Analysis division. One day, he receives encrypted files from an anonymous source. In those files is incriminating evidence that implicates CIA Deputy Director Alex Moore (Holt McCallany, “The Wrath of Man”) in acts that amount to treason. Soon thereafter, Charlie’s wife, Sarah (two-time Golden Globe winner Rachel Brosnahan, “The Marvelous Mrs. Maisel”) is killed in a bank robbery gone wrong in Europe.

Determined to go after the killers himself, Charlie blackmails Deputy Director Moore into letting him get training under no-nonsense Col. Robert Henderson (Oscar nominee Laurence Fishburne, “The Matrix”). However, it becomes clear to Col. Henderson that Charlie cannot handle a gun or even has the makeup to kill someone. In the meantime, Deputy Director Moore puts out an order for Col. Henderson to eliminate Charlie. The mistake they all make with Charlie is underestimating him as he sets out alone to Europe to track down those responsible for murdering his wife.

Director Hawes makes it clear that Charlie is haunted by the memory of his wife, but he never builds up their relationship enough to help us feel what he is going through. The lack of suspense as to who the real villain is adds to a sense of boredom while watching the film. Furthermore, the action and elaborate schemes of vengeance are less than thrilling. (I would recommend watching “Jason Bourne” or “Taken” instead.) Henderson’s motivations are all over the place and Jon Bernthal of “The Accountant” and “The Punisher” fame is completely wasted with a brief role that leaves you scratching your head over. Lastly, while Malek dove into his role, his performance is underwhelming. Disappointment is the best one-word description.

“The Amateur” receives ★★ out of five.

When best friends and roommates Dreux and Alyssa discover Alyssa’s boyfriend has blown their rent money, the duo finds themselves going to extremes in a race against the clock to avoid eviction and keep their friendship intact. It’s a downright shame how few comedies get a theatrical release these days. We’re far from the days of the Hughes or even Apatow era in terms of frequency, and it seems that when we do get them, they’re straight to streaming. Rising marketing costs have made it so studios only seem to want to take a gamble on low-budget horror or big-budget tentpole films based on a popular IP. So it’s nice to see an original comedy release in theaters as there’s nothing quite like laughing in a crowded auditorium. And if there’s one thing you’ll definitely get out of One of Them Days: it’s plenty of laughs. One of Them Days follows roommates Dreux and Alyssa as they struggle to come up with rent money after getting screwed over. Not wanting to be put out on the streets, they look to get enough money, all while their day gets more and more out of control. Hijinx ensue. Keke Palmer is much more subdued here than I’m used to and it really works. She’s the more level-headed of the pairing, but still eccentric enough to get plenty of laughs. You’d never know that this was SZA‘s first lead role as she’s a natural. She’s able to nail the comedic beats while never feeling out of place. Keke and SZA are far from being an odd couple, as they’re two peas in a pod, but they’re just different enough to be an interesting dynamic. A common pitfall for these comedies is to add more and more ludicrous stakes as the film goes along, getting to the point of absurdity. One of Them Days rides that line nicely, that just when you think it’s going to jump the shark, they manage to keep things relatively grounded. Don’t get me wrong, there’s still plenty of broad humor and unrealistic situations but the film manages to never get out of control. They steadily ramp up the stakes, introduce fun new characters, and never get too convoluted. And I lost track of the number of satisfying payoffs to even smaller moments; a mark of a great film. Writer Syreeta Singleton sure did her homework. Like any good comedy, One of Them Days has a fantastic supporting cast. Katt Williams, Lil Rel Howery, Keyla Monterroso Mejia, and Janelle Jamesall have standout moments. James and Meija, in particular, feel destined to break out as nearly every line they say gets a massive laugh. Maude Apatow also feels properly utilized as the white girl moving into the primarily black apartment complex. Her cluelessness may be a caricature to some, but I found it fitting for the type of hipster she’s meant to portray. I tend to be a tough sell when it comes to comedy and One of Them Days managed to really tickle my funny bone (also my fiancé). The laughs per minute were high, with several subtle jokes that are easy to miss. I’m excited for this to be on digital (included with the Blu Ray) to be able to see some of the gags I may have missed. It does what any great comedy does: blend comedy with emotional stakes for a fun time. Comedies are hard to review, as humor is so subjective, but I feel this manages to be satisfying even if you’re not a laugher. Like any good onscreen partnership, Keke and SZA are a blast to watch and make the running time fly by.

Picture was very pleasing. Blacks were deep and the colors (which were abundant) seem to leap off the screen. And this ain’t even 4K! Sound was impressive as this movie’s got much music! Bass lows were exceptionally low! Making the room shake. Not a whole lot of extras but enough to have an extra good time. There’s a gag reel with outtakes and bloopers. And a short that explores the music.

“One of Them Days” was a great time had by me and my fiancé. We both laughed a lot, which is all you need to expect from a comedy.

MOVIE ⭐️⭐️⭐️

PICTURE ⭐️⭐️⭐️⭐️

SOUND ⭐️⭐️⭐️⭐️

EXTRAS ⭐️⭐️

• THE ELECTRIC STATE
• Starring: Chris Pratt, Millie Bobby Brown
• Directed by: Anthony and Joe Russo
• Rating: PG-13
• Running Time: 2 hrs 5 mins
• Netflix

Our score: 1 out of 5

Let me state this clearly, there is nothing electrifying about the newish science fiction flick, “The Electric State”, now streaming on Netflix. Directed by brothers Anthony and Joe Russo, best known for helming 2018’s “Avengers: Infinity War” and 2019’s “Avengers: Endgame”, “The Electric State” fails to deliver on multiple levels. While visually it is fun to watch, the story is a discombobulated mess with dialogue that comes across as stilted and acting that is barely watchable. It is, in fact, so mediocre that it becomes forgettable. It’s also emblematic of what’s wrong with cinema today. Although it is based upon a 2018 science fiction novel by Swedish artist Simon Stalenhag, “The Electric State” comes across as a mish mash amalgamation of other sci-fi films like “I Robot”.

In brief, the story does a quick montage of past events to show us that in 1990, a war between humans and robots erupted after the latter, who had been used as slave labor for decades, began thinking for themselves. Protests by the robots led to conflict with humans on the losing side until Neurocaster Technology was created by CEO Ethan Skate (Stanley Tucci, “Captain America: The First Avenger”), which allowed humans to use stronger robots to defeat the other robots. Afterwards, the defeated, led by Mr. Peanut (voiced by Woody Harrelson, “Venom”), were all sent to a fortified exclusion zone in the desert.

Flash forward to the present where nearly everyone has become addicted to using Neurocasters, which means huge profits for Skate. Michelle Greene (Millie Bobby Brown, “Stranger Things”) struggles to make it through each day with the memory of her parents and brother dying in a car crash. However, when an old robot finds her, she learns that her younger brother is alive via a life support device developed by Skate that enables him to use her brother’s brain to keep his Neurocaster business going. Michelle ends up enlisting the help a former soldier (Chris Pratt, “Guardians of the Galaxy”) to rally the robots in the exclusion zone and bring down the villainous Skate and save her brother.

There is more to the story, of course, but it’s too painful to write about because it is just so bad. Well, maybe not as bad as the new “Snow White” movie, which had a worse score than “Human Centipede 2”. Anyway, “The Electric State” is another misfire for Brown after dismal “Damsel” flick while Pratt plays his character as if he is a slightly smarter Star Lord. The action sequences are boring, the story is predictable, and it lacks any real emotions. Someone should have pulled the plug on this project before it ever got off the ground.

“The Electric State” receives ★ out of five.

Starring: Nicolas Cage, Julian McMahon and Nic Cassim
Directed by: Lorcan Finnegan
Rated: R
Running Time: 103 minutes
Roadside Attractions

Our Score: 2.5 out of 5 Stars

It’ll be a sad day when an entire year passes without a new Nicolas Cage movie—whether it’s a trashy B-movie, an unexpected indie gem, or whatever random script manages to land on his doorstep. Even the bad Cage movies manage to warm my heart… sometimes like an impending heart attack. Enter “The Surfer,” where Cage plays a broker returning to his childhood town with two goals: buy a house and surf with his son.

Standing in his way? What can only be described as the town’s bullies on crack—both literally and metaphorically. Julian McMahon, channeling an Australian Andrew Tate, leads a ragtag gang of meatheads steeped in toxic masculinity. That’s trouble enough, but things escalate when it becomes clear the local police are tangled up in the same surfer bro cult, making life even more difficult for Cage as things spiral into violence and psychological warfare.

“The Surfer” loves toying with our perceptions. Is Cage truly living through this bizarre mess, or is it all in his head? The film merges meditative Cage with rage Cage, and while the combination is compelling at first, the movie loses steam by failing to commit to either mode. Some scenes hit with shocking, offbeat delight. Others feel like they’re straining under the weight of their own metaphors.

Without Cage, a film like “The Surfer” would be ridiculed for its ridiculousness. But Cage gives it a strange buoyancy, even as the runtime sags and the central theme starts to bludgeon the audience long after we’ve already “gotten it.” While I mildly enjoyed the experience, I’m not sure I’d ever watch The Surfer again—and that’s saying something. Because even when Cage stars in a five-alarm dumpster fire, I usually find myself coming back just to smile at the absurdity. “The Surfer” is certainly absurd, but it takes itself too seriously to let Cage truly ham it up—or give us a character we want to endlessly root for.