Winter Spring Summer or Fall: A romantic charmer

Winter Spring Summer or Fall (2024) • View trailer

3.5 stars (out of five). Rated R, for teen drug and alcohol use, and brief profanity

Available via: Amazon Prime and other VOD options

By Derrick Bang • Published in The Davis Enterprise, 8.31.25

Ever since writer John Hughes started what became a popular sub-genre with Pretty in Pink and Some Kind of Wonderful, back in the late 1980s, one or two similarly witty, dialogue-heavy and sharply observed young romance films — blessed with similarly charismatic stars — have arrived every decade.

 

After initially failing to click, Remi (Jenna Ortega) and Barnes (Percy Hynes White)
gradually begin to enjoy each other's company. But can their relationship survive two
divergent career paths?

Before Sunrise (and its two sequels) and Nick and Norah’s Infinite Playlist immediately spring to mind.

This one belongs in their company.

 

Dan Schoffer’s cleverly structured narrative — which owes a nod to Alan Alda’s The Four Seasons — is matched by Tiffany Paulsen’s noteworthy feature directorial debut. Her touch is just right with each character, although she’s fortunate that stars Jenna Ortega and Percy Hynes White already share combustible chemistry. 

 

Although films of this sort are by nature fantasies, they work when we become invested in the characters; that happens quickly here.

 

(Fair warning: Viewers inclined toward cynical smirks and rolled eyes are advised to seek their pleasure elsewhere.)

 

High School senior Barnes Hawthorne (Hynes White) spots Remi Aguilar (Ortega) one winter day, while visiting his friend P.J. (Elias Kacavas), who lives across the street from her. P.J. explains that the young woman is super-smart, and has just completed a Google Fellowship interview. Barnes’ expression is thoughtful, his gaze intrigued.

 

Later that day, Barnes and Remi wind up on the same train; he’s attending a concert in New York, and she has an appointment to tour Columbia University. After some initial awkwardness — “I’m not a stalker,” he somewhat ineptly insists — they begin chatting, and share plans following their completion of high school. She intends to attend Harvard and become a lawyer, like her parents; he desires an unspecified gap year.

 

Little realizing that it makes her sound pushy, Remi suggests that he could use the time productively, by volunteering with sea turtles or working with a music group. (She comes by this behavior naturally, as we’ll discover after spending some time with her parents.) Barnes, sensing things aren’t working, counters by extoling the virtues of David Byrne and the Talking Heads.

 

Despite some mildly graceless conversational misfires, Barnes keeps trying. Alas, matters take an unfortunate turn after they disembark, and the already weak connection is severed.

 

Relay: A suspenseful race

Relay (2025) • View trailer

Four stars (out of five). Rated R, for profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.24.25

This is a slick little burst of adrenaline.

 

Director David Mackenzie’s sharp handling of Justin Piasecki’s original script evokes fond memories of 1970s “paranoia thrillers” such as The Parallax View, The Conversation and Executive Action.

 

Ash (Riz Ahmed), well aware that his client's movements are being monitored at all
times, finds it increasingly difficult to help her evade this surveillance.

In terms of pacing and cinematographer Giles Nuttgens’ numerous long takes, Mackenzie’s approach also is old-school, despite the action taking place very strongly in present-day Manhattan. At a tense and suspenseful 112 minutes, this film deserves to be viewed uninterrupted, so plan accordingly.

Ash (Riz Ahmed), a former failed corporate whistleblower, nearly killed himself via guilt-induced alcoholism. Now several years sober and faithfully attending AA meetings, he has re-invented himself as a solitary “fixer” who helps others in similar dire straits: people who attempt to be a whistleblower, but then fearfully panic and wish solely to return the stolen data, in the hopes of being left alone.

 

Ash acts as a go-between, brokering lucrative payoffs between corrupt corporations and the individuals who threaten their ruin. He arranges for the data to be returned, while retaining a carefully protected copy himself, as a means of ensuring his client’s ongoing safety. 

 

Ash remains a unseen figure in the shadows, keeping his identity secret via meticulous planning and an exacting set of rules. He operates via disguises, discarded phone SIM cards, U.S. Post Office drops under multiple fictitious names — often in other cities and states — while living in a high-security building and masterminding each operation from an equally fortified “war room.”

 

He never speaks to a client, instead maintaining anonymity via the “Tri-State Relay Service,” which provides specially trained operators to relay telephone conversations between people who are deaf, hard of hearing or speech-disabled. He types his messages; they’re communicated verbally to the client by a relay operator; the client responds verbally, which in turn is relayed back to Ash’s laptop.

 

It’s fascinating: slow, but quite effective.

Eden: Paradise Lost

Eden (2024) • View trailer

Three stars (out of five). Rated R, for strong violence, sexual content, graphic nudity and frequent profanity

Available via: Movie theaters

By Derrick Bang

Director Ron Howard — whose résumé leans toward uplifting, can-do dramas such as Apollo 13, Cinderella Man and Rush — seems a very odd choice for this fact-based saga of deplorable, depraved and misanthropic human behavior.

 

Friedrich Ritter (Jude Law) and longtime companion Dore Strauch (Vanessa Kirby) are
less than thrilled, when they suddenly must share their island with a family of
know-nothing newcomers.

What has been dubbed “The Galapagos Mystery” has fueled numerous documentaries and books, the most recent being author Abbott Kahler’s Eden Undone: A True Story of Sex, Murder and Utopia at the Dawn of World War II. The saga has long been well-known across the pond, although this new film likely will arouse interest here in the States.

German physician Friedrich Ritter and his patient-turned-companion, Dore Strauch, were the first “settlers” to arrive on the Galapagos’ Floreana Island in 1929: so chosen since it is one of the few with a (minimal) potable water supply. They spent three contented — if arduous — years as the island’s sole inhabitants. Ritter sent accounts of their lives back to Germany — picked up by occasional passing ships, and then published in newspapers and magazines — and pounded away at an increasingly Nietzschesque manifesto detailing his contempt for mankind.

 

They were joined in 1932 by WWI veteran Heinz Wittmer, his pregnant new wife Margret, and his teenage son Harry, having been inspired by the articles. Although the isolationist Ritter and Strauch likely were annoyed by these “intruders,” they and the Wittmers respected each other’s space.

 

This wary dynamic was completely torpedoed by the next arrivals: Austrian-born Eloise Wehrborn de Wagner-Bosquet, a shameless hedonist accompanied by her two German lovers, Robert Philippson and Rudolf Lorenz, along with an Ecuadorian “worker” named Manuel Borja. Claiming to be a baroness — a title open to historical debate — she systematically bullied and intimidated the others via an insufferably arrogant blend of entitlement, seduction, treachery and a hustler’s talent for exploiting psychological weaknesses.

 

What eventually occurred ... well, that would spoil the story.

 

Howard and co-scripter Noah Pink dumped an intriguing ensemble cast into this combustible brew of jealousy, resentment and worse, although some play their roles better than others. Jude Law and Vanessa Kirby aren’t entirely successful with their German accents, as Ritter and Strauch, although they otherwise slide deftly into the sort of eccentric tics and mannerisms that would be expected of a couple isolated for so long.

 

Law looks appropriately rugged and hardy, and he puts considerable grim intensity into Ritter’s contemptuous denouncements. Kirby’s Strauch is softer, with a fondness for the burro that ferries their heavier goods; she also limps painfully, having embraced this rustic lifestyle in the hope that her multiple sclerosis will go into remission.

 

Law plays Ritter as an obstinate fanatic; Kirby is more nuanced. Strauch tends to walk around barefoot; the first of this film’s many wince-inducing moments comes during the couple’s evening ritual, as Ritter carefully digs parasitic insects out of Strauch’s skin.

 

Nobody 2: Escapist wretched excess

Nobody 2 (2025) • View trailer

Three stars (out of five). Rated R, for relentless profanity and strong, bloody violence

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.17.25 

This is the guiltiest of guilty pleasures.

 

Director Timo Tjahjanto’s deplorably violent thriller is palatable solely because of the macabre dark humor in Derek Kolstad and Aaron Rabin’s crazy script, and the hilariously stoic performance by star Bob Odenkirk.

 

Four men get into an elevator, followed by the apparently mild-mannered Hutch Mansell
(Bob Odenkirk, center). How many will survive the trip?

The result is so excessively outrageous, that you can’t help laughing ... although you’ll likely feel guilty for having done so, when later describing this film to more conservative friends.

In this film’s 2021 predecessor, Hutch Mansell (Odenkirk) was introduced as a mundane office worker whose bland life concealed the fact that he was a former “auditor” (assassin) employed by the U.S. Intelligence Community. His ordinary existence — alongside emotionally starved wife Becca (Connie Nielsen), teenage son Brady (Gage Munroe) and adolescent daughter Sammy (Paisley Cadorath) — was interrupted by “events beyond his control.” In the aftermath, he and his family began anew.

 

Except not really, as this sequel quickly makes clear. A fleeting prologue, mimicking an identical scene in the earlier film, finds a bruised and badly damaged Hutch being interrogated by FBI agents ... this time alongside a large dog with a soulful gaze.

 

One bewildered agent asks, “Who are you?,” prompting Hutch to respond via a long flashback.

 

Things having gone very wrong during the intervening years, Hutch now spends his days “processing” assignments for “The Barber” (Colin Salmon), his former government handler. Hutch is slowly working off a $30 million debt incurred when he earlier destroyed the Russian Mob’s cash reserve.

 

Sadly, the constant daily grind — skirmishes, fights, all-out melees — have taken a toll on Hutch’s marriage and home life. He barely sees his wife and children, and Becca — fully aware of what he does, although this is kept from their children — flirts with the notion of leaving him.

 

Hutch isn’t blind; he recognizes the need to make amends. He therefore proposes a vacation to Wild Bill’s Majestic Midway and Waterpark, a family-friendly theme park in nearby Plummerville. It was the one and only place where Hutch and his brother Harry went on vacation as kids. In short, it’s one of Hutch’s few happy childhood memories.

 

(Filming actually took place in Winnipeg, Manitoba; production designer Michael Diner was inspired by classic Midwestern Americana burgs like the Wisconsin Dells, where Odenkirk’s family vacationed when he was a kid.)

 

The Barber tolerates this brief respite, albeit with a warning: “Wherever you go, you’ll be you.”

 

Meaning, Hutch can’t help finding trouble that needs to be extinguished.

East of Wall: Interesting, but under-developed

East of Wall (2025) • View trailer

Three stars (out of five). Rated R, for relentless profanity

Available via: Movie theaters

By Derrick Bang

Writer/director Kate Beecroft’s feature debut, although heartfelt and at times achingly poignant, nonetheless is challenging on several levels.

 

Porshia (Porshia Zimiga, left) considers her future, during an uncharacteristically calm
moment, while housemates Leanna (Leanna Shumpert, center) and Brynn
(Brynn Darling) provide quiet company.

Austin Shelton’s alternately lush and gritty cinematography often shares space with a distracting barrage of cell phone images and TikTok videos. Granted, this heightens the sense of verisimilitude via faux “found footage” and invasively intimate closeups, which feel as if we’re eavesdropping on actual people. 

No surprise, since leads Tabatha and Porshia Zimiga essentially play themselves; Beecroft lived with them for three years, while assembling her film.

 

The result very strongly belongs in the company of similarly probing, naturalistic dramas such as Terrence Malick’s Days of Heaven and Chloé Zhao’s Nomadland.

 

Unfortunately, Beecroft’s script doesn’t sufficiently flesh out the large cluster of supporting characters. We too often wonder where our attention should be directed, and why.

 

Matters also aren’t helped by the fact that Tabatha, although ethical and trying to “do the right thing” as best she can, is such a strikingly unpalatable individual: heavily tattooed and pierced, with her blond hair half-sheared in a warrior’s buzz cut. She’s also short-tempered, impatient and relentlessly profane.

 

Ah, but Tabatha has a special talent. She’s a gifted horse-whisperer, and has kept food on the table by training animals either captured in the wild, or rescued from kill pens. She’s also able to sense and diagnose what’s wrong with an ailing animal.

 

Tabatha and her teenage daughter Porshia live on a 3,000-acre, broken-down ranch adjacent to South Dakota’s Badlands, east of the flyspeck community of Wall (population 699, as of the 2020 census). They share their home with an ever-changing gaggle of teenagers who’ve run away; been abandoned by parents impoverished, incarcerated or dead; or simply left to fend for themselves.

 

It becomes clear that the women in this hard-scrabble community are particularly challenged: often the abused punching bags of husbands, boyfriends and fathers who — frustrated by their inability to find work — lash out at the nearest target.

The Fantastic Four: First Steps — Fourth time's the charm!

The Fantastic Four: First Steps (2025) • View trailer

Four stars (out of five). Rated PG-13, for dramatic intensity, action violence and mild profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.10.25 

We’ve certainly waited long enough.

 

After this seminal superhero team’s disastrous earlier big-screen outings — in 2005, ’07 and ’15 — Marvel Cinematic Universe fans and long-time comic book nerds were understandably wary of this new attempt.

 

Ben (Ebon Moss-Bachrach) has a polite "discussion" with the Fantastic Four's helpful
robot, H.E.R.B.I.E., regarding the proper way to cook a meal.

Well, worry no longer. Director Matt Shakman and five credited scripters — Josh Friedman, Eric Pearson, Jeff Kaplan, Ian Springer and Kat Wood — have done right by this quartet of blue-costumed champions.

You’ll be charmed immediately by the film’s look and atmosphere. Production designer Kasra Farahani establishes a retro-futuristic style that evokes the era when writer Stan Lee and artist Jack Kirby debuted their comic book series in November 1961. It’s a time when recordings still are made via vinyl discs and reel-to-reel tape, with fashion, cars and household accessories in a mischievous, not-quite-accurate reflection of what our grandparents wore, drove and used, back in the day.

 

A television documentary-style flashback celebrates the quartet’s fourth anniversary in a kinder, gentler world — this is Earth 828, in the multiverse — where they’re beloved by everybody, and nations peacefully cooperate amid mutual respect.

 

(God knows, this sure isn’t our Earth.)

 

The flashback clips describe how Dr. Reed Richards (Pedro Pascal), Ben Grimm (Ebon Moss-Bachrach), Sue Storm (Vanessa Kirby) and her younger brother Johnny (Joseph Quinn) were bombarded by cosmic rays during an outer space mission, granting them unusual powers as, respectively, the stretchable Mr. Fantastic, the super-strong Thing, the Invisible Woman and the Human Torch.

 

Scenes of the quartet saving civilians during natural disasters are intercut with battles against more ambitious foes; longtime comic book fans will smile when the FF’s first issue cover image monster and villain — the Mole Man — are referenced. Reed and Sue subsequently married, and the quartet established a fancy headquarters in New York’s iconic Baxter Building.

 

Moving to the present day, Shakman and his scripters take their time with the first act, focusing on the quartet’s “down time” behavior and interpersonal dynamics: the “human element” that immediately set Marvel Comics characters apart from their DC competitors (Superman, Batman, etc.). These four people are messy, and they struggle with relatable problems.

 

Reed, the resident scientist, agonizes over decisions big and small, constantly second-guessing himself; Pascal displays the right blend of analytical sharpness and emotional befuddlement. Sue, the group’s heart and calming influence, also is an accomplished diplomat for world peace; Kirby delivers a performance that radiates warmth, caring ... and a ferocious degree of protectiveness.

 

To the casual eye, Ben and Johnny are like squabbling brothers, the latter forever trying to get under the former’s rock-hard skin. Quinn emphasizes his character’s sloppy and often reckless behavior, particularly during a crisis. Moss-Bachrach’s Ben, finally, is the group’s tragic member: forever trapped in an oversized orange body that may delight children, but is a constant reminder that he’s unlikely to enjoy the sort of romantic relationship shared by Reed and Sue.

 

These folks are fun, behind the scenes. They’re like family.

 

The Bad Guys 2: Animated mayhem

The Bad Guys 2 (2025) • View trailer

Four stars (out of five). Rated PG, for mild rude humor

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 8.3.25 

This madcap adventure is even more fun and crazed than its 2022 predecessor.

 

Director Pierre Perifel definitely knows how to pace an animated action comedy, and he has ample support here from co-director JP Sans, elevated from his previous role as head of character animation for the first film.

 

The Bad Guys — Mr. Wolf, Mr. Shark, Mr. Snake, Mr. Piranha and Ms. Tarantula —
triumphantly confront the owner of the prized item they're about to steal.

The script, by Yoni Brenner and Etan Cohen — once again drawing from Australian author Aaron Blabey’s popular children’s graphic novel series — contains the same blend of visual slapstick and subtly sly adult humor. (As co-producer Diane Ross suggests, in the production notes, the goal is an homage to complex heist films, with a soupçon of Quentin Tarantino.)

As before, this romp takes place in an alternate universe with humans existing alongside anthropomorphized animals, where an oversized shark can successfully impersonate a man half his size. (It’s all in the costume and attitude, donchaknow.)

 

Rather than open precisely where the previous film concluded, we first get a flashback prologue that shows our quintet of bestial baddies — Mr. Wolf (voiced by Sam Rockwell), Mr. Shark (Craig Robinson), Mr. Snake (Marc Maron), Mr. Piranha (Anthony Ramos) and Ms. Tarantula (Awkwafina) — operating at their larcenous best, stealing a one-of-a-kind sportscar from a vain gazillionaire’s heavily guarded mansion.

 

The resulting vehicular pursuit — totally breathless — showcases Jesse Averna’s imaginative smash-cut editing.

 

Back in the present day, however, the former Bad Guys — having gone straight as the first film concluded — are finding it impossible to obtain gainful employment, since everybody associates them with their larcenous past. The only bright spot is Gov. Diane Foxington (Zazie Beetz), who helped secure the group’s freedom, and now maintains an arm’s-length flirty relation with Mr. Wolf.

 

The world still doesn’t know that Foxington formerly was an elusive master thief known as The Crimson Paw.

 

Local law enforcement — headed by the anger-prone Police Commissioner Misty Luggins (Alex Bornstein) — is baffled by a series of high-profile burglaries conducted by an elusive and never-seen culprit. The most troubling detail is that this mysterious individual has been using some of the distraction gimmicks once employed by The Bad Guys ... which turns Luggins’ attention to them.

 

Realizing it’s in their best interest to help identify the actual criminal, Mr. Wolf employs his detail-oriented observational skills to suss out the likely next target for theft; he realizes that all stolen objects were made of a precious metal dubbed MacGuffinite (and there’s a sly joke for long-time movie buffs).

 

Alas, in an increasingly complex escapade laden with double, triple and even quadruple-crosses, things often aren’t what they seem. Except when they sometimes are.