While theaters are getting an original cinematic treat this week, there are a variety of other films out there as well. This set of write-ups includes a queer romantic comedy remake, a body horror drama, a British comedy, a road trip comedy, an Oakland-set anthology, an action movie homage, a Tony Jaa action flick, and a Disney documentary. The following features reviews for The Wedding Banquet, The Shrouds, The Ballad of Wallis Island, Sacramento, Freaky Tales, G20, Striking Rescue, and Not Just a Goof.
The Wedding Banquet: 8 out of 10
The Setup: Hoping to stay in the country, a gay man proposes a green card marriage to a female friend in exchange for paying for her IVF treatment. However, things soon get complicated when his grandmother surprises them with plans for an extravagant Korean wedding banquet.
Review: Well, this was delightful. Here’s a strong remake that does pretty much all it needs to justify a new take on the same story, supplying this iteration with enjoyable characters, some smart changes, and modern sensibilities. I haven’t seen his first film, Spa Night, yet, but between this, Driveways, and Fire Island, I am a fan of what director Andrew Ahn delivers in terms of comedy dramas with solid character focus.
Speaking of, what a solid cast this film has. Bowen Yang and Han Gi-chan make up the male side, and while Yang is still growing in terms of his dramatic range, this is an impressive film debut for Gi-chan. Kelly Marie Tran and Lily Gladstone are here as the female couple. While both are very effective, it did feel as though Gladstone was only available for so much time, which is a shame, as she has plenty of presence. The real treat, however, is having Joan Chen and Oscar-winner Youn Yuh-jung as the mothers, as both bring real energy and extra wit to the proceedings. The original film from Ang Lee is excellent, but this new take with this cast and the choices made make for a highly watchable feature that truly delivers on the human comedy of it all.
Where To Watch: Opening in theaters on April 18, 2025.
The Shrouds: 6 out of 10
The Setup: In an eerie, deceptively placid near-future, a techno-entrepreneur named Karsh (Vincent Cassel) has developed a new software that will allow the bereaved to bear witness to the gradual decay of loved ones dead and buried in the earth. While Karsh is still reeling from the loss of his wife (Diane Kruger) from cancer—and falling into a peculiar sexual relationship with his wife’s sister (also Kruger)—a spate of vandalized graves utilizing his “shroud” technology begins to put his enterprise at risk, leading him to uncover a potentially vast conspiracy.
Review: Oftentimes, when it comes to smaller genre films, especially those from directors I really admire, I make an effort to go into these screenings pretty blind. For The Shrouds, for whatever reason, I feel it may have helped to be at least somewhat in tune with what I was in store for. As it stands, while not having hit me as strongly as director David Cronenberg’s other recent effort, Crimes of the Future (less wacky furniture), there’s undoubtedly a well-acted film on display, with a sensory approach entirely fitting with the acclaimed Canadian filmmaker. That said, even with an intriguing premise, I had some difficulty attaching myself to what was being offered on an emotional level.
At this film’s core is the subject of grief. In real life, Cronenberg put this film together (envisioned initially as a series for Netflix) as a way of contending with the grief at the loss of his wife, who passed in 2017. While it’s not hard for me to relate in a way, either something about the specificity of what Cronenberg was after or the layering of other plot details kept me at arm’s length from what was being offered. With that in mind, Cassel is solid here, Kruger really delivers in a dual role, and Guy Pearce delivers an effective twitchy performance as well. So it’s not a film without its merits, but The Shrouds didn’t cover me with a more substantial effect either.
Where To Watch: Opening in select theaters on April 18, 2025.
The Ballad of Wallis Island: 7 out of 10
The Setup: Old tensions resurface when former bandmates (Tom Basden and Carey Mulligan), who were former lovers, reunite for a private show at the island home of an eccentric millionaire (Key).
Review: I didn’t intend to go back and forth between delightful and off-the-wall, but here we are. As a fan of films like Sing Street, Waking Ned Devine, The Full Monty, etc., I’m all for quaint British comedies about simple folk dealing with life, which may or may not involve folk music. I suppose Local Hero is one of the more iconic examples of this, and The Ballad of Wallis Island is almost the inverse of that film. Here’s a story of a remote island where the main visitor is basically at odds with everything about his situation. This includes the inherent drama that stems from his ex being unexpectedly invited to join for this private show as well.
Based on a 2007 short film featuring all the same male players (stars, writers, director), I like how contained this story remains, even in feature-length form. It’s about an awkward situation, the attitudes of the visiting parties, and the non-stop enthusiasm of this eccentric guy who just wants to honor a specific anniversary. Key’s performance as Charles may rub against some based on how he could come off as irritating, but I found him so endearing. At the same time, Basden’s grumpy musician has an easy arc to understand, but even his frustrations feel somewhat well-founded, given all he is going through. Fine support from Mulligan and a shop owner played by Fleabag’s Sian Clifford is quite welcome. One could call this slight, but I found it all quite adorable, which I feel is what director James Griffiths was after.
Where To Watch: Now playing in theaters.
Sacramento: 7 out of 10
The Setup: Rickey (Michael Angarano), an energetic and free-spirited young man with a Peter Pan complex, convinces his long-time friend Glenn (Michael Cera) to hit pause on his blissful domestic life and embark on an impromptu road trip across California.
Review: The best thing about Sacramento is that both friends are oddballs who feel they should be the straight man. At various times in the film, Angarano and Cera’s characters take control of a situation in an attempt to function as the saner one of the duo, only for things to backfire, and those roles then reverse. I don’t think that’s an easy thing to pull off, and yet co-writer/debut director Angarano does a fine job of hitting that balance, which also comes with a mix of broad comedy, cringe humor, and other choices that make his influences quite clear.
Okay, maybe I lied. The best thing about Sacramento might be what Angarano gets from his female co-stars. Kristen Stewart is the most patient pregnant woman in the world, having to deal with an obsessive-compulsive partner in Glenn, who would sooner pull apart a crib than let it remain with a noisy wobble. Meanwhile, Maya Erskine (Angarano’s real-life partner) comes in at the beginning and third act of this film as someone who has it all together but also matches Rickey’s eccentricity. Suffice it to say, this movie has the right kind of spirit for a comedic indie with good intentions, made all the better by how the film utilizes its cast. It’s the sort of film that makes me want to spend more time with these people, which is never a bad thing.
Where To Watch: Now playing in select theaters.
Freaky Tales: 7 out of 10
The Setup: Set in 1987 Oakland, Freaky Tales is a multi-track mixtape of colorful characters — an NBA star, a corrupt cop, a female rap duo, teen punks, neo-Nazis, and a debt collector — on a collision course in a fever dream of showdowns and battles.
Review: There’s a wild specificity to making an anthology film set in 1987 Oakland, California, made all the weirder by having it come from filmmakers Anna Boden and Ryan Fleck (Half Nelson, Sugar, Captain Marvel). I’m unsure if this qualifies as their blank-check film after delivering a billion-dollar Marvel Studios blockbuster. Still, they certainly got away with many interesting ideas propelled by a strange energy that is wacky, broad, and exceedingly personal.
This movie also features an all-star ensemble including Pedro Pascal, Ben Mendelsohn, Jay Ellis, Normani, Dominique Thorne, Jack Champion, Ji-young Yoo, Angus Cloud (in his final performance), and a cameo from Bay Area native Tom Hanks. Given what is required, this film does pretty well by all of them, practically making this feel like a funky, independent, urban version of Sin City crossed with Repo Man and other cult favorites. Given the nature of anthologies, not every story hits in the same way. If anything, it feels like a bit of a rocky start before settling into a fine groove with the proceeding three shorts, but Freaky Tales has way too much going for it to be written off.
Where To Watch: Now playing in select theaters and available on digital.
G20: 6 out of 10
The Setup: When terrorists take over the G20 summit, US President Danielle Sutton (Viola Davis) uses her governing and military experience to defend her family, fellow leaders, and the world.
Review: The main question with a film like this will always be the same: Why did Oscar-winner Viola Davis want to star in a trashy action movie? The answer should be simple – she’s a human being who enjoys watching trashy action movies and doesn’t see a reason not to put her own earned resources in for the sake of starring in one. As a result, here’s a film that looks respectable enough, relies on a woman director (Patricia Riggen) to deliver the goods, and plays as the sort of wish-fulfillment adventure involving a President who kicks ass, not unlike the 90s action run that gave us Independence Day and Air Force One.
Does the rest of what unfolds really matter? Anthony Anderson plays the First Gentleman, and Marsai Martin (Anderson’s daughter in Black-ish) plays one of their children. Ramon Rodriguez is a Secret Service agent who is devoted to his job. Clark Gregg is the refreshingly non-corrupt Vice President. Finally, The Boys’ Antony Starr is our “Hans Gruber.” The terrorist plot involves cryptocurrency, and the film is set in Cape Town, coincidentally making film production cheaper and easier to manage. The whole thing offers no real surprises. And yet, taken for what it is, G20 is just a fun time at the movies, granted, it’s a streaming-only release.
Where To Watch: Now streaming on Prime Video.
Striking Rescue: 6 out of 10
The Setup: A veteran Muay Thai expert (Tony Jaa) goes on a take-no-prisoners mission of revenge after his wife and daughter are brutally murdered by mysterious forces.
Review: Speaking of films that aren’t attempting to offer much more than one wants most, Tony Jaa is back in a lead position for Striking Rescue, which feels close to his debut period that gave us films like Ong-Bak and The Protector. Those are better films due to their simplicity, but I can’t deny the joy I get from seeing Jaa utilize his Muay Thai abilities on numerous foes, often multiple at a time. I also just genuinely like Jaa’s onscreen presence. He has a specific type of charisma that does indeed work for me. Of course, I do like it when he’s more lighthearted, as he actually knows how to be funny in films, but his dramatic side features an intensity I tend to believe.
The main problem with Striking Rescue comes down to an overreliance on plot, turns in the story, and excessive characters. What feels like a pretty straightforward story gets bogged down with too many different reveals that overcomplicate matters. Sometimes, you just want to see guys getting kneed in the face or punched with elbows, and this movie has that, but also a lot of other stuff in between that’s not all that important. Whatever the case, those looking for action get plenty of it, and director Siyu Cheng captures the frenzy of these fights quite well.
Where To Watch: Now available on Blu-ray, digital, and VOD.
Not Just a Goof: 7 out of 10
The Setup: A documentary exploring the untold story of A Goofy Movie, following a young creative team tackling their first Disney feature, its initial disappointment, and its surprising resurgence decades later.
Review: It took a good chunk of time for Not Just a Goof to not only recognize that Black culture has adopted A Goofy Movie, but call out the Atlanta episode that delivered a fictional version of the making of the film. I think it’s important to note this because it shows how directors Eric Kimelton and Christopher Ninness clearly understand that A Goofy Movie has a significant role in pop culture. This is not just a fluffy piece of content coming out of Disney+, but an honest look at how this underdog of a movie managed to capture the attention of various people and continue to “Stand Out” decades later.
Honestly, I could have watched a whole movie just focused on Tevin Campbell and the crew working on the Powerline songs, as those moments alone featured so much energy and an interesting amount of creativity when it came to approximating a Prince-like figure for the Disney universe. Again, this speaks to the joy of watching a doc with all the access needed to discuss the actual production, the lack of attention it received compared to higher priority Disney films, the initial critical reaction, the cult appeal that formed, and more. It’s a very easy watch, but an informative one for sure.
Where To Watch: Now available to stream on Disney+.
