Film Reviews

“Nobody 2” proves that when it comes to any offbeat action venture, once is usually enough, says Dan Webster.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss a trio of films, all of which are either sequels or reboots and all of which—like their earlier counterparts—test the limits of farcical comedy. They start off with “The Naked Gun,” followed by “Happy Gilmore 2” and then end with “Freakier Friday.”

Among the many recent remakes, or reboots, of popular franchises, is “Freakier Friday” even necessary? Dan Webster asks.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss a pair of streaming documentary features that focus on well-known public figures from the past—TV host Ed Sullivan in Netflix’s “Sunday Best: The Untold Story of Ed Sullivan,” and Jayne Mansfield in HBO Max’s “My Mom Jayne.”

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss a pair of Sundance Film Festival releases that are well worth checking out—the first is Eva Victor’s “Sorry, Baby” and the second is Sophie Brooks’ “Oh, Hi!”

“Sorry, Baby” takes us into the world of a woman still coming to grips years after a traumatic experience, Dan Webster says.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss two movies that reveal their narratives through the eyes of very different characters. The first is the Ari Aster feature “Eddington,” and the second is “Don’t Let’s Go to the Dogs Tonight,” the first venture as writer-director by the actress-turned-filmmaker Embeth Davidtz.

Embeth Davidtz’s film “Don’t Let’s Go to the Dogs Tonight” is powered by a 7-year-old’s powerful performance, Dan Webster says.

Ari Aster’s violent comedy "Eddington" has only been out for a week and it’s already the most divisive film of the year. Nathan Weinbender says it’s got a lot of ideas but doesn’t add up to much.

On this week’s show, Dan Webster, Nathan Weinbender, and Mary Pat Treuthart discuss a pair of big-screen bonanzas, both of which are part of far-larger franchises. The first is the newest iteration of “Superman,” this one directed by James Gunn, and they pivot from there to the Gareth Edwards-helmed “Jurassic World Rebirth,” the seventh in a series dating back some three decades.