AnActor Explains

Few movies are considered modern marvels of cinema. These releases are usually groundbreaking due to unique filmmaking. One of the greatest action movies of all time, “Predator” follows in the footsteps of classic Pro-War cinema which lauded veterans of World War 2. From there, it set the standard for contemporary genre blending by transcending its art form. Spanning the action, slasher film and science fiction genres one by one, Predator increases its pace & stakes, drawing the audience closer and closer to the edge of their seats. The Vietnam war forever changed action films. It became vital to present the distress U.S. soldiers faced in that persistent, chaotic conflict we ended up losing. Film & television that immediately succeeded this era continued to address strong men overcoming adversity, even in urban settings (such as Taxi Driver, The A-Team, Magnum P.I. & The Equalizer). To say the Vietnam conflict left us traumatized is an understatement; even now, we might still be healing. Predator presents both sides of the coin: the glorification of American brawn as well as its futility in the face of an insurmountable odds. At the time, Latin America was already a hotbed of CIA intervention where we were succeeding. Predator prepares us for success only to hint, thru the jungle setting, at failure. We take the point of view of the soldiers, but also that of the Predator, only to find it has morality! That’s because the true enemy is the lying, untrustworthy American government (the anti-war Vietnam position). Employing the musical talents of the legendary Alan Silvestri, whose suspenseful and dramatic composition is ideal for this production, as well as the mindful eye of cinematographer Donald McAlpine, whose absolutely gorgeous close quarter cinematography beguiles the viewer, a great deal of Predator’s enduring merit lies in its excellence in production. Placement of elements in each frame is masterclass, with every shot carefully considered. Use of the jungle biome is fitting, given the name of the film, which already carries a natural connotation. Viet Cong turned the tropics into an asset, making the jungle the enemy! Make no mistake, Predator isn’t only a commentary on soldiers in the field (even down to untrustworthy commanders), it’s also about technological superiority over our environment, only to find ourselves at its mercy when the tables are turned. After presenting pinnacle male superiority and demonstrating what they’re capable of (coordination, awareness & adaptation), “Predator” squares them off against the top of the food chain! A vie for superiority ensues, culminating in the greatest melee Hollywood has ever seen! By the end of the film, Dutch has gone native, stripping down to his survival instinct in order to defeat his nemesis. He becomes Viet Cong! He also becomes the enemy (as in the Predator itself) but by doing so, champions all of humanity. His hard-earned victory leaves him scarred for life, just like all veterans returning from war. Every detail, from the alien basically setting off a nuclear warhead, to the credits presenting each fallen hero individually, proves Predator is truly timeless cinema. It evolved the scope of its genre, invigorating art and culture; inspiring an entire generation of artists, as well as a franchise that’s still evolving to this day.

The worst kind of villain is one with a conscience! While there’s definitely people who simply don’t care, it’s those that suffer consequence who retain their humanity. How do YOU feel after doing something wrong? For me it’s deep regret and paranoia as I await my comeuppance! In Ballad of a Small Player, Colin Farrell practically embodies distress; a performance which also sees him personify the thrill of abandon, surrender to excess and the exhilaration of constant, perilous risk! The result is a film worth watching for his efforts alone, if not for the meaningful message it conveys. By adapting British writer Lawrence Osborne, director Edward Berger is banking, once again, on a deeply thematic novel to deliver timeless teachings. In the film industry we have our little cliques, and Ballad finds Berger relying on his usual host of talented professionals. Similarities to Wes Anderson’s work appear in color template and style of recording, but the parallels end there. Although these are movies of Maximalist art, cinematographer James Friend has his own watchful eye; one which also oozes appreciation. Aspects of this motion picture present the excellence of American filmmaking: costumes are exquisite and performances are genuine. Just like in Berger’s prior film, Conclave, sound designer Ben Baird delivers an absolutely exquisite acoustic experience; one which, I’d argue, should be the standard in filmmaking. In terms of color, use of shade & tone is appealing, neither detracting from clarity nor nausea inducing. Each facet of this film’s presentation adds to its intimacy, drawing the audience further into the fantasy. During my time in the industry, I’ve seen producers recite the timeless adage: “The writing doesn’t matter! The writing doesn’t matter!” as if chanting the lie would make it true. In their arrogance, writer’s rooms take liberties with adaptation; an ancestral curse studios refuse to confront. As a result, this film is a meandering mess, making little sense and losing appeal thru decreasing credibility. Intimacy between characters feels unearned & their decision making feels off. What Ballad gets right is support & forgiveness for addicts: we all deserve patience, love and a chance at redemption. People can grow beyond their fixations and some even learn to apply their talents, transforming demons into blessings. Colin Farrell’s wonderful performance of abuse & excess in ignorance of consequence is deeply relatable. The feelings he provokes are a testament to how an actor can inspire! The film’s conclusion is a metaphor for maturing and eventually overcoming compulsion. (I give Ballad of a Small Player an 8 out of 10 for it’s production quality. It loses two points for it’s aimlessness, lack of clarity and unconvincing relationships.)

Sonic the Hedgehog 3 is the troubling 3rd installment in the Sonic movie franchise. By presenting a dubious relationship between a minor & an antagonist, peddling friendship over family and trivializing death, this film covertly pushes contemporary politics. A children’s film must always consider its vulnerable audience. Sonic 3’s lack of caution will leave parents deeply concerned at its frustrating and disturbing controversial messaging. Despite the wonderful efforts of Jim Carrey, entertaining visuals and deep themes, Sonic 3 fails to be morally sound. Hollywood has become a full time Woke advertiser, sacrificing art & entertainment for activism and DEI. Most ordinary Americans won’t notice the almost subliminal messaging Hollywood applies to contemporary productions, but those of us steeped in the industry will recognize them from a mile away. Whether its Luke Skywalker trying to kill his nephew or Han Solo’s only son murdering him (in The Force Awakens), The Rings of Power completely erasing Galadriel’s husband, or Star Trek: Discovery forcing a black girl boss into Spock’s household, the evidence for Woke’s “found family” trope can be found across contemporary media. Its goal is to oppose traditional American family values by presenting them as detrimental and destructive. By having Gerald Robotnik try to kill his grandson and then having that grandson kill him in return, Paramount Pictures crosses a line. I cannot emphasize the horrible despair and confusion a child can experience by watching a grandpa try to murder his own grandchild! Imagine watching that grandson kill him in return! This is a deeply immoral theme to push on children to whom family is sacred and vital. This political messaging is meant to indoctrinate by permanently scarring the viewer. To make matters worse, Sonic 3 pushes sex positivity & gender issues on prepubescent kids by presenting Dr. Robotnik’s daughter in an ambiguous relationship with an animated hedgehog. The scenes between them aren’t clear: is this creature a pet? a friend? or a boyfriend? The glances, smiles & handholding between them will leave viewers deeply confused. An anthropomorphic character posing as a love interest can absolutely represent transgenderism and would further the goals of liberal sexuality & inclusion for Woke advocates. Sonic 3 portrays its lead as a snarky, conceited & narcissistic superhero. This protagonist makes no real effort and achieves no personal growth. The film’s theme of loss is deeply overshadowed by its incredibly immoral social conditioning. Paramount does this to virtue signal. Don’t support propaganda in art & entertainment! Tell your friends & close your wallets!

The King’s Man is the prequel to the Kingsman series of films, and a concerning work of cultural subversion. Yes: the original Kingsman: The Secret Service film took aim at the English upper class, hoping to champion the next generation of U.K. citizens instead. That deliberate criticism of British culture was brought about as a carefully plotted passing of the baton. This film, however, sheds that prior narrative, building, instead, a political tirade against masculinity by “championing” feminist ideological mandates. This movie not only discards the franchises’ former voice, pace and plot, but is also full of contradictions, awful writing and propaganda instead of storytelling. While the British people may be fully aware of the Orwellian conditions their regime is currently imposing, Americans, in their majority, remain skeptical if not incredulous to this important fact: Western media is compromised. What we’re getting thru the airwaves is no longer creative, impartial or independent. Hollywood has always struggled to prioritize artform over partisan rhetoric. Agenda has existed in film since its inception, sometimes culminating in exposition aimed directly at the audience. The Great Dictator (1940), is an example of film sacrificing coherence for politics, as Charlie Chaplin broke the fourth wall, suddenly addressing the viewer directly. Film is an art form that can inspire, seduce, heal and inform. Sadly, these very merits are what make it a perfect medium for advertising. (The King’s Man film perverts the truth into a political conviction; one that’s meant to indoctrinate the naïve while gaslighting the informed.) A good script (like proper literature) has a focused plot in which all themes are connected. In The King’s Man the narrative is aimless, with numerous unrelated subplots; it even changes protagonists halfway thru the film! King’s Man often contradicts itself, presenting a pacifist who assassinates, a maid who scolds an English Lord, and male characters who constantly second guess themselves. Because the objective, here, is to deliver a feminist manifesto, the unaware moviegoer will feel frustrated and confused. The film quickly devolves into boredom or annoyance, as each scene is designed to lecture the viewer while chastising men, instead of delivering a coherent story regarding the franchise. Whether it’s senselessly killing off characters, undermining men’s independence and determination, or championing sex positivity, each and every moment of this film is designed to indoctrinate the viewer into Woke think and behavior; it’s a vision of the world built on hatred, envy & reprisal and one which serves Neo-Marxism in its goal to undermine Western society. As the cultural war goes mainstream, it becomes every citizen’s responsibility to recognize where their rights are being broken, where creed becomes oppressive (rather than inclusive) and where safety of the vulnerable is either violated or weaponized. I’ll make this one point clear: We MUST NOT let art and entertainment be a venue for subversion of culture and social conditioning of the innocent. When you purchase a Woke production, you’re paying for your own indoctrination. (This film flopped at the box office, and its planned sequel is now on the rocks. I give The King’s Man a 1 out of 10 for its appropriation of a beloved franchise, its hateful anti-masculinity, and its Neo-Marxist underlying agenda.)

As storytellers, it’s our obligation to draw the interest of the audience. That imperative applies as much to directors, writers, and actors as it does to any other artists, visual or otherwise, involved in the production. I’ve often asked myself what a video game or film, which honors mythology sincerely, would look like. The sad and unfortunate answer manifests in Achilles – Legends Untold, a computer game which presents its protagonist suddenly and unsentimentally, who’s bland narrative stirs a yawn and who’s repetitive, unnuanced gameplay quickly dissolve any interest in progression. Achilles – Legends Untold seems to be developer Dark Point Games’ first release, and, to their credit, have received ample public attention. The game follows traditional action role-playing game expectations by offering the typical variety in gameplay, unlockable skills and upgrades, Soulslike options and progression, and run-of-the-mill side quests. Unfortunately, Legends Untold fails to make the adventure pressing or captivating: there’s no character design, and the player is unceremoniously dropped into the Trojan War as Achilles. We’re expected to know who this ancient warrior is with no explanation or backstory given! Dark Point fails to give the player a chance to see the protagonist’s face, detail his interests, explain his deeper purpose or allude to the character or curiosities of the legend. The issue is further compounded by the bland and repetitive (albeit varied) hoards of enemies Achilles faces; they’re all true to mythology or plausible, but feel dull and tedious to confront. Weapons follow suit, offering a variety of options and skills, but none of them feel particularly unique or alluring (in contrast, Titan Quest 2 achieves these interests!). Dark Point succeeds at combining elements of past successful titles in their gameplay, but the delivery is less than ideal, causing frustration, especially in boss fights, which prove particularly monotonous and unrewarding. Despite achieving interesting developments in the genre, such as excellent mission and loot tracking as well as noteworthy skill options and progression, Dark Point fails where it matters most: the game’s protagonist is bland, there aren’t any colorful supporting characters, and the raison d’être is practically nonexistent. The voice over is poor and the script isn’t organic or creative. Hopefully the developer can learn from these mistakes and deliver a more meaningful and compelling experience in their next release. (I give Achilles: Legends Untold a 4 out of 10 for uncompelling gameplay, poor script and performance, and lack of captivating narrative.) Achilles: Legends Untold is available on the following platforms: PlayStation 5, Windows, Xbox Series X/S, PlayStation 4, Xbox One, and Nintendo Switch

The unsung heroes of Hollywood are the writers, technicians, artists and the film crews that forge productions. Nowhere is this fact clearer than in this film. A joint venture by Warner Bros. and Apple Originals, F1 finds award winning cinematographer Claudio Miranda at his best; proving, beyond a doubt, that an industry hell bent on “improvising” and “innovating” thru colored lenses and shaky cams has it all wrong. His efforts, coupled with excellent performances, a wonderful soundtrack and an unpredictable narrative elevate F1 to near cinematic perfection. Mimicking Joseph Campbell’s Hero's journey, F1 details the exploits of a down and out race car professional. F1’s moral of determination is especially vital in the current climate of unforgiving cancel culture and constant criticism of masculinity: we’re all human beings and we all make mistakes. In tarot, “The Magician” card perfectly illustrates a man’s calling in life: to bridge Heaven and Earth (to create and improve one’s life and surroundings) despite any setbacks along the way. Under the watchful eye of producer Jerry Bruckheimer, F1 is indeed a very masculine venture. It's about excellence and the effort it takes to get there. Whether thru clever gumption or sheer training, this film aptly portrays what it’s like to be a man (or daring woman!): to fail and recover, accept criticism and defy the odds in the face of danger. The racing car scene is, itself, a relentless pursuit of excellence, both for the vehicle and the driver. Bruckheimer’s crew make every effort to honor Formula One thru technical authenticity, including seven-time world champion Sir Lewis Hamilton as co-producer. In typical Hollywood style, some aspects of the tournament are inflated for dramatic flare. The story surprises, generously applying aspects of race car driving in cinematic fashion, while also keeping an excellent pace and an upbeat tone. Cinematographer Claudio Miranda and director Joseph Kosinski manage to keep the action clear and concise thru the use of custom-built cameras and modified F2 cars. The fantastic filming is immediately noticeable, even to the untrained eye. Overhead shots are absolutely gorgeous, delivering a sturdy sense of setting. Brad Pitt delivers a believable character who, at times, had me forgetting who the actor was. It’s difficult for a part to eclipse a major celebrity, and Pitt manages to achieve this, briefly. Thru the casting of Damson Idris, Sarah Niles, Samson Kayo and others, F1 also proves how diversity can be included organically in film, with proper character development, culture and background. Make no mistake: F1 is excellence in filmmaking. What’s more, despite its rigorous requirements, this level of production isn’t hard for Hollywood to achieve. F1 highlights how a man forges his own fate, independently and thru teamwork. It teaches the importance of living in the moment, as well as the real reason to live life: not for fame or fortune, but for the experience. To simply be.

A fine sequel to the original Kingsman, Golden Circle doubles down on the franchises’ excellent “single take” fight scenes, not once but at least four times! The editing in this kind of melee is carefully spliced to give the illusion of a single, unpaused take of the fight, allowing the action to flow and delivering a heightened experience. We tend to not demand much from actions flicks, but Kingsman proves, once again, that action, comedy and drama can be combined thoughtfully and playfully. Golden Circle continues in its predecessors penchant for goofy villains, sudden twists & turns and proper character development. Where other action films drop a simple plot & a long line of goons to punch thru, Kingsman develops narrative in its own style. A great deal of money and effort has gone into this wonderful sequel, and most moviegoers won’t notice it. Costly computer-generated imagery is applied everywhere in Golden Circle to greatly enhance the visual experience. Director Matthew Vaughn and cinematographer George Richmond use Hawk V-Lite and V-Plus anamorphic lenses, which are designed to deliver greater definition and higher contrast. The color scheme is also heightened in this film to provide a sense of depth and warmth. Earning four times its cost at the box office ($411 million in revenue), Kingsman: The Golden Circle is excellence in the action movie genre, elevating the standards of filmmaking and delivering more than its counterparts. The only issues I can find with the film are some run on scenes due to less than ideal script writing. At times, the dialogue will fail to deliver on what the audience is feeling or what the character should be correctly expressing. At other moments, the writing is excessively wordy, causing the vibe to halt. Other than that, Golden Circle is to be applauded, and is truly merit worthy in its efforts to deliver an enjoyable action packed spy film! (I give Golden Circle a 8 out 10 for admirable cinematography, fight scenes & visuals! This film does inherit poor dialogue issues from its predecessor, detracting from its relevance and pace.)

Playfully devious & nothing if iconic, cartoonist Charles Addams’s eccentric characters are done justice on the big screen. First appearing in The New Yorker as a 1932 series of standalone comics, the family of outcasts drew keen attention, enough to attract numerous sitcom offers, eventually resulting in two seasons on ABC. This nineties film revival of the franchise magnifies the Addams’ upbeat whit, magic and mischief. This screenplay, by Caroline Thompson & Larry Wilson, is precise & unrelenting, making it clear to the viewer: this is no ordinary household. The Addams toy with death, and, as if by some unwritten, blessed inheritance, never face the consequences. They savor the macabre as much as they’re denied it. To entreat the family requires the brave or foolhardy to embrace their peculiar spirit, or suffer the consequences. The brilliance of this film is in its resolute pace: keeping the action going while delivering the plot, causing the engaged viewer to struggle to capture everything at once. Before becoming a big Hollywood producer, Barry Sonnenfeld was an up and coming cinematographer; most notably on the movie When Harry Met Sally… The Addams film was his directorial debut. Directing is a position of incredible requirement & constant supervision. The demands undermined Sonnenfeld’s health and sanity, resulting in production wide unhappiness, delays & expenses. Orion Pictures’ financial straits eventually led them to sell the national rights to Paramount Pictures before the movie’s release! Despite these issues, The Addams Family went on the become a big box office success, earning $191.5 million compared to its $30 million budget. Funny how the constant rewrites, reshoots and meticulous editing (those aspects which frustrate Hollywood) can end up forging a timeless classic. Make no mistake: Sonnenfeld’s dedication to excellence is what makes his films enjoyable. It’s a responsibility that’s shared among cast and crew, and is vital to foster in today’s film industry. Make no mistake: comedy is the toughest of all the arts. What’s funny to one person can be offensive to another. It’s rare for a movie to make me laugh and The Addams Family had me chuckling almost all the way thru! The Mamushka dance scene, originally six minutes long, is an excellent example of proper editing and had to be cut down to two minutes for relevance. Speaking of having fun and being involved, The Addams Family showcases excellence in acting! The late Raul Julia (God rest his kind soul) was said to have deeply loved the role of Gomez, and his spirited performance proves it. Just look at him! He’s completely immersed! Notice how Christopher Lloyd pauses before taking action. This is the sign of a consummate professional: he’s considering the moment before moving forward. And, of course, Anjelica Huston’s portrayal of Morticia is both flawless and timeless. The costume she wore was said to have been painful, and yet she wore it everyday. Nightmarish the most whimsical way, the Addams Family is an American film classic. It has all the hallmarks of flawless cinema, where cinematography is crisp, the pace is resolute, the narrative is captivating and performances are impeccable. Charles Addams’ singular vision is exceedingly unique, and yet easily relatable to people of all ages. (I give The Addams Family a 10 out of 10 for excellence in comedy, performance and overall delivery!)

Properly paced, action packed and exciting, Sir Matthew Vaughn’s comic book series makes the leap to film with charm. Embellishing on the hallmarks of the Bond franchise, Kingsman blends extravagant style with arrogance in a playful poke at the spy genre which isn’t afraid to criticize itself or British institutions. Memeable in its portrayal of the capable gentlemen, this film presents character thru performance. Despite some hiccups mid screenplay, Kingsman is generally relentless in its execution, standing as an example of proper pacing in a motion picture. Kingsman keeps it’s audience glued to the screen, with enthusiasm, lore, spectacle and parody. The absolutely stunning cast (everyone from the protagonist to the extras) keeps it real and relatable in this film. Dialogue is delivered naturally, the script is concise and the narrative surprises. With an over the top nefarious villain, an evil lair full of henchman, stylish secret agents, and a narrative that aims to include the next generation of the United Kingdom, Kingsman is nothing short of a modern movie masterpiece; introducing us to the spy genre enjoyably, thru short, meaningful exposition (as well as timely, interesting subplot), while earnestly parodying spy films. Kingsman is blessed with excellent cinematography, including an incredible fight scene. Jackie Chan's stunt choreographer, Brad Allan, collaborated with Matthew Vaughn to create a seven minute free-for-all. After careful and tedious editing, the resulting three minutes are an almost uninterrupted action sequence which impresses. These kind of “single-take” scenes are uncommon (see the intro in the film Serenity (2005 film)), require extensive effort, but raise film industry standards. The continuous shot gives a complex, fluid, and immersive experience to the melee. Kingsman manages to blend violence and comedy in an exciting, untroubling fashion. The film is a love letter to classic spy films, and is exceptional in its methodical introduction to a spy agency. This film is rated R, and is best for suited for ages 17 and up. (I give Kingsman: The Secret Service 9 out of 10 for excellence in the action and comedy genres. A point is deducted for some turbulence in pacing, resulting in some loss of interest.)

Severance is leading this year’s Emmys with a whopping 24 nominations! Make no mistake: film industry award shows are usually a marketing affair: a weathervane, if you will, of Hollywood interest (akin to patting yourself on the back). Actual merit doesn’t apply. Sometimes, however, real talent does get recognized, and this is one such case. Severance has a layered narrative that’s relatable on many levels. It deals with timeless, human issues in a novel way, carefully and methodically. Most importantly, Severance has no political agenda, allowing it to focus on quality filmmaking instead of messaging to the masses. Most television is superficial enough to be played in the background as you manage mundane tasks. I had expected as much from Severance, only to find it demanded my focus. Enthralled, I soon found myself rewatching the first episode three times, captivated by its premise and absolutely gorgeous cinematography. The brevity Ben Stiller and his crew inject into this horror mystery, coupled with its calm pace allows viewers to relax and enjoy, even while they’re concerned and contemplating. The cast’s performances are noteworthy, delivering subtle character differences which match the mystery’s overarching plot. Both are a joy to discern and discover. Many contemporary productions attempt to cross genres and fail in the effort. Two examples include: The Legend of Ochi (2025) which tried to mash family adventure with violent warfare, resulting in a PG rated film that will leave your children scarred for life; and Daredevil: Born Again, which aimed to combine legal procedural with daytime drama and violent, superhero action, hoping to attract female viewership while retaining its male, comic book fandom. In both cases the contrast was too sharp. Severance succeeds at blending humor with dystopia, thriller and mystery, and does so subtly. What Severance presents can be taken very seriously, but at times the lightheartedness of the matter will dawn on you, and you’ll find yourself smiling or chuckling about it. That’s because the writing is comedic, but veiled in drama. Furthermore, a good dialogue intuitively knows what people would say given their circumstances, and replicates that spontaneous natural response in the script. If you catch yourself saying the line before the actor does, this is a good sign. These aspects make Severance’s script the best I’ve seen in a very long time. At its heart, Severance delivers a vital message of indoctrination and control. It does so by honoring the integral aspect of science fiction: metaphor. This message is delivered subtly thru character exploration, comedy, suspense and tragedy. The carefully crafted corporate context enriches the experience, as does the soundtrack. Like those of us who’ve experienced an overbearing parent, or who’ve felt unwarranted criticism or manipulation by management, Severance quietly asks us to consider how complicit we become thru ignorance or inaction. Season two begins to require even more intuition from the viewer, hinting at the plot and avoiding explicit explanations. Severance is a nuanced production that demands the viewer pay attention, enhancing rewatchability, delivering meaning, and doing so while intriguing, moving and entertaining the viewer. This series is a gem and a wonderful watch for a mature, conscious individual who wants to be both entertained and encouraged to consider.