Seemingly every genre — from Vikings epic to classic romantic musical to horror/comedy and even a man/dog buddy movie — gets its moment in the spotlight this week.
Here’s a rundown on what to watch (or not to watch) at home or in theaters.
“Vikings: Valhalla”: Netflix resuscitates the History Channel’s bloody and bloody good epic “Vikings” and doesn’t sacrifice of any of the original’s spectacle, sweep or scale. Set 100 years after the series’ sixth season, it adopts a revenge and redemption narrative motif with Norse legend Leif Eriksson (heartthrob Sam Corlett), his tough sister Freydis (Frida Gustavsson) and prince Harald (Leo Sutter) going after an intolerant England responsible for genocide. Unlike many other series — including Netflix’s “The Witcher” — “Valhalla” doesn’t sit and stew in its storytelling juices before it kicks into gear. This is rapid, savage and raucously enjoyable, even though you can’t help but wonder how these Vikings kept their teeth so damn white. Netflix has such confidence in Jeb Stuart’s reboot that they’ve ordered three seasons already. Easy to understand why after watching these eight bingeable eight episodes. Details: 3 stars out of 4; drops Feb. 25 on Netflix.
“Studio 666”: The acting isn’t Oscar caliber, but who cares since the spirited hijinks and go-for-broke attitude of the Foo Fighters is utterly irresistible in this gory, entertaining supernatural romp that riffs on the music industry. Foos frontman Dave Grohl created and stars in this horror/comedy film with a killer concept that finds the band settling into a “Burnt Offerings”-like Enicno home to record its 10th album. The catch is the rundown estate was the site of a grisly crime that claimed the lives of another band (depicted with gruesomeness in the opening minutes). Director BJ McDonnell plays up the carnage and does a fine job of balancing the horror with the humor as the musicians uncover a legacy of evil. Amiably generating laughs amid the bloodshed are comedian Whitney Cummings as a nosy next door neighbor/groupie and Will Forte as a food delivery worker with a demo tape he wants to deliver to the boys. Details: 3 stars; in theaters Feb. 25.
“No Exit”: In 2017, novelist Taylor Adams came up with a perfect airport read; a sleek, efficient nerve-racker that could be easily devoured during a nonstop coast-to-coast flight. Now, Hulu and 20th Century Studios have handily re-created the same intense, visceral experience in a new film. Taylor’s setup is ripped from a classic Agatha Christie whodunit: A group of motorists with secrets to spare and creepy ulterior motives get stranded during a blizzard at a rest stop where there is no cell phone reception. When our heroine, the recovering addict Darby (Havana Rose Liu) ventures outside, she spots a bound and gagged child in the back seat of a van. Which one of the four others inside is the owner of that vehicle? And how can Darby break her out without gaining suspicion? The answers are far more twisty, nasty and twisted than you’d expect. Like Adams’ crackling read, director Damien Power’s roller-coaster ride grows more tense with every hairpin turn it takes. The cast, in particular Liu and Danny Ramirez, fling themselves fully into their roles. Thriller fans shouldn’t miss it. Details: 3 stars; available Feb. 25 on Hulu.
“Cyrano”: Maybe it’s time to put a moratorium on adapting Edmond Rostand’s classic triangulated romantic play. While Joe Wright’s well-made new version has its virtues — particularly Peter Dinklage’s nuanced, indelible performance in the title role — there’s no ignoring the play’s central problem: Roxann (Haley Bennett), the magnet for our protagonist’s affections, is not very likable. And that’s even more apparent in Wright’s version. Dinklage aces every scene he is in and is easy to root for as his romantic frustrations lead him to assist a rival suitor’s wooing of the woman he loves. Roxanne’s unlikability is not Bennett’s fault, she is fine but can only do so much with the flawed-as-written character. Kelvin Harrison Jr. as the rival suitor is charismatic but the role isn’t developed enough. Too bad, as the production values are first-rate and the singing makes the film swell with passion and longing. Details: 2½ stars; in theaters Feb. 25.
“Dog”: Welcome back, Channing Tatum. The affable actor/dancer, and now director, returns after a self-imposed sabbatical and it’s cause for celebration. In the aptly titled “Dog,” Tatum co-directs with screenwriter Reid Carolin (“Magic Mike”), and show a natural ease to being in the director’s chair in addition to anchoring this buddy/road picture equipped with a deeper meaning than you’d suspect. Playing sidelined Army Ranger Briggs, Tatum subtly explores how America fails its emotionally and physically wounded veterans, be they of the human or canine sort. Vital in making “Dog” work is the believable bond that develops between canine and human, and that relationship grows in significance and understanding as the film progresses. Briggs is bucking to return to action but is nursing a head injury while Lulu, his dog buddy, has anger management issues. The duo evolve from a hate-love relationship that evolves as Briggs gets assigned the task of driving Lulu to the funeral of her former soldier companion, who killed himself. With Tatum’s natural charm and Lulu’s charisma, along with an astute screenplay that introduces us to an engaging crew of eccentrics — a trademark of Carolin’s — “Dog” turns into the cat’s meow of buddy-dog pictures. Details: 3 stars; now playing in theaters.
“The Pact”: Films about writers suffer from an inherent problem: The process of fashioning prose simply ain’t sexy. Danish filmmaker Bille August doesn’t quite clear that hurdle but comes close with an interesting, impeccably groomed period piece set in 1948. It’s about the well-to-do “Out of Africa” author Karen Blixen (Birthe Neumann), who hires up-and-coming poet Thorkild Bjornvig (Simon Bennebjerg) to write her memoir. Dying alone of syphilis, the crafty Blixen manipulates the more innocent Thorkild, who is married and has a child. The two form “a pact” that tests the fortitude of both. Oscar winner August’s well-made, classy production demands patience but offers artistic rewards. Details: 2½ stars; now playing at select theaters.
“Texas Chainsaw Massacre”: Clocking in at a scanty 70 minutes, this Netflix installment of the Leatherface franchise, which originated with the 1974 Tobe Hooper classic, struggles to put enough meat on its bones to sustain even that short running time. The setup is stupid and empty-headed: a group of obnoxious social influencers descend on the deserted town of Harlow, Texas, to “buy up” the quaint storefronts for their own branding. One such building is a rundown orphanage that’s the home of guess who? Two sisters (Sarah Yarki and Elsie Fisher) take on Leatherface while their other forgettable friends (Jacob Latimore and Nell Hudson). Director David Blue Garcia sledgehammers us with gore, but the screenplay squanders the appearance of Leatherface’s sole survivor of the first film, played well by Olwen Fouéré. The original film inspired nightmares; this one makes you giggle and leaves you bored. Details: 1 star; now on Netflix.
Contact Randy Myers at soitsrandy@gmail.com.
Source: www.mercurynews.com