Murder on the Orient Express (1974)

Murder on the Orient Express (1974)

5/10

Starring

Albert Finney

Lauren Bacall

Martin Balsam

Ingrid Bergman

Directed by Sidney Lumet

Based on an Agatha Christie book of the same name, Murder on the Orient Express is supposed to be a classic, one of those movies Agatha Christie herself loved. For me, the movie did not age well. The whole feel of the 1930s, which the movie tried hard to recreate, kind of envelopes the entire film. With conversations that were way too long to matter and investigations that seemed overly stretched, this is a movie made for those who have insomnia.

Even the star-studded cast could not save this movie from casting a cloud of boredom over a plot that lacked the excitement needed to capture my interest. It reached a point where I just didn’t care anymore and wanted the movie to be over. That said, the film does have a nice thirty-minute ending, which, while it didn’t save the movie, was interesting to watch as Poirot unraveled the convoluted plot.

The story follows Poirot aboard the Orient Express by chance, as his friend insists he join him on the train. While on the train, a murder occurs. A man who had earlier approached Poirot for protection is found murdered, stabbed twelve times after being drugged.

The famous detective Hercule Poirot is tasked with solving the case. The challenge he faces is that everyone on the train either claims to have been asleep or offers a strange story that points to the killer being an outsider—someone who wasn’t on the carriage at the time. As Poirot digs further, he connects the murder to an act that happened five years earlier.

Poirot is played by Albert Finney, who earned an Academy Award nomination for Best Actor for his performance.

In the end, the movie follows the typical formula, where Poirot’s presence coincides with a case to solve. However, the cinematography deserves praise. The production managed to depict the confined setting of the train without evoking claustrophobia, which is worth noting.

The film was both a commercial and critical success, earning six Academy Award nominations. Of the six, Ingrid Bergman won the Oscar for Best Supporting Actress. Her performance in the movie was undoubtedly deserving of the honor.

I feel this movie must have been fantastic in the 1970s, but watching it now, it feels more like a bore. Until the last thirty minutes, it didn’t matter much for the eyes. But, when it did pick up, it was a fun ride to the end.

Evil Under the Sun (1982)

 

Evil Under the Sun (1982)

6/10

Starring

Peter Ustinov

Jane Birkin

Colin Blakely

Nicholas Clay

Directed by Guy Hamilton

Evil Under the Sun is not as cool or good as the movie Death on the Nile (1978), which also starred Peter Ustinov as Hercule Poirot. The movie had a real problem: it took almost an hour for the murder to happen. Those first sixty minutes are not the most entertaining. However, once the murder finally occurs, the film pulls you in, as is always the case with Christie’s work. After that point, the story gets very, very interesting because you genuinely want to know who just helped rid the world of such an awful person.

The victim is a character so well-placed in the story that, to be honest, her death feels like a relief—even to you, the viewer. Her personality is incredibly irritating, and her total disregard for her stepdaughter makes her even more unlikeable than she already is.

The movie is based on Agatha Christie’s 1941 book of the same name. The plot follows the familiar Christie formula: wherever Poirot goes, there’s always someone universally disliked who ends up dead, leaving everyone else as a suspect. It also features Maggie Smith, who previously appeared in Death on the Nile (1978) with Ustinov, playing yet another suspect.

The story begins with Hercule Poirot heading off on holiday. Before his trip, he meets a wealthy man who has just been scammed out of a very expensive jewel by a woman. Poirot, during his vacation, encounters the same woman. She is flirtatious, attractive, and young-looking but has a knack for mocking everyone around her while glorifying herself. Naturally, this makes her disliked by almost everyone, and when she’s murdered, everyone is under suspicion.

Poirot is drawn into solving the case, but there’s a twist: everyone has an alibi, and those alibis are corroborated by other people.

The movie has some serious flaws, though, and one glaring issue stands out to me. How did Patrick get Myra to accompany him? He seemed determined to deter her, yet she suddenly shows up, asking to join him. Neither Poirot nor the movie explains this, leaving a significant gap in the story.

Additionally, there’s a lot of name-shuffling and notable changes compared to the book, which I feel made the movie less effective. These alterations didn’t help the story and left it falling short of its potential.

What I did enjoy, once the movie finally picked up, was the complexity of the alibis. Every suspect seems to have one, and those alibis are often corroborated by someone else. What’s clever is that most of the corroborating witnesses don’t even realize they’re doing it. Like the book, the movie encourages you to think deeply, examine the events, and figure out which thread to pull to unravel the truth.

Overall, it’s a decent movie to watch, but you need patience for the story to take off—it’ll take almost an hour. If you can handle the slow start, it’s worth the effort to see how the mystery unfolds.

Death on the Nile (1978)

Death on the Nile (1978)

8/10

Starring

Peter Ustinov

Jane Birkin

Lois Chiles

Bette Davis

Mia Farrow

Jon Finch

Directed by John Guillermin

Death on the Nile is a fantastic movie based on an equally fantastic book of the same name by Agatha Christie, published in 1937. It’s worth noting some changes in this movie adaptation of the crime thriller. A few characters from the book were removed, and an additional subplot involving Colonel Race, who in the book joined the steamboat to track down a murderer and thief, was completely omitted.

That said, the movie itself is well-paced and cohesive. Despite the expected confinement of a steamboat from the 1930s, there’s a surprising sense of movement and activity. The characters’ actions keep everyone—including you, the viewer—on edge, wondering who killed the heiress.

The craftsmanship of this movie is excellent. The costumes and settings are so well done that, for a moment, I felt transported to the 1930s. This attention to detail was rightly recognized when the film won the Academy Award for Best Costume Design.

As expected, after a brief introduction to the key players, we’re thrown into a murder mystery. This time, it’s on a steamboat sailing the Nile during an Egyptian excursion. The victim is an heiress, and there are plenty of people aboard who might have wanted her dead.

First, there’s her former best friend, who was also the former lover of her now-husband, whom the heiress stole. Then, her maid, whom she refused to give promised money because she disapproved of how it would be spent. There are two people with legal disputes against her. Her shady lawyer wants her to sign documents without reading them to avoid prosecution. There’s a woman who hates her family for past wrongs. And let’s not forget the kleptomaniac who covets her jewelry. With all these potential suspects, you’re constantly guessing who might have done it.

Things get even more complicated when two other deaths occur, leading Poirot, who is on board with his friend Colonel Race, to deduce that the murderer must have been known to the additional victims.

The movie concludes with Poirot gathering everyone together to unravel the mystery, using subtle clues that the film cleverly reminds us of through flashbacks. I particularly enjoyed how the production incorporated visuals to show how events unfolded as Poirot explained them.

As is typical of anything based on Christie’s books, the murderer is not who you’d expect, and the plot is far more intricate and well-thought-out than anticipated.

This is a wonderful film and one I wouldn’t mind watching again, just to appreciate how all the clues align so perfectly.

Tom and Jerry (2021)

Tom and Jerry (2021)

 

4/10

Starring

Chloë Grace Moretz

Michael Peña

Colin Jost

Rob Delaney

Ken Jeong

Directed by Tim Story

The main issue with this movie is the sidelining of the titular characters, Tom and Jerry, to the background of a story that isn’t worth anyone’s time. On top of that, the directing feels sloppy, and the pacing is all over the place—it’s a miracle if you can sit through this movie without dozing off.

Tom and Jerry, the iconic duo, are reduced to supporting characters in their own movie. I have to admit, I was completely disappointed. I had been so excited to watch this, and what a letdown it turned out to be.

Having grown up watching Tom and Jerry, their animated chases were a staple of my childhood. The pair, created by William Hanna and Joseph Barbera, have a rich history of entertaining audiences with their countless animated shorts. This movie is only the second fully theatrical film adaptation, following Tom and Jerry: The Movie from 1992. Unlike its predecessor, this one mixes animated characters (for the animals) with live-action human characters.

The plot focuses mostly on a young woman named Kayla (Chloë Grace Moretz), who seems to be a con artist willing to do anything to get ahead. Like every family-oriented movie, she eventually learns her lesson and turns over a new leaf. The problem is how the movie delivers this “lesson”—it comes out of nowhere and feels forced. She was already coasting through life, having gotten lucky, and the movie should have just left it at that.

Kayla lies her way into a job at a fancy hotel, working under Terrance (Michael Peña), the event manager. Terrance is planning a huge wedding for a high-profile couple who resemble Nick Jonas and Priyanka Chopra. The plot revolves around this wedding, which is supposed to put the hotel on the map.

Meanwhile, Tom and Jerry have their own subplot. Jerry decides to make the hotel his new home, and Tom, still holding a grudge after Jerry ruined one of his scams, chases him there. Predictably, Jerry causes chaos, prompting the hotel manager to demand his removal—after all, a mouse infestation could ruin the wedding and sink the hotel’s reputation.

Kayla convinces the manager to hire Tom to catch Jerry, and this sets up the usual cartoon antics. Here’s an odd twist: in this movie, cartoon animals are treated like minorities with rights and societal roles.

The rest of the movie is a mix of Tom and Jerry’s classic shenanigans, as Tom tries to catch Jerry while both manage to wreak havoc on the hotel. Meanwhile, Kayla struggles to keep the wedding on track while dealing with the chaos caused by the duo.

Unfortunately, the movie is just not worth it. The gimmicks feel tired, the plot is lackluster, and the focus on the human characters takes away from what made Tom and Jerry beloved in the first place. Save your time for something else.

Flora & Ulysses (2021)

Flora & Ulysses (2021)

6/10

Starring

Matilda Lawler

Alyson Hannigan

Ben Schwartz

Anna Deavere Smith

Directed by Lena Khan

Flora and Ulysses is one of those movies you just know wouldn’t have performed spectacularly at the box office. That said, it’s perfectly suited for a digital release on Disney+, and I enjoyed it despite its TV movie vibe. The CGI budget wasn’t huge, which becomes clear when you see the odd-looking feral cat. However, most of the CGI effort was clearly spent on Ulysses, the squirrel.

What really stood out to me was Flora’s dad, George (played by Ben Schwartz), who comes off as delightfully clumsy. His performance is funny, though it doesn’t quite compare to the lead, Flora (Matilda Lawler). She absolutely shines—her smile and charisma carry the movie, and I was thrilled every time she was on screen.

The plot introduces us to Flora, an intriguing young girl who’s deeply into comics. We also learn that her parents are separated, with Flora living with her mom.

I appreciate how the movie handled the separation. While Flora clearly wants her parents to reconcile, she doesn’t obsess over it. The impact of the separation is shown more on the parents than on Flora herself. This avoids the tired trope of a child acting out, meeting a magical pet, and having their outlook completely changed. Flora, in this movie, is lively and realistic, focused on living her life while holding onto hope that things will work out for her family.

One fateful day on her way home, Flora notices her neighbor struggling with a runaway automatic vacuum cleaner. She steps in to help, but the vacuum spirals out of control and ends up sucking up a squirrel, mistaking it for dirt. Flora eventually catches the vacuum and rescues the squirrel, whose experience grants it superpowers—it can fly, has super strength, understands humans, and even enjoys poetry. Flora names the squirrel Ulysses, after the vacuum cleaner.

The movie’s antagonist is an animal control officer, called in after Flora takes Ulysses to a diner, where he causes a commotion. From then on, Flora, her dad, and her “not blind but blind” neighbor must work together to keep Ulysses safe—not just from the animal control officer, but also from Flora’s mom.

The movie is based on the children’s book series of the same name by Kate DiCamillo.

In the end, Flora and Ulysses is a charming movie to watch with your family. While it’s not a Disney classic you’ll want to rewatch endlessly, it offers a wholesome, feel-good experience.

Witness for the Prosecution (1957)

Witness for the Prosecution (1957)

8/10

Starring

Charles Laughton

Tyrone Power

Marlene Dietrich

Elsa Lanchester

Directed by Billy Wilder

This was my first time seeing this movie, and I was amazed by the number of twists and turns it holds. Until the very end, everything you think you know about this movie—or what really happened—is up for grabs, and nothing is ever certain. The plot is brilliantly crafted to keep the viewer lost in suspicion, doubting everyone except the defendant. The triumph of this movie is something I have to credit Billy Wilder for. His skill as a director, twisting and turning this screen adaptation, is incredible to behold.

Praises are also due to the cast: Charles Laughton, Tyrone Power, and Marlene Dietrich. The three of them were so commanding in their roles that there was no way this wasn’t going to be a hit. Their performances deserve applause and awards thrown their way. Alongside the main trio, Laughton’s real-life wife Elsa Lanchester plays a supporting role as Sir Wilfrid’s nurse—a role that earned her a Golden Globe Award.

The movie’s plot centers around Leonard Vole (Power), a man accused of murdering a wealthy elderly woman named Jane French. Vole’s solicitor takes him to a senior barrister, Sir Wilfrid (Laughton), who has just returned home after a lengthy hospital stay due to heart trouble.

Leonard claims he wasn’t around when the murder was committed, and his only witness is his wife, Christine (Dietrich). At first, Sir Wilfrid hands the case off to someone else in his firm, but he changes his mind when he notices the strange threads tied around Leonard and this case. He decides to lead the defense, and we watch as he unravels the mystery to determine whether Leonard truly murdered Jane French or not.

The movie is based on Agatha Christie’s short story, which first had a play adaptation. This film marks the first adaptation of the 1925 publication. It was both a critical and commercial success and has been praised as one of the best adaptations of Christie’s works.

It has also been recognized by the AFI (American Film Institute), ranking sixth in their AFI’s 10 Top 10 Courtroom Dramas. If not for the Covid-19 pandemic, there was talk in 2020 of Ben Affleck wanting to create a remake of this film. I’m not sure if such a remake will ever happen, but I feel this movie is one of those classics that should just be left alone as it is. But if you know Hollywood, that may not be.

Space Sweepers (2021)

Space Sweepers (2021)

7/10

Starring

Song Joong-ki

Kim Tae-ri

Jin Seon-kyu

Yoo Hae-jin

Directed by Jo Sung-hee

Space Sweepers is a totally entertaining film—over two hours long, but so intense that you won’t even notice the time passing. The acting and the whole concept of the movie aren’t things you see every day. I really like how the film takes all the cool futuristic ideas from other movies and combines them with one of the most common themes in popular space films: humans moving to Mars.

The acting is unique, with a cast that brings together talents from all over. The way the movie blends these actors is something you have to see for yourself to fully appreciate.

Then there are the effects—absolutely stunning. They hit you from every angle, dripping with class on your screen. The space chase scenes are on a whole other level, something I don’t think any other movie has pulled off in a while. The intensity of the action is so gripping that it pulls you right in. The movie feels like a book; as it unfolds, new layers are revealed, characters come and go, and you’re left wondering how it will all tie together. I remember seeing a character and wondering what major role they’d play, only for them to disappear later.

Space Sweepers is a South Korean space opera set in the year 2092, where Earth has become almost uninhabitable. A corporation has built a new orbiting home for humanity, with plans to turn Mars into the new Earth. However, only a chosen few get to live in this orbiting home, handpicked by the company’s CEO, James Sullivan.

Everyone else—those who haven’t been selected or can’t afford to live in the new habitat—are left on Earth. Many have turned to scavenging space debris for survival. These scavengers, known as Space Sweepers, collect remnants of satellites and other space junk to sell for money. The work is intense, as they pilot their spaceships to capture the largest debris they can find, all while dealing with crushing taxes and exploitative loans with outrageous interest rates.

The story focuses on the crew of the spaceship Victory, which includes Kim Tae-ho, Tiger Park, and Bubs (an android), led by Captain Jang. There’s something sinister about James Sullivan, who is searching for a young girl while spreading negative stories about her. That girl, oddly enough, ends up on the Victory. The crew is shocked by their discovery, and even more so when they learn she is wanted by a terrorist group called the Black Fox. Hoping to make a quick fortune, they decide to sell the child for two million dollars. However, the deal doesn’t go as planned, and the crew finds themselves on the run with the little girl—who, to their surprise, begins to grow on them.

The movie seems like it cost a fortune to make, but it was created for less than $22 million. What I took away from this film is that you don’t need to spend over $100 million to create an eye-popping masterpiece.

The House with a Clock in Its Walls (2018)

The House with a Clock in Its Walls (2018)

 6/10

Starring

Jack Black

Cate Blanchett

Owen Vaccaro

Directed by Eli Roth

The movie is based on the 1973 novel of the same name by John Bellairs. The book was the first in a series of twelve, and I wonder if this movie had been more profitable, maybe we would have seen a sequel. The film is a dark fantasy with just enough comedy, but the gaps in between allow boredom to creep in as you watch. It doesn’t strike me as a must-see, but rather as one of those movies where the actors did their best with subpar material.

Even the effects feel average—better than what you’d see in B-movies, but not quite enough for a dark fantasy film. There seemed to be less reliance on effects than I expected (except during the magic scenes). The movie also had wasted characters who served only one purpose. You’re left wondering if the story would have been just fine without them—for example, the antagonist’s wife.

The plot revolves around Lewis (Owen Vaccaro), a young boy who recently lost his parents. All he has left of them is a Magic 8-ball they gave him and a photograph. Now, he has to live with his uncle Jonathan (Jack Black), who is as odd as they come. We’re also introduced to Florence (Cate Blanchett), Jonathan’s neighbor and best friend, who seems to come and go from the house as she pleases.

After an odd first night, the second night leads Lewis to discover there’s something Jonathan isn’t telling him. When he catches Jonathan hacking away at a wall with an axe, his panic forces Jonathan to open up a little.

We learn that Jonathan is a warlock, and Florence has magic too. There’s a clock hidden in the house, and they’re trying to find it. Lewis immediately wants to learn magic, and Jonathan agrees to teach him. However, there’s one rule in the house: Lewis must stay away from a locked cabinet. Of course, it’s not hard to guess that Lewis breaks that rule, unleashing chaos.

We see Lewis, as a typical child, trying to impress other kids at school so they’ll befriend him. Meanwhile, Jonathan struggles with raising his sister’s child, something he’s clearly never done before. Lewis’s mistake unleashes a dangerous foe—someone Jonathan fears could bring about the end of everything as we know it.

The House with a Clock in Its Walls is one of those forgettable movies that you’ll watch and, sometime later, find yourself wondering what even happened in it.

Breaking News In Yuba County (2021)

Breaking News In Yuba County (2021)

6/10

Staring

Allison Janney

Mila Kunis

Awkwafina

Regina Hall

Wanda Sykes

Directed by Tate Taylor

I have to be honest—the first five minutes of this movie beg you to turn it off. Who starts a movie with a woman forcing herself to recite positive affirmations, only to have her sister, Nancy (Mila Kunis), treat her as insignificant? Add to that her husband, Karl, who’s having an affair, and the fact that she books her own birthday cake only for the bakery to misspell her three-letter name, Sue (Allison Janney), as “Suc.” To make matters worse, the store doesn’t care at all. Honestly, I didn’t care to keep watching either. But my rule of giving movies 20 minutes to impress me before turning them off paid off here.

This is a very violent movie—overly so—and it doesn’t care who gets shot or why.

As for the acting, it’s surprisingly decent, which you’d expect from a cast like this. And while the first five minutes are dreadful, the plot eventually turns into something well thought out. The movie focuses on what happens when a bunch of selfish people willing to do anything for attention are let loose.

You’ll also appreciate the variety of characters. For instance, there’s Peter’s boss, played by Wanda Sykes, who’s just chasing the thrill of being a criminal.

Now, back to the plot. The movie takes a sharp turn when Sue catches her husband, Karl, in the act with another woman. This shocking moment causes Karl to have a heart attack. You’d think that would be the pivotal moment, but it really kicks off when we learn Karl and his brother, Peter, have been running a money-laundering scheme through Karl’s bank. And then there’s Sue, who turns out to be... let’s just say, not entirely stable.

The people Peter and Karl have been working for—led by Awkwafina—want them to keep laundering money. But Peter and Karl decide they want out. Of course, it’s not that simple. On Sue’s birthday, Karl takes the laundered money, planning to run off with his mistress.

Sue, meanwhile, goes to Karl’s office to confront him about forgetting her birthday. She spots Karl leaving with flowers and a suitcase (the one stuffed with money). Suspicious, she follows him and eventually catches him.

What unfolds next is a twisted story with equally twisted characters, each trying their hardest to screw things up even more. This is a nice film and it is worth you time if you get the chance.

And Then There Were None (1945)

And Then There Were None (1945)

6/10

Starring

Barry Fitzgerald

Walter Huston

Louis Hayward

Directed by René Clair

I saw the 2015 BBC TV series adaptation first before watching this, and even though both versions kind of remixed the ending, the remix in this 1945 version really messed up the book’s ending for me. The book’s conclusion is masterfully crafted to portray the killer as a sick man whose aim—to punish everyone who escaped the law—was successful. In this movie, however, he’s still a sick man, but his aim to punish everyone was unsuccessful.

The story is based on one of the most (if not the most) successful mystery thrillers written by Agatha Christie: And Then There Were None (1939). The plot is framed around the nursery rhyme Ten Little Indians (though Christie originally released the book as Ten Little Niggers).

For me, the movie fails to tick all the boxes of a masterpiece. The pacing lost me at times, with moments of boredom in between. The acting was top-notch, but in such a tense life-or-death situation, the romantic tension between characters felt forced. The cinematography wasn’t the best I’ve seen, but it was good enough to carry the movie from start to finish.

The plot begins with eight people arriving by boat on an island, all invited by a certain Mr. Owen—a man none of them has met. On the island, they’re greeted by a couple, Mr. and Mrs. Rogers, who were hired by Mr. Owen to care for the guests. Mr. Rogers plays a record at a specified time, per Owen’s instructions, and the voice on the recording accuses all ten people in the room of crimes that led to someone’s death. They soon realize there’s no way off the island until the boat that brought them returns. Now, they’re trapped and forced to confront the accusations while trying to survive.

At the dining table, the group notices ten figurines representing the Ten Little Indians rhyme. One guest recites the rhyme, while the others lounge about, wondering why they’ve been brought here and realizing none of them actually knows Mr. Owen. After one guest plays the Ten Little Indians tune on the piano, he takes a drink and dies from poisoning. The group moves his body and discovers that one of the figurines is missing. To their horror, his death mirrors how one of the "Indians" in the rhyme dies.

One by one, the remaining guests start dying in ways that correspond to the rhyme, leaving the survivors to figure out who among them is orchestrating these killings—and how they can stay alive.

It’s a decent film, but the romantic subplot between two of the characters felt unnecessary, and the movie’s altered ending left me preferring the 2015 BBC adaptation.

Palmer (2021)

Palmer (2021)

 

7/10

Starring

Justin Timberlake

Alisha Wainwright

June Squibb

Juno Temple

Directed by Fisher Stevens

Palmer is a cool movie that plays it safe by putting the lead in an already-established family role—Palmer takes on a role his grandmother previously filled. The movie takes off from there, and even though you can predict the ending from the start, it’s the journey to that end that made the movie enjoyable for me. Justin Timberlake gave a fantastic performance, leading the way in helping a young boy feel comfortable in his own skin. You get to watch these two characters struggle with the people they’ve chosen to be, and later allow each other to become all they can be.

The whole movie is about second chances. Even though you may have seen that story a million times before, Palmer still managed to pull at my heartstrings in some places. It’s those most likely moments that will swell you up inside, and then you’ll watch the movie finally take shape.

Palmer starts with the character, Palmer (Justin Timberlake), getting out of jail and moving in with his grandmother. It’s clear that he didn’t have a traditional upbringing, and it seemed like his grandmother raised him. She was happy to have him back, but now Palmer had to turn over a new leaf. He faced the challenges of getting a job while always being careful not to mess up his parole.

One day, when he had to take his grandmother to church, a young boy named Sam joined them. Sam lived with his mother, who was a drug addict and often went off on long trips, leaving Sam to stay for weeks at a time with Palmer’s grandmother. Palmer wasn’t much of a fan of Sam, especially since Sam wanted to be a princess and liked dolls. Sam got picked on a lot because he also liked things like dress-up, putting on makeup, and all that. What was challenging to watch in this film is that Sam wasn’t just picked on by children—adults treated him the same way.

When Palmer’s grandmother passes, he’s left to care for Sam. He did it grudgingly at first, tried to change Sam, but soon we get to watch them bond. We also see the challenges of the system, which claims to offer second chances but doesn’t actually help a convict. We see a mother who loves her son, but her drug addiction is making it difficult for her to care for him.

What really carries this film for me is the acting from everyone in it. The cast was able to convey the joy you feel when watching a good film, making you forget time is passing by.

You can watch Palmer on Apple TV+.

Ghost (1990)

Ghost (1990)

6/10

Starring

Patrick Swayze

Demi Moore

Whoopi Goldberg

Tony Goldwyn

Directed by Jerry Zucker

Ghost is our classic love story from the '90s, packed with drama, thriller, romance, and a bit of comedy. I recall watching the movie so many times, enjoying the iconic scene where Sam (the late Patrick Swayze) and Molly (Demi Moore) mess up a clay mold. Watching it now, after all these years, it doesn’t hold up much in the spiritual department. But I still enjoy the fantastic acting from the leads, with most of my praise going to Tony Goldwyn, who plays Carl. I also got to enjoy the comedy, though not so much the romance or the spooky elements.

My main critique is with the whole idea of the other side and the movie’s two action scenes. If we go by this film’s logic, no ghost would ever move on, because who doesn’t have unfinished business? Let’s not even get into the demons that come to pick up the bad guys, as we never really know what criteria they use. I could argue about the whole ghost-touching-things thing, but horror movies tend to do that... Then there's the scene where Sam takes over Oda Mae’s (Whoopi Goldberg) body. Please. Finally, the action scenes—I was like, “People’s lives are in danger, can you stop with the hunting tactics and just stop these guys?”

The movie introduces Sam and Carl, two friends who are bankers. Sam notices some irregularities in bank accounts, and while Carl wants to help, Sam insists on handling it himself. Later, Sam and Molly are returning home from an outing when a mugging goes wrong, and Sam gets killed. His ghost doesn’t leave but stays behind, following Molly everywhere. When Sam sees the person who mugged him return to their apartment looking for something, he realizes he was murdered and that Molly is in danger. While wandering, unsure of what to do, he stumbles upon a psychic parlor and goes there, hoping for help. He then realizes the psychic (Oda Mae) is a fake. But while talking to himself, she actually hears him, which freaks her out. It turns out that the fake psychic can communicate with ghosts, though she has no idea she can do so.

Soon, Sam convinces her to help him. She can hear him but not see him, so together they try to help Molly and stop the bad guys.

Ghost was a huge financial success, making more than twenty times its $22 million budget at the box office. And even though the film received mixed reviews from critics, it earned five Academy Award nominations, winning two for Best Supporting Actress (Whoopi Goldberg) and Best Screenplay.

Finding 'Ohana (2021)

 Finding 'Ohana (2021)

7/10

Starring

Kea Peahu
Alex Aiono
Lindsay Watson
Owen Vaccaro
Kelly Hu

Directed by Jude Weng

Finding ‘Ohana is one of those feel-good movies we all need. The movie pays homage to all the fun adventure movies of the '80s and '90s, with many ideas drawn from the 1985 adventure comedy The Goonies. Think of this movie as The Goonies remastered to fit into modern times, and it definitely delivers the laughs, adventure, mystery, and all-around enjoyment needed during these pandemic times. Who would have thought that in March 2020, when the COVID-19 outbreak became a pandemic, it would carry on into most of 2021? Here is a feel-good movie you can watch that will take your mind off the craziness outside and warm your heart.

I have to give kudos to the child actors in this movie. The two of them managed to convey the needed emotions for each scene, especially Owen Vaccaro, who was the lead in The House with a Clock in Its Walls (2018).

The movie is well-written, and the pacing is good, with some nice cinematography of the island of Hawaii. Even though the movie extends toward two hours, the editing and directing make you either captivated by the current adventure, laughing at what’s happening, or amazed by your surroundings.

The movie starts with an intro to our lead, a young adventure-hunter girl around twelve, named Pili (Kea Peahu). She and her brother, Ioane (Alex Aiono), along with their widow mother, Leilana, travel to Hawaii. This isn’t a vacation, but a trip to visit their grandfather, who Leilana believes isn’t taking good care of himself. While there, Pili continues exploring the house and discovers a journal belonging to a man named Monks, who, along with two other men, buried treasure in the mountains. Her discovery of this journal, hidden away by her grandfather, also leads her to meet Casper (Owen Vaccaro), another young person her age. She convinces Casper to help her find the treasure’s location and save her grandfather from financial woes.

They run off, and later Hana (Casper’s friend) and Ioane go searching for them. Soon, the four of them are deep in the mountains, searching for the treasure and trying to find their way out.

This movie would have received a higher rating if they had removed two things that were just too cheesy to ignore and became annoying. The first was the grumpy old man trope. There was no need for this forced father-daughter, not-getting-along dynamic. Or the mean old grandpa who later turns into a sweet grandpa for his granddaughter. The second was the cheesy romantic angle they felt the movie needed. It was forced and became very annoying watching Ioane try to win Hana’s affection, and her falling for him without any real reason for it. The romance felt unnecessary.

I recommend this movie to anyone who liked The Goonies and to anyone who just loves feel-good movies.