Special-K88

Machines never experience fatigue, but one probably wishes they did after sitting through this misbegotten sequel with a script that makes up overcomplicated reasons to resurrect M3GAN, the most significant being so that she can take down AMELIA, an autonomous military-grade prototype who's gone rogue. Of course Gemma Forrester and her now twelve-year-old niece Cady are back in the mix, still reeling from the fallout of their previous encounter with the rabid robot, add to that the fact that Gemma is now suspected of treasonous activities. A classic case of producers letting their egos go to their heads after the success of an initial film; in this potboiler they evidently believed they had free rein to do whatever they wanted as there's a drastic shift in tone, abandoning all of its predecessor's horror and humor, and instead turning into a doomsday type of action film where by the looks of it, M3GAN is trying to show why she'd be ideally suited to join the IMF! Sluggish, laborious, virtually humorless technological fodder feels so much longer than it is, and poses the bizarre underlying question of whether former 90s action star and Aikido master Steven Seagal was a silent producer on the project. *½

The setting: a New York City courthouse on one of the hottest days of the summer; a jury of twelve disparate men retire to the deliberation room where they have to decide unanimously on the guilt or innocence of a young man who's being tried for the murder of his father. What seems like a simple case becomes increasingly complex when a single juror casts doubt on the defendant's alleged guilt, and tensions boil over as he tries to convince the remaining eleven that the facts aren't as cut-and-dried as they appear on the surface. There's hardly a single utterance of dialogue that's wasted, there's not a character to be found amongst the eclectic group that isn't somehow utilized, nor is there a camera shot or angle that doesn't somehow enrich the viewing experience in Sidney Lumet's brilliant and blistering legal drama, and what's even more impressive is that this was his feature directorial debut, taking a simple premise and pinpointing varying factors like egalitarianism, personality clashes, personal prejudices, poor recollection, irrefutable facts, and uncertainty of guilt. The dynamic between idealistic Fonda and hot-tempered Cobb is especially juicy, but every actor across the board is top-notch; a masterpiece, plain and simple. ****

Dakota Johnson is the ambitious, voluntarily celibate, eternal bachelorette Lucy, an instinctually razor-sharp NYC matchmaker who has the courtship game down to a mathematical certainty, and is fully committed to pleasing her clientele despite the inherent risk-reward of dating. Her worldview is upended when she's approached by Pascal: a charming, über-financier and "unicorn" who checks all the boxes, and at the same time reunited with struggling but empathetic ex-boyfriend Evans. What seems like a formulaic romantic comedy in its early stages actually becomes a lot more wistful and reflective thanks to a few story turns that allow the narrative to unfold in unexpected ways, though inevitability seeps in by the finale. Attempts to insert raunchy humor into the proceedings don't wash, plus the third act lags, but still quite watchable thanks to a pleasant cast of actors, good lines, and a thoughtful look at love and companionship. **½