Mike_Devine

Any film that earns a Best Picture nomination is deserving of a watch, as it means some very important people in Hollywood deemed it as a highly impactful, entertaining or quality piece of cinema, blah blah, etc. These films also usually are focused on telling very specific, niche stories, as is the case in 'Nickel Boys.'

The film looks at the lives of two African American adolescent boys growing up in mid-20th century Florida as they build a bond defined by their shared experiences at a segregated juvenile reform school. Right off the bat, viewers are clued in to the unique use of first-person/POV shooting in 'Nickel,' in which we almost always see the events unfold from the perspective of Elwood (Ethan Herisse) or Turner (Brandon Wilson). While this technique takes some getting used to, it does make things feel more personal.

As for the film itself, the subject matter is intense and so there are plenty of uncomfortable scenes. But it's important to remember that it's intended to evoke the feelings that young men like Elwood and Turner experienced at this time. The problem is the story flow makes things confusing to viewers. There are several jump points between different time periods that at first are disruptive and can throw you off track, not to mention the multiple montages of seemingly random clips. While things make more sense the farther you get into 'Nickel,' it still feels disjointed.

Yes, 'Nickel Boys' has powerful underpinnings and is uniquely stylized. Still, it is distracting overall and tries to do too much, which waters down the message.

The quality of Apple Original Films can be hit or miss sometimes, but what doesn't seem to change is the quality of their look and feel. This is the case for 'Echo Valley,' which is filmed beautifully and shows up as the mother/daughter thriller that it's billed as.

There's no denying that Julianne Moore is a great actress and pairing her with new Hollywood "it girl" Sydney Sweeney works well in this case. The on-screen love, pain and confusion between the two is raw and believable, with Moore doing the heavy lifting as struggling divorced (and widowed) horse riding instructor Kate who is just trying to make ends meet while Sweeney's Claire goes and gets herself into all kinds of trouble.

But the biggest character in this film is the fictional Echo Valley, which is perhaps the best-looking part of New Jersey you ever did see. The cinematography, lighting and camerawork are top-notch in setting the tone for this drama moonlighting as a thriller. It's also nice to see familiar faces reunite from the 'Harry Potter' universe, with Domhnall Gleeson and Fiona Shaw having pivotal roles here.

Despite these positives, 'Valley' is still pretty average. The third act feels rushed and there is a missed opportunity to fill in some of the blanks, and Sweeney is fairly MIA throughout much of the film. There's also a lack of backstory that could help round things out; we are teased with some pieces, but things feel incomplete.

It's not going to win any awards, but 'Echo Valley' is a step in the right direction for the type of projects Apple could do well to invest in.

By now, M. Night Shyamalan has certainly earned a reputation as a an established horror/thriller director, for better or worse. While he continues to oversee a mixed bag of flicks, they are usually still worth checking out just to see what he's up to.

In 2024's 'Trap,' Josh Hartnett is front and center as a dad who just wants to win "father of the year" for taking his daughter (Ariel Donoghue) to see her favorite pop star in concert (or is there more to the story? Of course there is...). The film becomes a cat-and-mouse chase throughout a heavily armed arena, most of the while doing a solid job holding viewers' attention for the first two acts but predictably stumbling in the third.

Things that work in the movie's favor include the unique premise, the incorporation of music (not typical of a Shyamalan picture) and thrusting Hartnett back into the limelight to anchor a film after a pretty long hiatus. Other cast members are appreciated, from Hayley Mills as a veteran detective (how fitting that she's in another film that has 'Trap' in its title) to Alison Pill as a housewife who is seemingly in the dark. While Saleka Shyamalan holds her own as fictional pop princess Lady Raven, nepotism is truly alive and well here, as 'Trap' basically serves as being a 105-minute ad for her music career.

M. Knight gets points for trying something new in tapping into the serial killer subgenre that society can't seem to get unobsessed with. But he just can't seem to stick the landing in a way that doesn't make 'Trap' feel like a ridiculous rabbit hole that relies on lazy devices to string the final minutes together.