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BIG NIGHT ( 1996) Campbell Scott and Stanley Tucci's nourishing touching film about two immigrants who run an Italian restaurant in the 1950s on the Jersey Shore. The brothers (who hail from Calabria), Primo (Tony Shaloub) and Secondo (Tucci) share the love of food, but like most siblings have....let's say...differences. Primo is a perfectionist while Secondo just wants to please their few customers.

The terrific cast also includes Ian Holm, Minnie Driver, Allison Janney and Isabella Rossellini. Tucci's script with Joseph Tropiano, has comedy, drama, romance and, of course, attention to good food including the piece de resitance - Timpano. It's part of a grand, multi-course feast the gives the film its name.

The single shot finale featuring nothing more than a humble omelette is exquisite. The only words that are spoken is simply - and, appropriately enough: "Are you hungry?"

Chef's kiss.

Buon Appetito!

SPECIES (1995) Another in a long line of films "inspired" by ALIEN, this was a successful production helmed by Roger Donaldson and written by Dennis Feldman. The basic idea here is that scientists receive a signal from space on how to create a DNA hybrid in a lab. The team is headed by Xavier (Ben Kingsley) who hires a team including an empath (Forest Whitaker) and an enforcer (Michael Madsen). Also in the cast are Alfred Molina, Marg Helgenberger and a young Michelle Williams as an early stage of the creature. When Xavier mentions that he created the humanoid as a female because it would make it more 'docile', Madsen has the best line in the film: "More docile and controllable, eh? You guys don't get out much." When the monster, Sil, breaks out it fully matures into the form of Natasha Henstridge in her film debut. The special effects are solid and the talented cast give the movie some credibility. The plot also has elements of THE HIDDEN and LIFEFORCE that appealed to genre fans who made it into a hit. It spawned a sequel (also with Madsen and Henstridge) and two TV movies. I was invited to a preview screening, and afterwards a Producer quipped: "Natasha Henstridge will have NO problems getting work." She's formed a good career, and not just because of her looks.

R. I. P. Michael Madsen.

SINNERS (2025) Ryan Coogler upends the Crossroads legend and adds in a major change-up or two with his enjoyable SINNERS. The musician at the Mississippi 'Crossroads' here is Sammie (Miles Caton), a preacher's son with a taste and a talent for the Blues which, of course, his father decries as the Devil's music. Sammie must no only deal with his dad's wrath, but the temptations brought on by his twin cousins Smoke and Stack Moore (both played by Michael B. Jordan). The Moores are back in town after having been small time gangsters in Chicago and have to deal with the ladies they left behind - Annie (Wunmi Mosaku) and Mary (Hailee Steinfeld; who is of mixed race). They have a large wad of cash from their misadventures and have decided to open a juke joint - that very day! They buy up an old factory from a shifty white landowner (David Malonado), enlist a couple of Chinese shopkeepers ( Li Ju Li and Yao) to run the club, and hire out some musicians including Delroy Lindo's Delta Slim.

Coogler, who also wrote, takes his time setting up the relationships along with a few acts of sporadic violence. Once the musicians starts playing, it takes center stage for a good while. And, the music is very good abetted by an exceptional score by Ludwig Göransson. The production is very handsome and captured on 65mm film by Autumn Durlald Arkapaw. The acting is good across the board.

A major curveball in the form of a trio of Vampires lead by Jack O'Connell's Remmick come knocking at the club asking to be invited to join the party. Remmick and friends play a mean Irish folk guitar. With a nod to FROM DUSK TIL DAWN, it becomes a bloodsucking orgy which literally pits brother versus brother. Coogler stages it well, but it's a come down from the deliberately paced build up. The screenplay drags out the action with multiple possible endings (including one that tips its cap to a couple of other Quentin Tarantino screenplays).

While it's laudable that Coogler is ambitious trying to tackle a number of motifs and constructs, it doesn't feel wholly contained. Setting the main action all on one day doesn't allow for the themes to breathe or truly develop. The racial elements are interesting (in addition to the Asian, Irish, mixed race and Klan members, there is also a group of Native Americans), but other than prima facie context, it isn't given time to be explored (there is, semi-buried, an interesting "Can't We All Just Live Together" subtext and a nod to cultural appropriation). The pieces are there, but they aren't allowed to fully form.

The Crossroads legend is brought full circle. Make sure you stay for the mid-credits sequence with a very cool cameo (there's also a post-credits one). CROSSROADS is a heady exercise which even as it doesn't all work, shows that Coogler has multiple levels in his filmmaking repertoire still to display. SINNERS is a romping good time.