‘Klara and the Sun’ Doesn’t Want to Feel Artificial!

October 21, 2026

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Here Comes the Klun (CREDIT: Sony Pictures)

Starring: Jenna Ortega, Amy Adams, Mia Tharia, Aran Murphy, Natasha Lyonne, Steve Buscemi, Rachel House

Director: Taika Waititi

Running Time: 116 Minutes

Rating: PG-13 for Odd Deployments of Violence and Mild Profanity

Release Date: October 23, 2026 (Theaters)

What’s It About?: Klara and the Sun drops us into a bright but beguiling dystopian future where the Internet is no more but artificial intelligence is still very much a thing, particularly in the form of companion androids known as Artificial Friends. Klara (Jenna Ortega) is an obsolete model, and pretty quirky even among this group of misfits. Her Store Manager (Natasha Lyonne) and her fellow AFs think her chances of being adopted are hopeless. But then a lonely, terminally ill girl named Josie (Mia Tharia) sees in Klara the ideal companion. Alas, Josie’s mother Chrissie (Amy Adams) and their housekeeper Melania (Rachel House) are much more skeptical, and Klara doesn’t really understand the nuances of human interaction all that well anyway. But it turns out that Chrissie has her own hidden motivations for allowing Josie to select an AF in the first place, and Klara may just fit into those plans a lot more than initially expected.

What Made an Impression?: Too Artificial, or Not Artificial Enough: Klara and the Sun is based on a Kazuo Ishiguro novel published in 2021, but its conception of AI is from a generation ago. To be fair, Ishiguro couldn’t have known the massive leaps that large language models and their ilk would make in the past few years. But the people adapting this story for the big screen knew about the present day. Now, I don’t mean to imply that they should have molded to be more reflective of reality. But the fact that they didn’t do so means that the final product is rather quaint, in ways that are both obsolete and slightly charming. Most of us aren’t wishing that our AIs would be more human nowadays, but didn’t it feel better when at least some of us felt that way?
Unspooling the Infrastructure: Perhaps the reason why Klara and the Sun fails so mightily to grapple with the current moment is because it’s not trying to grapple with the current moment. After all, Klara is from a generation of AFs that were abandoned because they were too human. Accordingly, this movie is at its most affecting when it examines whether or not synthetic humanity can ever match the natural version. It struggles in that regard as well, because Ortega plays Klara as a bundle of quirks rather than displaying anything recognizably machine-like along with her theoretical soulfulness. So I suppose that this movie’s fundamental problem is that it also is too human, but in a way that it doesn’t let us see its truest self, except only in flashes.
Just Passing Along: Ultimately, this is one of those films that seems competent at presenting a fully realized vision, but there’s something missing at the core. Nothing is egregiously wrong, but on the other hand, I don’t feel any passion being stirred, and I can’t quite pinpoint why. Sure, I explained some issues I had in the preceding paragraphs, but none of those are prohibitively fatal flaws. KatS happened, I’m not mad, and there were even some ideas presented that I might continue to think about. It wasn’t a waste, but most movies are aiming higher than “not a waste.”

Klara and the Sun is Recommended If You Like: Bizarrely oversized clothes, Dialogue that has the cadence of jokiness, Wheat

Grade: 2.5 out of 5 Barns

Origin Story ‘Transformers One’ Takes It Back to Cybertron

September 12, 2024

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One is the loneliest Transformer that you’ll ever do! (CREDIT: Paramount Animation/Hasbro)

Starring: Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key,  Steve Buscemi, Laurence Fishburne, Jon Hamm

Director: Josh Cooley

Running Time: 104 Minutes

Rating: PG for Robot Dismemberment

Release Date: September 20, 2024 (Theaters)

What’s It About?: If you’re concerned that most Transformers movies have too many pesky dang humans, then have I got the movie for you! Well, actually, it’s Paramount and Hasbro who have the movie for you, I’m just here to let you know about it. It’s an animated flick called Transformers One, and it takes place entirely on the robots’ home planet of Cybertron, and it doesn’t follow any of the Autobots and Decepticons that we’ve come to know and love over the years… or does it? A couple of bots named Orion Pax (Chris Hemsworth) and D-16 (Bryan Tyree Henry) are stuck underground working the mines day after day, but they have a hankering to discover what’s really happening on the planet’s surface. They eventually make their way up there along with a scamp named B-127 (Keegan-Michael Key) and a steady hand named Elita (Scarlett Johansson), as they uncover a conspiracy and fight to realize a new path forward for Cybertron.

What Made an Impression?: Vroom Vroom: Before Orion and D-16 emerge onto the surface, they first try to make a name for themselves by sneaking their way into the IACON 5000, which appears to be the most popular racing event in all of Cybertron. Perhaps devoted Transformers fans already know all about the IACON, but for the uninitiated, it’s basically the Indianapolis 500 crossed with the colorful loop-de-loop energy of Mario Kart. I wasn’t expecting this moment out of a Transformers movie, but quite frankly, it was a breath of fresh air compared to the typical metal-on-metal action. After this particular set piece, the plot becomes a fairly typical hero’s journey that’s easy enough to follow despite all the Cybertronic jargon. I would have personally preferred the fish-out-of-water sizzle typical of the live action Transformers flicks, but if we must stick with only the metal creatures the whole way through, then at least the IACON 5000 offers a nice change of pace.
Before They Were Stars: Transformers One plays things a little coy, but if you’ve encountered any major Transformers property in the past few decades, then you should be able to figure out without too much trouble the actual identities of the most iconic main characters. It’s a little disorienting that longtime Optimus Prime voice Peter Cullen is nowhere to be heard, but I appreciate the efforts at differentiation. There’s something to be said about these guys sounding a little different before they became universally renowned heroes and villains, after all. With this throwback approach, T One gave me similar reboot-ish vibes as another recent animated flick about non-human warriors released by Paramount. That earlier release also set up a new TV show, and I wouldn’t be surprised if similar plans are in place for a new Cybertron-set series. I wasn’t quite thrilled enough by T One to be excited about that possibility, though. But I imagine there are enough fans (or potential fans) of this property that there could be something viable there. So in conclusion, Transformers One is most successful as an inoffensive brand extension.

Transformers One is Recommended If You Like: A glitzy voice cast, Macguffin-filled dialogue, The neologism “Badassitron”

Grade: 2.5 out of 5 Matrices

We Need Some Candy on October 31. Do We Also Need ‘Hubie Halloween’?

October 12, 2020

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Hubie Halloween (CREDIT: Netflix)

Starring: Adam Sandler, Julie Bowen, June Squibb, Kevin James, Ray Liotta, Steve Buscemi, Maya Rudolph, Tim Meadows, Kenan Thompson, Rob Schneider, Michael Chiklis, Karan Brar, Noah Schnapp, Paris Berelc, Sadie Sandler, Sunny Sandler, George Wallace, Colin Quinn, Kym Whitley, Mikey Day

Director: Steven Brill

Running Time: 102 Minutes

Release Date: October 7, 2020 (Netflix)

I decided that I simply must have something to say about Hubie Halloween, since I hold so dearly Adam Sandler’s last-minute Halloween costume ideas on Weekend Update from back in the day. So the big question is: did this tale of Salem’s official Halloween monitor give me those same warm, sugary feelings?

The Sandman has busted that old Shabadoo-voice, so that certainly helps. But what’s up with all the kids in town (and some adults) pelting him with candy whatever chance they get? Hubie wants you to have a happy Halloween! It’s hard to do that when you’re sacrificing your own candy! Furthermore, in addition to all the mischief, there’s several attempted felonies, a fair degree of mental instability, and pretty much no attempt to reconcile that darkness with the purely comical tone.

Ultimately, in a weird way this is all in keeping with the spirit of last-minute costume ideas. Hubie Halloween feels like a last-minute movie that was quickly cobbled together from a bunch of silly Halloween-related ideas bouncing around in Sandler’s head. In conclusion, I found myself in a good mood after watching, and I’m happy to declare, once again, “Now give me some candy!”

Grade: 3 out of 5 Crazy Protractor Beards

Movie Review: ‘The Dead Don’t Die,’ And Neither Does the Droll Energy in Jim Jarmusch’s Zombie Goof-Off

June 10, 2019

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CREDIT: Abbot Genser/Focus Features

Starring: Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Sara Driver, RZA, Carol Kane, Selena Gomez, Tom Waits, Austin Butler, Eszter Balint, Luka Sabbat, Larry Fessenden

Director: Jim Jarmusch

Running Time: 103 Minutes

Rating: R for Ironic, But Visceral Zombie Violence

Release Date: June 14, 2019 (Limited)

Sometime around 2010, it was determined that it was every filmmaker’s God-given right to make their very own zombie movie. In the case of Jim Jarmusch, he was divinely matched with The Dead Don’t Die, a droll, occasionally fourth wall-breaking portrait of ravaged-by-the-undead small town life patrolled by Police Officers Bill Murray and Adam Driver. In a post-Shaun of the Dead world, The Dead Don’t Die is far from necessary, but it is sufficiently diverting. It adds an environmental wrinkle to the zombie mythos, as fracking is implied to be the culprit behind the upending of nature. If Jarmusch is crying out for us to protect the Earth, that warning is perhaps a little too late, considering how disastrous climate change has already become. But that’s no big deal (for the movie, that is – the planet is screwed), as he seems to have more goofball ideas on his mind anyway.

The zombie blood and guts are sufficiently hardcore, with the bodily fluids as wet and unleashed as the dialogue is dry and bottled-up. But the main attraction are not the ghouls so much as the characters and their unique ways of being human and/or inhuman. That is to say, while Tilda Swinton has badass sword skills as the town’s new undertaker, it’s more amusing that she gets to lean into a hardcore Scottish persona. This is the type of movie in which Selena Gomez tells Caleb Landry Jones, “Your film knowledge is impressive,” after he mentions some pretty basic info about George Romero, and then Larry Fessenden refers to Gomez and her friends who are passing through town as “hipsters from the city” and “hipsters with their irony” (the odds seem to be that they’re from Cleveland). If that sounds hilarious to you, you know who you are, and you can expect to mostly be satisfied, though you may (or may not) have issues with the shaggy, shambling plot structure.

The Dead Don’t Die is Recommended If You Like: Remaining at an ironic remove, but not being too-cool-for-school about it

Grade: 3.5 out of 5 Diner Coffee Pots

This Is a Movie Review: The Death of Stalin

April 6, 2018

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CREDIT: IFC Films

When it comes right down to it, people are just people. This is the thought I have when watching the scene in The Death of Stalin in which a group of officials bumblingly drop the body of the dying Soviet Premier onto a bed. No matter how despotic things get, we are still beholden to our embarrassing physical realities. Alas, when the film starts to regularly show people shot in the head without a second thought, it is hard to remain Zen about the situation.

I saw Death of Stalin at the Alamo Drafthouse, and the pre-show programming included parts of the Monty Python’s Flying Circus episode “The Cycling Tour,” which features Michael Palin bungling his way into being the target of a Russian firing squad, who famously misfire at him from only a few feet away. As I prefer my gallows humor with plenty of goofiness, “The Cycling Tour” is definitely more comfort food for me than The Death of Stalin. That is not to say the latter is unsuccessful. I see what Armando Iannucci is doing, I acknowledge that he has met his goals, I laugh where I can, and then I move on, newly grateful that I live in a society that is not quite so dangerous as 1950s USSR.

I give The Death of Stalin 4 Impossible Promises out of 5 Buggings.

SNL Recap December 3, 2011: Steve Buscemi/The Black Keys

December 5, 2011

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Cold Opening – A Message from the President of the United States
Interestingly enough, while I did think that this was one of the better message from the president cold opens in a while, I noticed what a lot of viewers have been saying lately: Fred’s Obama is getting worse.  This had the feel of a Wayne’s World top ten countdown.  Obama didn’t quite have the energy that Wayne and Garth have, but he did have something.  And points are deserved for all of the comments being right on target. B

Steve Buscemi’s Monologue
The problem with this monologue wasn’t so much that it was it was one of those “I’m going to explain to the audience my most notable characteristic, even though they already know that about me” monologues, it was that the character actors who were asking Steve for advice were playing too-specific characters.  Steve’s oeuvre of creepy roles show a greater range than a series of sassy black judges, or rapping grandmas, or even clumsy best friends from romantic comedies, and that dissonance was too great to overcome. C+

Frozen Mexican Dinner
Fish can help with constipation? B-

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