The Lost Bus: A harrowing journey

The Lost Bus (2025) • View trailer

Four stars (out of five). Rated R, for profanity and dramatic intensity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 10.19.25

Back in 2006, director Paul Greengrass unveiled the docudrama United 93, about the harrowing events of 9/11, and many of us wondered ... too soon?

 

With traffic backed up for 15 miles (!) on the primary escape road to Chico, school bus
driver Kevin McKay (Matthew McConaughey) and grade school teacher Mary Ludwig
(American Ferrera) seek an alternate route to get themselves and 22 children to safety.

Apparently not. Viewers flocked to theaters, absorbed and horrified by the as-accurate-as-possible depiction of that heinous terrorist attack, and the selfless sacrifice of the passengers aboard United Flight 93.

Now, not quite seven years after the calamitous firestorm that leveled Paradise, Ca., Greengrass has responded with this docudrama ... and, again, is it too soon?

 

Absolutely not, thanks in part to a timely “message line” delivered by Fire Chief Martinez (Yul Vazquez), toward the end of the film: “Every year, the fires gets bigger. And there’s more of them. We’re being damn fools. That’s the truth.”

 

(Probably more of a 2025 sentiment than one from 2018, but still persuasive.)

 

That’s merely an incidental moment in a mesmerizing drama that begins at 4 p.m. on November 7, 2018, as recently hired Pine Ridge School Unified Transportation District bus driver Kevin McKay (Matthew McConaughey) drops his busload of children at their various stops, following a day at school.

 

Kevin’s life has gone completely to hell. He has returned to Paradise, following his father’s death from cancer, and taken the bus-driving job in order to deal with the lingering medical debt. He has moved his mother, suffering from stage 4 melanoma, into his home; his teenage son Shaun (Levi McConaughey, the star’s actual son) also lives with them. And — icing on the cake — Kevin’s beloved dog just had to be put down, also due to cancer.

 

(That may seem like Greengrass and co-scripter Brad Ingelsby are exaggerating this poor guy’s misery, but in fact those details are accurate.)

 

McConaughey, always at his best playing the sort of blue-collar, working-class bloke who makes this country run, delivers a shattering performance in these early scenes. His features are grim, resigned, frustrated and even frightened, his eyes haunted. Trying to juggle all these responsibilities has made him unreliable at work, to the dismay of his boss, Ruby (Ashlie Atkinson, in an excellent supporting role). 

 

These scenes are intercut with frequent news announcements — 210 days with no rain, rapidly accelerating wind gusts — and unsettling images of PG&E cell towers and cables swaying back and forth.

The Woman in Cabin 10: Mystery at sea

The Woman in Cabin 10 (2025) • View trailer

Four stars (out of five). Rated R, for profanity and violence

Available via: Netflix

By Derrick Bang 

Although this engaging thriller’s core premise owes a nod to Alfred Hitchcock’s The Lady Vanishes, the story — co-written by Emma Frost, Joe Shrapnel, Anna Waterhouse and director Simon Stone, loosely based on Ruth Ware’s best-selling 2016 novel — moves in an entirely different direction.

 

While scanning the many photos that Ben (David Ajala) has taken thus far during their
voyage, Laura (Keira Knightley) spots something unexpected.

Seasoned investigative journalist Laura “Lo” Blacklock (Keira Knightley), traumatized by a previous assignment that ended horribly, is given a softball story by her editor: tag along during a cruise hosted by gazillionaire Richard Bullmer (Guy Pearce) and his wife, Anne (Lisa Loven Kongsli), on their obscenely extravagant luxury superyacht, the Aurora Borealis.

It's something of a farewell trip, because the terminally ill Anne isn’t expected to live much longer. 

 

For the most part, the Bullmers’ guests are an insufferably privileged lot: notably condescending Heidi Heatherley (Hannah Waddingham) and her equally pompous husband, Thomas (David Morrissey); hard-partying Adam Sutherland (Daniel Ings); and long-ago rock star Danny Tyler (Paul Kaye). Even Anne’s physician (Art Malik, as Dr. Robert Mehta) and hovering security consultant (Sigrid Nilssen, as Amanda) are oddly chill.

 

Laura feels like an outsider, an uncomfortable position nobody attempts to correct.

 

She’s further irked when the on-board photographer turns out to be Ben Morgan (David Ajala), with whom she has uncomfortable personal history. Reflexively trying to avoid him, she accidentally backs into Cabin 10 — the one adjacent to hers — and sees a young woman with bright blond hair: a guest who wasn’t present during earlier gatherings.

 

Following dinner that evening, Laura is surprised — and intrigued — when Anne seeks a private audience, and explains that she and her husband have decided to donate their entire fortune to charity.

 

Later that night, Laura is awakened by what sounds like a noisy struggle in the adjacent cabin, followed by a splash. Rushing to her balcony, she sees a woman sinking beneath the waves. She alerts the crew; the yacht stops; Richard and the captain conduct a head-count.

 

Nobody is missing.

 

Worse yet, Richard and several crew members insist that Cabin 10 has been empty the entire time.

Roofman: True crime writ lite

Roofman (2025) • View trailer

Four stars (out of five). Rated R, for profanity, nudity and sexual candor

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 10.12.25

Truth genuinely is stranger than fiction.

 

When these events went down, back in 2005, one of the Charlotte Mecklenburg Police Department sergeants told a reporter, “This would make a great movie.” (Check out this detailed recent article in The Charlotte Observer ... after you watch the movie.)

 

Having clandestinely invaded a Toys "R" Us store late one night, and ravenously hungry,
Jeff (Channing Tatum) tries to snatch some candy from an aisle display, mindful of
avoiding detection by the overhead roving security cameras.

He didn’t lie ... and now, two decades later, director Derek Cianfrance has made that film.

He and co-scripter Kirt Gunn boldly assert that “This is a true story.” Credit where due, their film follows the saga’s unbelievably outrageous details with a level of authenticity that’s rare in cinema today (allowing for a few speculative enhancements concerning details never revealed).

 

The wild ’n’ wooly result is anchored by an endearing, awkwardly charming and mildly foolish performance by Channing Tatum, note-perfect as a resourcefully clever guy who’s also a complete idiot.

 

Our first glimpse of Jeffrey Manchester (Tatum) shows him running hell-for-leather through a field, trying to evade we-don’t-yet-know-what, as Tatum’s voice-over explains that — in order to understand what’s happening — we need to back up a few years. Tatum continues to offer narrative commentary as events proceed (and the reason for this confessional also is a brilliant touch, when the film concludes).

 

As introduced properly, in 1998, Jeff is a despondent family man, separated from his wife (Melonie Diaz, as Talena), their 8-year-old daughter (Alissa Marie Pearson, adorable as Becky) and infant twin sons. He doesn’t earn enough to give Becky the bicycle she wants for her birthday, and his “instead of” gift is totally clueless.

 

He later laments the uncomfortable result with longtime best friend and former war buddy Steve (LaKeith Stanfield), who scoffs at Jeff’s inane get-rich-quick schemes, insisting that he play to his strength.

 

“You’re an observer,” Steve points out. “You don’t miss details.”

 

So Jeff observes that all McDonald’s franchises are built to identical specifications, down to where everything is located behind and in front of the order counter. He therefore hammers his way through the roof of one outlet, waits patiently in the restroom for the workers to arrive, and then — masked — orders them into the walk-in refrigerator at gunpoint, before emptying the vault. His manner is polite and cordial.

 

(The actual Manchester estimates that he pulled off between 40 and 60 such robberies throughout the United States.)

Play Dirty: Should be dirtier

Play Dirty (2025) • View trailer

Three stars (out of five). Rated R, for strong violence, relentless profanity and mild nudity

Available via: Amazon Prime

By Derrick Bang

Although director/co-scripter Shane Black gets credit for momentum and audacity, this overcooked crime thriller frequently borders on ridiculous: not quite a cartoon, but darn close at times.

 

Ed (Keegan-Michael Key) pulls up a schematic, to explain a key part of the plan, while
his comrades — from left, Brenda (Claire Lovering), Zen (Rosa Salazar), Grofield
(LaKeith Stanfield) and Parker (Mark Wahlberg) — listen attentively.

A disciplinarian with a ruler also would have been handy, to cut back on the relentless barrage of F-bombs.

Given that this film’s script is based on the “Parker” book series by Donald E. Westlake, we can blame Black, along with co-writers Charles Mondry and Anthony Bagarozzi, for the often silly results here. They’d have done much better by adapting a specific novel.

 

A bit of history:

 

Parker — we never learn his first name — starred in 24 novels by Westlake, writing under the pseudonym Richard Stark: from 1962’s The Hunter to 2008’s Dirty Money. Parker is an amoral and coldly ruthless career criminal: fond of huge scores, and prone to being betrayed by a colleague, thereby setting up a vengeance sub-plot.

 

He has been a popular character in cinema practically from the beginning: played by Lee Marvin (1967’s weirdly existential Point Blank), Jim Brown (1968’s The Split), Robert Duvall (The Outfit), Peter Coyote (1983’s Slayground), Mel Gibson (1999’s Payback) and Jason Statham (2013’s Parker).

 

Now Mark Wahlberg has taken the mantle, and — in fairness — he makes a good Parker. Wahlberg displays the appropriate level of grim callousness, and is credibly physical during skirmishes. He also quotes a portion of Parker’s “code” at one point, elaborating that he prefers to avoid killing people: not out of morality, but because murder invites increased attention from the police.

 

The film opens midway through a heist of the vault at Meadowview Downs Racetrack: a caper that goes south due to an unexpected interruption. The subsequent eye-rolling vehicular chase along the track, amid a race, clearly didn’t involve actual horses, and is an early indication of Black’s tendency toward wretched excess.

 

The sequence also is rather tasteless.

 

Having recovered the score, Parker and his team return to their base, in order to split the proceeds ... at which point the sexy Zen (Rosa Salazar) abruptly pulls out a gun. Parker escapes, although badly wounded. After being nursed back to fighting health — apparently in no time at all! — he sets about finding Zen.

 

Sketch: Colorfully imaginative

Sketch (2024) • View trailer

3.5 stars (out of five). Rated PG, for scary fantasy action and kid-level rude humor

Available via: Amazon Prime and other VOD options

By Derrick Bang

Family-friendly films that persuasively deal with childhood grief are rare, and writer/director Seth Worley takes a cheekily original approach with this enjoyable little indie. His touch is Spielberg lite.

 

Amber (Bianca Belle, left), her brother Jack (Kue Lawrence, center) and tag-along frenemy
Bowman (Kalon Cox) are horrified to discover that they're being stalked by the enormous
"Blind One," one of many creatures brought to life from Amber's imagination.

Ten-year-old Amber Wyatt (Bianca Belle), artistic by nature, is deeply unhappy. She’s unable to process the unexpected death of her mother, Ally, and succumbs to dark thoughts that manifest in violent scrawled drawings. They’re dominated by monsters, blood and imagined revenge for other things that bother her ... such as unwanted attention from school mate Bowman Lynch (Kalon Cox).

Amber isn’t quite a brat, but she’s willful, sullen, disrespectful and difficult to handle.

 

Her 12-year-old brother Jack (Kue Lawrence) and their father, Taylor (Tony Hale), are stoic on the subject ... primarily because the latter has removed all traces of Ally from the house, which he also intends to sell as quickly as possible. Their refusal to face the loss is perhaps even less healthy, but Taylor is stuck; up to this point, Jack has quietly followed his lead.

 

Worley takes his time with this first act, establishing the daily school bus dynamics between these three children and several others, and the easily exasperated driver, Miss Thompson (Randa Newman). Taylor has put his Realtor sister Liz (D’Arcy Carden) in charge of selling the house; she cautions him every day to be absent when prospective buyers are expected, but — in a cute running gag — something always forces him to interrupt, much to Liz’s eye-rolling vexation.

 

Liz gets it, though; at one telling moment, she asks if Taylor truly wants to sell the house.

 

He briefly hesitates, prompting her to say, “You paused” (a line we’ll hear again).

 

When some of Amber’s drawings come to the attention of school counselor Dr. Land (Nadia Benavides, marvelous in this brief role), the girl is surprised by the result. Instead of a lecture, she’s given a fresh notebook, as Dr. Land points out that it’s better to put the darkness on paper, rather than leaving it bottled up inside, where it could fester and prompt harmful, real-life behavior.

 

She begins to fill the notebook pages with renewed enthusiasm, and eventually — at a crucial bonding moment — allows her father to see what she has drawn. This is a wonderful scene, with the two of them seated in the family car, particularly when Taylor is given the opportunity to prove how much his loves his daughter. Hale and Belle are note-perfect.

 

Meanwhile ... while exploring the nearby woods, texting and not paying attention to his surroundings, Jack stumbles, crashes down a slope, and stops at the edge of a large pond. His hand is badly cut; his phone falls into the water. When fished out, the screen is cracked.

 

The following morning, Jack is surprised to see that his hand is fully healed, the phone good as new. Further experimentation reveals that the pond has the ability to make things whole.

French Lover: An affair to forget

French Lover (2025) • View trailer

Two stars (out of five). Rated TV-MA, for sexual candor, mild nudity and profanity

Available via: Netflix

By Derrick Bang

Although numerous sources have called this romantic dramedy a French, gender-reversed response to 1999’s Notting Hill, the comparison is superficial at best.

 

Despite the fact that ABel (Omar Sy) repeatedly behaves badly, like a spoiled child, he
always apologizes ... and Marion (Sara Giraudeau) always forgives him. Too many times...

Hugh Grant’s “regular bloke” in that earlier film is a successful bookstore owner, with a solid gaggle of supportive friends; he also has his act together. Sara Giraudeau’s Marion, in director Lisa-Nina Rives’ new film, has neither a job nor savings, is in the midst of messily divorcing her loutish husband Antoine (Amaury de Crayencour), and is an emotional wreck. Her only companion is an adored Great Dane named Claudine.

Even so, Marion’s vulnerability is endearing, and Giraudeau plays her 

well; she’d have been a great character in a different film.

 

Getting back to Notting Hill, Julia Roberts’ famed Hollywood actress is a nice person ... whereas this story’s similarly celebrated Abel Camara (Omar Sy) is an arrogant, self-centered horse’s ass who expects everything, including female companions, to be handed to him on a silver platter.

 

Sy, who has charisma to burn, can’t make this jerk appealing. Not even at his better moments.

 

As a result, this story — scripted by Noémie Saglio and Hugo Gélin, loosely inspired by the Israeli TV series A Very Important Person — never successfully sells its relationship of unequals. Sy and Giraudeau give it their best, and Rives’ film has some charming moments ... but accepting the telegraphed inevitability of where this will conclude, is a major eye-roller.

 

The story opens with a terrific tracking montage, as Abel swans his way through a TV commercial shoot for a perfume dubbed French Lover; once in the can, he angrily stalks off, believing himself “above” doing such twaddle. He lands in a bistro where Marion works as a waitress; after taking his order, she responds to a text on her phone, at which point Abel narcissistically accuses her of filming him, in order to post on social media.

 

The resulting brouhaha costs Marion her job, and she stalks off in a huff. Suddenly contrite, full of apologies, Abel slowly paces her while in his car, insisting — at the very least — on being allowed to drive her home.

 

It’s important to note that although Abel behaves as if his contrition is sincere, he never clarifies why he’s apologizing ... meaning, he never acknowledges his conceited assumption.

Eleanor the Great: Indeed she is

Eleanor the Great (2025) • View trailer

Four stars (out of five). Rated PG-13, for dramatic intensity and mild profanity

Available via: Movie theaters

By Derrick Bang

Obligatory confession: June Squibb can do no wrong.

 

I’m sure she’d somehow make grocery shopping a fascinating experience.

 

Now fast friends, Nina (Erin Kellyman) surprises Eleanor (June Squibb) with a nostalgic
stroll to see what remains of the golden age of Brooklyn's famed Coney Island.

Ever since her Oscar-nominated supporting turn in 2013’s Nebraska, she has moved from one memorably delightful role to another, and this one’s no exception.

But although Tory Kamen’s screenplay has plenty of lighter moments — with occasionally snarky one-liners well delivered by Squibb — the story itself is deeply poignant. Events unfold under the accomplished guidance of Scarlett Johansson, making an impressively sensitive feature directing debut.

 

The moral quandary here revolves around a crucial question: If a truth isn’t somebody else’s to tell, is it nonetheless a truth that should be revealed?

 

Eleanor (Squibb) and Bessie (Rita Zohar) share an apartment in a Florida retirement community. The story begins as they waken on an average morning, have breakfast, and then embark on another day. They have the comfortable — if mildly grumpy — camaraderie that bespeaks decades of friendship. Their lives are simple but enjoyably routine: greeting familiar faces, sparring with clerks and shopkeepers at nearby stores.

 

(Eleanor’s handling of a young stock boy, at their grocery store, is priceless.)

 

Then, suddenly, Bessie is gone.

 

Cast adrift and totally bereft, Eleanor — having lived in the Bronx for 40 years, back in the day — allows herself to be relocated to New York City, where she moves into an apartment with her daughter Lisa (Jessica Hecht) and grandson Max (Will Price). Lisa is overly attentive, which frustrates Eleanor, long accustomed to taking care of herself. Although Max obviously loves and admires his grandmother, he’s too occupied with his own “stuff” to pay her much attention.

 

Believing it necessary to keep Eleanor engaged, Lisa enrolls her into a singing class at the local Jewish community center. Eleanor pokes her head in the doorway just long enough to hear a woman warble several stanzas of Stephen Sondheim’s “I’m Still Here” (a bit on the nose, that), and bolts.

 

She’s “rescued” by another woman, who invites Eleanor to join her where a dozen or so similarly elderly men and women are seated in a circle. What Eleanor assumes is some sort of friendship meeting turns out to be a regular gathering of Holocaust survivors, who ease their ongoing torment by sharing their experiences with each other.

 

Embarrassed by being somewhere she doesn’t belong, when it comes Eleanor’s turn to talk, she hesitates ... and then relates what she must have heard hundreds of times from her departed friend Bessie, plagued by horrific memories in the middle of countless sleepless nights.

 

And claims these memories as her own.