The Luckiest Man in America: A quirky, fact-based morality tale

The Luckiest Man in America (2024) • View trailer

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

Available via: Amazon Prime and other VOD options

By Derrick Bang

This is an excellent thematic companion to 1994’s Quiz Show.

 

But while that earlier game show scandal drama is a handsomely mounted major studio production, this new film from director/co-scripter Samir Oliveros is cheekily retro and unapologetically low-budget ... which adds to its sense of period authenticity.

 

While fellow contestant Ed Long (Brian Geraghty, left) watches attentively, Michael Larson
(Paul Walter Hauser) prepares for his firt spin of the "Big Board" on the TV game show
Press Your Luck.

Modest production values aside, Oliveros nonetheless gets the most from a strong cast, as this jaw-dropping saga unfolds. And although he and co-writers Mattie Briggs and Amanda Freedman carefully insist that some details have been “massaged” for dramatic intensity, much of what unfolds here — including the names of all key participants — goes down just as it happened.

Following a brief first act, events take place during a single day of taping for Press Your Luck, a CBS game show that ran from 1983 to 1986 ... and likely would be entirely forgotten today, were it not for what happened on May 19, 1984.

 

Shy, withdrawn, down-on-his-luck ice cream truck driver Michael Larson (Paul Walter Hauser), a hapless social misfit, sneaks into Press Your Luck auditions. He cheekily claims somebody else’s appointment slot, gets caught and ejected ... but not before winning over executive producer Bill Carruthers (David Strathairn), who suspects the guy would make “good television.”

 

Michael has a great back-story. He admits driving across the entire country in his ice cream truck, and hopes to win enough cash to impress his estranged wife and young daughter.

 

Casting director Chuck (Shamier Anderson) is dubious. Something doesn’t seem right about the guy.

 

Carruthers nonetheless books Michael for the next day’s taping. As requested, he arrives wearing a suit jacket and tie ... making him even more comical, atop baggy shorts (which won’t be visible during taping). The obviously nervous and twitchy Michael is ushered onto the set by Sylvia (Maisie Williams), a kind-hearted production assistant who nonetheless eyes him warily.

 

Michael takes the middle “hot seat” between co-contestants Ed Long (Brian Geraghty) and Janie Litras (Patti Harrison): the former a minister, the latter a dental assistant.

 

Walton Goggins is note-perfect as smarmy show host Peter Tomarken, whose occasional off-color jokes — sometimes at the expense of contestants — delight the studio audience.

 

(Tomarken is a product of that still less-enlightened time. Remember how Richard Dawson always kissed every female contestants on Family Feud? Yuck!)

Nonnas: A delectable repast

Nonnas (2025) • View trailer

Four stars (out of five). Rated PG-13, for no particular reason, and suitable for all ages

Available via: Netflix

By Derrick Bang

This is a total charmer.

 

Director Stephen Chbosky’s quiet dramedy is inspired by actual events — which are adorable in their own right — although Liz Maccie’s script takes liberties with what actually went down, in order to generate enough dramatic tension for a two-hour film.

 

Joe (Vince Vaughn) challenges each of his new chefs — from left, Roberta (Lorraine
Bracco) Teresa (Talia Shire) and Antonella (Brenda Vaccaro) — to amaze him with
one of their best dishes.

Mind you, there’s nothing wrong with Maccie’s various shadings of truth, particularly when the result is this entertaining.

Chbosky’s film also has strong echoes of 1996’s Big Night, in the sense of lovingly prepared food bonding strangers into a “family” they get to choose.

 

This also joins the ranks of all-time best “foodie movies,” right up there with Babette’s Feast, Chocolat, Tom Jones and Eat, Drink, Man, Woman. You’ll be ravenous before this one’s half done.

 

And when blessed with a cast top-lined by the always enjoyable Vince Vaughn — who gets plenty of competition from his quartet of veteran scene-stealing co-stars — what’s not to love?

 

The setting is a working-class Italian neighborhood in present-day New York. Joe Scaravella (Vaughn), a single MTA worker, has recently lost his mother; on this day, the house he shared with her is laden with loving friends and sympathetic well-wishers. Vaughn’s bearing throughout is note-perfect: somber, quick with a polite smile when addressed, but with a faraway gaze that bespeaks bereavement, abandonment and the hopelessness that comes from wondering what the next day will be like ... and the one after that, and the one after that.

 

Everybody eventually departs, having left a home-cooked token of love.

 

Memory flashbacks show an adolescent Joe watching in rapt fascination, at the edge of the family kitchen, as his mother and nonna (grandmother) prepare a meal; every ingredient is added in just the right amount, from memory and long practice.

 

Joe grew up retaining this fascination with food, and has become a respectable scratch cook ... within limits. He’s never been able to nail down the ingredients in his nonna’s Sunday gravy.

 

As the days inevitably pass, longtime best friend Bruno (Joe Manganiello) and his outspoken wife Stella (Drea de Matteo) encourage Joe to use his inheritance money for something fun, or wild, or meaningful ... but definitely new. Joe takes that advice in the worst possible way, and makes a down payment on a dilapidated former Staten Island restaurant, a ferry ride away from his home and work.

 

And announces that he intends to create a restaurant where all the chefs are nonnas.

Thunderbolts* — A modest storm

Thunderbolts* (2025) • View trailer

Three stars (out of five). Rated PG-13, for strong violence and dramatic intensity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 5.11.25

One must be a total Marvel Cinematic Universe geek in order to recognize these second- and third-tier characters, let alone recall their back-stories.

 

This story's rag-tag, sorta-kinda superheroes — from left, Ghost (Hannah John-Kamen),
Bob (Lewis Pullman), U.S. Agent (Wyatt Russell), Red Guardian (David Harbour)
Yelena (Florence Pugh) and Bucky Barnes (Sebastian Stan) — grimly realize
that they're facing another nasty problem.

And while it’s superficially clever to unite them in such a manner, scripters Eric Pearson and Joanna Calo haven’t done much with the “reformed villain” concept that comic book creators Kurt Busiek and Mark Bagley concocted, back in 1997. 

Pearson and Calo also tried to inject the snarky humor delivered so well in the first two Guardians of the Galaxy entries ... with only marginal success. Most of this film ranges from ho-hum to just plain dumb, and director Jake Schreier brings absolutely nothing to the party.

 

The story begins as Yelena Belova (Florence Pugh) — adopted sister of the late and much lamented Natasha Romanoff (Scarlett Johansson), both of them skilled Black Widow assassins — infiltrates and destroys a Malaysian laboratory, having been sent by corrupt CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus, gleefully evil).

 

Back in D.C., de Fontaine is being grilled by a committee chaired by Congressman Gary (Wendell Pierce, recognized from TV’s Elsbeth), who can’t wait to have her impeached and arrested for high treason. Fully aware of her vulnerability, de Fontaine has been clandestinely “cleaning house” by having her pet mercenaries destroy all traces of the illegal O.X.E. Group’s “Sentry” superhuman project; Yelena’s recent action was one such mission.

 

Gary is assisted by his star witness: junior Congressman Bucky Barnes (Sebastian Stan), aka The Winter Solder, a crucial part of numerous MCU films, notably alongside the original Captain America.

 

Times are grim. The Avengers have disbanded; Tony Stark (Robert Downey Jr.) is dead; Nick Fury (Samuel L. Jackson) has left for Europe, after seeing his beloved S.H.I.E.L.D. destroyed following a HYDRA takeover; other heroes are occupied with their own stuff; and the world recently watched in horror, as the U.S. President morphed into Red Hulk (in Captain America: Brave New World, a few months ago).

 

People are afraid of supers ... and de Fontaine cheerfully exploits this paranoia.

 

As the final self-protective measure, she orchestrates a mission involving all of her mercenaries: Yelena; Ava Starr, aka Ghost (Hannah John-Kamen); Antonia Dreykov, aka Taskmaster (Olga Kurylenko), also a Black Widow; and disgraced former Captain America John F. Walker (Wyatt Russell), now dubbed U.S. Agent. But it’s a sham; each has been ordered to kill one of the others, supposedly for betrayal, and — as an added touch — the O.X.E. setting also is a death trap.

 

To make matters stranger, their initially hostile fracas is interrupted by the sudden appearance of a pajama-clad civilian who identifies himself simply as Bob (Lewis Pullman). He hasn’t the faintest idea why he’s there, or where he came from.

G20: An engaging guilty pleasure

G20 (2025) • View trailer

Three stars (out of five). Rated R, for relentless violence

Available via: Amazon Prime

By Derrick Bang

Viola Davis isn’t the first Best Actress Oscar winner to turn into a kick-ass action hero — she was preceded by Halle Berry, Charlize Theron, Helen Mirren and Jennifer Lawrence — but Davis definitely is the first EGOT to do so.

 

Secret Service Agent Manny Ruiz (Ramón Rodríguez) helps President Danielle Sutton
(Viola Davis) to safety, as South Korean First Lady Han Min-Seo (MeeWha Alana Lee)
wisely follows.

(She achieved that status in 2023, when she won a Grammy Award for narrating her memoir, Finding Me, as an audiobook.)

I’d also argue that, even in full-blown battle mode, Davis is the most regal of the bunch.

 

G20 is pure hokum, but director Patricia Riggen and editors Doc Crotzer and Emma E. Hickox keep things moving rapidly enough to camouflage a plot that has more holes than the proverbial Swiss cheese. Honestly, the four credited scripters — Logan Miller, Noah Miller, Caitlin Parrish and Erica Weiss — could have tried a little harder.

 

(I also get a sense — given that production on this film took place in early 2024 — that all concerned envisioned this as wishful thinking about the upcoming real-world election, and cheekily built their story around a Black female U.S. president.

 

(Ah, if only...)

 

We’re introduced to President Danielle Sutton (Davis) as she’s dragged out of bed late one night, because her headstrong teenage daughter Serena (Marsai Martin) once again evaded her Secret Service handlers to sneak out of the White House. 

 

Thoroughly fed up — because the girl refuses to realize how such behavior places her in danger — Sutton and her husband, Derek (Anthony Anderson), decide to take Serena and her brother Demetrius (Christopher Farrar) to Cape Town, site of the annual G20 summit meeting, in order to keep her under strict surveillance.

 

This soon will place Serena and Demetrius in far greater danger than her midnight escapades, because...

 

...Summit security has been outsourced to a private outfit.

 

(“Stupid mistake!” we scream.)

Bullet Train Explosion: Needs more fuel

Bullet Train Explosion (2025) • View trailer

Three stars (out of five). Rated TV-MA, for dramatic intensity

Available via: Netflix

By Derrick Bang

Japan’s Shinkansen high-speed railway system couldn’t ask for a better promotional video than this film’s opening sequence.

 

Having already overcome several unexpected predicaments, Conductor Takaichi
(Tsuyoshi Kusanagi, center), politician Yuko Kagami (Michiko Ono) and her secretary,
Kodai Hayashi (Daisuke Kuroda), contemplate their next move.

As the Hayabusa No. 60 (5060B) bullet train awaits departure from the Shin-Aomori Station, seasoned conductor Kazuya Takaichi (Tsuyoshi Kusanagi) describes the vehicle’s features to a lively group of high school students: attainable speeds, the importance of maintaining a tight schedule, and even the coupling mechanism concealed within the engine’s nose.

Following this demonstration, the students pile into 5060B’s many luxurious passenger cars, alongside scores of other commuters and travelers of all ages. The train pulls out of the station, driven by the perky Chika Matsumoto (Non) and supervised — in the Shinkansen Operation Control Center — by general manager Yuichi Kasagi (Takumi Saitoh).

 

Shortly after departure, an anonymous caller — with voice electronically concealed — informs the control center that a bomb has been placed on 5060B, which will explode if the train slows below 100 km/hour.

 

By way of proving this isn’t a hoax, the caller alerts the center to the impending destruction of a freight train at a station in Aomori-Higashi. It blows up on cue, after slowing below 5 km/hour. The threat duly established, the bomber calls again and demands a ransom of 100 billion yen in exchange for the means of defusing the bomb on 5060B.

 

If this scenario sounds familiar, that’s no accident. This film actually is a long-gestating sequel to 1975’s Shinkansen Daibakuha (The Bullet Train), a thriller concept which then producer Toei Company — and director Junya Sato — felt would prove as popular as recent high-profile American disaster films such as Earthquake and The Towering Inferno. Sato’s big-screen hit, in turn, inspired the 1994 American film Speed.

 

This new film — helmed by Shinji Higuchi and scripted by Kazuhiro Nakagawa and Norichika Ôba — is an impressively polished production, highlighted by persuasive special effects, an engaging cast, and sharp cinematography (Yusuke Ichitsubo and Keizô Suzuki). That said, the often laughably overblown melodramatic touches undercut the tension that Higuchi and editors Atsuki Satô and Kaori Umewaki work hard to establish and maintain.

 

That’s an uphill challenge, because this film doesn’t earn its 134-minute length.

On Swift Horses: More of a slow trot

On Swift Horses (2025) • View trailer

Three stars (out of five). Rated R, for nudity, sexual content and occasional profanity

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 4.27.25

Although director Daniel Minahan draws achingly persuasive performances from the five core characters in this bittersweet melodrama, it’s hard to be satisfied with a story that concludes as this one does.

 

Lee (Will Poulter, left), his bride-to-be Muriel (Daisy Edgar-Jones) and his brother
Julius (Jacob Elordi) anticipate an upcoming move to California ... but nothing will
work out as planned.

Bryce Kass’ script captures the melancholy tone of Shannon Pufahl’s 2019 novel, but film can’t replicate the author’s poetic prose. Absent that — and given that it’s blindingly obvious that we’re about to spend two hours with hopelessly miserable people — this film needs to be more than a mere actor’s showcase.

That said, Minahan and Kass deserve credit for treating gender issues and uncertainty with the same respect and sensitivity that highlight Pufahl’s book.

 

Events begin in the mid-1950s, as brothers Lee (Will Poulter) and Julius (Jacob Elordi) have returned from Korean War service. They gather in the small-town Kansas house that Muriel (Daisy Edgar-Jones) inherited when her mother died. Lee, having long been sweet on Muriel, proposes; she accepts.

 

The long-standing plan — driven by Lee — is that the three of them will move to San Diego, get jobs, and make enough money to eventually buy a house; Julius will be welcome in a second bedroom.

 

However...

 

As this sequence unfolds, the glances that pass between Muriel and Julius are laden with unspoken intensity: hungry, yearning and forlorn. Edgar-Jones and Elordi’s body movements are flirty; the air drips with sexual tension. The snap assumption, at this early stage, is that Muriel will be torn between the two of them.

 

But no; things aren’t that simple. For starters, Julius is gay ... but perhaps not entirely. He’s also much too free-spirited for such a conventional life; he’s a thief and card cheat — which Lee has long known — and thus heads to what he imagines will be a more exciting time in Las Vegas.

 

Yes, this is another story that decisively punctures the surface “wholesomeness” that many people naïvely assume the 1950s represented. Much of what follows takes place within all aspects of the decade’s closeted gay community.

Companion: Insufficiently developed

Companion (2025) • View trailer

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

Available via: MAX

By Derrick Bang

This is an intriguing companion piece to I’m Not a Robot, which recently won the Academy Award for Best Live Action Short Film.

 

Iris (Sophie Thatcher) and Josh (Jack Quaid) get a warm greeting, upon arriving at the
setting for their weekend getaway. Alas, a promised "happy outing" soon takes a sinister
turn...

Writer/director Drew Hancock's modest feature takes the core premise into more disturbing territory.  Alas, his film overstays its welcome; it would have made an excellent hour-long episode of the British TV series Black Mirror, but at 97 minutes Hancock flails his way through an increasingly contrived third act.

Iris (Sophie Thatcher) is introduced while shopping for groceries. Her movements are oddly precise, almost dreamlike ... and, indeed — as we learn momentarily — she’s recalling how she “met cute” with boyfriend Josh (Jack Quaid). They’re actually en route to a weekend getaway at an attractive home miles off the beaten track.

 

(A bit more opulent than the horror-clichéd  “cabin in the woods,” but the essential remoteness is no different.)

 

Longtime friends Eli (Harvey Guillén), Patrick (Lukas Gage) and Kat (Megan Suri) already are present, as is their host: the grizzled Sergey (Rupert Friend), much older than the others, who looks — and sounds — like a Russian mobster.

 

(One wonders how our youthful quintet ever met Sergey, let alone wangled such an invitation ... and Kat’s “explanation” is an eyebrow lift. But we gotta roll with it.)

 

As this first day passes, Iris’ submissive behavior around Josh becomes more obvious, in a Stepford Wives sort of way. She’s beyond submissive; it’s more a case of genuinely worshipping the ground on which he walks. When she describes what it’s like to have made Josh part of her life, she says, “It’s like this piece of you that you didn’t know was broken, and suddenly it’s fixed.”

 

Thatcher’s performance is unsettling and disturbing; is Iris a battered girlfriend?

 

Um ... no.

 

Iris actually is an “emotional support robot.” (This isn’t a spoiler, because the poster art and trailer reveal as much.) Her “love link” has been “established” with Josh, and thus she’s his — well — permanent, no-request-is-too-much girlfriend.

 

These artificial companions can be custom-modified in all sorts of ways — eye and hair color, vocal pitch, intelligence level, and more — via a tablet that Josh never lets out of his sight. Watching several of those options explored in rapid succession, at one point, is a clever bit of special effects.

 

Tellingly, such companions cannot lie.