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We have a flood of new films out this week. Below is my take on everything that’s playing in theaters and on streaming. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

The Alto Knights (Theaters)
Starring: Robert De Niro, Debra Messing, and Cosmo Jarvis
Synopsis: Sometimes despite having all the right ingredients a project fails to come together. That’s the case with The Alto Knights, a high-profile film that opened March 21. The film is written by Nicholas Pileggi, who scripted both Casino and Goodfellas, and features Robert De Niro is a dual lead role. It’s based on the true story of Frank Costello and Vito Genovese, who grew up together in New York and ended up involved in Organized Crime. Genovese killed a couple guys, which forced him to flee to Europe. That left control of the organization to Costello, who preferred to keep a lower profile. When Genovese returned, delayed by the outbreak of World War II, it was a different city. His over-the-top and violent methods clashed with the way things operated in his absence. That combined with Costello’s more cool and detached style created a rift between the two. Despite their long history and friendship, they clashed. When that clash turns violent, it forces Costello to reconsider his methods to safeguard the future for himself and his wife (Messing). Can he out maneuver his old friend before it’s too late? This is a novel concept that has a decent cast. In addition to De Niro and Messing, the film features Jarvis, Michael Rispoli, and Wallace Langham, among others. The period look works decently here, too. The film is set in and around 1957, crafting a different kind of New York that feels like a strong throwback to films like The Godfather. It’s all directed by Barry Levinson, who has given us classic dramas and classic period pieces. The ingredients are all there. And yet, this comes out flat as a pancake from the jump. It looks good, it has the right elements, and it has potential. But none of that coalesces into something interesting or engaging. The novelty of De Niro in a dual role wears thin quickly. The back-and-forth between Costello and Genovese is more cerebral than it should be to pull you in. We get subplots about Congressional investigations and more. Still, none of it feels fully explored. Even the Third Act, when Costello puts his plan in motion, doesn’t feel fully fleshed out. Instead, we’re left with a well crafted snoozefest. Everyone involved is capable of better, and you’re better off not wasting your time or money seeing this on the big screen.
Rating: Rated R for violence and pervasive language
Verdict: Two stars out of five

Bob Trevino Likes It (Theaters)
Starring: Barbie Ferreira and John Leguizamo
Synopsis: There is the family we’re born into and the family we chose, or often find. That’s a distinction that lies at the heart of the new movie Bob Trevino Likes It, which comes from Tracie Laymon. It’s an interesting and, at times, emotional film. All that makes sense once you reach the end dedication. The film centers on Lily (Ferreira), a lonely caregiver who has just endured a breakup when we meet her. Her father, Bob (French Stewart) isn’t much help. He’s also not much support. He’s too focused on his own life, his own needs, and how his daughter can help him.  After Lily can’t help him retain his latest girlfriend, Bob shuts her out. He won’t see her or return her calls, leaving Lily feeling isolated and alone. In that isolation, she turns to Facebook. There, she sees a Bob Trevino. She sends a friend request. This Bob (Leguizamo) isn’t her father and isn’t a relation. But he has his own bouts of loneliness and sees in Lily someone who needs a friend. He accepts the request and the two begin to communicate via Facebook. Eventually, that leads to an in-person meeting. Though his wife (Rachel Bay Jones) is skeptical, Bob meets Lily. They hit it off and, in Bob, Lily finds the father figure she’s never had. In Lily, Bob finds a friend and mentee that fills the hole left by the death of his own child. Together, they find in each other a companion and someone to with whom share the struggles of life. This film starts out simple and sweet. It is that all the way through, but it takes a turn in the third act that really taps into a beautiful emotional core. Finding out the ways this story is drawn from personal experience by Laymon makes that third act hit even harder. The film works because of the bond between Ferreira and Leguizamo. Both of them serve as producers on the film and are invested in the final product. It works when they are playing off each other, and their connection proves vital to the Third Act twist. I liked the cast here and I liked the emotional depth of the ending. Some of the beginning and middle is a little slow to develop. But if you give it a chance, the film will work its way into your heart, leaving you moved by the end.
Ratings: Rated PG-13 for brief strong language, and thematic elements.
Verdict: Three stars out of five

Death of a Unicorn (Theaters)
Starring: Paul Rudd, Jenna Ortega, Richard E. Grant, Tea Leoni, and Will Poulter
Synopsis: From the time we’re young, we’re told of certain mythical creatures. Often, these stories are fun and full of whimsy. But what if they came to life in a darker way. The new horror comedy Death of Unicorn offers a traditional and wonderful mythical creature with a dark twist. But does it lead to something interesting and exciting? The potential is there, but it doesn’t coalesce into something great. The film focuses on Elliot (Rudd) and his daughter Ridley (Ortega). They are headed to Elliot’s work meeting at the compound of a wealthy family that employs him in their drug empire. They want to see Elliot is a family man, but that’s a bit tricky. Since his wife died, his relationship with Ridley has been strained. Along the way, they travel through a nature preserve. When a creature darts out in front of the car, they can’t avoid the collision. It turns out to be a unicorn, and it isn’t dead. When she touches it, Ridley connects to something. In a panic, Elliot tries to finish it off. They pile it into the car and head on. At the house, Elliot connects with his boss, Odell (Grant), who is dying. Odell, his wife Belinda (Leoni) and son Shephard (Poulter) are an odd lot, focused on business. When they learn what Elliot hit, and that it might have magical healing properties, the weekend turns into something else. But Ridley has misgivings that grow as she researches the myths surrounding unicorns that might turn out to be something more. Can she convince her dad before it’s too late? We’ve seen these kind of turn on the rich stories before. They’re often stories where greed leads everyone down a darker path. That’s the case here in a film with a bit of a twist. The Unicorn is a fun mythical creature that here takes on the form of something darker, which adds to the potential comedy. I like the cast here and the setup is sound. In addition to the primary cast, I enjoy Anthony Carrigan as the butler Griff, too. There are some fun moments, but some of the connections feel a little thin. What works best is the set up and the look. I like the dark unicorns and the effects in the story. What doesn’t quite come together are the story and the characters. There are some interesting moments and lines, but a lot of it relies on the connection between Ridley and Elliot. It doesn’t work well enough to make the Third Act hit like it should. The film is fine and a pleasant enough watch but doesn’t capitalize on its potential.
Rating: Rated R for strong violent content, gore, language and some drug use.
Verdict: Two and a half stars out of five

Holland (Prime Video)
Starring: Nicole Kidman, Gael Garcia Bernal, and Matthew Macfayden
Synopsis: We get a lot of mystery box shows and movies. What makes them work are compelling characters, a quirky world, and a satisfying mystery. But if the film leans too strongly one way, it can tilt off the balance and the entire project. That’s the case with Holland, which landed on Prime Video Thursday. The film boasts a cast that includes Kidman, Bernal, and Macfayden, but it’s the quirks of the set up that end up distracting from the heart of the story. In the film, Nancy (Kidman) is a devoted wife, mother, and teacher. She lives a quiet life in Holland, Michigan with her son (Jude Hill) and husband Fred (Macfayden), a local optometrist. But he takes a lot of business trips and when he’s gone on one, Nancy begins to suspect something is going on. She shares her suspicions with her friend, a fellow teacher Dave (Bernal). But Dave is reticent to get involved. Eventually, he helps her sneak into her husband’s office to find more proof of his affair. What she finds confirms some suspicions, but it also brings her and Dave closer. They want to be together, but she’s afraid to leave her husband and the scandal it might create. But what if he was the cheater that got outed? Nancy and Dave track Fred to a conference to get their proof. Nancy has to head back early, leaving Dave to uncover the proof. But what Dave finds, and what Nancy discovers when she digs deeper, turns the whole situation on its head. The film comes from a script by Andrew Sodroski, who worked on the series Manhunt. There is some potential in the premise, with some interesting twists and turns. But the problem is that it takes a bit too long to get there. And by the time we get there, the whole thing flames out. The Third Act, which should have been more tense and dramatic, feels awkward and a bit boring. The performances here are fine, but there’s not enough of a hook for a story that takes a long time to make its points. In addition, the film seems to focus too much on the quirky nature of this town, which is obsessed with Dutch culture owing to its name. There’s festivals and special breakfasts at church. There’s small-minded small-town folks, and Fred’s obsession with a miniature train set. All of it feels like a distraction that simply slows the pace of the film. I liked the potential in the story, especially with this cast. But the execution and the story construction leaves a lot to be desired.
Rating: Rated R for some bloody violence, language and brief sexuality.
Verdict: Two stars out of five

The Life List (Netflix)
Starring: Sofia Carson and Connie Britton
Synopsis: It’s always hard when we lose someone we love. The closer the relationship, the more difficult it can be to move on, especially when it feels like there is more to be said. That’s the set up for the new Netflix film The Life List. In the film, Alex (Carson) is a little lost. She’s given up her dream of being a teacher to work for her mother’s company. It’s a job and she’s good at it but is it her purpose. Alex is very close to her mother, Elizabeth (Britton), who wants the best for her. When Elizabeth dies, she sets in motion a series of events to lead Alex to her best self. As part of the will, Elizabeth leaves the company to her daughter-in-law, not Alex. She also leaves instructions to fire Alex, pushing her instead to attempt to complete a list she made when she was 13 years old. The list lays out a plan of life Alex was meant to follow, but somewhere along the way she veered off course. The hope is that this is the kick Alex needs to move forward. There to help her along the way is a young lawyer, Brad (Kyle Allen), and Elizabeth herself. Every time Alex completes something on the list, she gets a new message of support and encouragement from Elizabeth. And if she completes the list in the year, she’ll finally receiver her inheritance—and possibly much more. We’ve seen these kind of stories before. I really enjoyed a film called The Ultimate Gift, that had a similar kind of set up and a similar kind of payoff. What makes stories like this work is the performers and the way they draw you into the characters. I’ve seen Carson in a number of smaller films of this type and I’ve enjoyed her performances. That’s the case here, as she creates someone delightful in Alex. It’s a character you want to root for and in whom you’re invested as this story plays out. I also enjoyed the video messages from Britton and the emotions it all evoked. It’s not hard to see where this one is going, especially the potential romantic relationships. This isn’t the kind of film where you have to figure out the plot, it’s about the execution. And the execution from Adam Brooks, who has given us films like Practical Magic and Definitely, Maybe is good. It’s a well-executed and keeps you hooked to Alex’s journey throughout this year of her life. Netflix gives us a lot of films. This month alone we got a giant, big-budget extravaganza. They don’t always hit, but this smaller slice-of-life was a lot of fun. It’s one of the better films I’ve seen so far this year.
Rating: Rated PG-13 for sexual material, drug content and strong language.
Verdict: Three and a half stars out of five

The Penguin Lessons (Theaters)
Starring: Steve Coogan
Synopsis: Animals have a powerful ability to impact us and our lives. These animals provide companionship, a listening ear, and a friendship we need, often when we’re at our lowest. And these friendships often come when we least expect it. That was the case for Tom Mitchell (Coogan). He came to Argentina in 1976 as a means of escape. He’d suffered a loss that had him going through the motions, and it seemed like a fine place to disappear from the world. He was there to teach English. When unrest led to an unexpected break, he used the time to visit Uruguay. There, on a beach amid an oil spill, his life changed. He found a penguin covered in oil, barely alive. Reluctantly, he took it home and cleaned it up. When he tried to return it to the sea, it wouldn’t leave his side. When he tried to give it away to authorities, they told him to keep it. When he tried to bring it to a zoo, instead, it became his companion. The penguin not only provided companionship, but it also provided a gateway to a more full life. It helped him connect with colleagues, explore the city, and more effectively reach his students. More importantly, it helped him to open up and move on for the first time since events had caused him to cut off his own life experience.  This new film, which opens Friday, is based on the true story and Mitchell’s own experience, remembered long after the fact. His time with his penguin, named Juan Salvador, was short. But it was impactful on his life and the lives of those he knew. It led him to later write a memoir of the same name about those experience. The film was written by Jeff Pope, who scripted the Coogan film Philomena, and directed by Peter Cattaneo, who has worked on a number of feel-good films based on true stories. They combine well here with Coogan to tell an engaging and powerful story. I liked Coogan in the lead role. He has the right amount of pathos to make the film work well. He plays off the penguin and other actors, creating a memorable and engaging story. This is a simple film, but it’s heart-warming and a great time at the theater.
Rating: Rated PG-13 for strong language, some sexual references and thematic elements.
Verdict: Three and a half stars out of five

The Woman in the Yard (Theaters)
Starring: Danielle Deadwyler
Synopsis: There are a lot of elements that go into making a successful horror movie. When they all come together and hit just right, it can be gripping and engaging. But when even one of those things is off, it can be a slog. Unfortunately, that’s the case with The Woman in the Yard, a new horror thriller that opens Friday. There are a lot of things going for it, but it doesn’t all come together in the end. That makes for a rough watch despite just an 88-minute run time. We’re introduced to Ramona (Deadwyler) who is a woman in mourning. Her husband, David (Russell Hornsby), has recently died. And she’s having trouble letting go. That makes it tough for her and her children, Taylor (Peyton Jackson) and Annie (Estella Kahiha). They live on a farm, isolated out in the country. The power is out, and their phones are dead. That leaves them isolated, which doesn’t matter until they spot a gothic woman (Okwui Okpokwasili) in their yard. But she isn’t what she first appears to be. Can they figure out how to placate the woman before she leads to their undoing? The set up here works just fine. We have an isolated location, a family in the midst of grief, and a tight cast set up. I also liked the look of the Woman and the performance from Okpokwasili, which was at times menacing. Deadwyler is a good actress, too. She pours her great effort into this part and there are some interesting pieces to the mystery. She has some good scenes, particularly playing off Okpokwasili. That’s the good. But unfortunately, the story is too thin here and doesn’t develop well enough. Director Jaume Collet-Serra adds some nice tension through visual flourishes, but that can’t escape a story—and a Third Act in particular—that just doesn’t work. The film feels dull despite its tight run time. And the ending felt like a letdown, though I was relieved when it was over. There are pieces that work, but as a whole this film just doesn’t come together.
Rating: Rated PG-13 for terror, some violent content/bloody images, suicide-related content, and brief strong language.
Verdict: One and a half stars out of five

A Working Man (Theaters)
Starring: Jason Statham
Synopsis: Jason Statham is an actor with a certain look and a certain set of skills. There are a lot of parts he can play, but there is one kind of role where he excels. He’s great in the everyman action film. And in director David Ayer, he’s found a great collaborative partner. Last year, they teamed for The Beekeeper. It was a straight-forward action film that was a fun ride for those looking for that kind of film. Now, they’re back this year with a new film, A Working Man, that was co-written by Sylvester Stallone. It’s another average joe with a special set of skills on a mission film, and it’s just as satisfying. In this case, Statham plays Levon Case, a British Army veteran who has some unique skills that is trying to live a quiet life. Now, he’s working as a construction foreman in Chicago. His wife passed, and he’s trying to do well enough to stay in his daughter’s (Isla Gie) life. But it isn’t easy. He has a past that he’s still working through. The family that runs his construction business has become part of his support system. Joe (Michael Pena) and Carla (Noemi Gonzalez) are like his family, as is their 19-year-old daughter Jenny (Arianna Rivas). There is nothing he wouldn’t do for them, which is put to the test when Jenny goes missing. Joe presses Levon to help find her. That forces him to reach into skills from his past. With the help of his old colleague, Gunny (David Harbour), he finds the tools to help dig into the mystery. He puts his old army skills to the test as he learns that Jenny is being held by a group working for the Russian mob. That forces him to spring into action to get her back. We’ve seen Statham play plenty of action-oriented roles. Typically, his characters are quiet men that are pulled out of a simple life to apply a certain set of skills. That’s the case here, too. This story is based on a novel, but it follows the same kind of premise. And usually, these kind of films don’t go well for those that stand in Statham’s way. That’s the case with A Working Man, too. And it’s right in the wheelhouse for Ayer, who has been making these kind of gritty action films for years. This film is about what you’d expect. The story is fine, the performances work well enough, and the action is plentiful. This is an R-rated adventure with a LOT of violence. If that’s the kind of escapist journey you’re looking for, then this will work well. In fact, I could see Ayer and Statham teaming for these kind of movies once a year for the next decade. This film is straightforward and gives you what you expect. I liked Rivas quite a bit, while the villains were just two-dimensional enough to work for the story. It’s not incredible but it is a wild ride.
Rating: Rated R for strong violence, language throughout, and drug content.
Verdict: Three stars out of five