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This second full weekend in June provides plenty of viewing options, including three wide releases in theaters and a new streaming option from Apple. Below are my thoughts on the new films released this week. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

Echo Valley (Apple TV+)
Starring: Julianne Moore, Sydney Sweeney, and Domhnall Gleeson
Synopsis: We’re at the point in the year where we have blockbusters each week in theaters, leaving streaming services to offer some counterprogramming. It makes sense to try to appeal to a different kind of viewer, but it also requires a story that hits. In the case of Echo Valley, a new film streaming on Apple TV+ the ingredients are all there. The film boasts a strong cast—including Moore, Sweeney, Gleeson, and Kyle McLachlan. It also has an interesting enough story hook. But all those things fail to coalesce into something compelling and satisfying. The film centers on Kate (Moore), a horse trainer whose business is suffering. Her wife recently passed away and her daughter, Claire (Sweeney) is troubled. Claire is addicted to drugs, and that causes her to lean on her mother in unhealthy ways. As Kate is trying to get the money to keep her business and home afloat from her ex-husband (McLachlan), they argue about how to approach things with Claire. Soon enough, Claire turns up with Kate. At first, it seems like a nice visit. But it’s clear her daughter is in trouble. She owes a lot of money to Jackie (Gleeson), and he’s come to collect. But paying him off is just the beginning of the trouble for Kate. As Claire spirals, their situation becomes even more untenable. That forces Kate into drastic action as she looks to get herself out from under the situation her daughter has placed them. This isn’t the first story about a parent desperate to try and save a child who is lost to drugs. But that’s only the hook here. There are some twists that add a bit of pop to the Third Act. That comes courtesy of writer Brad Ingelsby (Mare of Eastown, The Way Back). That gives this a bit of pop late, but it’s not enough to overcome a plot that feels a bit too tired. I like Moore as a performer, but this isn’t a great role. We don’t get much depth out of the Sweeney character and not enough is built into that relationship to set the stage for what’s to come. Gleeson is fine, but Jackie is a fairly one-note villain. The twist is somewhat fun but not enough to make the film memorable. Echo Valley is solidly crafted by director Michael Pearce. It’s a decent watch, wasting little time in bouncing through stories as part of a 105-minute run. For those looking for something new to stream at home, this works fine. But it’s not likely to be a film you return to for future viewings.
Rating: Rated R for language throughout, some violence and drug material.
Verdict: Two and a half stars out of five

How to Train Your Dragon (Theaters)
Starring: Mason Thames, Nico Parker, and Gerard Butler
Synopsis: By this point, we’ve seen scores of animated films translated into a live action film. Sometimes that works beautifully. Sometimes it falls short of expectations. While we’ve seen Disney do it a lot in recent years, now others are getting involved. How to Train Your Dragon was a key piece of Dreamworks Animation. It spawned two sequels and a legion of fans. Now, it’s getting the live action treatment. It comes from the same writer and director, Dean DeBlois, and even has one of the same stars. But this version aims to bring the story to life in a new way for a new generation of viewers. We’re introduced to the Isle of Berk, where Vikings live and battle dragons. They Vikings are led by Stoick (Butler), a fierce warrior who aims to end this war no matter the cost. His biggest liability is his son, Hiccup (Thames), who is a laughingstock. He wants to please and impress his father, but he’s built different. Soon, Hiccup comes across a rare Night Fury, a dragon so elusive it’s never been seen. But rather than become a dragon slayer, he sets it free. More than that, he makes a friend. Soon, Hiccup and Toothless, the Night Fury, develop a partnership. It helps Hiccup learn more about dragons, which helps him excel in a series of training activities. But Hiccup doesn’t want to kill dragons like his father—and the rest of their village. He wants to help them, and in doing so help his people and his community. He finds an ally in a fellow young warrior, Astrid (Parker). But can they convince everyone to change their ways before it’s too late? The original animated film was released in 2010, 15 years ago now. This new film is faithful to that original story, building it as a rich, live action world. With a sequel already in development, it’s poised to become a live action franchise just as it was once an animated franchise. And for fans of the world, or those who like these type of stories, this will be a serviceable and fun time at the theater. This is a faithful adaptation, following the story and characters from its source material. Toothless is brought to life well and the film literally soars when Toothless and Hiccup are together. I especially enjoyed the flying sequences. I also enjoyed the training sequences. It’s not a revolutionary or particularly original film, but it does a nice job of bringing this story to life in a new way. Thames does a nice job of taking on the lead role. His back-and-forth with Toothless works well. He also has good chemistry with Parker, who does a nice job as Astrid. I appreciated Butler in the role of Stoick, a part he played with flourish in the animated films, too. I also enjoyed Nick Frost as Gobber. This is a fun film that has some good visuals. It feels a little darker and more intense as a live action film, but it follows the template from the animated film and is a fun ride on the big screen. This will be a nice addition to the landscape for those looking for a fun family outing at the movies this summer.
Rating: Rated PG for sequences of intense action, and peril.
Verdict: Three stars out of five

The Life of Chuck (Theaters)
Starring: Tom Hiddleston, Chiwetel Ejiofor, Mark Hamill, and Karen Gillan
Synopsis: Mike Flanagan is a unique filmmaker and storyteller who has a unique relationship to Stephen King. In the past, Flanagan has adapted some of his classic works like Gerald’s Game and Doctor Sleep. That makes sense as Flanagan, whether in adaptation or original works, has been adept at creating darkly moving horror stories. So, on paper, seeing Flanagan adapt another King story in The Life of Chuck makes sense. But this isn’t a classic King horror story. It’s something more engaging and life-affirming, and it makes for an even more dynamic pairing. The film is based on King’s Novella of the same name contained in his collection If It Bleeds. It’s a story told in three acts and this film adaptation follows the same. It has three acts and adapts the same story of Charles “Chuck” Krantz (Hiddleston). But it does so in a unique way. The film begins with the world in crisis. We meet various people, including teacher Marty Anderson (Ejiofor) and his ex-wife Felicia (Gillan). They are grappling with what’s coming, what matters most in life, and who this Charles Krantz might be. In a bit, we’re introduced to Chuck. He’s a mild-mannered man living what seems like an ordinary but happy life. As he passes a street musician, he’s prompted to move. He dances with joy and freedom, drawing quite a crowd on the streets. Later, we see Chuck’s early life. He’s raised by his grandfather (Hamill) and grandmother (Mia Sara) and learns about the value of life and each individual. Through a series of circumstances, he also learns a secret that has the potential to impact the rest of his life. This film has a simple premise, a great cast, and an engaging story. The choice of how to adapt it is fascinating, but it works in dynamic fashion with this film. We begin at the end and seemingly end at the beginning. That might be distracting for some or might not work for all viewers, but I found it captivating and deeply moving. This feels like a very deep and personal film for Flanagan, and that comes across beautifully on the screen. The cast give strong performances but it’s the production that stands out. There are some gorgeous shots in the first section of the film and some deeply emotional moments throughout. The closing scene does a profound job of bringing it all together and giving you plenty to chew on. I enjoyed the performances, too. Hamill does a beautiful job as Albie in the third section. Hiddleston brings such vivacity and joy to the middle section. And Ejiofor and Gillan were delightful in the early section. All of it adds to the depth and meaning of the piece. King is renowned for his horror stories, but he’s also given us some of the most profound explorations of life and hope. Films like Shawshank Redemption, The Green Mile, and Stand By Me continue to move and impact audiences. Thanks to Flanagan’s beautiful film, I foresee The Life of Chuck joining their company in the years to come.
Rating: Rated R for language.
Verdict: Three and a half stars out of five.

Materialists (Theaters)
Starring: Dakota Johnson, Chris Evans, and Pedro Pascal
Synopsis: It’s been two years since Celine Song caught the attention of audiences with Past Lives. It was the story of three people and a love that spans decades, shown over three different time periods. It was a thoughtful and beautiful film that explored love, relationships, and the passage of time, earning a Best Picture nomination and a nomination for Best Original Screenplay. Now, Song is back. This is another story about love and relationships, again released in the middle of summer. This is another story of three people trying to find that right relationship, featuring Dakota Johnson, Chris Evans, and Pedro Pascal. Materialists opens wide on Friday, providing a bit of counter-programming the blockbuster-heavy season. In the film, Lucy (Dakota Johnson) is a young and successful matchmaker. But while she’s landed the right relationship for many clients, she’s still not found that true love for herself. That’s if she even believes in it. Early on, we learn that Lucy sees marriage as a transaction and love as something of a luxury. It isn’t long before those takes come into question. At the wedding of one of her clients, she encounters two options. The first is Harry (Pedro Pascal), the brother of the groom. He’s rich, smooth, and very interested in her. The other John (Chris Evans), a struggling actor working as a cater/waiter. He and Lucy were involved in the past, in a relationship that lasted five years. But ultimately, she didn’t think his prospects were enough to make it last. Now, as she’s navigating some interest career waters, Lucy is presented with a personal challenge. Does she return to John, the man she loved but couldn’t quite make the life work, or give in to Harry, who is the perfect option on paper. Song is a gifted writer/director who is clearly interested in love and relationships. That deep dive was haunting in her first film. It was a deeply emotional gut punch that resonated long after I left the theater. I was curious how she would follow that up. Turns out, she manages to tap into something resonant here with Materialists. It’s something of a commentary on our contemporary world, our cultural values, and the dating landscape. But it dares to ask the question of what love is worth? This isn’t a perfect film, and it doesn’t achieve the emotional heights of Past Lives, but it is an engaging and moving watch. Johnson does a nice job in the lead role. You can see her working out these options and pouring into this journey as Lucy. Pascal is fine in the role as Harry, but the character lacks depth. That’s what keeps this from being a true romantic triangle as in her last film. Evans is likeable and charismatic as John. The film also spends more time providing their backstory and giving him more depth. That helps make the ultimately conclusion here somewhat obvious, but this kind of movie is more about the journey than the destination. This feels like a journey worth taking.
Rating: Rated R for language and brief sexual material.
Verdict: Three and a half stars out of five