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The first week in September brought three interesting new releases—two in theaters and one on streaming. Below is my take on this week’s new releases. You can keep up with everything I’m watching by following me on Letterboxd @knighthawk7734.

The American Southwest (Theaters)
Synopsis: There are a lot of beautiful, fascinating, and magnificent places in the world. Often, documentaries help capture these places, and help transport viewers to places they’ve never seen or visited. These films can offer a greater appreciation for the natural environment while telling people about the wonders in these regions. But nature documentaries on the big screen have become rare. While we often still get them on National Geographic channel or sometimes around Earth Day, these glimpses into our wider world have become harder to come by. That’s what makes The American Southwest so fun. The new documentary, which follows the terrain around the Colorado River, is a big screen spectacle. It opens in theaters on Friday and transports viewers into the rich scenery of the region, sharing stories of the creatures and people that call it home. The film runs about 105 minutes, following the Colorado River and exploring the creates who call it home. It looks at the watershed, and how vital it is to mankind, too. But it’s a rich exploration of the region and some of its magnificent vistas, stretching all the way through the Grand Canyon. The film is narrated by Quannah Chasinghorse, who provides a gentle and soothing journey along this beautiful landscape. The film comes from writer/director Ben Masters, who explores the rich ecosystem along the Colorado River and the beauty of the landscape in this region of the country. As someone who lives in Colorado, I greatly appreciated this journey down the river. It expanded my view of the region and my appreciation for the river, its history, and its reach in the country and around the world. The film brings awareness to the area, its beauty, its importance, and the challenges to keeping it vibrant. In addition, the visuals are often stunning. The mountain ranges, the vast animal life, and beauty of the river itself are all captured in the film. It’s a stunning exploration of the region that will be even more vibrant on the big screen. We don’t get many nature documentaries on the big screen. In fact, we don’t get many documentaries that get theatrical releases. But if you want to enjoy this lush landscape, learn more about the Colorado River, and support these types of films, it’s worth checking out.
Rating: G
Verdict: Three stars out of five

The Conjuring: Last Rites (Theaters)
Starring: Vera Farmiga, Patrick Wilson, and Mia Tomlinson
Synopsis: This is the fourth—and presumably final—film in the Conjuring film franchise. This one focuses on the final case for the Warrens, but first we’re dropping into 1964 when an early case goes sideways, leading to complications for the birth of their daughter, Judy. Flash-forward to 1986, and a family is being tormented by an evil spirit. Judy (Tomlinson) is now an adult and engaged to Tony (Ben Hardy). She shares her mother’s gift and takes off to help this family in need that connects to the death of a friend. The Warrens and Tony follow and reluctantly take on the case, which brings Ed (Wilson) and Lorraine (Farmiga) face-to-face with a familiar evil. This is a sturdy film that is actually one of my favorites in the franchise. I like Wilson and Farmiga in these roles, and the addition of Tomlinson worked well. There is a good, creepy look and some good sequences. I also liked the way the film paid tribute to the Warrens and brought the franchise in for a landing. This is a must watch for fans of the franchise.
Rating: Rated R for bloody/violent content and terror.
Verdict: Three stars out of five

Highest 2 Lowest (Apple TV+)
Starring: Denzel Washington, Jeffrey Wright, and ASAP Rocky
Synopsis: Back in 1963, Akria Kurosawa delivered a powerful film called High and Low. It centered on a businessman who was facing possible personal ruin in the aftermath of a kidnapping plot. It’s long been held by many as a classic. And now, the tale gets new life. This summer, Spike Lee’s Highest 2 Lowest debuted at the Cannes Film Festival. Following a short theatrical run, it dropped on Apple TV+ on September 5. The film is a reimaging of the Kurosawa classic, updating the story to a music mogul in New York City. The film centers on the great David King (Denzel Washington), who is at a crossroads with his record label. He has an offer to sell, but it would mean seeing what’s he’s built become something else for someone else. Or he could leverage all he has to try and buy control and take the label in a new direction. He’s on the cusp of closing that deal when he gets word that his son—Trey (Aubrey Joseph)—has been taken. The kidnapper calls, demanding $17.5 million in ransom. It’s about all King has, meaning he’d have to give up on his business plans. But he’s ready to do anything for his son. But it turns out, his son hasn’t been kidnapped. Trey returns home fine. It’s Trey’s friend—the son of King’s driver Paul (Jeffrey Wright)—who has been taken. Despite the mistake, the kidnapper remains firm, demanding a $17.5 million payment. After dwelling on the possibilities, King agrees. He withdraws the funds and makes a plan with the police to deliver the money. They plan to track the kidnappers, protect his money, and return Paul’s son, safely. But the plan goes awry. And in the aftermath, King is forced to make some hard choices and take a hard look at his life. If you’ve seen the original, you’ll have a good idea where this is going. This film, while updated and set in a different world, follows the basic outline of the plot here. It’s not about where the story is going, it’s about how it’s delivered. Lee has long been a quintessential New York filmmaker. He plies that skill here, too. From the opening montage to some of the action sequences set on the subway, this is a film that captures and celebrates New York. It was one the aspects I liked best. I also liked some of the original music, including a killer song to close the film. There are also some solid performances. Washington does a nice job, even if the early bits of the film around him are choppy and uneven. Some of his closing sequences opposite ASAP Rocky are great, too, despite not having a great scene partner. He’s another of the best aspects of the film. But it doesn’t all work. It lacks some of the juice that typically makes Lee’s other films stand out and feel like something special. It is missing an edge and feels meandering at times. That’s particularly a problem during the first hour, which drags and feels awkward. While the back half of the film is more interesting, it never capitalizes on its potential, nor reaches the heights of the original. It’s fine, but not memorable or special. It's a bold swing to adapt a classic. There was some merit in the path taken here and some things to like. But, overall, I couldn’t help feeling this was an unnecessary return to a classic film.
Rating: Rated R for language throughout and brief drug use.
Verdict: Two and a half stars out of five