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When two successful business rivals, Craig and Trevor (Josh Sharp and Aaron Jackson) discover they’re actually identical twins separated at birth, a parent trap plot unfolds to re-unite their folks (Nathan Lane and Megan Mullally). But, just how successful their re-union turns out hinges on multiple factors significantly out of their control, can/will love ever prevail? Written by Josh Sharp and Aaron Jackson and Directed by Larry Charles, this relatively one note comedy attempts to play on played out stereotypes and shock factor with a dash of screwball to mix things up in hopes of creating movie magic in a production that’s probably better left off Broadway. Mustering a few chuckles throughout, the duo certainly seems to be aiming for Matt Stone and Trey Parker territory, but fall far short of the end zone, even with their semi catchy tunes, perhaps most enjoyable are the two supporting females on the cast, Mullally and Megan Thee Stallion. Keep that brow low because we’re nowhere near the high brow side of life in this brief flick; running just 86 minutes this quick romp will probably be quickly forgotten. Dicks: The Musical is rated R.

In the not too distant future the world is divided on the use of Artificial Intelligence. Now, in New Asia artificially intelligent robots and their creator, Nirmata, are hunted by the United States Military. But, when former soldier/undercover operative Joshua (John David Washington) discover the latest weapon against humanity comes in the form of a child, Alphie (Madeleine Yuna Voyles), his own attitude towards A.I. begins to shift. Could it be Alphie could truly bring peace between the waring factors, and if so, at what cost? Written by Gareth Edwards and Chris Weitz and Directed by Edwards this Sci-Fi spectacle offers remarkably stunning visuals and well thought out CGI reminiscent of Avatar, District 9, and Blade Runner with a thinly veiled storyline detailing current fears of A.I. development in the 21st century. Consistent in tone and tenor throughout, Edwards has crafted an impressive film that carries a significant amount of pedigree throughout the production crew drafting the cinematography talents of Greig Fraser (Dune, Rogue One, The Batman), score by Hans Zimmer (Dune, Dunkirk, Inception), and production design by James Clyne (Avatar, Star Trek), there’s no wonder as to why the film presents as polished as it is. However for all the shine and glitz, the importance of efficient screenwriting and editing has been lost amongst this bunch, running two hours and thirteen minutes the film could have been served with about twenty to thirty minutes less. Alas, as it is Act. III drags us across the expected finish line, beauty lacking grace. The Creator is rated PG-13.

Digging in to the events surrounding the 2021 Wall Street saga of the Gamestop short squeeze, web financial guru Roaring Kitty/Keith Gill (Paul Dano) is a social media influencer who gains the trust of the public in this modern day David and Goliath triumph over hedge fund investors looking to profit on failed businesses; a financial roulette that also has the interest of the U.S. Government. Eventually, someone will have to pay for bad investment decisions, but will it be the billionaires such as Ken Griffin (Nick Offerman) and Gabe Plotkin (Seth Rogen) or the average citizens such as Marcus Barcia (Anthony Ramos) and nurse Jenny (America Ferrera)?Written by Lauren Schuker Blum and Rebecca Angelo, based on Ben Mezrich’s book The Antisocial Network and Directed by Craig Gillespie, with Executive Producer credits going to Tyler and Cameron Winklevoss (yes the twins from the 2004 Facebook lawsuit now turned cryptocurrency investors). It’s a star studded ensemble piece told from multiple viewpoints in a way that manages to keep the majority of its stars from ever sharing the screen at the same time. Truly an exercise in Covid filmmaking protocols that plays to its strengths and relies on compelling story, solid acting, and the constant drive of the market to quite accurately re-count the bigger details of the actual events, even if some of the story lines are still fictionalized; end result, a story that infuriates as much as it entertains, with perhaps a bit more rage than entertainment. This worthy endeavor doesn’t get too heavy into the actual ins and outs of Wall Street, rather, running one hour and forty five minutes it’s a quick start guide into economics and just enough to get the viewer interested. Dumb Money is rated R.