These first couple of months have been challenging to stay motivated to be a film critic for a lot of reasons. First and foremost, new movies don’t excite me as much especially early in the year (the good stuff comes in the fall for sure). Not to mention my day job, writing a book proposal and the recently completed 1995 podcast that takes priority in terms of viewing and editing. At last, I had a free day to catch up on reviews I’m excited to write about, including 4K physical media releases that Allied Vaughn sent. Let’s start with those then end on a couple of new titles that you really should seek out.

Let’s Get Physical Media!

My Girl (1991) (dir. Howard Zieff)

Special Features:

• Audio Commentary with Writer Laurice Elehwany
• A Day on Set: First Kiss
• A Day on Set: Bingo!
• Original Behind the Scenes Featurette

Let’s talk about My Girl, one of the first movies I can remember vividly relating to on a lot of levels. First and foremost, I had a very similar first kiss with the girl who lived down the block. We were both 7 years old. To say that this film mirrors the kind of friendship I had with her would be an understatement. Perhaps that’s why this remains a favorite coming-of-age film despite the fact that yes, it’s easy to find fault with a choice made towards the end. Nevertheless, I still cry in the same way I did with a similar film that came out the same year that I also strongly connected to - The Man in the Moon (with Reese Witherspoon).

The new 4K release looks terrific even if the extras are sadly lacking here (such is the case sometimes). Even the brief behind-the-scenes clips are too short to really make an impact. Though at least there’s a full feature-length audio commentary to treasure featuring writer Laurice Elehwany. It’s a joy to hear from a writing perspective as opposed to the usual star and/or director commentary. The depth and clarity of the picture itself is quite striking so it’s a quality upgrade for fans of the film, with the HDR grade approved by cinematographer Paul Elliott himself.

This is a special film in showcasing such a breakout role for young Anna Chlumsky who until recently thanks to shows like Veep, didn’t have the career she deserved. Of course, a lot of the focus is on young Culkin here, but the supporting cast all-around really do bring a lot of genuine compassion and character depth throughout. Particularly the romance that develops between Jamie Lee Curtis and Dan Akyroyd (who is quite excellent as the dad). I’m glad that this film is out in a pristine format because it’s more than just a cute family film focusing on growing pains - it actually touches on big ideas like anxiety, death, hypochondria and the loss of a parent. Grateful this is a part of my collection since going back to it feels like revisiting old friends and despite the choice to kill off poor Thomas Jay, those tears are certainly earned. Pick it up here or wherever you get your baby Blu-Rays: MovieZyng!

Paddington 2 (2017) (dir. Paul King)

Special Features:

• Audio Commentary by Director/Co-Writer Paul King
• Paddington: The Bear Truth; How to Make A Marmalade Sandwich
• Music Video with Phoenix Buchanan
• The Magical Mystery of Paddington's Pop-Up Book
• The Browns and Paddington: A Special Bond
• Knuckles: A Fistful of Marmalade
• The (Once) Famous Faces of Phoenix Buchanan
• Optional English SDH subtitles for the main feature

Speaking of great family films, they don’t get much better than Paddington and especially its follow-up sequel, Paddington 2. Heck, even Nicholas Cage in one of his most recent projects, stated that this is one of the best movies ever made. This exceptional 4K release is a must for fans of the marmalade-loving, hat-wearing fuzzy bear. And how can you not be a fan! Charming without ever being eye-rolling, P2 is endlessly entertaining in ways that are never cheesy or pandering for adults and kids alike.

In this follow-up, Paddington bear finds himself well-established – and well-liked – in the community, so life seems good. Paddington locates an elaborate pop-up book he wants to get for Aunt Lucy, but someone steals it before he can raise the funds to purchase it. Along with adoptive parents Henry (Hugh Bonneville) and Mary (Sally Hawkins), Paddington attempts to find the thief and recover the book. This movie is endlessly charming where your smile never goes away. Which seems like a minor miracle, as most fare of this sort veers firmly into Cloying Town or full of lame jokes (yes there are puns but those make me laugh).

Some of the features are short and sweet but this release offers excellent picture and high-quality audio along with supplements highlighted by a strong commentary by the writer/director. He delivers a running, screen-specific look at story/characters and the adaptation of the source material, cast and performances, music, various effects, sets and locations, and related domains. His contribution alone makes this well worth your time. But the movie itself, is an exemplary piece of entertainment in every way. It is right up there with the Babe films; this Letterboxd review here sums it up nicely. The next time you’re trying to decide what to watch with the family over the holiday season, look no further than Paddington 2. Buy it here: MovieZyng!

The Nice Guys (2016) (dir. Shane Black)

Special Features:

• Always Bet on Black - Featurette
• Worst. Detectives. Ever. Making 'The Nice Guys' - Featurette

A movie as good as The Nice Guys deserves far more of a better treatment down the road in terms of special features (two six minutes featurettes that are solely lacking). But if you’re just interested in owning this wildly entertaining action fcomedy, this is definitely the version to get. The Nice Guys is directed by Shane Black from a screenplay written by Black along with first time screenwriter Anthony Bagarozzi. For fans of Kiss Kiss Bang Bang, though this one may go on a bit long, it’s right up there with Black’s best work as a writer/director.

The cast includes Russell Crowe, Ryan Gosling, Angourie Rice, Matt Bomer, Keith David, Kim Basinger and more, with nearly all providing solid and capable performances, while Crowe and Gosling tend to repeatedly steal the show with their hilarious banter and humorous chemistry. Gosling is on fire here in ways that recall some of his best work in comedy to date (alongside Barbie of course). There’s a scene in particular that cracks me up to no end when he stumbles upon a dead body. Moments like this along with an engaging, involving plot make this one go down easy.

The latest 4K release of The Nice Guys does a great job of transferring the picture to a UHD format, but it doesn’t add anything new in terms of special features. There are only two from the Blu-ray release that make it on here. But if you want to double dip for the 4K, you can’t go wrong with the image and sound quality. I certainly had a blast revisiting this one after a rough week. The Nice Guys delivers a wildly fun, humorous and twisty mystery set in the world of 1970’s LA that really is a blast from beginning to end. The pairing of Crowe and Gosling along with Black’s sharp writing makes for one of the better buddy cop films to come out in recent memory. Buy: MovieZyng!

New Movies!

The Dead Thing (2025) (dir. Elric Kane)

It’s not often that a horror film could bring to mind a contemporary take on Looking for Mr. Goodbar alongside the title of a favorite Wilco record of mine called A Ghost is Born. Perhaps it’s because both have been on my mind after receiving deluxe reissue packages of both. That’s not to say there isn’t originality to be found here with Elric Kane’s The Dead Thing because there definitely is, in droves. His vision is assured, the performances are top-notch and this also contains one of my favorite scores that I’ve heard in quite some time.

We follow Alex (Blu Hunt), a young woman trapped in the cyclical monotony of modern existence—working unfulfilling hours at a scanning job, living under the artificial glow of a sunlamp, and seeking fleeting connections through dating apps. Her life consists of meaningless hookups and a numbing routine that leaves her emotionally vacant, going through motions just to feel something.

When she matches with Kyle (a creepy Ben Smith-Petersen), their connection seems transcendent, a perfect date that extends through the night with conversation and chemistry that feels almost too good to be true. And perhaps it is—because shortly after their magical encounter, Kyle vanishes completely, leaving Alex hurt and yet determined to understand what happened. Perhaps she’s been ghosted or there’s far more to the story.

This unnerving examination of relatable loneliness alongside eventual co-dependence ultimately succeeds as a thoughtful exploration of the lasting grief of heartbreak and the ways we carry our emotional wounds into new experiences. It captures a post-COVID landscape of hopeful romantic connections in an observational manner rather than making it all about scares, gore and set pieces.

This is a dreamlike horror film about vibes and mood and dread, layered with crisp, stunning cinematography that captures a quiet lonely city late at night. Blu Hunt carries nearly every scene and sometimes, especially early on, without dialogue, and with confident body language as well as facial expression in ways that epitomize “show don’t tell.” It's more of an internalized performance which is truly refreshing since most horror films do quite the opposite: get batshit loud and intense to convey terror from within.

Part of me does wish this story didn’t veer into a couple of tropes that bring to mind It Follows or the latest take on The Invisible Man, but conflict and chaos should ensue in a way that grabs the audience. These moments are effective but my favorite scenes don’t involve brutal attacks, as brief as they are. The inclusion of a new co-worker grated on me a little on first viewing but I warmed up to why he’s introduced and certainly what becomes of his presence during the climax.

Sometimes the most terrifying thing isn't supernatural at all, but the prospect of opening oneself to potential hurt again and again in the search for true intimacy. Dating can feel ritualistic and certainly, those who struggle with socializing gravitate towards an app that might lead to instant gratification. The setup here especially makes this more of a thoughtful horror film than a funhouse, often playing like a fever dream early on then culminating in a memorable confrontation towards the end that sticks the landing. Especially given the location where the shit goes down (a personal favorite setting of mine for any film that I won’t spoil).

Elric Kane’s feature debut here is something to behold, especially seeing it on a big screen in 35mm. I might be biased a little bit here, but I’m certain that even if I didn’t know the director, I’d still want to champion what this brings to the genre as a whole. Getting intensely possessive about a person feels more immediate than ever (in more ways than one). Swipe-culture has lead us down an unfortunate path when it comes to maintaining interpersonal relationships. The Dead Thing highlights a desire for something more, something real but it may be out of reach. That’s a scary notion in of itself.

Black Bag (2025) (dir. Steven Soderbergh)

Ever wondered what Sex Lies and Videotape would be if it was mixed in with a spy thriller— focusing on espionage, intrigue and marital mind games? Walking out of the latest from Steven Soderbergh, I finally felt back in touch with new films again because this is why I go to the movies. On the simplest of levels, this is pure entertainment but it’s smart, funny, tight and full of memorable character interactions that feel both new and familiar.

The premise is deceptively simple: British intelligence agent George (a subdued Michael Fassbender) is tasked with uncovering a mole within his agency. The twist? His wife Kathryn (Cate Blanchett), also an agent, is among the five suspects. From this classic spy thriller setup, Soderbergh and screenwriter David Koepp craft a meticulously plotted game of cat and mouse that keeps viewers guessing until the Agatha Christie-inspired last act. Oh and there are great, character revealing scenes that take place in a psychiatrist’s office which is always a huge plus for yours truly!

At first I was thinking this would be more in line with Haywire, possibly due to the Fassbender connection, but this is more akin to some of his more talkier films like his debut or the underappreciated Side Effects, rather than anything resembling “action” in the traditional sense. What elevates this are the character dynamics which we get to know over time. Everyone is bringing their A-game, holding their own against Blanchett, Fassbender, Brosnan. Regé-Jean Page as Colonel James Stokes, Naomie Harris as psychologist Dr. Zoe Vaughan, Tom Burke as the wisecracking Freddie Smalls, and Marisa Abela as the volatile Clarissa Dubose all bring heft and depth to their roles as additional suspects. There is never a dull or implausible moment among them.

What sets Black Bag apart from lesser spy pictures is its heavy reliance on dialogue over action. There is pretty much only one moment involving a drone that would be applicable to an action scene and even that is subtle. This is a relationship-driven film about loyalty, trust, and the impossible balance between professional responsibility and personal relationships. The title refers to the unspoken agreement between spies who are romantically involved – when one can't disclose information, they simply say "It's a black bag," a kind of professional fifth amendment that everyone uses to keep secrets from their significant other. Secrets and lies eventually come out.

For film buffs, it’s hard not to walk out of the theater on cloud nine after seeing Black Bag. This is 93 minutes of focused, confident storytelling that never falters, bringing to mind recent Soderbergh successes like Kimi and No Sudden Move. In an age where theatrical releases increasingly rely on franchise connections and visual effects to draw audiences, Black Bag is a transcendent reminder of what cinema can achieve when it deftly prioritizes storytelling, performance, and an assured directorial vision from one of our best filmmakers.

This is the kind of sexy, sophisticated entertainment for adults that has become increasingly rare on the big screen. Not to mention the fact that very few can construct, block and edit a sequence like Soderbergh can, which was clear going all the way back to some of his best work in the late 90s. The lie detector moment alone here was enough to make me giddy. Black Bag is a must-see, definitely the best film of 2025 so far and boy do we need a film like this right about now. Perhaps Soderbergh should never retire after all.