“Now You See Me: Now You Don’t”

(Crime/Thriller: 1 hour, 53 minutes)

Starring: Jesse Eisenberg, Woody Harrelson, Dave Franco

Director: Ruben Fleischer

Rated: PG-13 (Strong language, violence and suggestive references. )

Movie Review:

This heist movie is the sequel to 2016’s “Now You See Me,” also directed Ruben Fleischer. It is entertaining just like his predecessor. However, more implausibility exists with “Now You See Me: Now You Don’t” than its prequel.

This outing, The Horsemen illusionists and three new young magicians, Bosco (Dominic Sessa), Charlie (Justice Smith) and June (Ariana Greenblatt), set out to take down the Vanderbilt corporation led by Veronika Vanderberg (Rosamund Pike). Their task will not be easy, but the magician’s use of sleight of hand and tricks help with their mission.

Much like the “Fast and the Furious” movies, the antics here are not always tangible, though they are enjoyable. The entertaining action scenes, mixed with the comical banter, even when juvenile, make the film worth it.

Think of this movie as a reunion for the magicians and the initiation of three freshmen. The new magicians take the lead in this film and in some ways overshadow their older counterparts. Think of this as a passing of the torch to a new generation.

The problem is that the old cast members are still dynamic and not just generational cookie-cutter characters. Jesse Eisenberg and Woody Harrelson’s comedic repartee is still a highlight of this movie. While the younger cast is talented, the older cast members are the reason moviegoers return, and that is the razzle dazzle that makes “Now You See Me: Now You Don’t” inviting.

Grade: B- (It is not as magical as it once was, but it still charms.)

“The Running Man”

(Action/Science-Fiction: 2 hours, 13 minutes)

Starring: Glen Powell, Colman Domingo and Josh Brolin

Director: Edgar Wright

Rated: R (strong violence, some gore, and strong language)

Movie Review:

“The Running Man” is a remake of the 1987 film with Arnold Schwarzenegger and directed by Paul Michael Glaser. Both screenplays feature a future dystopian America based on the novel by Stephen King. The 1987 movie was much more plausible than the current one, yet this version is still very entertaining thanks to the performance of Glen Powell, the newest action hero.

Glen Powell plays Ben Richards, a husband and father to a very sick young daughter. Richards decides the easiest way for his daughter and wife to remain healthy and have a secure future is to become a competitor on The Running Man reality show. Sponsored by the state-controlled Network, the show features a person trying to survive while violently hunted by several so-called patriots. Richards realizes he may have just made one of the biggest mistakes of his life, but after signing a contract, he cannot back out so he becomes a running man.

Again, the 1983 movie maintained a realistic appeal this new version misses. The original also had better lines such as a Schwarzenegger and Richard Dawson sequence. Schwarzenegger’s Ben Richards says, “Killian, I’ll be back,” and Damon Killian, played by former Family Feud host Richard Dawson, responds, “Only in a rerun.”

This new adaptation involves contestants like Richards out in the public where bystanders are killed — sounds like lawsuits waiting to happen all over the place. But the Network is more a part of the US government in this movie, so the Network has a modus operandi where people at home watching seem to enjoy the violence.

Not all citizens appreciate the running man show in this movie, and that at least is something tangible to hold on to. If America ever gets to this point in real life, we have hit a major low point of no point of return.

That aside, the other thing that makes this movie interesting is Glen Powell . He is believable as a leading man, and he works here. And, Powell is definitely athletic because he does plenty of running here.

Grade: B- (If you are in shape, run with him.)

“Trap House”

(Crime: 1 hour, 42 minutes)

Starring: Dave Bautista, Jack Champion and Bobby Cannavale

Director: Michael Dowse

Rated: R (Strong violence and bloody imagery)

Movie Review:

“Trap House” is an interesting movie mainly because it tries something different. That difference is not realistic in several scenes, but one must compliment the writers for trying. Part of the reason this movie seems unlikely is the missed opportunities for dramatic moments, which could help viewers get to know the characters better.

Dave Bautista plays Ray Seale a single father and DEA agent supervisor. He and his team have been tracking cartel crimes in El Paso, Texas. After his son Cody (Champion) sees some of the cartel information at his father’s office, the young man gathers three of his friends to rob cartel trap houses to raise money for the son of a murdered DEA agent who was killed in the line of duty. Soon, Ray must contemplate whether he should put duty above family when he finds out about his son‘s extracurricular activities.

“Trap House” finds a way to make it itself interesting, yet it remains a trap too. Characters keep doing the same thing even when it seems unusual for their very nature. Just when it looks like some of the characters are about to do the correct action, they do not, and this script misses key moments for the dramatic development of characters. This crime photoplay does rebound with a very engaging apex.

Grade: B- (It’s a trap, but it is an entertaining one).

“Keeper”

(Horror: 1 hour, 39 minutes)

Starring: Tatiana Maslany, Rossif Sutherland and Birkett Turton

Director: Osgood Perkins

Rated: R (Violent content/gore, strong language, and sexual references)

Movie Review:

“Keeper” is a horror movie by director Osgood Perkins (“Longlegs,” 2024), the son of famed actor Anthony Perkins. For a moment, it manages to create a neat psychological thriller. It has only a few frights, but they are effective. Then, writer Nick Lepard’s script becomes something similar to a women’s empowerment movie and loses the edge it had.

Liz, a painter, travels to a countryside estate with her boyfriend Malcom, a doctor, for a romantic getaway. He tells her he thinks she is the one. Malcom‘s brother Darren (Turton) agrees and tells him that Liz is a keeper. Supernatural occurrences happen to Liz, especially after her husband goes to see one of his clients and leaves her in the big house for a lengthy period of time.

“Keeper” is a movie you have to watch very closely, or it will seem like a character or two may go missing from scene to scene. Even more, audiences must understand what is happening, which is common in psychological thrillers. Still nothing seems to happen for long periods of runtime. Then, characters explain what is happening, and it becomes a less potent fairytale with visual monsters.

Grade: C+ (do not keep it.)

Prolific horror-thriller writer Ruth Ware’s novel “The Woman in Cabin 10” is the source material for Netflix’s new original mystery, directed by Simon Stone. The movie stars Keira Knightley as Lo, a persistent hotshot journalist. After a recent source from her high-profile article is drowned in retribution, her return to work is marked by flashbacks she’s hesitant to confront. But when opportunity strikes in the form of a new story, hosted aboard a three-day luxury cruise captained by dying billionaire Anne Bullmer (Lisa Loven Kongsli) and her husband, Richard (Guy Pearce), Lo sees it as a perfect marriage of work and leisure. She is to write an article about the ever-so-generous foundation the couple intends to form posthumously. But once on board, the story reveals itself to be much more sinister than anticipated. 

Also aboard the yacht is Lo’s old situationship and assigned photographer, Ben (David Ajala), wealthy gallerist Heidi (Hannah Waddingham), her husband, Anne’s doctor (Art Malik), rockstar Danny Tyler (Paul Kaye), and his influencer PR-girlfriend (Kaya Scodelario), and socialite Adam (Daniel Ings). When Lo checks into her room, cabin 8, there are signs of a guest in her neighboring room: cigarette butts that blow from the neighboring balcony onto hers. Furthermore, in an attempt to avoid running into Ben in the hallway, she backs into the titular cabin and runs into a woman who has just gotten out of the shower. And later that night, Lo hears the commotion of a crime being committed, and witnesses a woman’s body thrown overboard. 

However, when she reports it, hysterically but lucidly, everyone on board insists there was never a person housed in that cabin, all crew and passengers are accounted for, and the room is spotless and undisturbed. And so ensues a film reminiscent of “Flightplan” or an old Agatha Christie ensemble story, as Lo shuns the incessant refusals to pursue the real story on board, even if it puts her life at risk. 

For fans of a mystery tale, “The Woman in Cabin 10” is plainly suitable. It’s simple and snappy, like reading an airport novel. The confined location works well for building tension, using a glamorous surface and labyrinthine underbelly to parallel the story’s own themes. And while predictable, it’s still decently entertaining to watch the facade unravel. The script falls victim to some indisputably dumb character behavior, particularly in Ben, whose sole purpose is to keep the machine churning for the next twist. And once all is revealed, there’s still another act left that pumps the brakes with unneeded vigor to turn towards a conclusion. 

All the acting is just fine. Like a game of Clue, this ensemble cast is full of archetypes who play their roles to be as perfectly ignorant, flippant, or sinister as the film’s limited story will allow. The moving parts of this thriller are subservient to nailing plot points down on a bulletin of perfectly wound red twine. On account of this, “The Woman in Cabin 10” entertains enough to pass the time, but certainly doesn’t thrill.

Did you ever wonder what the domestic life of William Shakespeare might have actually looked like? Spoiler: it’s not the Bard you met in your high school English class. Forget the feather quill in the candle-lit study — this Shakespeare is knee-deep in a messy marriage, tending to sick children, managing long-distance fatherhood, and proving that even the greatest playwright in history couldn’t master work-life balance.

Based on Maggie O’Farrell’s bestselling novel, Hamnet wisely focuses not on Shakespeare, but on his wife, Agnes Hathaway. She is the film’s emotional center — a strong, intuitive woman trying to run a household in plague-stricken Stratford-upon-Avon while her husband frequently disappears to London to pursue his burgeoning theater career. Whenever Will does return home, the visits oscillate between fiery arguments with Agnes and tender, restorative moments with his children — including young Hamnet himself.

——Content continues below——

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As a lifelong devotee of all things Shakespeare, I was more than eager to attend this screening. I’ve visited the reconstructed Globe Theatre in London and made my own pilgrimage to Stratford-upon-Avon. While the movie is set in both locales, it was actually filmed elsewhere in the UK — though you’d hardly notice. Still, I would have welcomed a bit more balance between the Stratford domesticity and the London theatrical world. But the film’s intent is clear: this is Agnes’s story, not William’s.

And like many acclaimed indie films, Hamnet lives or dies on its performances. Fortunately, the acting is its beating heart.

Jessie Buckley delivers a fierce, emotionally raw Agnes — part mystic, part healer, part exhausted mother battling plague, loneliness, and marital distance. Many viewers will relate deeply to her exhaustion and resilience. If Hamnet gets any Oscar buzz, acting-wise, it will be because of Jessie.

Paul Mescal, as Shakespeare, gives a thoughtful performance as a brilliant but distracted husband — the kind of man who might forget to take out the trash because he’s lost in a metaphor. His pivotal monologue (which eventually echoes in Hamlet) is beautifully delivered and showcases real range.

Finally, the child actor playing Hamnet brings a tender emotional weight that elevates the film’s final act. His performance is subtle but affecting — and yes, it may bring more than a few audience members to tears.

My final verdict? A solid B+. Hamnet is beautifully acted, gorgeously constructed, and emotionally resonant — particularly, if you’re already a Shakespeare devotee. Legend has it that its TIFF premiere earned a four-minute standing ovation. I understand the enthusiasm — I’d have been standing too.

But here’s the truth: those of us applauding were already “in the congregation.” For broader audiences, the film may feel slow, dialogue-heavy, and emotionally draining. This is not Shakespeare in Love (1998), which captivated the masses. Hamnet is more meditative, more somber, and far less mainstream.

You’ve been advised.
Choose wisely.

About The Peetimes:

There are no extra scenes during, or after, the end credits of Hamnet.

Plot
The powerful story of love and loss that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.
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