By Adann-Kennn J. Alexxandar

“The Count of Monte-Cristo” (Period Drama: 2 hours, 58 minutes)

Starring: Pierre Niney, Anaïs Demoustier and Bastien Bouillon

Director: Alexandre de La Patellière and Matthieu Delaporte

Rated: PG-13 (Violence and thematic elements)

Movie Review:

Despite being nearly three hours long, “The Count of Monte-Cristo” is engaging throughout. However, if you do not speak French, reading subtitles for a lengthy time feels like speed reading through a book.

Adaptations of French author Alexandre Dumas’s “Le Comte de Monte-Cristo” have graced multiple media forms. The first was a silent short film that debuted in 1908 debuted. The 1934 movie directed by Rowland V. Lee was the first full-length feature film. A current miniseries is airing now. This latest, set in a Bourbon Restoration period of France, a post-Napoleonic era of political turmoil, avoids the period’s political upheaval and nicely focuses on one man’s quest for retribution.

French authorities arrest Edmond Dantès (Niney), a young sailor on his wedding day to fiancée Mercédès Herrera (Demoustier). Dantès is falsely accused of aiding the exiled French emperor, Napoleon Bonaparte. He is sentenced without trial to life in prison and sent to the Château d’If, an island penitentiary off Marseille. After being in solitary confinement for four years, Dantès, prisoner Number 34, meets fellow prisoner, Abbé Faria (Pierfrancesco Favino), who tells the young man about a vast treasure on the Isle of Monte-Cristo. Nearly 14 years later, Dantès escapes, and he returns to Paris, France, as the wealthy Count of Monte-Cristo to exact revenge on revenge on the three men responsible for falsely imprisoning him.

Despite some tattoos on the main character that looks overly sophisticated for the 15th century, “The Count of Monte-Cristo” is a well-done movie, even if it still feels rushed for its lengthy run time.

This screenplay has three parts. We get to know Edmond Dantès as a man smitten with love and ready to marry his lover Mercédès. Then, audiences see him in prison. There, Dantès is a scrawny man with ruffled hair and a wild long beard. That is where he meets Abbé Faria who gives admin Dantès Hope and ends his loneliness in the underground sale where he resides.

The bulk of this photoplay deals with Dantès’ revenge, carefully plotting the demise of the men who framed him. The directors and writers of the screenplay do not rush the stage. Instead, they move at a snail’s pace so that one can see the plan being laid for the antagonist of this movie.

Wrongly imprisoned, Edmund Dantes states he is not seeking revenge; it is justice he desires. However, for moviegoers, vengeance is always gratifying in cinema. It is always entertaining to see the antagonists get their comeuppance.

Alexandre de La Patellière and Matthieu Delaporte’s direction and writing is superb. They condense Dumas’s lengthy literary work into an elaborate cinematic experience.

Grade: B+ (You can count on it to deliver.)

“Den of Thieves 2: Pantera” (Action/Crime: 2 hours, 24 minutes)

Starring: Gerard Butler, O’Shea Jackson Jr. and Evin Ahmad

Director: Christian Gudegast

Rated: R (Pervasive language, violence, drug use and sexual references)

Movie Review:

“Den of Thieves 2: Pantera” turns into a good heist movie after a slow start. It is the sequel to “Den of Thieves” (2018), also directed by Christian Gudegast. “Pantera” immediately follows where its prequel ended. While missing some of its major talents from the first movie, “Pantera” is better than its prequel.

Los Angeles County Sheriff’s Department Detective Nicholas ‘Big Nick’ O’Brien (Butler) goes to Nice, France. He rendezvouses with thief Donnie Wilson (Jackson), a man who escaped from O’Brien and his team a short time earlier. Wilson is planning a major heist, the world’s largest diamond exchange.

Unlike many modern heist films, this one allows audiences time to understand its characters through good development as these onscreen people plan their heist proficiently. Although these are criminals, it is easy to relate to them, even if you disagree with what they are doing.

Gudegast humanizes his characters, so even the stereotypical ones have interesting depictions. Therefore, you want to see them succeed, making “Den of Thieves 2: Pantera” pleasing.

Grade: B- (They steal audiences’ attention.)

“Better Man” (Biography/Docudrama: 2 hours, 15 minutes)

Starring: Robbie Williams, Jonno Davies and Steve Pemberton

Director: Michael Gracey

Rated: R (Drug use, pervasive language, sexual content, nudity and violent content, including attempted suicide)

Movie Review:

“Better Man” is a biographical sketch of British pop superstar Robbie Williams’ life. It details his childhood to the apex of his career as a singer and entertainer with the boy band “Take That” and his hit solo career. It is a good biopic, although the chimpanzee shenanigans are unneeded.

Williams’ life is interesting as a child and an adult. It is a good look at what fame does to a young person and how they must grow up into their celebrity lifestyle. The movie does not shy away from Williams’ sexual escapades and continued drug use. The good and the bad are always good in a biographical photoplay. This biographical drama omits some constant rumors about Williams and how he insinuates tidbits in interviews only to deny them in public.

“Better Man” uses computer-generated chimpanzee images of Williams via a VFX creation to convey a story. His life is interesting enough that bringing in computer-generated imagery versions of himself or people in costumes is unnecessary.

These visual tactics are a means to get people’s attention and work to bring moviegoers into theaters. The primate feature is given to Williams. It matches his primitive behavior — at least in the beginning. As this screenplay moves to a more mature Williams, his character becomes one of impressive humanity. Despite the primate features, this movie involves plenty of emotions. The ending is very touching, and the monkey business becomes less distractive as the movie continues.

Director Michael Gracey and his team pull off what could have been a goofy presentation. They create a very engaging observation of Robbie Williams.

Grade: B (Something to go bananas about.)

“The Last Showgirl” (Drama: 1 hour, 28 minutes)

Starring: Pamela Anderson, Dave Bautista and Jamie Lee Curtis

Director: Gia Coppola

Rated: R (Language and nudity)

Movie Review:

The only good reason to see this movie is Pamela Anderson. She shines, but the rest of this production by Director Gia Coppola (“Palo Alto,” 2013) and Writer Kate Gersten has a dull finish.

Anderson plays Shelley, a showgirl on the Las Vegas strip. She is part of a Cancan-type dancing group, one of the last in the city. All is well until she and the other women are told that the show’s 30-year run will end shortly. Shelley has been dancing for three decades. It is all she knows. Now in her 50s, she contemplates aging and motherhood and deals with sexism and ageism in her profession.

Gia Coppola, the granddaughter daughter of Francis Ford Coppola, is the director of “The Last Showgirl.” Her grandfather may be legendary, but one should not automatically give the family patriarch’s laurels to his descendants.

The narrative of this screenplay is not the problem. It is the execution. For one, little dancing happens. When there is, the camera only captures a small part, usually above the shoulders.

“The Last Showgirl” has second-rate cinematography. Camera operators use their equipment haphazardly; scenes appear jiggled in several scenes. Even more, the images of characters inside of buildings focus on the performances, especially that of Pamela Anderson. However, these tight medium and eye-level shots do not allow a broader concept of the grandeur of the stage and costumes of the performers when they are dancing.

The camera angles give the impression these movie makers were afraid to show shoes and feet. The one time they do, it is a misplaced Jamie Lee Curtis moment. In that scene, she plays a cocktail waitress at a casino who begins dancing at the wrong moment.

The movie also only has one hour and 20 minutes of actors performing, so this story feels, as nice as its story is, too rushed.

Characters argue with each other in one instance. Then, all is well, and these people hug while crying. There is no smooth transformation for character development. Something is lost in translation from one scene to the next. How characters resolve conflict is missing in showgirls.

Again, Pamela Anderson is an attention-getter here. This movie is her second break to stardom. May “The Last Showgirl” catapult her to the center stage once more. She is award-worthy, although the rest of this photoplay does not parallel her performance.

Grade: C (Not showy enough to warrant a curtain call.)

The live-comedy industry never played a larger role in sociopolitical debate than it did in 2024. But how much of that commentary, wonders James Adomian, was actually entertaining?

“Funny is funny. There is a lot of surprising material that can make an audience lose it, whether they agree or not,” says Adomian, a Los Angeles resident since age 9. That said, “I believe in being funny more than I believe in being correct. It’s almost a political belief I have: Comedy has to be funny. But there’s a curious system of algorithms, botnets and paid publicity that will scream the opposite at you.”

Following Adomian’s YouTube special “Path of Most Resistance,” released in September, his North American tour concludes Sunday, Jan. 19 at the Irvine Improv. The comic, impressionist and vocal actor will return to SXSW Comedy in Austin, Texas the weekend of March 7, performing a “keynote speech” in character as Elon Musk on opening night.

Adomian began performing post-9/11 during the early years of George W. Bush. He frequented shows in the basement of the Vermont Avenue Ramada Inn, downstairs at El Cid and the “show in Santa Monica near the promenade at a venue that no longer exists,” which was underground in terms of both street level and legality. “Maybe if we’re entering a terrible right-wing period again,” Adomian predicts, “the best comedy is just going to have to be underground for a few years.”

He became a regular on Scott Aukerman’s “Comedy Death-Ray” weekly at Upright Citizens Brigade and the show’s Indie 103.1 radio broadcast, then followed the renamed “Comedy Bang! Bang!” into podcasting and IFC’s 2012 to 2016 TV series. His hugely influential 2012 album “Low Hangin Fruit” was the debut release from Aukerman’s Earwolf Records. Adomian publicly embraced progressivism and proudly celebrated LGBTQ+ identity at a time when gay marriage wasn’t yet legal in all 50 states.

With Anthony Atamanuik, his satirical “Trump vs. Bernie” debates commanded a 40-city tour, special programming on Comedy Central and Fusion, a “Trump vs. Bernie: Live from Brooklyn” album and countless media appearances continuing years beyond the 2016 election cycle. He even sat down with Anthony Bourdain over Armenian food at Sahags Basturma to discuss politics and culture on the late chef and host’s “Little Los Angeles” web series.

After more than 20 years in comedy, “Resistance,” Adomian’s improbable first solo special “is a long time coming. I’ve been edging it,” he says in his opening minutes on stage during the special. The high-energy and layered hour is “a stand-up art piece, basically.”

His takes on Elon Musk, Alex Jones and his long-running Bernie Sanders appear during the hour. Adomian examines news media portrayal of Armenians, Turner Classic Movies, bigotry, the Federal Reserve and aging as a “notorious homosexual,” noting, “I used to be gay. Now I’m like an advisor on campus.” On the scourge of social-media expectations, Adomian says in the special, “If you see crowd work tonight, that means something terrible has happened.”

“I love to bring up an important or intelligent topic and then make very stupid jokes about it,” Adomian says. “People have said before that my comedy is smart or intelligent. That starts to sound like it’s one of those acts where you’ve got to have a degree in liberal arts to understand it. Nothing I do is difficult to understand. It’s all very basic and moronic.”

With Jared Goldstein opening, Adomian filmed “Resistance” at Echo Park’s “beautiful, dark and strange” Elysian Theater, where he’s a “Stand Up and Clown” veteran and had his own show for Netflix Is a Joke festival.

He admires the bravery and experimentation of newer comedians, calling fellow Elysian regular Courtney Pauroso’s October release “Vanessa 5000,” a sex-robot exploration of technology, “a dark work of genius.” Of experimental half-hour “How to Bake a Cake in the Digital Age” from Christina Catherine Martinez, he says, “I’m so enamored.”

In Los Feliz for more than a decade, Adomian is reputed as a vocal comedy-scene supporter and cheerleader. He cites his neighborhood’s Tuesday “Comedy Night at Best Fish Taco” among L.A.’s best stand-up offerings. Other indie-venue faves include Silver Lake’s Akbar and Lyric Hyperion, Eagle Rock’s the Fable, Echo Park’s Bar Bandini, Atwater Village’s Club Tee Gee, West Hollywood’s Bar Lubitsch, Koreatown’s R Bar, Highland Park’s the Offbeat bar and Westlake’s Dynasty Typewriter.

Adomian took the opportunity to complete a long-awaited side quest when his tour paused for the 2024 holiday season. He wanted to see the country and to reduce airplane travel “as we enter the next video game level of the climate apocalypse.” Riding two Amtrak trains over three days from Washington, D.C. to Chicago, then onward to Albuquerque before returning to L.A., he got little sleep but had great views.

He thought about the ways he wanted to approach the New Year and its myriad changes. The journey was “fun, uncomfortable, relaxing, exhausting, beautiful and fascinating. And now I know how to take a shower at 100 miles per hour.”

There’s a balance somewhere between angry and openness that Adomian hopes to achieve in 2025. Or maybe it’s about staying invested while remaining spiritual. As a guy who says he believes in reincarnation, Adomian thinks that living beings — politicians included — will always reap what they sow. Karma can be a b—. And most important, it’s time for far less reliance on crowd work.

“Life on Earth is kind of a playthrough of painfulness, pointlessness, beauty and a deep trove of meanings that we have to find somehow,” he says. “It’s therapeutic for me to say funny things that make me feel better about being alive. It’s sort of playing a very silly game, but also bringing up something important and making it a funny thing that’s not scary or objectionable. To make a good time out of a bad time.”

The Snapshot: Phenomenal music numbers bring needed fun, style and reasoning to Robbie Williams’ life story, seen through the eyes of an ape.

Better Man

7 out of 10

14A, 2hrs 15mins. Music Biography Fantasy.

Directed by Michael Gracey.

Starring Jonno Davies, Robbie Williams, Steve Pemberton, Raechelle Banno, Kate Mulvany and Alison Steadman.

Better Man, at the very least, is the best musical biography movie with the main character depicted as a CGI chimpanzee that I’ve ever seen.

Robbie Williams’ life story is a mix of (literal) money business along with great showmanship and outstanding scenes of Williams’ music. Unlike the common knowledge of most musical biopics, it’s also enjoyable to actually learn something new about the main character and their real history.

Director Michael Gracey (best known for 2017’s megahit The Greatest Showman) has conceptualized the life of English pop star Robbie Williams in an unusual way. While it follows the expected formula of a singer’s life story as so many movies do, it quite unexpectedly features Williams through his life as a monkey.

At first, the idea didn’t make much sense. What’s the point of changing Williams’ species? What could it possibly add to the story? And how would it influence the rest of the film?

The answer is revealed early, however, and wisely reinforces the main theme. The real Williams narrates the film, describing how he’s regularly felt “othered” and misunderstood as a person through his public life. 

So the story is imagined in this Hollywood film as Williams not just living with his private self-imposed isolation, but with an obvious public one as well. Being a chimpanzee, it’s slightly familiar in his possible humanity, but as also unfamiliar with his struggle to identify with others now shown as an interspecies conflict.

Fortunately, none of this takes away from the heart of Williams’ story rising as a music superstar, nor does it overshadow the spectacular musical numbers and sequences.

I reviewed Michael Gracey’s work on his well-known The Greatest Showman, and I stand by my heavy criticism of the bad script and songs that pandered to the audience. But here, he’s got much richer and clearer writing that feels more nuanced and less stylized, which is a better match for his glamorous directing style.

Read more here: Review – The Greatest Showman is far from great

Gracey got his start as the director of music videos, and that skill is amplified here in Better Man with several truly inventive and eye-popping songs. “Rock DJ”, celebrating a new record deal, is one of my favourite scenes I’ve seen from any movie in the last year. It’s a single take of song and dance mayhem that’s gratuitously fun.

If you can get over the barrier of seeing Williams as a large ape, there’s great songs and a compelling (if overlong) story to see here. 

It’s still over-the-top, but most of it is also a lot of fun – and a great intro to a musical talent we here in North America have maybe overlooked for too long.