Movie Review: Solo Mio

Are you somebody who wants to see a romantic movie this Valentine's Day season, but aren't interested in laying eyes upon all of the bawdy fully clothed hanky panky of Wuthering Heights? Well, do I have some news for you: Kevin James is starring in a PG-rated romantic dramedy called Solo Mio where he goes on his Rome honeymoon alone after being left at the altar by his fiancé (Julie Ann Emery) and ends up finding love again with an Italian cafe owner (Nicole Grimaudo). It's the perfect movie for anyone who has treated NCIS as appointment television since it first started airing back in 1832 or believes they would enjoy a big belly laugh every time James butchers the pronunciation of an Italian word he's trying to read off his phone. Mama Mia! Mangi! Bonjourno! 

As good as James is and continues to be at playing likeable everyman characters, Solo Mio suffocates his natural charm by being completely devoid of personality or stakes. His character Matt Taylor glides through his evolution from sadsack tourist who just suffered the greatest embarrassment/heartbreak of his life to man who stumbles upon love when he needed the power of true human connection the most like he's a checked bag at the airport that needs to be put on the plane before it takes off. A movie that aspires to tell a nice, warm story about finding love where you least expect it being built around a relationship this emotionally sterile is the kind of puzzling failure that gets you to question if the people that made it were more interested in taking an extended vacation to Italy than the movie that they were there to make. Alas, Solo Mio just never lives up to its mission statement of being a heartfelt romantic movie and in the process, adds yet another stain to James' shaky post-The King of Queens resume. 

Grade: C-
 

Margaret Qualley Ranked

Welcome to "Ranked", a weekly series where I rank a franchise or filmography from worst to best and hand out assorted related superlatives. This week, I'm profiling the work of Margaret Qualley-whose latest project "How to Make a Killing" releases in theaters tomorrow. 

Margaret Qualley's Filmography Ranked:

14.Stars at Noon (C)

13.Native Son (C)

12.Donnybrook (B-)

11.Honey Don't (B-)

10.Seberg (B-)

9.Happy Gilmore 2 (B-)

8.Blue Moon (B)

7.Drive-Away Dolls (B)

6.Sanctuary (B+)

5.Kinds of Kindness (B+)

4.The Substance (A-)

3.Poor Things (A)

2.Once Upon a Time in Hollywood... (A)

1.The Nice Guys (A)

Top Dog: The Nice Guys (2016)

As of this writing, we're about three months away from the tenth anniversary of The Nice Guys releasing in theaters. I'll never forget the ludicrous amount of fun I had watching this noir buddy comedy for the first time with a few of my friends and remarkably, it's a movie that only becomes funnier with each rewatch. Qualley is very lucky that she's able to say that this is the first movie she had a prominent role in. 

Bottom Feeder: Stars at Noon (2022)

There's a sleazy shagginess to the political thriller plot in Stars at Noon that prevents it from being a total drag. It's not however enough to forgive the complete lack of eroticism in the romantic subplot brought on by the nonexistent chemistry between Qualley and Joe Alwyn, especially when it's supposed to serve as the story's emotional crux.

Most Underrated: Sanctuary (2023)

Unlike in Stars of Noon, Qualley has tremendous chemistry with Christopher Abbott in Sanctuary. The pair are incredible together in this darkly comedic psychological thriller about an unexpectedly eventful night between a rich guy and the dominatrix he has a long-standing business relationship with after he attempts to end their arrangement upon getting promoted to CEO of his family's luxury hotel chain following the death of his father. There's a lot of fun to be had in watching them embark in a heated battle in which the upper hand in the power dynamic of their suddenly drastically different relationship is constantly shifting between the two parties and having the film take place over a single night in a hotel suite adds a feeling of claustrophobia that amplifies the tension of their chaotic verbal sparring match. 

Most Overrated: Blue Moon (2025)

A couple of years from now, it will probably be ridiculous to refer to Blue Moon as overrated. But now as it's fresh off of receiving a couple of Oscar noms, I'm willing to make that declaration. As strong as Ethan Hawke's work here in this Richard Linklater-helmed biopic about a bitter, drunk Lorenz Hart trying to accept in real time that the best days of his songwriting career are behind him after leaving the opening night performance of his former creative partner Richard Rodgers' (Andrew Scott) megahit musical Oklahoma! early to go hang out at the Manhattan bar that all of the Broadway talent flocks to after performances, listening to Hart cycle between ripping Oklahoma!, boasting about projects he may or may not be working on, telling stories about his glory days to any pour soul that is willing to listen to him and begging Rodgers to collaborate with him once again without ever coming up for air becomes pretty monotonous after a while.   

Movie Review: Crime 101

Sitting in a theater and watching heist thriller Crime 101 felt like taking a time machine back to the 80's or 90's. American Animals writer/director Bart Layton's second narrative feature is an ensemble-driven movie that is just as interested in exploring the characters that are involved with the different angles of the heist as the robberies themselves

The plot's primary focus is on how the lives of meticulous jewel thief Mike Davis (Chris Hemsworth), veteran detective Lou Lubesnick (Mark Ruffalo) and insurance broker Sharon Combs (Halle Berry) begin to intersect following the robbery of $3 million worth of diamonds from an LA jeweler's (Payman Maadi) delivery. Fate has tethered these folks together as they've each reached a critical impasse in their lives. Mike is looking to get out of the thieving business after experiencing a close call on the aforementioned job that almost got him killed, Lou's obsession with catching Mike-who is pretty much impossible to catch as he's never left DNA or carried out any violence at the crime scene- has caused his wife (Jennifer Jason Leigh) to leave him and made him the laughing stock of his department and Sharon is growingly increasingly discontent with her job as her boss (Paul Adelstein) continues to delay giving her the promotion to partner he's long promised her. A potential solution to all of their problems presents itself when a wealthy client of Sharon's company (Tate Donovan) reveals a plan to give out diamonds as party favors at his wedding. Sweetening the pot is the fact that he's arranged to pay the courier $11 million in cash for the diamonds in order to avoid taxes. Mike reluctantly agrees to do the job, and Sharon requests a $3 million cut for providing him with the info. An already complicated job that requires getting in and out of a crowded luxury hotel in Beverly Hills becomes even more difficult when Mike discovers that his former fence (Nick Nolte) has recruited his hot-headed new protege (Barry Keoghan) to intercept the stones and cash as revenge for Mike severing ties with him after refusing to commit to a brazen jewelry store heist in Santa Barbara. Will Mike and Sharon be able to live long enough to walk away into the sunset? Can Lou finally catch the ghost that has alluded him? Does Keoghan play a character that actually proves to be pretty chill for once? Don't fret everybody, all of the answers to these questions and more are answered before the credits begin to roll! 

There was something nice about a heist movie trusting its audience to have some patience before it delves into the flashier parts of its story. Layton's solid script provides a complete picture as to why these people are doing what they're doing and Hemsworth, Ruffalo and especially Berry give strong, emotionally honest performances that provide the film with a surprising amount of grounded humanity. When the action bits are deployed (roughly about once every half hour during its well-paced 140-minute runtime), Layton matches the command over the material he showed off with his pen by staging some tense, slickly shot vehicle chases/robberies that gradually up the narrative stakes. Eventually, Crime 101 reverts back to the classic heist movie trope of deploying some silly, cute twists to explain away how the big final score was able to be pulled off against all odds, but that's really the only big misstep Layton makes here-which is pretty impressive for a filmmaker working on his first big budget studio feature.

Is Crime 101 going to end up finishing near the top of my 2026 year-end list? Probably not. However, it's a very compelling throwback heist thriller filled with strong performances, visuals and action that never feels derivative of the other movies that have covered similar territory in the city of Los Angeles before it. During this pretty slow part of the calendar, it's well worth making the trek out to theaters to see if you're into the genre or just want to see the type of movie that doesn't end up on the big screen all that much these days.    

Grade: B+

Movie Review: Wuthering Heights (2026)

 

Even during a time where people regularly decry about how homogenized and safe movies have become, some filmmakers have still been able to turn into polarizing figures. Among these lucky few directors whose work inspires passionate takes/arguments galore is Emerald Fennell. The mere mention of the British writer/director behind Promising Young Woman and Saltburn in certain corners of the internet effectively serves as an alarm that activates a sleeper cell of cinephiles so full of venom and disgust towards her work that they make the Snydercut cult that have spent the past few years trying to get James Gunn removed from his post at DC Studios look like pleasant, reasonable people. For her third film, Fennell decided to further expand the already sizable target on her back by moving away from original stories and trying her hand at an adaptation. Much to the disgust of English lit majors and the Fennell haters that felt Saltburn did an awful job tackling its themes of class everywhere, the work she elected to adapt was Emily Bronte's 1847 novel Wuthering Heights. Wuthering Heights is widely considered to be one of the most seminal pieces of literature ever written and the complicated romance between the wealthy Catherine Earnshaw and Heathcliff-a poor boy her father took in off the streets and raised alongside his children- at the center of the story has led to it being adapted on screen dozens of times around the globe since 1920. While I can't comment on how well Fennell's Wuthering Heights adapts Bronte's novel or how it stacks up against any of the previous screen adaptations, I can say with zero hesitation that I enjoyed it quite a bit.

Wuthering Heights is built around a romance that had been simmering under the surface for quite some time that eventually morphs into something ugly due to the shame, pain and jealousy that stemmed from not allowing that love to blossom when it still had the opportunity to grow into something beautiful. The primary contributing factors to this sullying of something pure are Catherine (Margot Robbie) believing that she would be degenerating her family name by marrying a peasant and Heathcliff (Jacob Elordi) being so hurt by this revelation that he transforms into a cold, vengeful prick. When Heathcliff reemerges with some money several years after Catherine has married a wealthy businessman Edgar Linton (Shazad Latif), they finally act upon the feelings they had previously pushed down for so long, and shit gets real messy for both of them real fast. 

Despite the comically misleading marketing referring to it as "the greatest love story ever told", Fennell's film leads with feelings of lust, obsession and jealousy. There's a version of this story where Catherine and Heathcliff build the love they've always dreamed of, but the ones occupying the screen here are too bitter, wounded and selfish to build a relationship that is anything other than purely primal. The animalistic nature of its toxic, doomed romance is perfectly complemented by the stunning Gothic-inspired darkness consuming beauty aesthetic that drives the film. Pairing lavish sets/costumes with the fog-filled landscapes of the British coastline and downtempo music handled by the dynamic duo of Charli xcx and composer Anthony Willis allows the film to cast a hypnotic spell that often looks like a dream but feels like a nightmare. Pulling off a long-unrealized romance that materializes in a much more hideous way than it could or should have requires an incredibly delicate dance from the creatives and thanks to Fennell's rich, visceral atmosphere and the chemistry between Robbie and Elordi that tows the line between sizzling and just plain wrong, Wuthering Heights is able to pull it off. 

I get why people wouldn't be able to get down with a movie that draws its emotion from the gut, heart and eyes over the mind, but I honestly feel like Fennell is able to really explore the evolution of Catherine and Heathcliffe's relationship by committing to conveying the specific impulse-and-pleasure-driven emotions they were experiencing during their ill-fated affair. It wouldn't have felt right to have bigger, headier emotions get in the way of a courtship that is so clearly defined as two rotten souls hoping that the special connection they once had during the days where their hearts were purer will magically return (Spoiler alert: It doesn't!). Now, this approach shortchanges certain characters-particularly Catherine's confidant/servant Nelly (Hong Chau) and makes fully buying the delivery of the inevitable tragic conclusion a difficult ask given all the shitty things these characters do ahead of it, but that was a price I was ultimately willing to pay given how convincing and engrossing every other aspect of the film is. Fennell has a conviction in executing her vision that is special and as long as that remains intact, her movies will keep striking a chord with me. 

 

Grade: B+

Movie Review: The Moment

In the summer of 2024, British pop artist Charli xcx unleashed a pop culture phenomenon into the world with her sixth studio album Brat. This unexpected success story pushed Charli from the comfortable place she had carved out for herself on the outskirts of the mainstream pop ecosystem into the harsh glow of the " main pop girl" spotlight. Amidst all of the Brat mania, her label (Atlantic Records) proposed she make a concert documentary during her first-ever global arena headlining run. She rejected their offer and instead elected to team up with music video director/frequent collaborator Aidan Zamiri and music journalist Bertie Brandes to make a mockumentary called The Moment that allowed her to spoof all of the bullshit that was attached to the success of Brat. This decision proved to be quite the savvy move as it allows Charli to give Brat the kind of flashy, unexpected send-off it deserves. 

Brat is one of those records that made such a significant culture impact that the label was naturally going to want to milk that cash cow for as long as they possibly could. This represented a huge departure from the way Charli has worked in the past as her status as this sort of queen of niche pop granted her an exemption from the label's most egregious efforts to meddle in the creative process. In the film, she highlights not only how aggressive the label is with forcing their shameless cash-grabbing ideas (an Amazon-backed concert film directed by a big name with a corporate-friendly milquetoast vision-who is played with an incredible amount of controlling, passive aggressive detail by a scene-stealing Alexander Skarsgard, a Brat-branded credit card, a "family-friendly" overhaul of her stage props, logos and outfits) onto an artist once their music starts to become more popular but how the pressure to sustain this newfound success has convinced Charli to toss aside the artistic integrity she previously had held so dear. 

As silly and snarky as the events of The Moment are, there's some real insight on the plethora of stupid ways the commerce side of the music industry gets in the way of the artistry buried underneath the deadpan humor that could only be delivered by someone who has spent their share of time in the belly of the beast. Charli has been around for long to enough to know how this whole circus works (it's easy to forget that she made her first big mainstream splash back in 2012 with her guest spot on Icona Pop's "I Love It') and it's great to see how eager she is to make fun of the industry machine she's stuck in as well as herself. Seeing an artist of her profile have such a strong grasp of the inner workings of the industry they're involved in and be able to clearly articulate how the practice of artificially extending an album cycle to appease fans/make more money is completely antithetical to the beauty of creating art is incredibly refreshing in an era where the shameless profit-chasing nature of capitalism is slowly laying waste to the very fabric of our world. 

By making a whole film where she effectively sells out to finally get away from Brat, Charli proves that she's remained true to her creative ideals despite the significant raise in profile she's experienced over the past 18 months. Walking away from Brat on her own terms just feels true to who she is an artist and it's especially satisfying that she was able to channel the vulnerability that is such a big part of the record into a comedy movie that is based on something that she was still living through while making.  While whatever proves to be the next step for Charli's career beyond a whole lot of acting roles (she currently has five movies awaiting release and is set to start shooting a new movie with Japanese genre auteur Takashi Miike imminently) and the Wuthering Heights soundtrack remains a mystery, I'm awfully excited to see how she will keep finding fresh ways to go against the grain. 

Grade: B
 

Margot Robbie Ranked

Welcome to "Ranked", a weekly series where I rank a franchise or filmography from worst to best and hand out assorted related superlatives. This week, I'm profiling the work of Margot Robbie-whose latest project "Wuthering Heights" releases in theaters tomorrow. 

Margot Robbie's Filmography Ranked:

16.The Legend of Tarzan (D)

15.About Time (D)

14.Asteroid City (C-)

13.A Big Bold Beautiful Journey (C-)

12.Amsterdam (B-)

11.Whiskey Tango Foxtrot (B-)

10.Suicide Squad (B-)

9.Bombshell (B)

8.Focus (B)

7.The Wolf of Wall Street (B+)

6.Babylon (B+)

5.Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (B+)

4.The Suicide Squad (A)

3.I, Tonya (A)

2.Barbie (A)

1.Once Upon a Time in Hollywood... (A)

Top Dog: Once Upon a Time in Hollywood... (2019)

I'm pretty confident that Quentin Tarantino will never direct another movie thanks to his absurd insistence on only making 10 movies (he's technically already put out 10, but he moved the goalposts since he views Kill Bill as one movie). If that proves to be the case, at least he went out with a bang with Once Upon a Time in Hollywood... There's an easygoing hangout buddy movie vibe driving this sprawling 60's-set LA story here that is just infectious and the incredible collection of performances he gets from this loaded cast (Leonardo DiCaprio, Brad Pitt, Robbie, Margaret Qualley and then 19-year-old Mikey Madison being the top standouts) is impressive even by Tarantino's lofty standards. I'm very curious to see what David Fincher does with the pseudo-sequel The Adventures of Cliff Booth, which appears to be releasing sometime this year after Netflix surprise dropped the first teaser during the Super Bowl.

Bottom Feeder: The Legend of Tarzan (2015)

As I was leaving a showing of The Moment last night (review coming tomorrow), I started to think about whether or not Alexander Skarsgard has ever turned in a bad performance. About 90 seconds later, I remembered The Legend of Tarzan and this exercise came to a swift end. In fairness to Skarsgard, it wasn't really his fault that he stunk as Tarzan. The material was so boring and ridiculous that neither he nor his co-stars (Robbie, Christoph Waltz, Samuel L. Jackson, Djimon Honsou, Jim Broadbent) really stood a chance. Anyways, this is easily among the worst studio movies of the 2010's in my eyes and I'd never even consider watching it again unless I was dealing with a weapons-grade case of insomnia.  

Most Underrated: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020)

While I'm not quite as high on Birds of Prey now as I was when it came out six years ago this month, I still think it's a great movie that is probably the single most underrated superhero movie of this decade. It does a terrific job of creating a vibe that mimics the colorful, chaotic personality of Harley Quinn, the fight choreography is super creative, and Robbie's delightfully hyperactive, freewheeling performance is her most inspired take on Quinn thus far.

Most Overrated: About Time (2013)

One of the movie takes I've gotten the most shit for over the years is calling About Time a borderline predatory love story given how it uses its time travel conceit to set up its main romance. I still wholeheartedly stand by this take. Beyond the main character being a pathetic, manipulative shitbag, Richard Curtis' signature schmaltzy romantic dramedy writing is on full display here and it's just as insufferable as it was in Love Actually. The only reason that I don't think About Time is quite as shit as Love Actually is Rachel McAdams-who remains charming as hell despite the colossal failures of everything around her radiant presence. 

Movie Review: The Strangers: Chapter 3

Upon reaching its conclusion this past weekend, I can now declare that the Renny Harlin-helmed trilogy reboot reminds me of this incredible scene from Step Brothers. For the first two films, I was onboard with the vision. Chapter 1 is a spirited enough remake of the 2008 original while Chapter 2 is a fun extended chase sequence that does a pretty decent job of maintaining suspense by throwing pretty much non-step peril at its wounded heroine Maya (Madelaine Petsch-who proves her worth as a scream queen with her strong commitment to heavy breathing, crying and screaming) as she tries to escape the trio of serial killers that are hellbent on finishing what they started in the first film. When Harlin's endgame for this story finally comes into focus in Chapter 3, the whole idea of a trilogy centered around expanding the universe of The Strangers was suddenly rendered completely pointless.

If I didn't know that principal photography for the whole trilogy was done simultaneously, I would've assumed that Chapter 3 was improvised under extreme duress. Nobody involved with this production seems to have any fuckin idea how they're going to land the plane they've been flying around in for over 3 hours at this point, which leads to a true masterclass in confused filmmaking.

 Additional lore dumps for the serial killers formerly known as "The Strangers" are clumsily deployed at various points of the movie in order to provide a window into why they do what they do and how their relationships with one another formed. Petsch gets hung out to dry as the story concocts, abandons and then eventually returns to a revenge arc that is so thinly sketched that the final confrontation carries the emotional catharsis of a yawn. The ending is so abrupt and absurd that I'm still in disbelief that this was the note they decided to end an entire series of movies on. If this was their best attempt at wrapping up this story, I don't even want to think about what their worst would look like.

While Harlin is well past the days where he was delivering solid popcorn movies (Cliffhanger, The Long Kiss Goodnight, Die Hard 2) every couple of years, the first two films were directed competently enough where I started to question why he had been relegated to the minor leagues of Hollywood since the mid-2000's. The Strangers: Chapter 3 (along with his horrendous 2024 Aaron Eckhart-led action movie The Bricklayer) no longer has me wondering how that happened and it's pretty safe to say that he won't be getting called up to the big leagues again anytime soon after churning out a trilogy of films that ultimately proved to have an approval rating that's in line with gas station sushi.

Grade: D

2026 NFL Mock Draft: Pre-Combine

1.Las Vegas Raiders: Fernando Mendoza, quarterback (Indiana)

2.New York Jets: Arvell Reese, inside linebacker/edge rusher (Ohio State)

3.Arizona Cardinals: Francis Mauigoa, tackle (Miami)

4.Tennessee Titans: Rueben Bain Jr., edge rusher (Miami)

5.New York Giants: Carnell Tate, wide receiver (Ohio State)

6.Cleveland Browns: Spencer Fano, tackle (Utah)

7.Washington Commanders: David Bailey, edge rusher (Texas Tech)

8.New Orleans Saints: Jordyn Tyson, wide receiver (Arizona State)

9.Kansas City Chiefs: Jeremiyah Love, running back (Notre Dame)

10.Cincinnati Bengals: Caleb Downs, safety (Ohio State)

11.Miami Dolphins: Mansoor Delane, cornerback (LSU)

12.Dallas Cowboys: Jermod McCoy, cornerback (Tennessee) 

13.Los Angeles Rams: Makai Lemon, wide receiver (USC)

14.Baltimore Ravens: Olaivavega Ioane, guard (Penn State)

15.Tampa Bay Buccaneers: Sonny Styles, inside linebacker (Ohio State)

16.New York Jets: Ty Simpson, quarterback (Alabama)

17.Detroit Lions: Cashius Howell, edge rusher (Texas A&M)

18.Minnesota Vikings: Avieon Terrell, cornerback (Clemson)

19.Carolina Panthers: Kayden McDonald, defensive tackle (Ohio State)

20.Dallas Cowboys: Keldric Faulk, edge rusher (Auburn)

21.Pittsburgh Steelers: Denzel Boston, wide receiver (Washington)

22.Los Angeles Chargers: Kadyn Proctor, guard/tackle (Alabama)

23.Philadelphia Eagles: Kenyon Sadiq, tight end (Oregon)

24.Cleveland Browns: KC Concepcion, wide receiver (Texas A&M)

25.Chicago Bears: Peter Woods, defensive tackle (Clemson)

26.Buffalo Bills: Jake Golday, inside linebacker (Cincinnati)

27.San Francisco 49ers: T.J. Parker, edge rusher (Clemson)

28.Houston Texans: Caleb Lomu, tackle (Utah)

29.Los Angeles Rams: Colton Hood, cornerback (Tennessee) 

30.Denver Broncos: Caleb Banks, defensive tackle (Florida)

31.New England Patriots: Monroe Freeling, tackle (Georgia)

32.Seattle Seahawks: Keith Abney II, cornerback (Arizona State)

Super Bowl LX Prediction

Conference Championship Record: 2-0

Overall Playoff Record: 9-3

Seattle Seahawks over New England Patriots:

The conclusion of the wackiest NFL season in recent memory is finally upon us. Anybody that expected either of these teams to make the Super Bowl as recently as early December would've likely been written off as a homer or delusional moron, so kudos to those who believed in these teams before the rest of the football world did. This is a strange matchup for a number of reasons, particularly when you consider their paths to get here as The Seahawks put together a pair of excellent games against two of their divisional rivals while the Patriots strong defensive play made up for the erratic play and ugly turnovers that bogged down their offense during their three game run to the AFC crown.

As much as I can buy into the narrative that the Patriots are a team of destiny after winning 16 of their last 17 games, I still can't pick them to win this game. No matter how angry Patriots fans get about this topic of conversation, you just can't overlook the tidal wave of good fortune that has come their way by playing three broken offenses in a row on their way to making it here. While Sam Darnold absolutely has it in him to shit his pants and replicate the hideous turnovers that C.J. Stroud and Jarrett Stidham committed that played a huge role in them securing wins in each of the past two weeks, the 'Hawks offense could also smack the Patriots in the mouth if they take care of the football, which wasn't even a realistic consideration during any of the other games during this run. The biggest weakness of the Pats defense by far is defending vertical passing attacks and Darnold is coming off a game against the Rams where he was absolutely lethal downfield. The versatility of Jaxson Smith-Njigba, speed of Rasheed Shaheed and size of A.J. Barner presents the type of challenge the Patriots haven't faced in these playoffs thus far, and I wouldn't exactly be stunned if Christian Gonzalez, Carlton Davis, Marcus Jones and their linebackers/safeties ended up getting cooked just like the Rams did two weeks ago. If the Hawks somehow able to also get Kenneth Walker III and their rushing attack going against the Patriots stout run D, things could get real ugly real fast. 

On the other side of the ball, the Patriots offense has largely struggled during these playoffs due to how strong the defenses they've played have been and they're once again going to have their hands full with the Seahawks defense. The 'Hawks have a physical pass rush that could really wear down their weak interior line and undersized left tackle Will Campbell, their third ranked rushing defense has what it takes to slow down the Pats typically effective power/speed RB combo of Rhamondre Stevenson and TreVeyon Henderson and most importantly, their metrics in the most important areas of the game are all at or near the top of the league (1st in scoring defense, 1st in 3rd down defense, 5th in 3rd down defense, 6th in takeaways). Their biggest vulnerabilities are Riq Woolen at the second outside corner spot (Drake Maye is going to likely need a big game from Kayshon Boutte or Mack Hollins to get their air attack going given that Devon Witherspoon is likely to follow Stefon Diggs wherever he lines up) and in defending QB scrambles-which is an area where Drake Maye particularly excels. Are those weaknesses enough for the Patriots to exploit and put together their first strong offensive showing of these playoffs? Perhaps, but I sure as hell wouldn't bet on it. 

Look, I'm fully prepared for the possibility the Pats win this game. The Seahawks aren't an infallible juggernaut by any stretch, Mike Macdonald is a greener coach than Mike Vrabel and as I said earlier, Darnold is capable of being a turnover machine and an operation as sound as the Patriots would be able to take advantage of those mistakes in the same way they did in their wins over the Chargers, Texans and Broncos. I just happen to think the Seahawks are a more talented team and the magic that the Patriots have rode to this game is finally going to run out. 

Kevin James Ranked

Welcome to "Ranked", a weekly series where I rank a franchise or filmography from worst to best and hand out assorted related superlatives. This week, I'm profiling the work of Kevin James-whose latest project "Solo Mio" releases in theaters today. 

Kevin James' Filmography Ranked:

16.Zookeeper (D)

15.The Dilemma (D+) 

14.I Now Pronounce You Chuck and Larry (C-)

13.Guns Up (C)

12.Hubie Halloween (C)

11.Home Team (C)

10.Pixels (C)

9.Paul Blart: Mall Cop (C)

8.Grown Ups 2 (C)

7.Hitch (C+)

6.Hotel Transylvania 2 (B-) 

5.Hotel Transylvania (B-) 

4.Grown Ups (B-)

3.Here Comes the Boom (B)

2.50 First Dates (B)

1.Becky (B)

Top Dog: Becky (2020)

One of the biggest gems that emerged from the peak of the COVID lockdown where most of the small number of movies being released were indie genre movies, Becky is a very fun B-home invasion thriller that really relishes in its absurd nastiness. Lulu Wilson makes for a great teenage antihero, James does well going against type as a Nazi gang leader who just broke out of jail and the bursts of splattery gore hit really hard.

Bottom Feeder: Zookeeper (2011)

Generally speaking, I find James to be an affable screen presence who can lift up even the shakiest material he's handed. Zookeeper is one of the only times in his career where I felt that wasn't the case. James' answer to Doctor Dolittle is the epitome of 2000/2010's kids movie trash where the jokes are so consistently lame that the entire affair becomes obnoxious to the point where the end credits starting to roll feel like the first rays of sun hitting your face after spending a couple of hours locked up in a holding cell.

Most Underrated: Here Comes the Boom (2012)

I have a vivid memory of seeing Here Comes the Boom with a friend on opening weekend because the showing of Argo we had intended to go to was sold out and both of us being shocked by how much we enjoyed it. James shook off the brutal 1-2 punch of The Dilemma and Zookeeper to successfully apply his likeable everyman persona to a genuinely rousing, well-crafted underdog sports dramedy about a biology teacher (James) who takes on a side gig as an MMA fighter with the hopes of making enough money to save his school's music program. 

Most Overrated: Hitch (2005)

Perhaps I have an inflated belief of how well-liked Hitch is due to me being a teenager when it was released and having to spend so much time around people gushing about it. By the time I finally saw it in my late 20's, I was a little perplexed as to how it became so popular. While it's a completely inoffensive romcom anchored by a magnetic performance from Will Smith, I just didn't find to be overly funny or charming and the chemistry between Smith and Eva Mendes isn't really there. 

2025 NFL Awards+All-Pro Teams and Pro Football Hall of Fame Class of 2026 Predictions

MVP: Matthew Stafford (Rams)

During the summer, there were concerns that the 37-year-old Stafford would be hindered by a lingering back injury that caused his reps to be capped during training camp. He made everybody that doubted his ability to stay healthy and play at a high level look like idiots as he ended up having the best season of his 17-year career in 2025. He led the league in passing YDS (4,707) and TD's (46) while finishing second in QBR (109.2) behind likely MVP runner-up Drake Maye as the Rams had their best season since winning the Super Bowl in 2021. Best of all for Stafford, this season will further solidify his case for making the Hall of Fame-which has been and will remain a spirited debate topic as his career winds down or possibly even ends following this magical season.

Honorable Mentions: Drake Maye (Patriots), Trevor Lawrence (Jaguars), Justin Herbert (Chargers)

Offensive Player of the Year: Jaxson Smith-Njigba (Seahawks)

There's one man above all that Sam Darnold and Klint Kubiak can thank for their profiles being raised around the league with the Seahawks stellar offensive play in 2025 and his name is Jaxson Smith-Njigba. Every team that played the Seahawks this season knew they were going to feed JSN (Cooper Kupp and A.J. Barner were the next leading receivers on the team and they finished the season with lines of 47/593/2 and 52/519/6 respectively) and threw everything they had into stopping them. Despite these valiant efforts, he still killed them nearly every week-hauling in a whopping 119 receptions for a league-high 1,793 YDS and 10 TD's. Zooming in further on these numbers only make them more impressive as he posted 100+ YDS in 9 games and only had 1 game all season where had below 70 YDS (Week 13 against the Vikings-where he nabbed just 2 receptions for 23 YDS). Any conversation surrounding the best WR's in the league this offseason that doesn't include JSN don't deserve to be taken seriously. 

Honorable Mentions: Bijan Robinson (Falcons), Puka Nacua (Rams), Trey McBride (Cardinals)

Defensive Player of the Year: Myles Garrett (Browns)

When the league shifted to a 17-game schedule in 2021, it was inevitable that Michael Strahan's single season sack record of 22.5 that was set back in 2001 was going to fall. In the final week of the 2025 season, it finally did and to the surprise of very few, Myles Garrett was the man that did it. Playing on yet another miserably bad Browns team buried just how locked in Garrett was this season as he shattered his new career highs across the board by logging 23 sacks, 33 TFL's and 39 QB hits all while facing increased attention from opponents as the only real threat on a Browns front that otherwise struggled to rush the passer (the next three players on their list of team sack leaders combined for just 16 total). Someday we'll truly appreciate just how great Garrett was, but for now, we'll just keep mourning the fact that he's stuck in football purgatory with seemingly no way out.   

Honorable Mentions: Cameron Heyward (Steelers), Will Anderson Jr. (Texans), Jack Campbell (Lions)

Offensive Rookie of the Year: Tetairoa McMillan (Panthers)

McMillan ended up doing enough in the latter stages of the season to fend off the likes of Colston Loveland, Emeka Egbuka and Tyler Shough for this honor. After battling some inconsistency out of the gate, the 1st round pick out of Arizona emerged as the reliable WR1 the Panthers desperately needed around mid-October and ended up becoming the only rookie to clear 1,000 YDS receiving this season in dramatic fashion when he reeled in a 40-YD reception from Bryce Young in the 4th quarter of their Week 18 contest with the Bucs. As long as his rapport with Young continues to improve, McMillan should be even better in 2026. 

Honorable Mentions: Colston Loveland (Bears), Tyler Shough (Saints), Emeka Egbuka (Buccaneers)

Defensive Rookie of the Year: Carson Schwesinger (Browns)

Beyond Myles Garrett, the biggest bright spot of the Browns flawed but frisky defense may've been their rookie inside linebacker out of UCLA. Schwesinger quickly established himself as a sideline-to-sideline impact player-registering 156 combined tackles, 2.5 sacks, 9 QB hits and 3 passes defensed in 16 games. With Jim Schwartz likely not returning as DC after being passed over for their head coaching gig, it'll be interesting to see if Schwesinger can adapt to a different system that is potentially less aggressive than the one he thrived in this year.

Honorable Mentions: Xavier Watts (Falcons), Jihaad Campbell (Eagles), Malaki Starks (Ravens)

Coach of the Year: Kyle Shanahan (49ers)

No disrespect to the remarkable turnaround efforts that Liam Coen, Ben Johnson and Mike Vrabel led this season, but only one coach in the league made the playoffs and had a chance at getting the top seed in the hypercompetitive NFC after half of their roster died during the season. Shanahan's ability to deal with a cartoonishly high volume of injuries of the short-term, long-term and season-ending variety and field a team that was not only competitive but thrived for the bulk of the season is the kind of brilliant coaching that this award is designed to honor. 

Honorable Mentions: Liam Coen (Jaguars), Ben Johnson (Bears), Mike Vrabel (Patriots)

Comeback Player of the Year: Aidan Hutchinson (Lions)

The real award tomorrow night is probably going to go to Dak Prescott and that's completely fair. He quietly put together one of the best seasons of his career this season for a decent Cowboys team who was let down by their league-worst defense and it's especially impressive that he pulled this off after having a poor, injury-shortened season in 2024. I just happened to be more impressed with the play of Hutchinson-who picked up right where he left off when he went down with a broken leg 5 games into what was shaping up to be a dominant 2024 campaign by earning his first career All-Pro selection after posting 14.5 sacks, 14 TFL's, 35 QB hits, 4 forced fumbles, a fumble recovery and an INT.

Honorable Mentions: Dak Prescott (Cowboys), Christian McCaffery (49ers), Stefon Diggs (Patriots)

All-Pro Teams:

Quarterback

1st team: Matthew Stafford (Rams)

2nd team: Drake Maye (Patriots)

Running Back

1st team: Bijan Robinson (Falcons)

2nd team: James Cook (Bills)

Wide Receiver

1st team: Jaxon Smith-Njigba (Seahawks), Puka Nacua (Rams)

2nd team: Amon-Ra St. Brown (Lions), Ja'Marr Chase (Bengals)

Tight End

1st team: Trey McBride (Cardinals)

2nd team: Kyle Pitts (Falcons)

Tackle

1st team: Garett Bolles (Broncos), Penei Sewell (Lions)

2nd team: Tristan Wirfs (Buccaneers), Darnell Wright (Bears)

Guard

1st team: Joe Thuney (Bears), Quinn Meinerz (Broncos)

2nd team: Quenton Nelson (Colts), Chris Lindstrom (Falcons)

Center

1st team: Creed Humphrey (Chiefs)

2nd team: Aaron Brewer (Dolphins)

Edge Rusher

1st team: Myles Garrett (Browns), Will Anderson Jr. (Texans)

2nd team: Micah Parsons (Packers), Aidan Hutchinson (Lions)

Defensive Tackle

1st team: Cameron Heyward (Steelers), Jeffrey Simmons (Titans)

2nd team: Leonard Williams (Seahawks), Travis Jones (Ravens)

Inside Linebacker

1st team: Jack Campbell (Lions), Demario Davis (Saints)

2nd team: Devin Lloyd (Jaguars), Zack Baun (Eagles)

Cornerback

1st team: Devon Witherspoon (Seahawks), Mike Jackson (Panthers)

2nd team: Cooper DeJean (Eagles), Quinyon Mitchell (Eagles)

Safety

1st team: Kyle Hamilton (Ravens), Derwin James (Chargers)

2nd team: Jalen Pitre (Texans), Kevin Byard (Bears)

Kicker

1st team: Will Reichard (Vikings)

2nd team: Brandon Aubrey (Cowboys)

Punter

1st team: Jordan Stout (Ravens)

2nd team: Daniel Whelan (Packers)

Return Specialists:

1st team: Ray Davis (Bills), Marcus Jones (Patriots)

2nd team: Isaiah Williams (Jets), Chimere Dike (Titans)

Special Teamer:

1st team: Devon Key (Broncos)

2nd team: Carson Bruener (Steelers)

Long Snapper:

1st team: Rex Sunahara (Browns)

2nd team: Ross Matiscik (Jaguars)

Pro Football Hall of Fame Class of 2026 Predictions:

Willie Anderson, tackle (Team: Cincinnati Bengals)

Drew Brees, quarterback (Teams: San Diego Chargers, New Orleans Saints)

Roger Craig, running (Teams: San Francisco 49ers, Los Angeles Raiders, Minnesota Vikings)

L.C. Greenwood, defensive end (Team: Pittsburgh Steelers)

Torry Holt, wide receiver (Teams: St. Louis Rams, Jacksonville Jaguars)

Luke Kuechly, inside linebacker (Team: Carolina Panthers) 

Darren Woodson, safety (Team: Dallas Cowboys)

Who I'd Vote for If I Had a Ballot: 

Drew Brees

Torry Holt

Luke Kuechly

Kevin Williams, defensive tackle (Teams: Minnesota Vikings, Seattle Seahawks, New Orleans Saints)

Marshal Yanda, guard (Team: Baltimore Ravens)

Movie Review: Send Help

Sam Raimi has built such an incredible career that many people that were born during the last 35 years primarily associate him with superhero movies. As ridiculous or blasphemous as that will sound to the hardcore Rami afficionados out there, take a moment to consider that 2009's Drag Me to Hell is the only proper horror movie he's made this century and his last entry in the Evil Dead franchise (Army of Darkness) turns 33 years old later this month. After ending his nearly decade-long reprieve from directing features following the shaky commercial performance/reception of Oz The Great and Powerful to helm Doctor Strange in the Multiverse of Madness in 2022, Raimi has finally returned to his comedy horror roots with Send Help and provided the uninitiated with a taste of the signature style that made him a cult hero in genre circles back in the 80's.

In the opening moments of Send Help, the viewer is introduced to Linda Liddle (Rachel McAdams). Linda is a meek fuddy duddy who works in the strategy and planning department of an unnamed major financial management corporation and after years of grinding away in the shadows without ever receiving any meaningful acknowledgement for her hard work, appears set to receive a promotion to vice president once the new CEO Bradley Preston (Dylan O'Brien) officially takes over for his late father (Bruce Campbell, who appears strictly via photographic cameos). On his first day on the job, Bradley quickly becomes repulsed by Linda's pathetic "bird lady" demeanor and hands the promotion to his golfing buddy Donovan (Xavier Samuel) instead despite him being considerably less experienced than Linda. During the same meeting, Bradley informs Linda that he doesn't believe she provides much value to their operation and challenges her to prove her worth to him by traveling with the company to Bangkok for a meeting about a prospective merger. 

A week later, the company's private plane crashes somewhere in the vicinity of Thailand and the sole survivors of the wreck are Linda and Bradley. While Linda made it to the shore of an unoccupied island pretty much unscathed, Bradley sustained wounds and injuries to his legs that were severe enough to render him unable to walk without assistance. Relying on Linda-who has honed a wide set of survival skills thanks to her desire to compete on Survivor-to survive, Bradley has to discount all of his instincts telling him to boss Linda around as she is quite literally the only reason he's still alive after losing consciousness following the crash and having the tide carry him to the beach that Linda was able to swim to. As Bradley regains his strength, a vicious power struggle ensues between the two that threatens to kill them both before they even have a chance to be rescued. 

Raimi really couldn't have picked a more ideal project to make his return to horror/thrillers on than Send Help. While I'm sure he considered taking on other projects, veteran screenwriting duo Damien Shannon and Mark Swift (Freddy vs. Jason, the 2009 remake of Friday the 13th) handed him such a rich canvas to work his sicko magic on that it's easy to see why he dove headfirst into this opportunity. The constant evolution of the dynamic between Linda and Bradley and the twists that help shift them are so quintessentially Raimi that it's kind of hard to believe that he didn't write the film himself. There's such a perverse, playful glee behind every creative choice in this film and it all culminates in a twisted conclusion that had me cackling in my seat as the credits began to roll. Raimi had been away from the genre for so long that there was inevitably going to be questions about whether or he could still deliver the goods, so it was a huge relief to discover that the maestro of deranged horror comedies has retained his ability to conduct the hell out of his orchestra at the age of 66.

As delightful as it is to see Rami deploy his bag of tricks again, the top highlight of Send Help is watching McAdams and O'Brien spar with each other. This is the kind of showcase that these two versatile, magnetic and perpetually underrated talents have deserved for ages. The funhouse environment that Raimi famously creates on his sets paired with the nature of the story grants them the freedom to truly play as actors and the two of them settle into such a finely tuned rhythm of manipulation, combativeness and sassiness as their characters go to great lengths to fight for control of their little of horrific island paradise that is just magic to watch. Having a movie that almost entirely hinges on the shoulders of two actors being able to portray a constantly shifting power dynamic is a risky bet, but when those actors are as locked into their own performances and getting on the same page as their scene partner as the lead duo of Send Help is, that gamble pays off big time.

Send Help is one hell of a way to cap off by far the strongest January for cinema that we've had this decade. If you have any interest in seeing this, I urge to you check it out in theaters ASAP. It's a movie that really pops with a crowd and original stories like this really need support during this era where studios are often hesitant to greenlit things that aren't established IP. 

Grade: B+