Simmons opens the film by gassing up his motorcycle in a rural area and shooting three people there for no reason. Even though his character is a psychotic killer, Simmons is charming in this role -- too charming in fact. His casual attitude towards his actions is funny and takes away from any feeling of dread that a thriller needs in order to be compelling.

John Lennon once said: Life is what happens while you are busy making other plans. And Adios Buenos Aires captures this sentiment perfectly.  As Julio dreams of abandoning Buenos Aires in favor of a fresh start, he is forced to reckon with the people and events that hold him back.

McKendrick’s film is in communication with other adult coming-of-age films. Whether it is Kevin Smith’s Chasing Amy, Sam Mendes’s American Beauty, or the films of Judd Apatow, they all share one trait in common with Scrambled: humor. Said humor may be seen as politically incorrect in the context of hindsight, yet it is not a sign of failure in the filmmaker’s writing -- rather it showcases a willingness and honesty in their exploration of self.

Shem Bitterman is fascinated by that human perversion that grows ever more clear as the brain is subject to social and physical isolation. When Distant Tales is at its most successful is when it follows the nuances of psychological warfare.

If you can find this in theaters, watch it; if you see it on Blu-ray, buy it; and if it shows on a streaming service, then grab a drink and get ready for a top-tier classic. The Holdovers has what it takes to be a timeless film that will be replayed every holiday season for years to come.

If you were alive a few years ago, you might remember the time when GameStop was in the news and blowing up social media. If you don’t remember, don’t worry, because this movie will go over the whole thing in detail. You might be left wondering why anyone would bother making a film about something that is already well-documented, but if nothing else, this movie is a great indicator of how uncreative some writers have become.

After Garan is sent to Tokyo to complete the job, he meets a group of killers who are there for the same reason. It’s revealed that they will be forced to compete to see who can kill the king of killers, the same man who hired them. While the concept is interesting, the lack of any interesting characters hurts the plot. By the time the movie hits the halfway point, it seems things have only started to get going.

In failing to reach agreements with the striking guilds, Hollywood executives are essentially forced to promote movies without their A-list cast. The first signs of danger may present themselves this month – August -- with the Venice International Film Festival and Telluride Film Festival beginning at the end of this month. In the meantime, film festivals such as the Cinequest Film and Creativity Festival offer a glimpse of what this upcoming season has in store for Hollywood, both professionally and creatively.

While the film deals with themes of grief, government suppression, and love, it’s the theme of moving on that is most interesting. The freight train that moves through town does a good job of symbolizing the sometimes grim reality of life. You move forward, pick up baggage along the way, and even though there are moments that make you wish you could stop time, you have to keep going.

This movie is like a slasher flick crossed with “Fury Road,” and while the kills can get creative and ridiculous in a fun way, I wish there was more heart underneath all the blood and gore. If the movie didn’t have the budget for constant spectacle or complicated choreography, then it would have been nice if it fleshed out the main character to be more interesting, but he doesn’t say a word for most of the movie.