Minier‘s Hometown News Site

When the crime world collides with mentorship, the results can be both explosive and surprisingly tender. LONDON CALLING leans into that contradiction with gusto, offering an action-comedy that’s equal parts shootouts, road movie, and unlikely bonding. Directed by Allan Ungar, who previously collaborated with Josh Duhamel, the film aims to deliver entertainment that recalls the buddy movies of the 1980s and 1990s while carving out a contemporary spin.

Awkwardness has long been comedy’s secret weapon, and DOIN’ IT embraces that awkward edge with enthusiasm. Lilly Singh steps into her first leading role on the big screen, playing Maya, a thirty-year-old software engineer who never quite grew out of the shadow of her strict upbringing. What starts as an absurd setup— a virgin suddenly tasked with teaching high school sex education — gradually morphs into something deeper, a story about shame, self-acceptance, and finding one’s voice. The film doesn’t always strike the perfect balance between raunchy gags and genuine commentary, but it has enough personality and honesty to make the experience worthwhile.

DON Q opens with a man who never stopped narrating his life like a legend. Al Quinto’s days are small—errands, conversations, rituals—but in his head they add up to a coronation. He’s convinced he’s the one who can restore Little Italy to a version of itself that probably never existed, the way he imagines. That gap between the story he tells and the one the neighborhood is living is the film’s heartbeat, and it’s where both drama and humor are created.

POCKET PRINCESS on the surface is miniature: stop-motion, threadbare fabrics, papier-mâché edges, and a dollhouse scale that invites you to lean in. The undercurrent is anything but small. Olivia Loccisano utilizes the tactile limits of the medium—visible seams, deliberate roughness, and handmade textures—as an emotional buffer, allowing the film to confront material that many live-action features refuse to touch. That choice isn’t just aesthetic; it’s a thesis. The deception keeps us from flinching long enough to process what the story is actually saying.

There’s “gritty New York,” and then there’s Night of the Juggler—a movie that wears late-’70s/early-’80s NYC like a bruise. The premise is ruthlessly simple: a teen is abducted by a psycho; her father, a hard-charging ex-cop, tears across the city to find her. What lifts it above the logline is the film’s breathless velocity and its tactile sense of place. This is 24 hours as demolition derby: foot chases, cab chases, subway chases—stitched so tightly you barely have time to blink.

THE BETRAYAL begins with a single decision that sets everything else in motion. A loyal warrior is asked to shoulder a false charge of murder to shield his clan from political fallout. He accepts with the understanding that he’ll go into hiding for a year and then be welcomed back once the storm has passed. But what sounds like a temporary sacrifice quickly mutates into a permanent exile. Promises evaporate, protections vanish, and the clan that asked for loyalty quietly abandons him. From that point on, the film is less about one man’s mistake than about how an entire system uses honor as both carrot and weapon.

The best way to approach these companion pieces is to imagine two visits to the same corner—same storefront, same faces drifting in and out—but on different days of the week. One day is all about listening; the next is about letting the room talk. SMOKE is the quiet one: a neighborhood drama that sneaks up on you through ordinary conversation and the small rituals that give people meaning. BLUE IN THE FACE is the loud cousin: faster, looser, full of diversions and drop-ins that feel like a street party. Put together, they celebrate how a place can organize a life, and how a life can reorganize a place.

Sometimes film history gets shaped by accident, and FRANKENSTEIN’S BLOODY TERROR is proof of that. Though the title suggests another spin on Mary Shelley’s creation, this Spanish horror oddity has nothing to do with Frankenstein. Instead, it introduces the character that would define Paul Naschy’s career: Waldemar Daninsky, a doomed nobleman cursed to transform into a werewolf. The bait-and-switch title was a marketing decision for its U.S. release, designed to satisfy distributors who wanted something with “Frankenstein” and “Terror” in the name. The result is a film that has long confused casual viewers but has delighted cult fans, especially now that Kino Lorber has brought it back in a new 3-D restoration.

The premise is loaded: an undocumented man on the edge of removal bumps into the friend he hasn’t figured out how to forgive. From there, the film doesn’t sprint so much as strings its way through a minefield of deadlines, affidavits, and unspoken history. The stakes are public and timely—immigration court, paperwork that can erase a life with a rubber stamp—but the movie stays resolutely personal. It treats policy as weather: always present, occasionally catastrophic, but most felt in the way people adjust their plans and measure their hopes.

LOS GOLFOS doesn’t ask for nostalgia or redemption; it asks you to sit with a city that never noticed these kids until it needed to punish them. Carlos Saura’s first feature drops you in Madrid’s postwar margins, where a brotherhood of teens drifts between odd jobs, minor scores, and the kind of plans that feel big only because the wallet is empty. The script is deception, raising money so one of them can enter a bullfighting competition, the one “profession” that looks like a ladder out of poverty. The simplicity is the point. When survival is the day’s only plot, even a small goal becomes epic.

The promise here is simple and potent: two delinquents grow into power together and pay for it together. FLAMING BROTHERS doesn’t chase reinvention so much as it hunts for sincerity inside a well-worn outline—loyalty vs. ambition, brotherhood vs. survival. What makes it click, even when it stumbles, is the alchemy between a star in full bloom and a script that’s quietly sketching the bones of themes its writer would later obsess over.

Larry the Cable Guy has built a career on the unlikely marriage of down-home humor and edgy but warm comedy, and his latest stand-up special proves he hasn’t lost the knack. Filmed at Florida’s historic Capitol Theater, IT’S A GIFT finds him returning to the stage with the same everyman persona that first made him a household name. While some comedians reinvent themselves with every outing, Larry leans into consistency—his voice, both literal and comedic, remains as unmistakable as ever.

DAKOTA is a film defined by obsession—both in the story it tells and the story behind its making. At its center is Dick de Boer, played with conviction by Kees Brusse, a Dutch pilot whose life is tethered to his DC-3 Dakota. For Dick, flying isn’t just an occupation; it’s survival, compulsion, and the only place he seems to feel alive. That singular fixation gives the movie its shape, even when production chaos nearly brought it to a halt.

Few trilogies define a filmmaker’s voice as directly as Nicolas Winding Refn’s PUSHER films. Spanning a decade, these three entries chart Copenhagen’s criminal underworld from shifting perspectives: the hustler scrambling for survival, the screw-up desperate for respect, and the kingpin watching his empire crumble. Each film stands alone, but together they paint a panorama of power, desperation, and inevitability that lingers long after the credits roll.

Now and then, a film comes along that isn’t defined by its creature design, its chase sequences, or even its premise, but instead by the performance at its center. XENO is one of those films. For all its polish and high-concept pitch, what ultimately makes the movie land is Lulu Wilson. She anchors the story with a performance that radiates both heart and grit, carrying every scene with a natural presence.

HELLBENDER is the rare micro-budget indie that treats constraint as an invitation. What begins as a portrait of a teen and her mother making loud, messy music in the woods steadily reveals itself as a story about inheritance—what we protect our kids from, what we pass down anyway, and the dangerous thrill of figuring out who you are when every rule you’ve been given stops making sense. The Adams family—John, Toby Poser, and daughters Zelda and Lulu—built a world with their own hands, and the film is strongest exactly where that do-it-yourself confidence and intimacy are allowed to run wild.

This film does something unique, shining a spotlight on Bunny Yeager—model, photographer, entrepreneur—whose fingerprints are all over mid-century American pop culture even if her name isn’t. Rather than building a biography, the documentary assembles a persuasive, steadily layered case: Yeager’s images didn’t just decorate the era; they helped to create it. The work popularized the bikini and elevated the image of Bettie Page. It molded the 1950s pin-up into something both sharper, nudging a country inching toward social change to confront who controls the image of women and why.

There’s an instant warmth to this kind of studio-era comedy: a family tossed into gentle disorder, a front door that never stops opening, and a romance that blooms because everyone tries to do the right thing at the wrong time. DEAR RUTH is built on a premise with generous payoffs. A teenage idealist has been writing morale-boosting letters to a soldier overseas and signing them with her older sister’s name. When the soldier shows up on leave expecting to meet his sweetheart, the household scrambles to sustain the illusion, protect the sister’s very real engagement, and keep Sunday dinner from curdling into scandal.

Christopher Leone’s CODE 3 aims for something trickier than a straight “one wild night” rollick: it wants to show the volatility, indignity, and strange tenderness of EMS work without sanding off the splinters. The movie follows Randy (Rainn Wilson), a paramedic who’s done—done with panic attacks, done with a system that bleeds him dry, done with the endless triage of other people’s worst days. He’s training his replacement, Jessica (Aimee Carrero), over a single 24-hour shift, while his partner Mike (Lil Rel Howery) keeps the unit stitched together with wisdom and bone-dry asides. The premise is familiar—one last ride—but the execution is keyed to lived-in specifics, the kind of details you don’t get unless someone has lived that life.

At first glance, BAND ON THE RUN looks like a straightforward indie road movie: a band chasing a shot at South by Southwest, a van full of tension, and the promise of a rival group waiting to clash along the way. But what gives the film its shape isn’t just the music or the road-trip formula. It’s the story of a chronically ill father insisting on being part of the ride and his son, who struggles to balance his obligations with his ambitions. That generational conflict, set against the very specific backdrop of Detroit’s late-90s garage rock revival, makes the film more than just a string of tour-bus anecdotes.

Directed by Anthony D’Ambrosio and shot on location in Poland, the film dramatizes the true story of St. Maximilian Kolbe, the Catholic priest who volunteered to take the place of another man condemned to die in Auschwitz in 1941. While Kolbe’s sacrifice has long been told, the film expands the story, exploring the nine companions with whom he shared a cell and the fragile bonds forged in the most harrowing circumstances.

The late 1970s marked a turning point in Japanese cinema. “Movie mogul” Haruki Kadokawa, eager to redefine how movies were made and sold, pushed the idea of the homegrown blockbuster—spectacle, international stars, and a marketing blitz that rivaled Hollywood. PROOF OF THE MAN, directed by Jun’ya Satō and adapted from Seiichi Morimura’s best-selling novel, arrived in 1977 as one of those tentpoles. A murder mystery on its surface, the film also serves as an excavation of postwar trauma, posing uncomfortable questions about race, identity, and the lasting scars of occupation.

GOOD LUCK TO ME is a brief film, but its briefness doesn’t diminish its weight. Directed by Maya Ahmed and co-written by Heather Bayles and Timothy J. Cox, the short compresses the complexity of a 20-year marriage into 10 minutes. It doesn’t need dramatic fireworks or a sweeping score to make its point. Instead, it relies on awkward pauses, strained civility, and the lived-in weariness of two people who once promised forever but now can’t find common ground.

In a culture that constantly measures worth by appearance, Nicholas Goodwin’s BEAUTY QUEEN takes on the daunting task of unpacking that pressure through a coming-of-age lens. At its center is Christina, played with restraint by Christina Goursky, who represents a generation that feels torn between intellectual achievement and a gnawing hunger to be considered beautiful. The short film, despite its modest production budget, makes its case through authenticity, nuanced performances, and an exploration of how family can anchor us when the world tempts us into shallow waters. The film's release in 2018 still feels as relevant, if not more so, in 2025.

With BULLET TIME, Eddie Alcazar shifts his talents into hand-drawn animation, and the result is a chaotic, affectionate, and unashamedly bizarre tribute to both 90s cartoons and his late dog Bullet. Clocking in at just nine minutes, this pilot is packed with frenetic energy, surreal humor, and an emotional undercurrent that sneaks up on you amid the madness.