By Bob Garver Poster credit IMDB The biggest problem with new video game adaptation “Street Fighter” is that it’s bad on purpose. Not “delightfully over the top” or “destined to become a cult classic,” just bad. As if having a degree of self-awareness about its unapologetic badness somehow justifies wasting two hours of its audience’s time. The story follows a pair of former best friends – Ryu (Andrew Koji) and Ken (Noah Centineo) – as they reunite after a six-year estrangement for a martial arts tournament hosted by military dictator M. Bison (David Dastmalchian), who is secretly planning to drain all the energy from the winner for evil purposes. The two are recruited by Chun-Li (Callina Liang), purportedly an employee of Bison, but who is secretly working to bring him down. Ryu suspects something is wrong with the tournament, but he needs to enter to know for sure. Ken just wants to win the tournament so he can out-perform Ryu, in a grudge that started when their shared master Gouken (Don Lee) was killed by his brother Akuma (Roman Reigns). Akuma, by the way, is also planning to steal all the energy from the winner of the tournament, in a plan that is totally different from Bison’s. Other characters include fellow good-guy tournament fighters Guille (Cody Rhodes) and Dhalsim (Vidyut Jammwal), bad-guy fighters Balrog (Curtis “50 Cent” Jackson) and Vega (Orville Peck), neutral-ish fighters Zangief (Olivier Richters) and Joe (Alexander Volkanofski), Ken’s manager Dan (Andrew Schulz), tournament emcee Don (Eric André), Bison henchwoman Cammy (Mel Jarnson), and secret-weapon electric eel hybrid Blanka (Jason Momoa). If you’re looking forward to the tournament, you’re going to be disappointed. Of the seven matches that are supposed to take place, two happen completely offscreen, three are cancelled due to forfeits, and two take place in this movie, which means they’re about as exciting as if they happened offscreen or were cancelled due to forfeit. Not that the fight against Bison is any more compelling. Dastmalchian, always with a hangdog expression, is sorely miscast as a dictator with a nation’s army at his fingertips. Yes, he can crush the odd underling’s head with his stolen power, but his displays of might just come off as temper tantrums rather than enforcements of his will. At no point does he look like he could defeat a competent fighter or foil any reasonably-well-planned coup. I just can’t imagine too many people wanting to follow him into battle. The properly-villainous Raul Julia as Bison from the otherwise-disastrous 1994 “Street Fighter” wouldn’t allow this guy to serve him snails. Speaking of the 1994 version, the few clips I watched of that movie for research were all I knew about the “Street Fighter” franchise going into this movie. I never played the games and completely missed out on the 2009 spinoff “The Legend of Chun-Li.” So no, I’m not well-versed in “Street Fighter” characters and lore. I wonder if it’s better to be a fan of the franchise and be let down by this movie or to just be unhappy with it as a non-fan. Everything about “Street Fighter” is terrible, from the pathetic acting (though Ryu and Ken get a few good moments as near-brothers that save this movie from a worse rating) to the choppy editing to the bad-taste jokes to the phony action to the unsatisfying conclusion to the poor lighting. That’s right, it’s not even lit well. And no, the argument of “It’s just supposed to be fun, it’s not supposed to win Oscars” isn’t going to work on me. A movie can be fun, even “bad” fun, and still have its act together, which this movie doesn’t. Any camp appeal that this movie is supposed to have is lost on me. And if it isn’t going for camp appeal, what does that say about the supposed professionals that worked on this film? Grade: D “Street Fighter” is rated PG-13 for violence/action, bloody images, strong language, sexual references, partial nudity, and brief smoking. Its running time is 119 minutes. Contact Bob Garver at rrg251@nyu.edu.

by Lisa Miller Princesses, playful puppies, candy and plenty of Halloween magic took over downtown Bolton on Oct. 20 as families gathered for the fifth annual Trunk or Treat and Fall Block Party. The celebration brought together children, parents and neighbors for an evening filled with festive activities, tasty treats and hometown fun. Little trick-or-treaters showed off their Halloween costumes while making their way from trunk to trunk, collecting candy and enjoying the excitement of the season. Candy was only the beginning. Children enjoyed pizza, juice and popcorn while taking part in activities designed to make the evening special. Face painting added colorful flair to little faces, while a hayride offered another opportunity for fall adventure. One of the special attractions was the presence of actual puppies, adding an extra dose of cuteness to the festivities. While princesses and other costumed characters brought Halloween magic to the celebration, the furry visitors offered a different kind of charm for children and animal lovers. With activities for a variety of ages and interests, there was something for everyone. Some children eagerly searched for their next piece of candy, while others enjoyed the hayride, showed off their face paint or took time to admire the puppies. Now in its fifth year, Bolton’s Trunk or Treat and Fall Block Party provides an opportunity for the community to come together and celebrate the season. The annual gathering gives local children a festive place to enjoy Halloween activities while allowing families and neighbors to connect in a welcoming atmosphere. More than a chance to fill candy bags, the event celebrates the community spirit that makes hometown traditions special. It brings neighbors together, creates opportunities for families to make memories and gives children an evening centered on fun. With candy, pizza, juice, popcorn, face painting, a hayride and adorable puppies among the attractions, Bolton’s fifth annual Trunk or Treat and Fall Block Party delivered an evening full of Halloween excitement and small-town charm.

By Bob Garver Poster credit IMDB The title “Other Mommy” is misleading. The villainous demon haunting 8-year-old Bela (Arabella Olivia Clark) can take any form, including her father (Jay Duplass), her babysitter (Sean Kaufman), or even a complete stranger. But yes, much of the time it impersonates her mother (Jessica Chastain). The reason, I suspect, has less to do with the fraught mother-daughter relationship and more to do with luring Oscar-winner Chastain to the project with the promise that she would get to have fun playing a demon. Sadly, neither the performance nor the film is that much fun. Within the first few minutes, we get the scene from the film’s trailer that largely sold people on this movie. Bela interacts with Other Mommy in the family’s kitchen. Unlike her actual mommy, Other Mommy is warm and affectionate. Bela likes some aspects of her company, but at the same time knows that she’s fake, as evidenced by her face occasionally becoming distorted. Eventually Daddo comes into the kitchen. Most horror movies would have Other Mommy disappear around this time, indicating that either Bela’s sanity will be called into question or maybe that the demon is invisible to everyone but Bela. But no, the demon makes its presence known, and the rest of the film sees all three family members contending with it as a unit. Very soon after this home invasion, the parents throw a party, confident that the demon won’t return now that it’s been discovered. It finds a way in. The family goes to stay with Bela’s unsavory “Uncle” Frank (Arian Moayed), but it follows them there, too. As a last resort, they go to stay with Bela’s judgmental grandmother (Karen Allen), who has access to a network of psychic mediums and paranormal investigators (I thought they were setting up for a cameo by the guys from “Insidious,” but no, that might inject some life into this movie). When that doesn’t work out, they decide to confront the demon in their house, which they think gives them a sort of homefield advantage, except that they forget that the demon already knows their house. They make this decision despite me hissing “padded cell” at the screen. As you’ve probably guessed, this is a hard movie to take seriously, and I don’t mean that it succeeds in being funny. Bela makes some naïve decisions because she’s eight, but what is all the adults’ excuse for being stupid? From not going to the authorities (which the demon could probably find a way around, but they should still try it) to letting Bela out of their sight on multiple occasions to repeatedly thinking that traditional weapons will work on the demon, these parents are so lousy at protecting their child that I was hoping the police would take her away from them – with or without the demon. “Other Mommy” is quickly earning itself a reputation as one of the worst-reviewed movies of the year. It isn’t so much terrible in and of itself as it falls short of high expectations set by the casting of Chastain and the highly-popular trailer. There are a few decent emotional beats surrounding the fracturing of the family dynamic. But those rare promising moments are efficiently snuffed out by the film indulging in every haunted-house cliché it can muster, all the more tired because not enough time has passed since the similar “Insidious: Out of the Further” back in August. If the appeal of the film lies in the promise of two Jessica Chastain performances for the price of one, please know that neither performance is worth half of one. Grade: C- “Other Mommy” is rated R for some bloody violence, and language. Its running time is 93 minutes. Contact Bob Garver at rrg251@nyu.edu. Check out the newly-updated www.bobatthemovies.com for reviews from the last two years.

George Bolton May 9, 1941 - October 6, 2026 85 Years of age George Bolton was born on May 9, 1941, in Bolton, Hinds County, Mississippi, to Sam Bolton, Sr., and Daisy Bolton. He was the beloved husband of Rose Brooks Bolton. On October 6, 2026, he transitioned from his earthly home to his heavenly home, where he rests in the loving arms of the Lord. Funeral Arrangements: Visitation: October 16, 2026 4:00 PM - 6:00 PM Bolton Funeral Home, 205 Bolton Brownsville Road, Bolton, MS Funeral Service: October 17, 2026 11:00 AM Zion Chapel Church of God in Christ, 1289 Williams Lake Road, Bolton, MS Interment: Zion Chapel Church of God in Christ Cemetery To send flowers with our preferred florist or plant a memorial tree, please visit our flower store.

By Bob Garver Poster credit IMDB “Verity” wishes it was a twisty thriller. It is indeed twisty, but it doesn’t have the heart to be a thriller. The film’s advertising is clearly positioning it as a successor to last year’s hit front-of-the-bookstore novel adaptation “The Housemaid,” though it is based on a book that predates that film’s source material by four years. In fact, it is based on a novel by the popular Colleen Hoover, and it’s easy to picture the studio jumping at the chance to release a movie with Hoover’s name crossed with a setup similar to “The Housemaid.” The problem is that with Hoover’s name comes her trademark sappy style, which is ill-suited to the thriller genre, at least here. Dakota Johnson stars as Lowen Ashleigh, a struggling, unpopular, highbrow author. She meets a man named Jeremy (Josh Hartnett) through a shared traumatic experience and within five minutes he’s locking them both in a men’s room together. He eventually reveals that he’s the husband of revenge-thriller author Verity Crawford (Anne Hathaway), who is in desperate need of a ghostwriter. He offers Lowen money that she can’t turn down, and soon she finds herself moving into the Crawfords’ house in rural Vermont, where she learns why Verity can’t do the writing herself: she’s been paralyzed following a recent car crash. Lowen spends her days going through Verity’s stacks of notes so she can approximate her creative voice for the upcoming novel. In the meantime, she bonds with the warm Jeremy and his son Crew (Brady Wagner), who lost his twin sister, Verity and Jeremy’s daughter, in a drowning that barely predated Verity’s car crash. She barely spends any time with Verity herself, but when she does, she notices that the author is able to shoot an icy glare in her direction. It could just be an involuntary reflex or an indication of something darker. Lowen stumbles upon the manuscript for Verity’s autobiography, which we see through pre-crash flashbacks that allow Hathaway to act with full use of her body. She and Jeremy were once madly in love, especially when they first met and he somehow won her over with what I would call red-flag creepiness. But the relationship changed when she had children, whom he seemed to love more than her, which caused her to love them less. A few chapters later, and Lowen not only personally wants to make Jeremy feel better, but also to punish Verity, who is clearly unreliable on at least one level. With a title like “Verity,” there is obviously much question throughout the film about who can and cannot be trusted. Verity herself indulged in dark fantasies in her writing, Lowen implies that she’s hiding secrets, and Jeremy is a man in a movie that combines “The Housemaid” with “It Ends with Us” (for Johnson fans, there a little “Fifty Shades” in there too, with some scenes that include biting, wood, and frosting). Supposedly all the deception is there to keep the viewer guessing, but the only guessing I was doing was at how long it would take before the next predictable twist. It’s not even the predictability or the laughable attempts at salaciousness that are the biggest problem with “Verity,” it’s the slowness. This meandering movie cannot be exciting to save its life. I was genuinely surprised that I was out of the theater in less than two and a half hours with the way this movie was paced. It acts like it wants to be better than the kind of trashy thriller that Verity writes. I’d settle for it being as good as a typical trashy thriller. Grade: D “Verity” is rated R for sexual content, some nudity, language, violence and bloody images. Its running time is 117 minutes. Contact Bob Garver at rrg251@nyu.edu.

Special to The Bolton News Ghosts, goblins, superheroes and princesses will have a place to gather in downtown Bolton on Oct. 20 during the fifth annual Trunk or Treat Fall Block Party. Hosted by Dyamone L. White and Mayor Alisa Butler-Kidd, the Halloween-themed community celebration will begin at 6 p.m. in downtown Bolton. The event is designed to bring families and community members together for an evening of fun, fellowship and plenty of Halloween spirit. Children can come dressed in their favorite costumes and enjoy the excitement of Trunk or Treat, where creatively decorated vehicles become the backdrop for an evening of trick-or-treating. From spooky to silly, the event promises to fill downtown Bolton with costumes, candy and the sights and sounds of Halloween. Families are encouraged to come ready for an evening of community fun and to make some new memories along the way. The Fall Block Party has become an annual Bolton tradition, giving local families an opportunity to celebrate the season together in a safe and festive setting. Whether the evening's visitors arrive as witches, superheroes, ghosts, princesses or something entirely out of the ordinary, there is sure to be plenty of Halloween magic waiting downtown. Residents looking for more information about the fifth annual Trunk or Treat Fall Block Party may call 601-473-5113. The event will begin at 6 p.m. Oct. 20 in downtown Bolton.

by Robb Hicks During National Newspaper Week, we should all ask what would happen if our local newspaper suddenly disappeared. Our community would lose more than headlines. We would lose the public record of who voted for what, how tax dollars were spent and which promises were kept. We would lose the watchdog that asks the hard questions. We would also lose the chronicle of daily life: obituaries, births, honor rolls, ballgames, county fairs, veterans programs, business openings, retirements and the small acts of service that hold a town together. A newspaper is not just paper and ink. It is part of the civic fabric that holds a community together. That is why the crisis facing local newspapers should concern everyone, not just people in the news business. According to Northwestern University’s Medill School of Journalism, close to 3,500 newspapers have disappeared in the United States since 2005. In the past year alone, another 148 vanished through closures or mergers. About 50 million Americans now have limited or no access to local news. Nearly 80% of the nation’s news deserts are in predominantly rural counties. This did not happen because people stopped needing local news. It happened because the old business model broke down. For generations, newspapers were supported by readers, advertisers and public notices. That worked when downtowns were strong, businesses were locally owned and advertising decisions were made by people who lived in town. The local hardware store bought an ad because its owner lived here, knew the newspaper and understood that supporting local institutions was part of doing business in the community. When that store becomes one location in a regional or national chain, the advertising decision may be made hundreds or thousands of miles away — if there is any local advertising at all. The store may still be here. The advertising dollars are not. At the same time, more local advertising dollars are flowing to social media and other digital platforms. Those companies can sell clicks. But they do not cover city council meetings, county budgets, school boards, youth baseball or print every kid on the honor roll. Newspapers must modernize. We have to make our websites better, improve our digital products, reach readers in new ways and become more efficient. But technology alone cannot replace a strong local business base. Philanthropy can help. Foundations can fund reporting projects, student journalism, technology and innovation. But grants are a bridge, not a permanent road for most community newspapers. There is another part of the equation that deserves more attention. Local newspapers have spent decades providing public-service information that government agencies and nonprofit organizations need communities to see — often at no cost. There is an important difference between news and public information. Reporters should decide what is news. Government agencies should not expect a news story to replace a communications budget. If an agency needs the public to understand a tax program, election, health service, school initiative or government program, it should budget to communicate that information through trusted local media. The same is true for nonprofits. A news release is not a communications plan. If telling people about available services or important community work is part of the mission, telling that story should also be part of the budget. Some states have started to act, creating tax credits and other programs to help protect local journalism jobs. Congress should move, too. The Community News and Small Business Support Act would help keep or expand local coverage in rural communities while also helping small businesses advertise in their local market. That matters because local stores are fighting their own battle. They cannot compete online against Amazon, national chains and big-box retailers with enormous advertising budgets and sophisticated digital marketing operations. Helping small businesses advertise locally could strengthen downtown businesses and local news coverage at the same time. Saving local news is not about nostalgia. It is about whether communities can still make informed decisions, preserve their shared history and hold those in power accountable. A community without a newspaper does not become better informed. It becomes more dependent on rumor, social media, press releases and outside narratives. It becomes less informed, less connected and easier to mislead. Accountability weakens. Civic engagement declines. And gradually, a community loses part of its shared identity. Newspapers are not dead. But they are fragile, and they are under pressure. People still read newspapers. They still value public notices. They still rely on local newspapers to understand their communities. In other words, they still matter. Maybe now more than ever. Robb Hicks is a third-generation Wyoming newspaperman and publisher of the Buffalo Bulletin. In 2025, Hicks, his wife Jen Sieve-Hicks, and Rob and Shaylee Mortimore stepped in after eight Wyoming newspapers abruptly closed in 2025. Together, they reopened the papers, restored local news coverage and kept those communities from becoming news deserts. Today, their growing newspaper group is focused on finding sustainable ways to preserve strong, locally owned journalism in rural communities.

Special to The Bolton News The Annie Thompson Jeffers Library in Bolton will host an educational program focused on understanding Alzheimer’s disease and dementia on Monday, Nov. 9. The program, presented by the Alzheimer’s Association Mississippi Chapter, will be held from 10 to 11 a.m. at the library, located at 111 Madison St. in Bolton. “Understanding Alzheimer’s and Dementia” will provide attendees with information about Alzheimer’s disease and its impact on individuals and families. The program also will address the difference between Alzheimer’s and dementia, as well as disease stages and risk factors. Participants will learn about current research and treatments available to help address some symptoms of Alzheimer’s disease. The program also will introduce resources available through the Alzheimer’s Association. The educational session is designed to help community members better understand Alzheimer’s and dementia and learn where to find additional information and support. The program is open to the public.

Henry Lee Johnson September 1, 1943 - September 29, 2026 83 Years of age Henry Lee Johnson, the second child of the late Cleveland and Idell Gaddis-Johnson, was born on September 1, 1943, in Bolton, Mississippi. He completed his earthly journey on September 29, 2026. He was preceded in death by his brothers, Johnnie and Dewayne, and his sister, Grace. At an early age, Henry accepted Christ and united with Brownsville Missionary Baptist Church in Bolton, Mississippi. His faith remained an important part of his life. Even while serving his country and being stationed away from home, Henry continued to worship and maintain his relationship with God. After graduating from Utica Junior College, Henry planned to continue his education. However, those plans were interrupted when he was drafted into the military and began his service in the United States Army. Henry courageously served two tours during the Vietnam War. During his military service, he was wounded in combat and was awarded the Purple Heart in recognition of the sacrifice he made while serving his country. Following his honorable discharge from the Army, Henry returned home and embraced life with an adventurous spirit. Henry had a deep appreciation for the outdoors and enjoyed spending his time as a mechanic, fisherman, and farmer. His adventurous nature remained with him throughout much of his adult life. He valued his independence and remained active until his health began to decline. Above all, Henry loved God, his family, and his friends. His life reflected courage, strength, independence, and devotion to those he held dear. The memories created throughout his life will remain a lasting treasure for those who knew and loved him. Henry’s earthly journey was one marked by courage, service, and love. His legacy will live on through the family he loved, the friendships he cherished, and the sacrifices he made in service to his country. To send flowers or plant a memorial tree in memory, please visit our flower store.

by Benjy Hamm When the Declaration of Independence was signed 250 years ago, newspapers throughout the colonies shared the life-changing news with their readers. With all of the enormous changes in this country and media since 1776, it’s noteworthy that more than 5,000 newspapers are still informing their communities about what their leaders are doing and how those actions affect them. Often, newspaper reporters are the only journalists who cover the actions of the local school board or city council or youth sports teams. The 2025 State of Local News report by Northwestern University’s Medill School of Journalism revealed that there are more than 1,500 counties in the United States served by only one news media outlet. In almost all of those counties, the news source is a local newspaper. It used to be hard to imagine how different communities would be without local news sources. But in recent years, the changing business models for news organizations have led to an increasing number of so-called news deserts – places where residents don’t have access to independent coverage of their communities. Research shows that the lack of news coverage can lead to a number of problems: fewer people voting, more corruption, higher costs of government and a reduced connection among residents. One of this country’s most famous founders, Thomas Jefferson, wrote, "Were it left to me to decide whether we should have a government without newspapers, or newspapers without a government, I should not hesitate a moment to prefer the latter." That doesn’t mean Jefferson always liked what newspapers wrote about him, his decisions or his policies. He often disagreed vehemently. But he and other founders inherently understood the importance of having a government watchdog and independent voices that are free to challenge policies and leaders, with the goals of better informing residents about the world around them and improving society. The founders understood this nation needed guarantees to protect vigorous discussions and disagreements, particularly about the government. So, they created the Bill of Rights in 1791, starting with the First Amendment that ensures free speech and a free press. Sustaining a free press isn’t free, nor is it easy. The type of news coverage that helps to change laws and change lives – including exposing problems and wrongdoing in communities that some would prefer to keep hidden – can be difficult, time-consuming and expensive. It was true 250 years ago, and it’s still true today. Some critics have been predicting the death of newspapers since at least the invention of radio, and those predictions have increased with the creation of television, the internet and social media. Yet, newspapers have persevered, adapted their business models and remained as essential institutions in their communities. In this time of another upheaval of the media business model, newspapers are yet again adapting for the future. Their news is shared not just in print as it was in 1776, but also to millions of readers online and through social media by the news organizations themselves and countless other people. Surveys that cite how many Americans receive news from their “phones” these days don’t consider where those phones get their news and information. Many readers don’t know the origin either. But much of the commentary and sharing of news that is abundant online and in social media can be traced back to the original sources: journalists. As we celebrate National Newspaper Week during Oct. 4-10, it’s important to reflect on why the founders believed so strongly in the need for a free press to cover this nation without government control, without fear or favor and without undue influence from powerful people. The value of a free press is not simply to protect the press, but to protect democracy. It’s based on the belief that a better-informed citizenry is essential for the United States to not only survive, but to thrive. In today’s crowded media market, where misinformation and disinformation are abundant, it’s crucial that newspapers continue to serve in their role as watchdogs and as trusted sources to inform, inspire, educate and connect the communities they serve. There’s no way to predict how the United States will change and evolve over the next 250 years. But it’s certain we will continue to need a free press and independent journalists to document those changes and provide the important news coverage that is vital for this nation’s future. Benjy Hamm is director of the national Institute for Rural Journalism and Community Issues and an associate professor at the University of Kentucky’s School of Journalism and Media. He previously served as editorial director for Landmark Community Newspapers and as an editor at The Virginian-Pilot, The Associated Press and the New York Times Regional Newspaper Group.

By Bob Garver Poster credit IMDB In “Primetime,” Robert Pattinson plays Chris Hansen, host of “To Catch a Predator,” an offshoot of NBC’s “Dateline” news program in the mid-2000’s. Hansen and the show’s production team would coordinate with police to lure child predators (via Internet chatrooms where there would be no ambiguity as to their intent) to locations where they would be ambushed, first by Hansen and his cameras, then by the police. While removing child predators from society was undeniably good work, doing so in the form of a television program was morally dubious, as there was an exploitative element to broadcasting the lowest moments of the predators’ lives in the name of entertainment. Then again, if anyone deserves that kind of humiliation, it’s child predators. The debate over the righteousness of the show swirls to this day, and there’s no real “right” answer, but “Primetime” doesn’t want the viewer coming away thinking that Hansen and his team were saints. To be clear, this isn’t the kind of movie that tries to make it seem like Hansen and his team were the real villains on “To Catch a Predator,” it never goes that far. The marks on that show were the lowest scum of the earth and there is absolutely no confusion about that in the movie. But it does play up the “selfishness” aspect of benefitting from their downfall in the form of tangible television success and intangible feelings of moral superiority. At the beginning of the film, the show is already enjoying success in a late-night timeslot. Hansen has show’s formula down (yes, he asks the mark to have a seat) and he’s famous enough to get recognized on airplanes. But NBC executive Jeff Zucker (playing himself) wants he and his producer Andie (Merritt Wever) to take the show to an earlier – primetime - slot. However, they’ll have to make the show more exciting with more sensational creative choices and taking down more interesting targets. The latter isn’t exactly the sort of thing they can engineer, though they are on the trail of a guy going to a high-profile state funeral in Texas. They pass up the opportunity to catch many predators in New Jersey to focus on this one “whale.” Everybody’s life is a mess. Hansen’s relationship with his wife (Anna Faris) is crumbling and he’s about to be exposed for an affair. Andie is way over-budget and feeling unappreciated. New “decoy” actor Dan (Skyler Gosondo) is in way over his head both performing and living with his role in the operation. The movie seemingly learns in real time that Decoy Dan is a more interesting character than Pattinson’s compelling-but-imitative Hansen, and shoehorns him into scenes where he doesn’t belong in the third act. The only way for these people to feel better about themselves personally and professionally is to catch predators and hit them with the full force of their insecurities. There are worse targets for such bullying, but is it healthy or right that they’re doing this kind of bullying at all? Considering the work that’s getting done as a result of this bullying, probably yes, but maybe a less enthusiastic yes than it would seem at first. “Primetime” certainly wants the viewers to see the ratings-chasing Hansen and Andi as “sleazy,” though reports of them coming off as outright villains have been exaggerated. The same can be said of reports of this subtly being a “horror” movie, which can be blamed on the way the film’s trailer was edited. Surely some of the film’s subject matter is horrific in a non-cinematic way, but Chris Hansen is no slasher, not even figuratively. The only thing getting chopped to pieces here is the film itself, in that there are some nonsensical editing choices that make timeframes murky and rob the film of urgency. If this film fits comfortably into the fringes of your schedule, fine, but don’t waste your primetime hours making time for it. Grade: C “Primetime” is rated R for disturbing sexual material, graphic nudity, some violent content, and language. Its running time is 110 minutes. Contact Bob Garver at rrg251@nyu.edu.

By Bob Garver Poster credit IMDB The streak is over. The last time I started a review with that phrase, it was to mean something bad – 2022’s “Lightyear” was the first Pixar movie that I didn’t recommend. This time, it’s something good – Zach Cregger’s new take on “Resident Evil” is the first movie based on a video game that I do recommend. Not surprisingly, the man who directed Amy Madigan to an Oscar last year for “Weapons” brings enough good ideas to the table that I actually found the movie to be worth my time. Perhaps even more impressive is that the film comes from a property that has already failed me on several occasions. This isn’t based on some newer game that nobody has tried adapting before and doesn’t have a history of failure. It’s “Resident Evil,” the zombie horror franchise that had an awful six film run from 2002-2016 and an unsuccessful 2021 reboot. I was perfectly okay with saying that I’d seen more than enough of zombies from the Umbrella Corporation wreak havoc on Raccoon City. But Cregger, no doubt a fan of the games, thought the property deserved one more chance on the big screen, a stubbornness that has paid off. Austin Abrams stars as Bryan, a down-on-his-luck medical courier whose day is already going pretty badly. His girlfriend may be pregnant (unwelcome news to him), nobody at a hospital will sign for a delivery, and there’s a snowstorm outside that his car is not equipped to handle. An opportunity comes along to make a high-priority delivery that pays double. A few lies about his car later and he’s off to make some extra cash and maybe get to play hero once he reaches the destination: Raccoon City General. Bryan’s day goes from bad to worse when he hits a woman who runs out in front of his car. His day goes from worse to worser when a cop pulls him over with the injured, barely-responsive woman in his passenger seat (the movie earns my respect by having Bryan tell the cop the truth, where a lesser movie would have him try to “comically” B.S. his way through the situation). Things go from worser to even worser when the woman is the opposite of grateful for Bryan and the cop’s assistance. Things go from even worser to… I can’t keep doing this, things will keep getting worse for Bryan for the duration of this movie, which will eventually include a city-wide zombie riot. The scariest one does cartwheels. Any time poor Bryan thinks he’s caught a break, there’s some new obstacle to threaten both his life and his ability to make the potentially-lifesaving delivery. He has to survive by keeping his cool and thinking clearly. Just kidding, nine out of ten times he only survives through a series of desperation moves mixed with luck. Since this movie is based on a video game, most of his decisions are the equivalent of mashing all of his brain’s buttons at once and hoping for the best. In fact, the movie is structured very much like a video game, with each new challenge representing a new level and a higher degree of difficulty, even though Bryan probably thinks that he can’t even repeat what he did to get to that point. This version of “Resident Evil” is the first video game movie that I recommend, and it’s not a high recommendation. Bryan has few words in his vocabulary other than F-bombs, he slows down and stops at points where it doesn’t make sense (except for dramatic effect), and even with necessary urgency, the ending feels rushed. Still, this is unprecedented high quality for a video game adaptation, and Cregger’s stock in Hollywood is only going to rise because of it. I don’t see it winning any Oscars, but it doesn’t deserve to get chopped up by an Axeman either. Grade: B- “Resident Evil” is rated R for strong bloody violence, gore and language throughout. Its running time is 95 minutes. Contact Bob Garver at rrg251@nyu.edu.