Taking a summer job at a restaurant near Cedar Point with his best friend Tina Holmes, Chris Stafford is forced to confront his sexuality when he develops feelings for co-worker Anderson Gabrych. Aside from a fantastic soundtrack and the occasional fabulous clothing choices, this doesn’t generally feel like it fits in the 1980s Midwest that it is supposedly set in. Luckily that isn’t terribly important as this coming-of-age story is fairly universal regardless of the time period as the main character attempts to find his true self even if that risks alienating those who previously supported him the most.

After one of their members double crosses them, a team of thieves plan a revenge heist to get back their take. A supposed remake of the fabulous 1969 film with the same title, this doesn’t share any of that film’s charm. I love a good heist film, but this isn’t one. The double cross is projected the moment the villain appears on screen. One of the most appealing members of the crew is murdered in its first scenes. A supposed romance between Mark Wahlberg and Charlize Theron has absolutely no chemistry. The heists are creative but are so quickly rendered that there’s little to savor. Instead the film is filled with chase scenes that come across as uninteresting commercials for Mini Coopers. Plus it has Seth Green at his most obnoxious.    

When his girlfriend falls into a coma after a car accident, Army test pilot Mel Gibson begs his best friend, scientist George Wendt, to cryogenically freeze him for a year so he doesn’t have to watch her die. More than fifty years later, the Army has lost track of the chamber containing Gibson until two kids playing in a storage facility accidentally activate it. Featuring Mel Gibson as a charming lead, Elijah Wood an annoying child, and Jamie Lee Curtis the caregiver mom, it’s truly a film from a very obvious place in time. Overly sentimental and overtly predictable, I wish it had spent more time on the time period adjustment than it does on the buddies running from the authorities bit, especially as there didn’t seem to be a good reason for the authorities to be pursuing him so aggressively.   

Tupac Shakur and Jim Belushi are pair of corrupt detectives who are left scrambling when a person they murdered turns out to be an undercover DEA agent. The film has a lot of good ideas going for it, but the result is terribly uneven. Released a year after Tupac’s own murder, I was unsure of him playing the more level-headed character to Belushi’s unhinged mastermind, but it speaks to the talent that was lost that he pulled it off quite well. Belushi on the other hand does not know how to bring the steely, ruthlessness necessary for his character whose arc goes on for too long and wraps up in a terribly convenient way.