By Michael C. Woody | Special to the Times Vedette

“We Live in Time”

I am not sure why this didn’t get more attention, but this extremely well-made film mesmerized me with its aggressive storytelling and outstanding performances by Florence Pugh and Andrew Garfield. It was largely ignored by critics and audiences. They missed out.

“Heretic”

Hugh Grant gives one of the creepiest performances I’ve seen in a long time as a hermit-like man who has two young female missionaries knock on his door. He invites them in. Everything is up for grabs at that point. Grant will receive serious Oscar conversations.

“IF”

A bad title can kill a great movie, and, in this case, one of the year’s most charming and wonderful movies. John Krasinski directs the tale of a young girl who begins to see everyone’s imaginary friends. This movie is unlike any I saw this year, and I fell in love with it.

“The Wild Robot”

It takes an exceptional film to land on my list this year, and to have an animated movie in my top five is truly rarified air. An odd title didn’t help this film at the box office, but this adventure film has more heart than 90% of the movies I saw in 2024. Music, animation and story-telling are at the top its game.

“Alien: Romulus”

We’ve seen sequel after sequel to the “Alien” franchise. A couple of them were good, but none were as good as this. It stands on its own as a sci-fi thriller and adds a brilliant piece to the “Alien” sci-fi film legacy. Unexpected but very much appreciated.

“Longlegs”

This is horrifying film starring Nicolas Cage. If I tell you any more than that, you will hate me.  One of the most original and terrifying movies of the year. If you are watching it at home, turn off the lights.

“Saturday Night”

Take a look at the first airing of “Saturday Night Live” and learn how it almost didn’t happen. Just watching this film will raise your stress level to new heights. The no-name cast looks amazingly like the original cast.

“Gladiator 2”

How do you follow up the original film when your main character is dead? Give a nod to that character and bring in Denzel Washington and Pail Mescal to more than fill the void with top-notch acting and brilliant directing by Ridley Scott.

“Deadpool & Wolverine”

Who would have thought last spring that this movie would not only be good but would set the high bar for the rest of movies of the year with more than a billion dollars in revenue? It is violent and profane but still original and entertaining.

“Wicked”

Green begets green in this long-awaited sequel to the original “The Wizard of Oz” story and smash Broadway musical. I was less than thrilled with the Broadway play, but the film is so well cast and so well made it is difficult to not love. If you spent the month of November under a rock, this is just the first half of the complete film, which will end with the sequel next November.

Honorable Mentions

It sometimes takes a lot to be ”heard” in the midst of the busy film release calendar. These four strong movies didn’t get seen enough to make many end-of-the-year lists, but I will include them as worth watching.

“Bike Riders”

A great cast includes Austin Butler, Jodie Comer and Tom Hardy in a film about a midwestern motorcycle gang and the dangers that befall them. Hardy is brilliant channeling Marlon Brando but not enough to make me forget “Venom 3.”

“Outrun/Blitz”

Sairose Ronan proves twice this year what a talented actress she can be. Portraying the horrors of substance abuse in “Outrun “and the horrors of war in “Blitz.” Well worth a visit on your favorite streaming service.

“Lee”

It is rare for a Kate Winslet film to not get the attention it deserves. This true story of a fashion photographer who ends up as a war correspondent is as brilliant as it is gritty. Of all people,   Adam Samberg co-stars.

(“Birthday Girl,” “A Complete Unknown” and “Nosferatu” opened after this list was compiled.)

Eli (Jaeden Martell) and Laura (Rachel Zegler) lead the pack of high school misfits. “Y2K” R | 91 minutes Director: Kyle Mooney Writer: Kyle Mooney, Evan Winter Stars: Jaeden Martell, Rachel Zegler, Julian Dennison

It’s messy, uneven and often frustrating, but it’s also packed with laugh-out-loud moments and a nostalgic charm that’s difficult to resist.

By David Rowley | Special to the Times Vedette

Kyle Mooney and Evan Winter’s “Y2K” is a throwback to the dope show that was the late 1990s — packed with outrageous humor, absurd situations and a hefty dose of nostalgia. It’s a movie that knows its audience — those who lived through dial-up internet, pop-up-filled monitor screens, Sharpie-covered mix discs, and Millennium Bug hysteria. Forget Easter eggs; audiences are treated to a plateful of “member berries” that feel like a warm, chaotic hug. 

The idea behind “Y2K” is simple: A group of high school misfits finds themselves at the epicenter of Y2K panic when a supernatural event, triggered by the infamous computer glitch, spirals their quiet suburban town into comedic carnage. Mooney and Winter clearly have an eye for absurdity, and the setup provides fertile ground for their blend of over-the-top comedy and outlandish scares.

“Y2K” excels in its meticulous recreation of the era. The film is a love letter to the quirks of late-1990s culture, from the ritualistic blowing on video game cartridges to the unmistakable buzz of a dial-up modem. The soundtrack, featuring the likes of Limp Bizkit, Mandy Moore, and Fatboy Slim, doesn’t just set the tone — it transports viewers back in time. Every detail, from Fred Durst roasting his own legacy to panicked teens burning mix CDs for social survival, feels crafted with loving precision. For anyone looking to revel in the oddities of Y2K panic, the film delivers in spades.

Much like classic Sam Rami horror, “Y2K” also leans heavily into humor, and for the most part, it works. The film is packed with shrewd sight gags, ridiculous plot beats, and over-the-top kills that keep the energy high. Death by compact discs? A possessed Tamagotchi? The absurdity is relentless, with each scene attempting to outdo the last in sheer chaos. These moments highlight the filmmakers’ knack for blending gore and laughs.  

Yet, beneath the glow of CRT monitors and open button-down shirts, “Y2K” stumbles when it comes to delivering characters and an emotional core as strong as its aesthetic, leaving viewers entertained but ultimately uninvested. Even the film’s attempts at heartfelt moments fall flat. Eli (Jaeden Martell) and Laura (Rachel Zegler) lead the pack of high school misfits, but their archetypes — the awkward nobody and the cool kid with a geeky side — are all too familiar. Their romance, which should serve as the emotional heart of the film, feels underdeveloped, overshadowed by the film’s constant barrage of gags and references. 

An epilogue featuring Eli visiting a friend’s grave aims for poignancy but lacks the weight to land effectively. These moments feel like obligatory beats in a story more concerned with its spectacle than its soul. As a result, the characters come across as props to support the film’s nostalgia-fueled antics rather than fully realized individuals.

The double-edged sword of the movie’s fun frenetic energy is pacing, with some sequences dragging on too long and scene transitions that feel jarring, making the narrative feel more like a series of sketches than a cohesive story.

While the dedication of “Y2K” to its setting is admirable, it occasionally works to the film’s detriment. The barrage of cultural references, though entertaining, sometimes feels like a crutch, propping up a story that struggles to deliver meaningful character arcs or emotional depth. It’s clear the filmmakers poured their love for the late 1990s into every frame, but this focus on aesthetic and era leaves the narrative hollow at times.

An ambitious, chaotic love letter to a bygone era, “Y2K” is filled with laugh-out-loud moments, absurd set pieces, and meticulous attention to its late-1990s setting. It’s a film that thrives on its nostalgia and comedic energy, offering plenty for fans of the era to enjoy. However, its flaws — uneven pacing, underdeveloped characters, and a lack of emotional resonance — keep it from reaching its full potential.

If you’re looking for a perfectly crafted story, “Y2K” might leave you stalled. But if you’re in the mood for a nostalgia-soaked comedy with a gleefully absurd streak, it’s a ride worth taking — quirks, glitches and all. 

“Rebel Moon: Part 2 – The Scargiver” PG-13 | 122 minutes Director: Zach Synder Writers: Zach Snyder, Kurt Johnstad, Shay Hatten Stars: Sofia Boutella, Djimon Hounson, Ed Skrein

This Netflix sci-fi saga delivers an abundance of explosive action and slow-motion sequences, but ultimately lacks cohesion and emotional depth.

By David Rowley | Special to the Times Vedette

Zack Snyder’s latest foray into the realm of epic sci-fi, “Rebel Moon,” is a grand spectacle of ambition and visual prowess, yet it struggles to break free from its own limitations. Boasting a star-studded cast including Sofia Boutella, Ed Skrein and Djimon Hounsou, the film presents a tale of rebellion, unbreakable bonds and the emergence of heroes in the face of impending doom. However, despite its admirable aspirations, “Rebel Moon” falls short in delivering a truly captivating narrative experience.

Known for his boundless enthusiasm and penchant for pushing the boundaries of cinematic storytelling, Snyder once again demonstrates his commitment to innovation. Yet, as is often the case with his works, “Rebel Moon” elicits mixed reactions, leaving audiences either enamored or disenchanted with its offerings — like going to a great restaurant only to find out they’ve changed the menu because they couldn’t get ingredients they needed.

The film is at its most engaging with its visual construction, with Snyder orchestrating the grandeur of intergalactic warfare on screen. From sweeping battle sequences to stunning CGI landscapes, “Rebel Moon” is a testament to Snyder’s ability to make truly exciting movie trailer b-roll. The man has skills with slow-mo, and his overuse of the technique guarantees a few great scenes. However, for all its visual splendor, the film struggles to engage on a deeper level, failing to establish meaningful connections with its characters or offer anything of a compelling narrative arc.

The film attempts to blend elements of “Star Wars” and “Seven Samurai” but falls short in crafting compelling characters and a coherent narrative. Despite efforts to introduce new aliens and expand the universe, the story feels derivative and overstretched. While the ensemble cast is remarkable in their star-power, “Rebel Moon” is unable to evoke genuine empathy for its characters. Despite the valiant efforts of the cast, the film’s ensemble feels underdeveloped and lacking in emotional depth. As a result, it becomes increasingly challenging for audiences to invest themselves fully in the fate of these characters, leading to a sense of detachment that persists throughout the film.

While the introduction of new heroes and the expansion of the story’s mythology are commendable efforts, they ultimately fall short of revitalizing a plot that feels stuck in a perpetual cycle of “The Chris Farley Show” from “SNL.”

As the film progresses, it becomes evident that Snyder’s reliance on slow-motion sequences serves as a crutch rather than a stylistic flourish, further exacerbating the sense of stagnation that permeates the story.

In its attempt to set up future installments, the film sacrifices depth for spectacle, leaving audiences with more questions than answers. Despite its potential, “Rebel Moon: Part 2 – The Scargiver” falls short, offering flashy visuals but little substance. Despite a talented cast and ambitious worldbuilding, the film fails to deliver a compelling narrative or memorable characters. While it may appeal to fans of Snyder’s style, it ultimately feels like a missed opportunity to create something truly remarkable.

Given how popular the first film was (according to Snyder and Netflix, anyway), we’ll likely see more “Rebel Moon” down the line. Snyder previously said he’d like to do a six-hour director’s cut of both films, and he recently told Radio Times he would like to stretch the “Rebel Moon” series out to four or six films. Somehow, that just feels like a threat. 

From the Iowa Department of Natural Resources

Wildflowers are enticing treasures for wilderness lovers each year. One of the most encouraging signs of spring, the first wildflowers seem to bloom overnight.

Discover the renewal of spring in the colors of the flowers with the Iowa Department of Natural Resources’ (DNR) weekly woodland wildflower bloom report.

Early spring wildflowers are commonly called ephemerals, which means “short-lived.” Their dazzling show of spring color is only a limited engagement, so take time to see the flowers before they are gone.

Visit the Woodland Wildflower Report webpage (https://iowadnr.gov/wildflowers) for an up-to-date list of wildflowers in bloom each week until mid-May. You can sign up to receive weekly wildflower bloom reports in your inbox.