A Movie Lover’s Guide to ‘Schlock April’

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From January to early May in many years, cinemas experience a burst of lighthearted and less intellectually demanding films, often referred to as “schlock.” After the awards season, these are the types of movies that offer an enjoyable, uncomplicated break. They can be compared to Diet Coke and French fries – simple, immediate gratification. Usually, they feature action-packed storylines instead of deep thematic explorations. The year 2025 started with Mel Gibson’s “Flight Risk,” but things quieted down until David Ayer’s “A Working Man” on March 28, a film that continues the narrative from “The Beekeeper,” even though it’s not exactly a sequel. This movie, along with others throughout the month, keeps adding to the schlock collection of the year. Is this what people call an abundance?

In other words, not every low-budget movie is bad; many can actually be fantastic with their emphasis on action, exaggerated acting, and unexpected twists. However, they aren’t all created equal. Some of these recent releases seem like they’ll offer a thrilling theater experience, while others might be better suited for a cozy night at home or even a long flight. Here’s a guide to what’s worth watching, streaming, or skipping this spring.

Buy a popcorn and see it big

Drop, April 11

It seems I frequently mix up “Drop” with “Trap,” given their close similarity in spelling. Considering this, it’s no surprise! As for the movies, “Drop,” much like “Trap,” presents a contemporary, intriguing concept: Imagine being on a first date at a sky-high restaurant, and someone keeps sending ominous messages to you via AirDrop. The preview has consistently sparked hearty laughter from viewers before films I’ve watched this season. Contrary to its brief 93-minute runtime, “Drop” offers more than just lighthearted entertainment; at its core lies a profound and relatable human experience. Our critic noted after the SXSW premiere that while the plot setup for a thriller may appear absurd, Meghann Fahy’s compelling performance strikes a chord of authenticity and familiarity.

Sinners, April 18

Ryan Coogler, currently detached from the Marvel universe (temporarily), returns with an ominous creature feature set in the past that leans more towards “30 Days of Night” rather than “Interview With the Vampire”. This suspenseful, gory film offers a theatrical experience, although it may not be as action-packed as its counterparts in the schlock genre. However, don’t let the lack of heavy action deter you – it’s still worth watching. The intriguing fact about this vampire movie is that it features twin Michael B. Jordans and even has musical numbers, making it somewhat akin to a musical production.

A Working Man, March 28

If its box office is any indication, most people have already seen A Working Man in theaters.

Save it for the couch

Warfare, April 11

Regardless of the fact that the latest Alex Garland film claims co-writing credit from an Iraq War veteran, it’s hard to imagine enjoying a war movie in IMAX as anything but overly glorified and overwhelming. The grandeur of such a cinematic experience seems unnecessary when the message is that war is both terrible and intriguing. Even though Garland often provides high-octane entertainment, this could be an ideal evening of cheesy action where you can unwind with soothing YouTube videos afterwards.

The Accountant 2, April 28

The Accountant was, somehow, the most rented movie of 2017. Maybe its sequel can smash that record.

Save it for a flight

The Amateur, April 11

As a film enthusiast, I’d say Rami Malek might not fit Hollywood’s conventional mold, but he’s more than fitting for the lead role in a movie you’ll catch on Delta Airways a few months down the line. The movie, an action-packed adaptation from an ’80s novel, is the cornerstone of the entire B-movie genre and deserves to be experienced in its rawest form: nestled comfortably on the seat back of a sleeping passenger.

Skip It

The King of Kings, April 11

The animated movie, “The King of Kings,” produced by Angel Studios (think “Sound of Freedom”), featuring Oscar Isaac as the main character, appears less like a traditional theater film and more of a platform for sponsored social media posts such as tweets and Instagram Stories. What makes this production similar to “The Princess Bride” in terms of storytelling? Also, what’s behind the unique animation style used in “The King of Kings”? Unless these questions are addressed by the movie, it seems fair to give it a pass.

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2025-04-09 01:54