 A surprise to no one, this title captivated me when I first saw a trailer, and I could tell it would be one of my favourites of 2025. This came from the combination of 1: someone taking another stab at the original source material for 'The Running Man' and having it make a little more sense than the Schwarzenegger film as far as an adaptation goes; 2: Glen Powell, who makes for a more unassuming action hero, and 3: my personal hero, Edgar Wright was behind the wheel on this project, and he's never made anything I haven't liked.
Now, before you go thinking that I'm casting shade at the 1987 Arnold classic action thriller that is 'The Running Man,' know that I love that movie just as much, but in its own way. Historically, it's one of the epitomized titles of Schwarzenegger's filmography, complete with high-octane action, a retro-futuristic style that gives off a lot of 80s charm, and a slew of one-liners from Arnold, like "I hope you leave enough room for my fist, because I'm going to ram it into your stomach and break your goddamn spine!" It's an undeniable classic in its own right, to be sure. Unfortunately, however, the '87 film lands in that Stephen King category of film that a few other classics (like 'The Shining') do, where King looks at it and asks, "What the hell did you do to my story?" Although films like these go down in cinematic history as classics, it doesn't change the fact that they mess with the original source material. In many ways, I tend to be in King's corner on this. For as much as I love 'The Shining,' after I finally read the book, which ends far, far differently, I got where he was really coming from. It's a love of other people's work combined with an understanding of how King might feel about excessive tampering. In the '25 version here, a futuristic United States has been taken over by The Network, a tyrannic television network that specializes in "get-rich-quick" reality TV and game shows, in which poverty-stricken citizens often volunteer themselves to star on in order to make ends meet, get their hands on some medicine, or whatever personal problem is plaguing them. This story focuses on a tough, "sick-of-it-all" man named Ben Richards (Powell) who needs money to help his loving wife, Sheila (Jayme Lawson), and his ill-stricken baby girl, Cathy (Alyssa/Sienna Benn). Like many others, Richards decides to try out for these shows. When trying out for these shows, one must run a gauntlet that tests both physical and mental prowess, and if one survives, they are selected for the show that best suits them. Richards does his best, but ends up on 'The Running Man,' which is hands-down the most dreaded show to end up on, as you're essentially doomed to death from the beginning. It involves survival from not only soldiers that the network deploys to hunt you down, but society itself, which can turn you in dead or alive for prizes, be it money or a lifetime supply of something. In a society where everyone is desperate to survive, people are bound to be a little more rabid. The nice thing about 'The Running Man' show, however, is that the longer you survive, the richer you get, and with his wife and sick daughter back home, Richards is determined to do what it takes to survive as long as he can, and hopefully make it through. While the plot is very similar to the '87 version, I can say with all honesty that this is by far the better adaptation, if you're looking for something that leans towards the book a little more. It's still not spot on, but that's also part of its beauty - Wright provides us with the necessary action fans of the '87 film will want in Schwarzenegger's wake. Again, I am essentially biased when it comes to my opinion on just about anything Edgar Wright has his name on, but speaking for myself, this is easily one of the most fun times I've had at the theatre this year. If it's not showing us some action, it's showing us some fun or humour, and the fast pace and slick editing make for a great roller-coaster ride. Some will no doubt stick to the '87 classic, and that's fine, but I still highly recommend giving this version a shot, if only because it's much, much closer to the story Stephen King originally intended. 5/5  While the 'Predator' movies have existed for quite some time now, it wasn't until I checked out 'Badlands' that I gave any real thought to any sort of background to the Predator species. I just lumped them in with the Xenomorphs of the 'Alien' series as another alien species without questions like "where do they come from?," "what makes a Predator a Predator?" or "what is the Predator species called?" Bearing in mind that this is the first of three Dan Trachtenberg 'Predator' titles I saw, it was all new to me with 'Badlands'.
Truth be told, I wasn't sure what to expect with this, considering its Canadian PG rating. To me, this was kind of like what it would have meant for 'Deadpool' if it ended up being rated PG, considering the Predator I'm used to is a horrific icon who skins his victims and hangs them from trees. Luckily, however, that baddassery of the Predator is surprisingly still alive and well here, and its lore is expanded upon, complete with the Predator's species name: the Yautja, which writers Patrick Aison and the aforementioned Trachtenberg clearly did some homework on, considering the term comes from 1994 expanded universe lore. This particular story focuses on a Yautja named Dek (Dimitrius Schuster-Koloamatangi), who is considered weak and seemingly unworthy to take his place among his clan. In order for a Yautja to prove their worth, they must go on a hunt, claim a trophy, and bring it back. Dek, knowing how he's seen by others, decides to go after an apex predator located on planet Genna (known as the "death planet") called the Kalisk, which is a creature feared even by Dek's father, Njohrr (Reuben de Jong, but voiced by Schuster-Koloamatangi), guaranteeing him a high rank among his clan. When Dek arrives on Genna, he finds himself faced with a living planet where everything is out to kill him, from creeping vines to razor grass to giant creatures, but he remains determined to find his trophy. Although the Yautja are meant to hunt alone, he stumbles upon a Weyland-Yutani android (hello 'Alien' tie-in) whom he reluctantly teams up with, named Thia (Elle Fanning), whose entire crew was wiped out by the Kalisk while on a mission to study the flora and fauna of the planet; androids being necessary to face the dangers of the planet. As the film unfolds, Dek and Thia teach each other about deeper aspects of their lives, and it often results in some pretty humorous material, with Dek being the stubborn, blood-lusting Yautja he is. Still, in a bit where Thia teaches Dek about the nature of wolves, I have to say, it felt pretty fitting. Meanwhile, a real threat looms over them in the form of Weyland-Yutani, which recovers and repairs another android named Tessa (also Fanning), who will stop at nothing to retrieve her sister and complete the unfinished mission, ultimately seeing Dek as a threat and something new for them to study. Although I feel like some of the more old-school 'Predator' fans, such as myself, might find this a little jarring compared to what they're used to, I still saw a lot of quality in this movie. I enjoyed seeing the Yautja develop here, as the film provides a bit of background without being the whole movie. At its core, it is still a 'Predator' movie set on another planet, involving a great hunt. To those wondering about that PG rating, it still has its fair share of blood and gore, but when the violence doesn't spill red, human blood, one can get away with a lighter rating. Everything that gets wounded here is either an android or some sort of creature. What makes me appreciate the film even further is the complete lack of the human element. Although the androids still convey human emotion, the fact that this takes place in a world where the Predator we all know and love can take on bigger, badder things than human beings is a sigh of relief, considering they're supposed to represent the ultimate hunters. With a strong imagination behind much of the flora and fauna of planet Genna, I really have to credit this for much of its creativity. I wasn't sure how I felt at first, but the more I think about it, the more it grows on me as I realize the Predator's universe tends to be pretty unexplored. 4/5  This whole 'Tron' franchise is something I find pretty cool conceptually, but, much like I felt with the last film (which was fifteen years ago now), the execution of it all doesn't do a whole hell of a lot to fuel my interest. In that sense, 'Tron' reminds me of 'The Matrix', where, ultimately, the first one was the only one I truly understood and enjoyed; the extension of its universe seems to get jumbled and confusing. Likewise, the series' animated presentations are probably the best the series has done since its original film.
For a slight recap from last time, the original 'Tron' film shows arcade owner Kevin Flynn (Jeff Bridges) get digitized into a computer, discovering a digital world run by the Master Control Program (whom 'South Park' fans will most assuredly recognize as Moses), which itself is run by Flynn's nemesis, Ed Dillinger (David Warner). The film is a good-versus-evil fight from within the system, as Flynn becomes a freedom fighter for other programs, all of which boil down to the symbolism of the dangers posed by future technology. Things expand in 'Legacy,' however, with the help of his own creations, "Tron" (Bruce Boxleitner) of the first film and Clu (also Bridges), Flynn creates his own "Grid." However, through, let's say, a "glitch" in Clu's programming, Clu aims to make the "Perfect System," and, as with so much artificial intelligence in films, this turns into the "need" to eliminate humankind with our "imperfections." Spoiler alert, Clu's bested by a trio that includes Flynn, his son, Sam (Garrett Hedlund) and a program named Quorra (Olivia Wilde), whom Sam escapes the Grid with, which is what gives 'Ares' here its fuel to become a thing. Set in real time, this takes place a full fifteen years after its predecessor, and in cse you're wondering, we really don't find out what ever happens to Sam and Quorra, save for Sam taking over his father's company, but the technology is more of what the primary focus is here as opposed to what could be considered a heartfelt sci-fi/fantasy story. This story involves a race between rival companies, ENCOM, led by Eve Kim (Greta Lee), and Dillinger Systems, led by Ed Dillinger's grandson, Julian (Evan Peters) helped by his Mom, Elisabeth (Gillian Anderson), as they try to figure out the technology to bring digital constructs into the real world. Dillinger seems to be ahead of the game, as he creates Ares (Jared Leto), whom he brings out to the real world, introducing him to shareholders as the perfect soldier (once again bringing the age old weapons scheme into play), but there's a problem; after just 29 minutes of life on Earth, he falls to pieces in the literal sense, and Dillinger has to try again. The Holy Grail between each company is what's referred to as the "Permanence Code." Long story short, ENCOM finds it first, Dillinger finds out, and sends Ares to infiltrate ENCOM's grid to retrieve it. With Ares' advanced features, however, he becomes self-aware. He can analyze things like empathy, reasoning, and again, as so many of these stories tend to go, what it means to be "human," and before he knows it, he's wondering if he's on the right side of things. Making things more complicated is the loyal-to-Dillinger Athena (Jodie Turner-Smith), who proves to be just about as skilled as Ares and, like Clu, takes her commands perhaps a little too seriously. Once again, much like 'Legacy,' it's a wild ride of visual candy, but one isn't hit with the substance so much as the style. It's my humble opinion, but this isn't unlike the previous 'Tron' films. Aside from being stylistic in a massive way between their visuals and dedicated musicians for their soundtracks ('Legacy' featuring Daft Punk and 'Ares' featuring Nine Inch Nails), there's not a whole lot about any of them that suck me in enough to need to see the film time and time again, truly. I think the best way to describe these is that they fall into that "carnival ride" category, where they can be a fun time, but when it's all said and done, you're ready to go on a different ride. 3/5  While I'd probably never claim Superman to be among my all-time favourite superheroes, he does still tend to be a character for whom I have the ideal version in my head. Superman should be a full-on hero, going out of his way to rescue creatures great and small, protect Metropolis and the rest of the world, and not become a dark, brooding DC character, as Batman has already perfected it, and we don't need another. With that said, however, don't worry; I get it. The DCEU has its fan base, but it's not altogether for me.
The best 'Superman' movies to date, in my opinion, are the 1978 original and its 1980 follow-up. But for my particular tastes, and this is a bold statement, but this reboot has swiftly become my favourite of the bunch. Still, not everyone is gonna come out of this loving it. It must be noted that this is very much a product of James Gunn, so you will get the same vibes you got with the 'Guardians of the Galaxy' movies, or 'The Suicide Squad' if you're more of a DC person, and there is no "Smallville" feeling to it. This is a fresh take on the character, and we can all breathe a sigh of relief knowing it's not another origin story. We are introduced to a world where Metahumans are a known entity, and Superman/Clark Kent (David Corenswet) is already an established superhero. His latest feat was to face off against the nation of Boravia, which attempted to invade Jarhanpur, a neighbouring country. Superman threatens the Boravian president, Vasil Ghurkos (Zlatko Buric), that if he doesn't back off, Superman will return. This sets up a solid split for the audience, as while we love to see Superman take on a political bully, things just aren't that cut and dry, as wonderfully illustrated by the Lois Lane (Rachel Brosnahan) interview scene, as seen in this trailer. The film opens with a brief recap of Superman's origin story, presented subtly without resorting to a flashback or similar device. But altogether, we get the Fortress of Solitude, how Superman heals using the power of the sun, we're introduced to his awesome dog, Krypto, and it's even established that this is a very sci-fi setting, as it's shown Superman has some robot helpers, who include the voice talents of Alan Tudyk, Michael Rooker, and Pom Klementieff among others. I must give credit to the opening for providing us with so much without simply repeating what we already know. Before we know it, Superman heads back to a fight he was just bested at for the first time against the "Hammer of Boravia," a metahuman controlled by the genius Lex Luthor (Nicholas Hoult), who aims to take Superman out of the picture, allowing Boravia to invade, which Luthor has his reasons for wanting. However, Luthor's real motivations for stopping Superman are based on hatred and resentment for Superman's stardom. But it's not all so black and white. There are more profound questions that come into play, part of which includes Superman's apparent true purpose here on Earth—the hero questioning just who he is. The film even manages to bring in other heroes, including Guy Gardner/Green Lantern (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi), all of whom are well-utilized and do not detract from the movie being a 'Superman' film. I also feel that I should bring John and Martha Kent (Pruitt Taylor Vince and Neva Howell, respectively) into this - John is still alive in this, which immediately tells us that it's still very early in Superman's career. Both are pretty great, often coming off as stereotypical "old folks," but the film still allows for a very heartfelt scene between John and Clark. There's so much more I could write about, like a great use of special effects, doing subtle things never thought of before (like seeing Superman fly through varying weather), the fact that Hoult completely steals the show with his villainous performance, that feeling of a comic book come to life rather than some unnecessary dark take on things, and so much more. There were moments when I was watching it with a huge smile on my face, as I was finally getting a version of Superman I wanted to see. I cannot wait to see what Gunn does with the rest of this universe. 5/5  Pixar consistently does an excellent job of storytelling, and lately, they've been back on top in terms of the quality of their movies. 'Elio' is just the next chapter of Pixar's unstoppable success. I will say, right off the bat, that this is one I feel caters a bit more to the kids. While it has its share of depth, I didn't feel that emotional punch that has impacted me with past Pixar movies. With that, I think my closest comparison is 'Coco,' which did a great deal more for me in the long run.
But that's not to say that this is anything to turn your nose up at. 'Elio' does manage to still carry the heart of Pixar with things like an opening that might hit one in the feels (like 'Up'), but remains lighthearted and fun the whole way through, to the point where even the big baddie in the film isn't as scary as he is over the top silly. And, of course, like most Pixar movies, there's a healthy dose of "cute" to it, and it's another solid title that will have you leaving with a smile. However, it's far from the personal favourite that I thought it might be. As the film opens, we learn that a young boy named Elio Solís (Yonas Kibreab) has been orphaned following the death of his parents. Here's where I take a moment to credit the writers for NOT detailing the parents' death (which is almost always a car accident). It allows the viewer to focus more on the outcome, as Elio is a very lonely boy, now forced to live with his aunt, Olga (Zoe Saldana), and an Air Force major who, to her credit, doesn't pursue a career as an astronaut so she can care for Elio. However, in turn, this causes Elio to consider himself a burden on her, and he has his share of insecurities. One day, Elio stumbles upon an exhibit about Voyager 1 and its Golden Record, becoming wonderstruck by the idea of other life being out there in the cosmos and trying to make contact. He works on his alien contact project for a while, which is eventually ruined by a couple of kids, Bryce (Young Dylan) and his jerk friend, Caleb (Jake Getman), which, in turn, causes Elio to lose his temper, and a fight ensues. He finds himself under the closer watchful eye of his Aunt Olga, who brings him to work with her, which... I don't know what's possible in reality as an Air Force major, but what do I know? Elio manages to sneak his way into an emergency meeting, overhears the possibility of an alien signal, and considers the idea that the airwaves may be open to sending another message and establishing some form of communication. It's dismissed, everyone leaves, but Elio stays behind to send a signal of his own, cause a power outage and nearly get Olga fired. He's then sent to a youth camp where, eventually, while dodging the same kids he fought with, Aliens find him, abduct him, and all of his dreams start coming true (hoping to be abducted and taken off this planet where he can begin anew). They even clone him to keep Olga fooled. Things start just about as he imagined, with kindly alien creatures of unique designs who welcome him into their society with open arms. However, also trying to infiltrate this society is the hot-tempered Lord Grigon (Brad Garrett), who poses a threat to the entire civilization. When Elio volunteers to become an ambassador to negotiate with Grigon, simply so he can stay, is when the real adventure begins, as Elio finds himself in over his head, but also befriending a young "Hylurgian" named Glordon (Remy Edgerly) as pictured above. While the film has all the heart, charm, cuteness, and humour that Pixar typically offers, what it shines in is its unique look. Not just the worlds the alien creatures come from, but the creatures themselves, and not a single one of them is a typical "Grey" as we know them. It pops with colour and atmosphere, and manages to be a feast for the eyes. It just didn't hit me as hard emotionally as something like 'Soul' or 'Inside Out 2,' offering something lighter, like 'Luca' or 'Turning Red.' But it's nevertheless solid and worth checking out. 3/5  While Disney is taking the lead with their live-action remakes of animated classics, DreamWorks has come along with 'How to Train Your Dragon,' illustrating that other studios are also getting into this money-making idea. However, without being too cynical, unlike the Disney collection, this translates less as a simple cash-in remake and more as a revamping of the classic 2010 film, especially since the same writer and director, Dean DeBlois, is responsible for both the remake and the animated version.
While this film is doing well with audiences, who have been praising it, it remains average. This title isn't quite like 'Beauty and the Beast,' which had me wondering what made it so special, meaning I can see some of this movie's real positives. However, it still falls under the category of 'copy and paste,' which is the most significant criticism I have of the Disney live-action titles, with few exceptions. Besides adding a scene here or removing a scene there, it will still generally boil down to the same overall story with the same lessons, morals, and so on. For those who haven't seen the original animated movie (which is still probably better, surprising no one), in centres on a Viking boy named Hiccup (Mason Thames) who lives among seveal other rough and tumble Vikings, including such figures as his chieftain father, Stoick (Gerard Butler), and blacksmith, Gobber (Nick Frost), whom he's apprentice to. Unlike many villages whose pests are common, like mice or mosquitos, in their town of Berk, these Vikings have to deal with dragons constantly threatening their livestock and their homes. Hiccup has an overwhelming desire to down one of these ferocious dragons, as it would help make up for his stringbean-like strength and impress his father. During a dragon raid, Hiccup uses a bola launcher on the most elusive and cunning dragon species of them all, the Night Fury: a fast and furious dragon that cannot be seen under the cover of night, but Hiccup manages to take it down. In his attempt to prove himself, he heads out to finish the job, but upon seeing the creature's eyes, Hiccup cannot follow through with the kill. Out of compassion for the creature, Hiccup releases the Night Fury, befriends it, and names it "Toothless," due to its retractable teeth. As he goes back and forth from Toothless to his village, he teaches a lot of the other young Vikings; dragon geek, Fishlegs (Julian Dennison), cocky coward, Snotlout (Gabriel Howell), twins Ruffnut and Tuffnut (Bronwyn James and Harry Trevaldwyn, respectively), and Viking warrior to be, Astrid (Nico Parker) a thing or two about how perhaps violence against the dragons isn't the answer, and maybe they can be tamed. Beyond understanding the misunderstood, there are also themes of finding one's place while seeking acceptance and the desire to prove oneself, illustrated mainly by the relationship Hiccup has with his father. It may all be better done here, but it's not enough to say I prefer this one over the classic. However, I can appreciate the desire to enhance one's creation, not so much in a George Lucas way by overwriting what he's done, but by creating a separate product altogether. One might prefer DeBlois' animated version of the film, while others might prefer this version. There's a lot to enjoy about this version of the film, regardless of my opinions on it. Doing things like being able to offer some 3D, live-action dragon flying sequences makes things look good, but once it's out of theatres, it'll go 'Avatar' and the impact will be lost. I could take or leave this movie, which is not to say that it was bad or that I didn't enjoy it. But it always comes back to the same thing for me, knowing that a classic version of the film already exists, and that this is essentially the same thing, utilizing today's technologies to make something live-action look good. 3/5  A long time ago, a friend of mine introduced me to the original 'Lilo & Stitch,' which ended up being a movie I skipped, as at the time, I was pretty ignorant about the potential it would have to work its way into being among a personal favourite of the Disney animated library. I largely ignored it because we started getting instantly forgettable titles like 'Dinosaur' and 'Atlantis: The Lost Empire.' But then again, you had titles like 'The Emperor's New Groove,' which I also love. In other words, things were very hit-or-miss.
Upon watching the original film, however, I found myself charmed by it, and considering it surprisingly edgy with its sense of humour, i.e. Lilo practicing voodoo with dolls she made, telling someone "they need to be punished," or even some of the lighter parts of it, like when Stitch says "Meega, nala kweesta," and its meant to be taken as something we can't understand. Still, you know it's something terrible, as some characters even throw up after it's said. Upon a bit of digging, it supposedly means, "I want to destroy," but that's no fun. Let it be a dirty word - that's so much funnier. Back to the movie at hand, however, this was one of the live-action Disney remakes that came along, and I was willing to give it a proper chance. The reason was not so much that I already liked the animated movie and thought a live-action film would be a good idea, but more because 'Lilo & Stitch' was among the more fun-loving, good-time animated films in the Disney library. I'd place it alongside something like 'Emperor's New Groove,' where the comedy takes a front seat, and there's not a whole hell of a lot of seriousness to behold. Plot-wise, it is a copy-and-paste concept from the original film, with various additions and changes. Stitch, first known as "626" (voiced by Chris Sanders, who also portrayed the original Stitch), is the result of an experiment created by mad scientist Dr. Jumba Jookiba (Zach Galifianakis) in the hopes of causing destruction and mayhem throughout the galaxy. After a trial, Jumba is sentenced to prison, and 626 is exiled. However, 626 manages to escape the planet by stealing a police vehicle, utilizing its hyperdrive, and eventually crash-landing on Earth, where he is found and brought to an animal shelter. Meanwhile, in Hawaii, two sisters, the young Lilo (Maia Kealoha) and the forced Mother figure, Nani (Sydney Agudong), have lost their parents and are doing their best to carry on. While Lilo gets bullied at Hula school and longs for a friend, Nani deals with grown-up issues, like keeping a steady job and struggling to pass social worker inspections performed by Mrs. Kekoa (Tia Carrere, who voiced the original Nani) who is overseen by Cobra Bubbles (Courtney B. Vance), which is one of those weird changes that makes things not quite as fun, being that Cobra Bubbles was just a very intimidating social worker in the original. Anyway, to wrap things up, Lilo is taken to the aforementioned animal shelter where she meets the likes of 626, names him "Stitch," and the pair get into all sorts of mischief. But little does Lilo know that Stitch is being hunted by his creator and Earth expert, Agent Pleakley (Billy Magnussen), who is sent to recapture Stitch and bring him back to the Grand Councilwoman (Hannah Waddingham). Somewhat villainous at first, Stitch soon learns the meaning of 'ohana - "Family" and that there's more to life than destruction and mayhem. To no one's surprise, I prefer the original animated film. Like many other Disney live-action adaptations, people will argue about the changes made here and there or the inclusion of extra scenes that add more depth to the film. But from my perspective, it's simply a way for Disney to retell a story they already have in their library, introducing it to a new generation, because for some reason, they feel like they need to "George Lucas" everything by making it "better." This was fun, as I suspected it would be, but as it is with pretty much all of these, the original is still a classic that can't be made "better" just by giving it a live-action twist. 3/5  When it comes to the worldwide sensation that is the open-world sandbox of 'Minecraft,' it was just another massive trend that I didn't manage to get into for one reason or another. It just didn't hit for me, even though I love it conceptually. It's all about creativity and imagination and what kinds of amazing things you can build with no limits, often compared to Lego, which is something I am a die-hard fan of, even in my 40s ("afol," look it up, people. We're everywhere).
If I had to narrow it down, my lifelong love for Lego is probably why I never got into Minecraft. Lego offers much more variety in building a physical structure than a series of cubes on a computer screen. But don't get me wrong - I greatly respect the game and what it provides to its fans. Creativity and imagination are essential in my books, and 'Minecraft' does a fantastic job of lending itself to such things. However, aside from the game's creative aspect, I know nothing about it. So, as a non-fan, how is the film? We start with a feisty character named Steve (Jack Black), whose backstory involves fulfilling a childhood dream to mine. Luckily, it doesn't drag out; Steve eventually wanders into a mine and finds the "Orb of Dominance" and the "Earth Crystal." Combining them, Steve is transported to the "Overworld," a land made entirely of pixelated cubes that can be broken down to create all sorts of cool stuff. Or, in layman's terms, he essentially enters the Minecraft game, but here it seems more like a parallel dimension. When Steve stumbles into another portal, it transfers him to a sort of hellscape known as "The Nether," where he is taken captive by a "piglin" mob led by Malgosha (Rachel House) but manages to give the Orb and Crystal to his pet wolf, Dennis, who escapes into the real world and hides them away from Malgosha, who could potentially use the Orb of Dominance to... well I mean it's in the name. Sometime later, gaming champion Garett "The Garbage Man" Garrison (Jason Momoa) stumbles on the Orb and Crystal, though he doesn't know what it is. Cutting to the chase here, when siblings Henry (Sebastian Hansen) and Natalie (Emma Myers) enter the picture, moving into town after their mother's untimely death, along with their real estate agent, Dawn (Danielle Brooks), all eventually find themselves in the Overworld after Henry combines the Orb and Crystal. Malgosha learns of the Orb's return and sends her hoards after the group, while Steve breaks free from her captivity and helps the group fight off her armies of piglins, and other dangers like "Creepers" and try to get home. As a non-fan who, at the very least, has respect for the game of 'Minecraft,' I can safely say that this was far more made for true fans. The film struck me as having quite a bit of inside jokes and gags, and the parts to do with the game overshadow a lot of the actual story. For example, we get that Henry and Natalie have no parents, but there's not much more on the subject. Instead, the film delivers a LOT of Jack and Jason going over the top for laughs that often fall flat. Most annoyingly, Momoa has this scream that is meant to be humorous against his rough exterior, but it happens far too frequently throughout the film and gets irksome. As a movie, it reminds me almost too much of 'Jumanji: Welcome to the Jungle,' except that I'd argue the characters here are far less likable, on the whole. However, I believe the game's fans could still have a good time with it, especially if they're kids. It works fine for what it is and is certainly not without a bit of fun. But it's another one that isn't quite for me, lacking in decent character development and having a very plain story that, again, has been done before, but with the big name of 'Minecraft' slapped on it. It's passable, possibly even good for fans, but this one didn't hit that hard for me. 3/5 |
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