 Over the years, we have seen Keanu Reeves seemingly become a better and better person while embracing the stiff acting for which he is known. Keanu has a charm about him that can be compared to Nicolas Cage or Christopher Walken, in that we know their acting as a particular stereotype, and the more they lean into it, the more we love their material. Here, in 'Good Fortune', Keanu goes all the way with it, and he alone pretty much makes the movie worth watching. It's a role you know he's having a blast doing.
The film conceptually comes from the mind of Aziz Ansari, who, over the years, has grown on me and strikes me as someone I should pay closer attention to, as everything I've seen him do, be it stand-up, voice acting, or playing a bit part, has a good dose of entertainment value to it, at least from my perspective. After thoroughly enjoying this as not just a solid comedy but also a decent lesson in appreciating the smaller pleasures of life, I look forward to seeing what else Ansari might have under his hat in his creative filmmaking. In this film, Ansari plays Arj, a down-on-his-luck individual who juggles odd jobs while working part-time in a hardware store. He lives in his car, aspires to be a documentarian, and can't seem to catch a break. Eventually, however, he begins dating his coworker, Elena (Keke Palmer), and, while working on a task for a wealthy guy named Jeff (Seth Rogen), gets hired as his assistant. All the while, an angel named Gabriel (Reeves) keeps an eye on him, hoping to find a lost soul to save, which would, in turn, give him a better purpose as a guardian angel than his usual routine of saving texting drivers. When things take a turn for Arj, however, Gabriel intervenes, presuming he has hit rock bottom, in the hopes of proving his worth to the supervising angel, Martha (Sandra Oh). In his attempt, I won't spoil much, but he doesn't exactly manage to steer him in the right direction. In one last desperate attempt, however, Gabriel tries to show him that being wealthy won't solve any of his personal problems, so he swaps Arj's life with Jeff's. While Arj adapts quite comfortably to his swanky new lifestyle, Jeff gets stuck with the life struggles he isn't used to. As the film unfolds and things seem to get better for Arj, they get worse for not just Jeff but also Gabriel. In an almost hilariously obvious take, Arj fully embraces his new rich-man lifestyle and repeatedly shows that the phrase "money can't buy happiness" is a farce. Meanwhile, Jeff and Gabriel are made to endure struggle and frustration; Jeff with actually having to work hard to try to get himself out of his situation; Gabriel with his constant demotions, as Martha keeps catching him making the problem worse, and intercepting the job of a real lost soul saviour, Azrael (Stephen McKinley Henderson). There's a lot I like about this movie, and it's not just about who is in it and their roles. I like how the whole problem becomes threefold, and even affects the angel who wanted nothing more than to help in the first place, to prove his worth. The film also does a good job of showing Jeff the things hes taken for granted in his life, which leans more towards the 'It's a Wonderful Life' lessons, but balances it unfairly with Arj acting like he just hit the lottery, and just showing that yes, of course anyone is gonna be happier with their riches and being able to do anything they want at any time (to a degree) because of it. What really makes the film work, however, is that when it's all said and done, there's still a lot of heart to the story after all the fun. It does end on a positive, respectable note, and could become a new go-to for my more gloomy days, when I need this life to remind me of its little pleasures and not to take them for granted. I recommend this to those of us who are big fans of Keanu Reeves' acting style and to anyone looking for a bit of positivity. It's a solid execution of a relatable comedy that will probably leave you with the "warm & fuzzies." 4/5  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  Here we have a movie that engaged my curiosity purely based on the subject matter of not unicorns but unicorns as a horror creature, a concept I first saw in one of my faves, 'The Cabin in the Woods.' It stood out because we typically think of unicorns as creatures of purity with some amount of innocence. It is hard to be taken seriously as a creature of nightmares. But despite quite a few criticisms I have for this film, at the very least, they succeeded in that. This is an interestingly balanced film to say the least.
The film opens with Elliot Kinter (Paul Rudd) and his daughter, Ridley (Jenna Ortega), headed to Elliot's boss, Odell Leopold's (Richard E. Grant) estate, mainly for a business deal but also to try to reconnect since the tragic death of Ridley's mother. On their way, during a heated conversation, Elliot slams into a unicorn foal. The pair checks on its condition as it lies dying, and while Ridley makes a cosmic connection with the unicorn, Elliot puts it out of its misery with a tire iron. Luckily for an audience of animal lovers, the thing is heavily CG'd. The Kitners arrive, having stashed the unicorn in the trunk, not quite knowing what to do about their situation, and meet with Odel's son, Shepard (Will Poulter) and wife, Belinda (Téa Leoni), to discuss whatever business they have to discuss. In the meantime, Ridley heads off to wash her face, only to realize her acne completely vanishes. Elliot's vision also fixes itself; it all comes down to unicorn blood and its healing properties. But shit hits the fan when the Leopold family finds the unicorn foal and chooses to harvest this unicorn's blood to act as a cure for Odell's terminal disease. In the meantime, two angry unicorn parents make their presence known and are out for some gruesome revenge. While Ridley tries to warn everyone about these unicorns and their history, along with her connection to the foal, she's generally ignored and patronized by the Odels, who are greed-driven and in it for money. This makes this very much a cautionary tale about killing animals to benefit ourselves. In this case, it's not just meat, clothing, or even makeup but playing God with the effects of immortality. What makes the film reasonably weak is the amount of cliches and predictability within it. There's a ton here; you can see what's around the corner at just about every turn. It's also a horror comedy that I didn't feel gave enough laughs throughout, having many of the jokes fall flat, and it always feels weaker with an all-star cast when that happens. It's a little bland as a dark comedy, but not without its charm, either - like an oatmeal cookie without chocolate chips. But it's not all bad for a horror fan like me. What I appreciated about the film was that it didn't hold back on any of the unicorns' most swift and brutal kills, the kind I like to see in a good horror movie. I'm not a huge fan of torture; I say just get it done like a good old-fashioned Jason Voorhees. And though the comedy is bland, look to the disgruntled Leopold's assistant Griff (Anthony Carrigan) for the real comedy, especially when he and Shepherd are in a scene together. Their exchanges as a "boss" and an "annoyed doormat" were my real highlights. This is one horror comedy I could give more credit to if it wasn't so predictable and if it was just a little funnier. It has its moments, and it's another one that has the potential to grow on me upon multiple views. Sometimes, comparing this to Jason Voorhees again, the predictability can be part of a horror movie's charm, and I could see this developing a niche audience over time. I have to give the movie credit for trying to make something like unicorns scary, and with some of the kills in this, it's relatively effective. It just has yet to be perfected. 3/5  'Mickey 17' is one of those weird titles where the trailer makes it look like something totally up my alley, but the final product, while perfectly fine, didn't quite hit as anything genuinely unique. I would say this is a lot like taking 'Starship Troopers' and 'Edge of Tomorrow' and blending them together, as it's mostly about humanity's struggle against "space bugs" along with an individual who can, essentially, regenerate (with the help of futuristic technology.)
I pretty much went into this knowing what to expect, story-wise, so a lot of it hinged on Robert Pattinson's performance, as he's one fine actor I'll fight for while so many others still see the sparkly vampire from 'Twilight,' and frankly need to move on. His acting here is solid, too, playing two versions of the same person with distinct, individual personalities; Mickey 17, the prominent Mickey who narrates the story and proves to be a bit of an awkward dumb guy, scared of most things, and Mickey 18, which is basically his bad-ass side incarnate. So, what's with the numbered system on Mickey? Essentially, Earth develops a cloning technology that gets banned on Earth due to Multiples, which is probably self-explanatory. The technology is then only to be used in space exploration, using individuals they dub "Expendables," whose job it is to do all the dangerous and deadly stuff because they can "print out another one," using DNA and a lot more high-tech talk that tell how things like memories, personality, etc. are also restored. Meanwhile, Mickey Barnes (Pattinson) and his friend, Timo (Steven Yeun), are running from a dangerous loan shark to whom they owe money after a failed business venture. On the run, the pair sign up to be crew on a colonization ship headed to Niflheim. While Timo manages to sign up as a shuttle pilot, Mickey signs up to be an "Expendable." On the mission, he goes through several experiments that kill him. They keep bringing him back until one day, his 17th incarnation gets abandoned on the planet and left to be food for what they dub "Creepers," which is probably something many 'Minecraft' fans won't be too fond of. After being left for dead, and without me saying too much, Mickey 17 manages to survive and make it back to the ship, where he meets Mickey 18. He finds himself amid a Multiple problem while the colony's leaders, Kenneth Marshall (Mark Ruffalo) and his wife, Ylfa (Toni Collette), instill a rule of never being allowed Multiples, which means one of them will have to die. So some of it involves the pair of Mickeys working together to survive, but a good chunk of it is also about Mickey 17's experience with the Creepers, again, without saying too much. I haven't mentioned one individual yet here: Mickey's girlfriend, Nasha (Naomi Ackie). She's probably one of the more interesting characters throughout the film, as she constantly alternates between being thought of as a potential backstabbing villain and a potential teammate and hero. Kudos to the film for keeping me guessing on her character. That's the kind of character creating I can really enjoy: make them very middle-ground and make me wonder how things are gonna turn out. I could put Mickey 18 in the same category. While I really did enjoy the film, there's something about it I can't quite put my finger on. It could be seeing the whole cloning idea done again, or it could be a bit of the somewhat irksome character of Mickey 17 (even if it does show more of Pattinson's acting flexibility), or it could be the whole bug alien thing. But I'll have to see this a few more times for it to really sink in, and it's good enough that I'd be willing to see it multiple times. My criticisms of it come from seeing too many movies. This could be a fun ride for everyone else, especially if you have a dark sense of humour. 4/5  When I first saw the trailer for this one, I got excited about it. When Universal Studios tried to follow up on the "Marvel Hype Train" with what they called the "Dark Universe" and released just one movie starring Tom Cruise, trying to be 'The Mummy,' it failed miserably. I always believed that while part of that was that it failed to be anything like the '99 movie, it also failed to be the classic. That's where they could have had something: bring in that story, taking place in that era and punch it up just a little to modernize it.
When I saw this trailer, I thought, "THIS is what 'The Mummy' should have done!" But this was also a valuable reminder that sometimes I'm not quite on the money with my ideas. 'Nosferatu' here is stylistically beautiful, holds the spirit of the original film, and, just like I wanted, is punched up to be a little more modernized. And while the movie was pretty good, I can't say that this is something for just anyone. This film is trying to be more of a work of art than just some half-assed reboot, which is admirable, but it's not a vampire movie I would ever dub "exciting." We open in the 1830s as a girl named Ellen Hutter (Lily-Rose Depp) pleads to unseen forces to ease her loneliness. This summons what will soon be unveiled as the film's namesake, the Nosferatu, which, according to this film, is a kind of plague-ridden vampire. He hypnotizes her and makes her pledge herself to him eternally. This is where you get one of my favourite visuals in the film, which can be seen in the trailer, of the vampire's shadow behind a floating curtain, but he's otherwise invisible. Several years pass, and Ellen marries real estate agent Thomas Hutter (Nicholas Hoult) and now resides in Germany. One day, Thomas' boss commissions him to sell the eyesore of Grünewald Manor to a reclusive and eccentric individual named Count Orlok (Bill Skarsgård), which he accepts, as it will ensure financial security for his and his wife's future. As Thomas leaves for Transylvania, he leaves Ellen in the care of a trusted friend, Friedrich Harding (Aaron Taylor-Johnson), and his family. Meanwhile, Ellen remains disturbed by nightmares of marrying Death. Eventually, Thomas meets with Orlok at his dark and spooky castle; for my money, this is the most well-done scene in the film. When Thomas eventually gets underway toward Orlok's castle, he's met with supernatural elements, like an unmanned carriage which takes him to said castle. The castle is full of a creepy atmosphere, reminiscent of the classic film with its gothic style and a foreboding emptiness within its walls. Add to that Skarsgård's performance as a completely in-the-shadows Orlok with a deep, booming voice, and that's a recipe for a great horror atmosphere. From here, the film takes off into an odd supernatural love triangle between Ellen, Orlok and Thomas, presenting Ellen's case for her love for her husband, Thomas' helplessness against Orlok's powers, and Orlok's influence on Ellen. It's a dark and gothic way to present concepts of love, jealousy, sacrifice and even control. They throw in some exorcism elements with Ellen here, and that's where Willem Dafoe comes into play as a character very loosely based on Van Helsing, Professor Albin Eberhart von Franz. This one isn't recommended to any horror fan so much as I'd recommend it to those searching for something that may help them appreciate classic films more. While this is undoubtedly good, one can't remake the 1922 version and make it as good. The 1922 version is a staple of horror that no remake could outdo. One may have to take this movie with a grain of salt. However, I appreciated that they didn't go all out in trying to make this modern. It's still not what the Dark Universe went for, like this or hate this, failing miserably! 3/5  To kick this review off, I'll start with the fact that as far as the 'Sonic the Hedgehog' franchise goes, in its entirety, I had my Game Gear games and the better of two animated series. After a while, however, I grew out of it, and as a result, my familiarity with why we all went to see this movie, Shadow the Hedgehog (Keanu Reeves), is slim to none. Going into this, I knew he was an anti-hero character who looks like a more badass Sonic, and that's about it. So, I went into this chapter kinda blind.
This film introduces Shadow in such a way that he's gonna predictably become everyone's favourite character if he isn't already when you go into this. It's similar to how things worked with Daryl Dixon in 'The Walking Dead,' being that Shadow initially comes across as quite villainous. Still, his whole story will eventually make you sympathize with him in more ways than we have with other characters in these movies. Almost 40% of what makes this film so good (yes, I said "so good") is Shadow. I won't spoil Shadow's backstory, but he does kick things off by escaping a G.U.N. (Guardian Units of Nations) facility, which has been keeping him in a state of suspended animation and experimenting on him, under surveillance. G.U.N. is also the group responsible for what they now refer to as "Team Sonic," consisting of Sonic (Ben Schwartz), Tails (Colleen O'Shaughnessey), and Knuckles (Idris Elba), who act as superheroes with their respective powers of speed, brains/flight, and strength. As the team, along with Tom (James Marsden) and Maddie Wachowski (Tika Sumpter), get ready to celebrate the first anniversary of Sonic coming to Earth, it's interrupted by G.U.N. Director Rockwell (Krysten Ritter), who needs the team's help to apprehend Shadow, who's wreaking havoc in Tokyo Japan. Upon their first battle, Shadow makes short work of the team, but soon, the team ends up seeking help from the most unlikely of teammates, Dr. Ivo Robotnik (Jim Carrey) and his assistant, Agent Stone (Lee Majdoub). The scenario ends up being of the classic "the enemy of my enemy is my friend" variety, which I'm a bit of a sucker for. I love an unlikely team-up, and what makes this one interesting is Ivo Robotnik's battle of conscience. As any trailer you've seen revealed, he eventually meets up with his estranged grandfather, Gerald Robotnik (also Carrey), who informs him of his plans of world domination, using Shadow to their advantage, which Ivo finds hard to resist. But, I'll say nothing more than that on the subject. Returning to what makes the film so good, Jim Carrey plays two roles here, and he plays off himself so incredibly well that you can't help but admire the fun he still has with the craft. It doesn't stop there, either, though. Between the two characters, it's unbelievable, but a lot of the humour they show is met with moments of seriousness and drama, even a dark scene where one tears up. You get to see his range here, and it's awesome to see him back to being all he can be in these roles. He's another 40% of what makes this good. The other 10% is how amazing the movie looks. Despite things mainly occurring on Earth, you get what you want to see from all characters involved: the humans retaking a back seat. You get a lot of that high-octane energy one might want from a 'Sonic' game, much more than the first two films, and it's impressive to see the dramatic (if predictable) storytelling and character development here. With lessons to be learned and messages to be taken in on top of a LOT of crazy, anime-style action, I'm going to say this is easily, remarkably, the best of the three. 4/5 |
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