 I'm gonna go ahead and begin this review by saying that if you're a reader who's unfamiliar with, or disinterested completely by any 'Lord of the Rings' books and/or films, nothing about this movie is gonna mean anything much to you. Despite the fact that it takes place 183 years before the events of 'Lord of the Rings,' and about 123 before 'The Hobbit,' the story here is a sidestep away from anything to really do with the One Ring, and delves into a story of events that once happened in Rohan; Rohan being most prominently remembered from 'Two Towers.'
So while there are no real direct ties to either trilogy, it's a bit of Middle Earth history between a couple of human races that the average 'LOTR' newcomer will probably be altogether unfamiliar with. Nevertheless, it's a pretty good, if simple story that still captures the spirit of Peter Jackson's cinematic creativity, ties in nicely, and makes me kinda hope there are more of these animated "side quests" some time in our future. I love this world, and I'm always down to see more of it! Our narrator here is Éowyn (Miranda Otto) of the Rohirrim, whom fans will remember fondly as the undercover woman who rode out to battle a vast army of Orcs, and took down the Witch King of Angmar in 'Return of the King.' Coinciding with her badassery, she begins the tale of Héra (Gaia Wise), the daughter of King Helm (Brian Cox) of Rohan. Héra is a sort of "lone wolf" character, a great fighter, lover of nature, potential shieldmaiden, and has been arranged to marry a lord of Gondor, which would bring their powerful kingdoms together. One day, a Dunlending (a race of humans who live in the wild) lord, Freca (Shaun Dooley) shows up with his son, and childhood friend of Héra's, Wulf (Luca Pasqualino). Freca suggests Héra change her mind, and marry Wulf instead, but Helm sees right through his, and knows he intends to steal the throne. This soon results in Helm and Freca "taking it outside," where Helm gives Freca one good, swift punch to the face, killing him instantly, and earning himself the nickname "Helm Hammerhand" (which is admittedly pretty badass). Afterward, Wulf swears revenge on Rohan for murdering his father, and isn't heard from for several years. To cut it a bit short, this is basically what eventually leads to the titular War of the Rohirrim. As one can imagine, Héra is basically the unlikely hero here, almost fitting right into Éowyn's shoes. So, in many ways, one could see this as a sort of "girl power" film, but I have to say that it does things very organically, nothing is forced, and it really is just a cool and interesting side story in Middle Earth's history. I would encourage fans of 'LOTR' to check this film out for themselves and try to ignore some of the more critical reviews out there. The fact of the matter was that this was rushed out in order for New Line to keep the rights to Tolkein's books, and between that and 2D animation taking over six live-action epics, it might be easy for a critic to brush this one aside. It didn't do well at the Box Office, either, being surrounded by titles like 'Moana 2,' 'Mufasa,' 'Sonic 3,' and 'Wicked.' But honestly, if you get a chance, check this out! Even if its streaming by the time you get to it. I might credit this one as one of the most underrated movies of the year, all considered. For yours truly, even though the live-action wasn't there, and it may not have sucked me in as much as the average 'LOTR' flick, I was happy to see more untold tales of this world that I personally love to escape into from time to time. For some of my friends and I, to see a 'LOTR' movie in the beginning of winter is a bit of a tradition, and it's kinda nice to keep that tradition alive. So, if you like this world, definitely check this out. It's no 'Return of the King,' but stylistically, and story-wise, it certainly holds its own. 4/5
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 A full twenty-four years after the release of the grand-scale epic that was 'Gladiator,' its sequel has finally come along (if you were ever really wanting one). To be fair, a sequel has been in a sort of development Hell for quite some time now - as early as 2001. But, like so many movies that make call-backs to older films, I wasn't sure how to take this. Was this just chasing a paycheck with a popular title, or was this going to be just as awesome as the first one, trying new and different things? Upon viewing it, let's just say I have mixed emotions.
Director, Ridley Scott makes a return, resurrecting one of his biggest successes. He was always one of those directors who was kind of hit or miss, but when he hit, he hit hard. So there was no reason for me to believe he wouldn't take good care of his "baby". But, while it wasn't really a bad movie, it lacks so much of the heart and soul that was put into the first, and it just doesn't compare. So before I get into it, just know that it's my humble opinion that 'Gladiator' is still a perfectly fine stand-alone movie, and at the end of the day, this just wasn't really necessary. Sixteen years after the events of the first film, Rome is ruled by Geta (Joseph Quinn) and Caracalla (Fred Hechinger); a couple of twin emperors who might remind one of a couple of little toned down Joffrey Baratheons. Their Roman army, led by General Acacius (Pedro Pascal) one day invades the North African kingdom of Numidia, where a refugee named Hanno (Paul Mescal) resides. The Romans overtake them, and Hanno, along with several other survivors, are enslaved and taken to Ostia to undergo a gladiatorial challenge in an arena against a bunch of frankly demonic-looking baboons. During the fight, Hanno taps into his feral side and kills one baboon, impressing stable master Macrinus (Denzel Washington). Taking Hanno under his wing, Macrinus promises him a chance to kill Acacius through winning a number of fights in Rome. Throughout the film, secrets are revealed about Hanno's past that may complicate things for the viewer a bit, if they haven't seen the first film. Having said that, a lot of the big reveals aren't necessarily shocking either. It's a fine film, but all in all, we've kinda been here and done this. I think if I'm to look at this critically, I can find many more flaws in it than I could the first one, which has aged incredibly well. Part of that aging includes things like practical effects with dabs of CG, 'Jurassic Park' style (also holds up). Here, we get things like these baboons, which look cool, but not real. More like something from a horror movie. Also, sharks, which the person I saw it with pointed out as ridiculous because... how? They filled the Coliseum with water to stage naval battles known as "Naumachiae" sometimes, but that's about it. The film has its good share of positives though, and they're not to be overlooked. Performances were great by everyone involved, be they classic perfection like Denzel, or newcomers like Mescal (new to me, anyway). But my favorutie character here was an ex-gladiator named Ravi (Alexander Karim) who basically helps Hanno with his injuries, and words of wisdom - a truly likeable character. It's also just a pretty good story, despite, at times, taking its cues from what worked with the original film. If I were to make some sort of a comparison to another movie and its sequel, its something like 'Night of the Living Dead'/'Dawn of the Dead' - the first is a classic in its own right, and possibly one of the best films ever made, and the sequel, while pretty strong, just isn't the classic, which can easily stand alone. I think it's safe to say that this is a good time on the big screen if you're looking for something epic that doesn't involve superheroes. But the first 'Gladiator' is just too damn good for any sequel to compare. 3/5  I'm always game for a good Christmas movie that uses childlike imagination to its advantage. Such releases like 'Elf,' 'Arthur Christmas,' and even darker movies like 'Violent Night' have all accomplished this, and I'd be willing to admit that 'Red One' can go on that list as well. It may be on the lower part of the list, but I'd still strongly consider it. It's family friendly fun, and even though it uses some big names to put butts in seats, I'd say as a Christmas movie, it doesn't necessarily need the names for the story to work - which is a good thing.
I will say, however, that even though this movie manages to capture a bit of Christmas magic for the 2024 season, there are bits and pieces about it that may have made me give an eye-roll or shake my head for either being too silly, or too dramatic for the film's own good. But once again, this may just be me being nitpicky about an otherwise fun film, and it'll probably end up being one of those movies where the more I watch it, the more it grows on me, and might find a better spot on that aforementioned "Christmas Magic" list of greats. We meet Santa, a.k.a. Nick, a.k.a. Red (J.K. Simmons) as he visits kids at a shopping mall, along with his muscle, Callum "Cal" Drift (Dwayne Johnson), head commander of the E.L.F. (Enforcement Logistics and Fortification) whose job is to keep Santa protected. During their visit, Cal begins to get disillusioned with how bad the world has become, especially the teenagers and adults. He even uses the ever-growing Naughty List to prove his point, and he means to retire, but not after one final ride. On the night of Christmas Eve, a group of professionals infiltrates the North Pole and kidnaps Santa, on account of mercenary hacker, Jack O'Malley (Chris Evans) accidentally hacks something that just so happens to interfere with the North Pole's hidden location, leading some sort of operation straight to Santa. One day, as Jack comes home, he's apprehended by members of M.O.R.A. (Mythological Oversight and Restoration Authority), led by Zoe Harlow (Lucy Liu), and brought in for questioning. Being that they have the wrong guy, and Jack claims to be able to find anything or anyone, he reluctantly agrees to work with Cal (or perhaps more dragged by the ear) to find and rescue Santa Claus from his kidnapper, and hopefully save Christmas in time. This brings me back to my point about melodrama. When the threat of "no Christmas" pops its head up in this movie, the doom and gloom tone that follows this makes it feel like a nuke is about to be dropped nearby. Being that it's for kids, I can let it slide, but watching as an adult, it's a pretty silly moment. In the meantime, there's a B story going on in which Jack plays the role of deadbeat Dad to his son, Dylan (Wesley Kimmel) and the whole song and dance about how he needs to learn how much his son needs him etc. We've seen it many times before. But luckily, it doesn't take centre stage here, and the real focus is on the unlikely duo that is The Rock and Human Torch (I'd say Cap, but he's not that pure), which delivers its fair share of giggles and good times, but nothing necessarily laugh-out-loud either. I appreciated the film using things to its advantage like a non-horror version of Krampus (Kristofer Hivju) and the Christmas Witch, Grýla (Kiernan Shipka) from Icelandic folklore (given a much more child-friendly makeover). The ninja snowmen from the trailer are also pretty great, and I daresay original. I think where the film finds itself lacking, however, is the all-around heart that's usually put into these movies. There are moments, but predictable ones, and you don't necessarily leave with the "warm fuzzies." But still, the movie is fun, harmless, and something the whole family can appreciate for Christmas, 2024. 3/5  As far as this Sony-verse goes, it's no secret at this point that the only movies in the handful of life-action superhero/supervillain adaptations worth a damn are the 'Venom' movies. While perhaps not necessarily THE story of Venom we all know and love, they did okay with what they had to work with, made it their own concept, and the character of Eddie Brock/Venom is a hell of a lot closer than he was in 'Spidey 3.' So, surely, noted as being the final 'Venom' movie, this should be going out with a bang, right?
I think there's a lot to this that fans will appreciate, but I also think that of the three, this was probably the weakest, when it should have been the strongest. It picks up from the stinger of 'Spider-Man: No Way Home,' in which Eddie Brock (Tom Hardy) finds himself in the MCU, chatting with a bartender, only to be sent back to the Sony-verse, leaving behind a trace of Symbiote material (which is in the MCU's hands now). Back home, the pair are on the run after the events of the previous film, which killed off Det. Patrick Mulligan (Stephen Graham), leaves them the primary suspect. In an attempt to start a new life, however, Eddie and Venom decide to head to New York City. On the way, however, the pair are attacked by an alien creature known as a Xenophage, sent by Symbiote creator, Knull (Andy Serkis). Long ago, his Symbiotes overthrew him, and trapped him in a prison to prevent him from taking over the universe with his power. In order to get free of said prison, Knull sends these Xenophages to Earth to retrieve a Codex, which will be able to free him, and allow him to carry out his plans. The Codex is formed is a Symbiote's host dies, and the Symbiote is able to resurrect him, which we saw happen in the first film. As long as Venom is in full form over Eddie, the Codex acts like a beacon for the Xenophages, so throughout the film, Venom does a lot of hiding away. So now, they're not only on the run from a deadly alien creature, but the law as well. It gets even better, when Rex Strickland (Chiwetel Ejiofor) enters the picture, overseeing an operation called "Imperium", at (where else?) Area 51, in which the Symbiotes who have fallen to Earth get studied. While Strickland is very much of the mind that these Symbiotes have landed for some sort of alien invasion, researchers Dr. Teddy Payne (Juno Temple) and Sadie "Christmas" (Clark Backo) have different opinions, and resort to a whole "don't judge a book by its cover" side-plot when it comes to the Symbiotes. And I'm gonna go ahead and suggest that the B story here sort of takes a front seat to things. Everything going on in this lab is far more fascinating than Eddie/Venom just... running and hiding for the most part. Eddie/Venom still delivers when we see them together, although at times it gets a bit too silly. I mean, for the first time since 2007, I feel like we have a Symbiote who literally dances himself into humiliation, and it's pretty cringe-worthy. That said, there are a few just as solid scenes to this, like the Symbiote horse, and the pair finally saying "we are Venom!" before devouring a bunch of thugs like the "Lethal Protector" we all know and love. But it really does feel like they're on the run from a non-threat. While the Xenophages provide some stiff competition, Knull, himself, is one of the laziest-written villains I've eve seen in my life. If you've come to see Knull in all his glory, I'm afraid you're SOL, because he's barely here, and when he is, he's just sitting there with his head down, looking gothic. So just to be clear, first threat, Riot, second threat, Carnage, third threat (though admittedly tough), Xenophage, NOT Knull. Anyway, it's fine for a third film, but I'd say easily the weakest of the three, trying to do too much, and amounting to too little. And what's super curious about this being a supposed "finale" - there's a stinger! 2/5  Let me start this one off by putting my cards on the table and fully admitting that I know basically nothing about this series. I've never once picked up one of these games, and my peers have often wondered how that was possible, as it's a franchise that seems right up my alley. Regardless, this means that while watching the movie, I wasn't trying to point out everything wrong about the adaptation. As far as I'm concerned, this could be a carbon copy of the game's story - I have no clue. Having said all that, however... this movie is still pretty bad.
Taking place on Planet Pandora (not to be confused with the one from 'Avatar'), the film opens as a rogue merc soldier named Roland (Kevin Hart) takes a teen known as "Tiny Tina" (Ariana Greenblatt) out of a holding cell with the help of Krieg (Florian Munteanu), a "Psycho," which are mostly here to be "bad guys" with little to no explanation behind them. According to the games, they have gone insane with obsession over "The Vault," where the secrets of Pandora's lost civilization's advanced technology are kept. It turns out that Tina may be the key to opening said vault, and Roland's motivation is for her protection. On some other planet, bounty hunter, Lilith (Cate Blanchett) is contacted by a powerful corporate magnate named Atlas (Edgar Ramírez), who convinces her to go to Pandora and seek out Tina, who happens to be his daughter, not as a bounty hunt but a rescue attempt. Once Lilith reaches Pandora, she gets a bit of help from a robot named Claptrap (Jack Black), who is far, far more irritating than we all want Jack Black to be. He's meant to be the comic relief here, and just about everything falls flat. The jokes are more for kids here. Anyway, eventually Lilith and Claptrap meet up with Tina, who won't go quietly, under the assumption Lilith is bringing her in for a bounty. It's not long before Roland and Krieg come into play, we find out Atlas is crooked (as if it wasn't predictable), and they all end up working as a team that is trying far too hard to be the 'Guardians of the Galaxy'. Eventually they also get help from Lilith's estranged foster mother, Dr. Patricia Tannis (Jamie Lee Curtis), and even she feels kinda tacked on, just so they could complete a character list. The film essentially becomes one big escort mission, as the unlikely team forms around Tina's protection so she can't be used for all the wrong reasons. As if it's not already stealing a lot of atmosphere from 'Guardians', and again, not knowing anything about the underlying plots of these games, the whole "protecting the chosen one" plot line is ripped right out of 'The Last of Us'. To be 100% fair, even then it wasn't an entirely original concept, but it does feel like Eli Roth looked at the TV series, said "that idea works," and rolled with it. One of the most criminal things about this movie is its rating. This thing is a PG-13 title (PG up here in the Great White North) and it's based on a solid M-rated series, thus taking a gigantic step backwards for video game adaptations, be it theatrical or streaming. It's a genre that was finally beginning to see some light, and then this thing came along and knocks it all onto its ass. For God's sake, 'Deadpool' set this R-rated bar for adaptations ages ago! Eli Roth, a master of gory, torture porn horror directed this M-rated movie with NO R-rating, which also gives adaptations in general a gigantic step backwards. Usually, if I get to see something everyone else is panning that I'm unfamiliar with, I tend to give it a little leeway. But with everything I mentioned before, along with a star-studded cast of disappointing, non-fleshed out characters, bad writing, pacing that moves way too fast, action sequences that seem almost thrown in just because "action is cool" (Michael Bay style) and a lot of telling as opposed to showing, with Blachett's narration, it's hard to give this any kind of pass. Honestly, it just left me happy that I wasn't more disappointed in it as a game adaptation with my unfamiliarity. These game adaptations can do better! 1/5  Every once in a while, a movie (remake/sequel, or re-imagining) will come along, shows me a trailer, and I'll wonder why the hell I should care. A lot of the time, my hunches about it are correct, and the film ends up being nothing but an easy cash-in for its respective studio. However, while pretty much all such titles are guilty of their cash-in methods, sometimes its done right. Sometimes the film will deliver good and memorable characters, a decent story, and in cases like 'Twisters', a huge leap forward in special effects.
I have always been one to defend 1996's 'Twister' as a fun popcorn action/adventure movie for a time when that kind of thing was what ran the box office - not superheroes. Even though by today's standards 'Twister' may not hold up for some, it was still something I thought didn't need any sort of sequel, as it stood on its own as a disaster classic (that's the genre, not the actual quality of the movie, though some will disagree). The trailer for this had me saying things like "so, they're just making the same movie?" To some degree I was kinda, sorta right about that, but upon seeing this, I decided I liked this chapter just a touch better than the classic disaster movie I had been defending so hard. This takes all the fun of 'Twister' and cranks it to eleven by offering up much, much better twister/storm scenes; most of which I understand were shot by technical consultants, including real-life storm chaser, Sean Casey (who seems to somehow go uncredited here, but his resume speaks for itself). Much like with the original, the opening of the film involves our lead, Kate Carter (Daisy Edgar-Jones) losing people important to her due to a tornado's brutal force. In this case, its during an attempt to launch a Dorothy V doppler (as seen in the original). While in the original it was done to study a tornado and its patterns in an attempt to predict them earlier, this time it involves using sodium polyacrylate beads meant to try to shrink the tornado, and make it less disastrous, and I'm sure this is not scientifically sound, but I'll come back to that. Kate and her friend, Javi (Anthony Ramos) survive the incident, but the experiment was ultimately unsuccessful, and Kate ends up blaming herself for the deaths of her colleagues, seemingly over nothing. She quits storm chasing, but Javi continues, and soon enough comes back into her life to get the plot moving. Now working for a company called Storm Par, Javi invites Kate to join them and try a new tornado scanning system. Of course, she eventually agrees based on the idea that they could be saving lives, especially with her keen senses. The team comes across "The Tornado Wrangler", Tyler Owens (Glen Powell); a wild cowboy type who chases these storms for kicks, and throws them onto YouTube. It's actually with this that the movie starts getting interesting, not only because it gets more fun, but it also dabbles with the concept of different companies and how they profit after a tornado has touched down. It's a good look at both sides of the equation, who's crooked, who's charitable, etc. I have to hand it to the film for giving us a generous combination of both a cash-in with its nostalgic-poking title, and actually delivering a product that was worked on as opposed to just being pushed out, hoping a name will put butts in seats. Much like its predecessor, it's a far from perfect movie, but it is a friendly reminder that sometimes we don't need to take movies like this so seriously. With great lines like "you don't face your fears, you ride 'em," one's clearly meant to have fun with this. 4/5  Just to get it out of the way, no, I am not here to talk about that time Will Smith slapped Chris Rock, and that having an effect on how I saw him in this movie. Speaking personally, I just wanted to see this as I did the previous instalments of this franchise with these two buddy cops playing off each other - one, the smooth ladies man who gets shit done, the other, the comedy relief. Having said that, I have to say, Smith and Lawrence are still perfectly likeable in their respective roles as Mike Lowery and Marcus Burnett.
Having said that, however, the guys have reached an age where they ought to be ready to retire. Maybe squeeze one more film out, but if so, make it a finale at this point. This was a series that was successfully resurrected, and we don't wanna drive it into the ground. In fact, the whole thing starts with a nod at their age, when Mike ends up getting married to his physical therapist, Christine (Melanie Liburd), and Marcus ends up having himself a heart attack on the dance floor, thanks to eating too much greasy food. In his brief coma, Marcus has a vision of the now deceased Captain Howard (Joe Pantoliano) who tells him it isn't his time. After this, Marcus starts to run on the assumption that he cannot be killed, and has a bit of a mental break. It does get pretty funny, even if at times it feels forced and you get about as frustrated with him as Mike does. I have to say, he can hold his own here, but I do prefer Lawrence's performance in the first two films. That said, he sort of remains the heart of the film. Soon, a news report accuses Captain Howard of having ties to drug cartels, thus making him a corrupt cop. Mike and Marcus become determined to prove their former captain's innocence, which includes working with Howard's killer (spoiler alert for those who haven't seen 'BB4L' yet), Armando Aretas (Jacob Scipio) who happens to be... actually, y'know, maybe I'll just leave that part out. But it does become interesting in this film when the filmmakers decided to have him work on the side of good. As more is revealed about the corruption in their own police department, Mike, Marcus and Armando have to pretty much become fugitives from the crooked law, just to prove their captain's innocence and someone else's guilt. In the meantime, hellbent on revenge for her father's death, is U.S. Marshal, Judy Howard (Rhea Seehorn), whose primary target is Armando. There's definitely more to the plot here, but that's pretty well the gist of it: the Bad Boys find themselves as fugitives after their captain is found to be corrupt, and they try to clear his name against a crooked police force. As far as the action goes, it really hasn't died out yet, and it's about as faithful as ever. Even the series creator Michael Bay shows up for a brief cameo, and potentially to make sure his creation is being done justice. You're not gonna get the sheer fun of 'BBII' here, but it's definitely a good follow-up to 'BB4L', as we're getting into these guys' later years, and some real-life shit is finally starting to come to light for these guys. I must also mention Reggie's (Dennis Greene) character development and his stand-alone, show-stealing scene here. No spoilers, but holy shit, is it ever awesome! It's my opinion that as far as the 'Bad Boys' series goes, 'BBII' will always be the definitive one, and that's going totally against the grain of other critics, but somehow I feel flowing with audiences who remember the fun days of action movies. This is a little closer to the last instalment in that while it's fine, it may prove to be a little more forgettable over time than the first two, which were both instant action classics. But it is safe to say the heart is still there, and Michael Bay's baby is being well taken care by the directorial team of Adil & Blall. 4/5  For a while now, I have heard a lot of people talking about this movie saying things like "don't expect what you're used to" and "don't expect 'Fury Road' quality". As we know from my 'Fury Road' review, that one is, hands down my favourite chapter in the batch, so I went in expecting something a bit less, even though the character Furiosa was one of the best parts of 'Fury Road'. Sure enough, what I got was pretty much what I expected after doing a bit of a marathon of the previous films. This one is just executed a little differently.
Considering the fact that the film is called 'Furiosa: A Mad Max Saga', I can't say I'm entirely surprised that the film was divided into chapters, covering the origin story of Furiosa, including where she really came from, her relationship with Immortan Joe (Lachy Hulme) of 'Fury Road' villain fame, and of course, how she got to be just as bad ass as she was in the previous film. Here, however, Charlize Theron makes no appearance, and a younger Furiosa is played primarily by Anya Taylor-Joy, who, I gotta say, does a pretty great job here, showing more of her acting flexibility. It all starts when a group of raiders from the Biker Horde come across the Green Place of Many Mothers, capturing a young Furiosa (Alyla Browne) for their leader, Dementus (Chris Hemsworth), as a sort of disgusting prize, in that the girl is pure and "untouched." Her Mother, Mary (Charlee Fraser) makes an attempt to to rescue Furiosa from this guy, but ultimately fails, and her final act to her daughter is to give her a peach pit and sot of pass the torch along for Furiosa to one day find a new Green Place to start over. Dementus soon adopts the unwilling Furiosa as his daughter, whom he gives the name "Little D," in hopes that she will eventually lead him to this fabled Green Place. From here, Furiosa sort of just goes along for the ride as Dementus seeks power over the main hubs of essentials in the area, namely Gas Town (where all the fuel is held) and the Citadel (where all the water is held, and as seen in 'Fury Road'). When Furiosa reaches the Citadel, that's kind of whee we see things start to overlap, and from there, the story goes on with Furiosa's origin. I think for me, the biggest thing this movie actually has going for it is Chris Hemsworth's performance. I mean, as I watched the trailers for this, I would point out that it felt like Hemsworth was just playing Thor again without actually portraying Thor. But quite honestly, he was a fun villain to watch while never letting the viewer forget how brutal he could be. It's further interesting that they had him overshadow a guy like Immortan Joe; a man with many wives who wants a non-mutant kid, and will simply dispose of the mothers if a mutant is birthed. I think it was a "three strikes and you're out" deal. In the long run, the film is fine, and there's not much for me to really criticize, feeling that anything I would attack would be nothing but a nitpick on my part. For example, I do think the film runs a little longer than it needed to, and it tried too hard to play on something like 'Dune', trying to be more epic than it really needs to be. 'Mad Max' movies were no more than two hours and provided some fairly solid action-packed rides. This was more substance over style, and while that sounds like a great thing, it didn't feel so "Mad Maxish." Again, however, call it nit-picky on my part. There's really nothing at all wrong with this movie, and it does a good job with what it attempted as a stand-alone prequel. I could see watching this and 'Fury Road' back to back, and it being a solid time. As I've said before, these movies were never at the tippy-top of my list, so my opinion won't matter as much as a die-hard fan's would. But I can say that I still had a pretty good time with this, even though it has absolutely nothing on 'Fury Road'. 4/5  When it comes to establishing any sort of a timeline on these later "Apes" movies, those first three still make for a very solid stand-alone trilogy about Caesar's uprising and the birth of the Planet of the Apes, eventually connecting to the 1968 classic. 'Kingdom' takes place "many generations later," however, and is a new, stand-alone film that follows its predecessors' greatness and gives us a fourth damn near perfect movie in its series. The only other series of four I can think of to surprise me in such a way was 'Toy Story.'
I've mentioned this many times before in my 'Apes' reviews, but one of the things that makes these movies so good is that they simultaneously have you routing for the apes and the freedom of their society, while bringing in the question of being a human while this is going on, and remembering that humans have a tendency to do what it takes to survive and stay on top. This was mostly seen in 'War,' but it still plays a big role here, and unfolds nice and organically as these films tend to do. As these generations have passed, our former hero Caesar is now a martyr-type character who could probably be closely compared to Jesus, which gives us another thing to enjoy about the film. This isn't another 'Matrix'-like situation that gives us a bunch of Jesus symbolism with its main character so much as show us how ape society has eventually grown around the Jesus figure, complete with the fact that some follow his teachings the way they were meant to be followed, while some twist his teachings into something that suits them, much like any number of religious cults in our own past. As the apes have evolved, societies and clans have been formed, complete with their own traditions. Meanwhile, humans have become more feral, and it could be said that we've basically changed places. One such clan practices falconry, and introduces us to Noa (Owen Teague) and his friends Anaya (Travis Jeffery) and Soona (Lydia Peckham), all of whom are on a falcon egg hunt as part of their clan's coming-of-age tradition. This is all disrupted, however, by a human scavenger named Mae (Freya Allan) who breaks Noa's egg, sending him out to find a new one before morning. This is where Noa encounters a group of mask-wearing ape raiders lead by a gorilla named Sylva (Eka Darville) who, while Noa hides, head towards Noa's village with destruction and kidnapping in mind. Noa gets back to his village too late to save his clan, however, and sets out to find them, eventually running into an orangutan named Raka (Peter Macon), who very much represents the "true" Caesar follower, still believing in some things like humans and apes coexisting in peace. They are also eventually joined by Mae, who leads them to where they need to go, but has her own agenda in mind. Skipping ahead a bit more, they eventually find themselves under the watchful eye of an ape calling himself Proximus Caesar (Kevin Durand) who has enslaved several ape clans to work under his power on opening a man-made facility from generations ago. While Proximus is after what could be a massive supply of weaponry, Mae also points out her reasons for trying to get in there - reasons that may be able to establish human communication around the world again, as, much to the apes surprise, not all humans end up being so animalistic. Although this is still a very solid series, speaking personally, I might prefer the trilogy that came before this just a touch more. But it is cool to see them try to expand even more on the apes' societies and traditions, and we see things getting closer to the feel of the '68 film as well. And I very much like the idea of Caesar being the figure he becomes, which holds a mirror up to our own society and how a lot of us take religious teachings and bend them to our wills. These Ape movies keep coming up with interesting ideas to keep them going, and if they continue doing more with such quality, I'm all for it! 4/5  Where do I start when it comes to how much I actually loved this movie? I guess I'll go with my all-out opinion on its director, David Leitch. With such solid titles as 'Bullet Train,' 'Deadpool 2,' 'Atomic Blonde' (which more people really need to check out), and the perhaps less appreciated, but super fun, 'Hobbs & Shaw.' I love this guy's style as an action director, and when he works with the right people, he can create something that takes you back to what blockbuster entertainment value used to be about.
For this movie in particular, Leitch reconnects with writer Drew Pearce ('Hobbs & Shaw') and brings in co-writer Glen A. Larson, who's best known for his television writing on resurrected shows like 'Battlestar Galactica,' 'Magnum PI,' and 'Hawaii 5-0.' I wanna give this trio a lot of credit here, because it feels like they've delivered something here that just about anyone can enjoy. It's funny, it's action-packed, it's charming, and it's unique in that it's an underdog hero film about that unsung hero of film that is the stuntman. Said stuntman here is Colt Seavers (Ryan Gosling) who works in Hollywood as a stunt double for action star Tom Ryder (Aaron Taylor-Johnson). He has an off-screen romance with a camerawoman named Jody Moreno (Emily Blunt), loves his work and is living the dream. That is until one day, a stunt goes terribly wrong, Colt injures himself severely, and he abandons his career, leaving Jodi behind. He takes a job as a valet, in the meantime, parking cars with style for the rich and snobby. One day, Colt gets a call from producer, Gail Meyer (Hannah Waddingham) with the news that Jody is directing her first film, wanting Colt to join the production in Sydney, Australia. Colt jumps at the opportunity, despite being hesitant, but soon finds out why he was really brought in - to use his stuntman skills to find Tom Ryder, who has disappeared. His absence marks the film's cancellation, and he's needed back on set for it to go on. Not wanting Jody's film to fall through the cracks, Colt agrees, and the film picks up from there. When considering the film as a whole, there's so much I admire about its execution. One of the biggest details for me is that you have the ex-couple here throughout the movie, but their dialogue isn't just a bunch of bickering back and forth because for some reason people think that's funny. The few times they do get into any kind of fight, it's nothing overboard or stupid, and it's generally padded with real humour. For anyone who has seen this, the bullhorn scene is the perfect example of what I'm talking about. All that aside, it's always admirable to see some action with less CG and more genuine stunt work, and this movie is full of that. Some of the stunts end up being pretty unique, as well, my favourite being a bit of street surfing, which one can also catch a bit of in the trailer. There's even a long credit sequence here where they take you behind the scenes to see the real stuntmen at work on the film, which is admirable, as that's what the film is all about. I have to further credit it for being directed by a stunt coordinator. It's a great, unique idea. I can admit that at the end of the day, the film as a whole may end up somewhat predictable for some, and we've definitely seen the general plot of the famous person going missing and the unlikely hero(es) having to find them. But it's the execution of things I really admire here. It sort of stands as proof that in all honesty, a PG-13-rated action movie can still be a whole lot of fun. On a persoal level, I really loved what they came up with here, and it's bound to be on my "favourites" list of 2024. This is one I can recommend to the masses, so go have fun with this one if you haven't yet! 5/5  Here we have yet another high-octane, balls-to-the-wall action revenge flick that follows the ideas of 'Monkey Man' fairly close. Therefore, I will probably be making quite a few comparisons between the two, as they each tell almost the same story (what little story there is to tell), but execute them in such different ways. For as enjoyable as 'Monkey Man' was, though, based on personal taste, I have to say that the execution of what we have here is far more up my alley, and I definitely liked this a bit better.
For me, the idea of a revenge film that tries to reach the bar 'John Wick' has set is a bit of a tired concept. I do tend to have fun with them, but at the same time, its understandable that people might be getting sick of them. Hell, even seeing this movie almost paralleling 'Monkey Man' upon its release, even I said "another revenge film?" However, upon seeing the trailer for this, it added a couple of little details that managed to draw me in. It was clearly made for fun as opposed to heavy drama, it seemed to be influenced mostly by video games, and the narration of H. Jon Benjamin added a cherry to this revenge sundae of a movie. An unnamed city is run by the corrupt Van Der Koy family; artistic wannabe, Gideon (Brett Gelman), the harsh and heartless Melanie (Michelle Dockery), her equally heartless husband, Glen (Sharlto Copley) and head of the family, Hilda (Famke Janssen). An annual event the family hosts known as "The Culling" chooses twelve seemingly random victims to be murdered on live television for entertainment, suggesting the ideas we have of what the Colosseum in Rome once was have resurfaced in this dystopian future. One might also compare the ideas here to 'The Hunger Games' for a more modern take. One day, a boy we only ever know as "Boy" (Cameron & Nicholas Crovetti), his little sister and best friend, Mina (Quinn Copeland) and their mother (Rolanda Marais) are brought to the town square, and Hilda executes both Mina and her mother in preparation for The Culling, leaving Boy for death, deaf and mute. Eventually, Boy is found by an unnamed Shaman (Yayan Ruhian), and to make a long story short, the Shaman trains Boy through the years so that he can follow through with his revenge on the Van Der Koys for killing his family in cold blood. As a result of Boy's inability to speak or hear, he has created his own inner monologue (H. Jon Benjamin) whose voice he took from his favourite arcade game he used to play with Mina. He has also learned to read lips, which yields some pretty hilarious results when he can't see the lips moving clearly. There are a few moments here when nonsense is uttered because of improper lip reading, and with my love of random humour, it really just adds to things for me with a fun and, in my opinion, creative idea. Boy also constantly hallucinates Mina, who seems to be trying to help with on his mission, offering advice and perhaps a bit of a conscience. As mentioned earlier, there's a lot here that could be compared to 'Monkey Man'. Aside from the basic revenge plot, 'Monkey Man' has a similar lead name with "Kid," they both feature a funny sidekick type, here being Andrew Koji as Basho, and Sharlto Copley shows up in both as a despicable character. As far as which is better, it will all be a matter of taste, and it feels like it reflects the time of disaster movies in the late 90s when there was two of something a lot of the time, like 'Volcano'/'Dante's Peak' or 'Armageddon'/'Deep Impact'. Despite quality of either, you'll end up picking one that speaks to you a bit more. In the case of 'Monkey Man' vs 'Boy Kills World,' the big selling points for me on 'Boy' being "better" include much better fight choreography, much less shaky cam and the fact that it takes itself less seriously and almost feels like parody. It makes its heavily game-influenced execution known from the get-go, and reminds me of other non-video-game-based movies that make for good video game movies, like 'Scott Pilgrim.' To top things off, the blood is nice and over-the-top, almost adding to the absurdity of it all. While 'Monkey Man' may be preferred by some, I can say honestly that I had more fun with this one. 4/5  This is gonna be another one of those films in which I can recognize it as a solid movie for the right audience, but I'm not altogether sure that I am that audience. I've never been a fan of the "political thriller" genre, and it's often because I have a hard time wrapping my head around politics and all of the complications that lie within. The other side of it is that I tend to find them incredibly dry, and just take them as not being "for me". However, I can say with all honesty that 'Civil War' is an interesting spin on the subject matter.
One can view the film's overall execution in a few different ways, reading into some sort of deeper political meanings. It can be seen as a cautionary tale about what to expect in our future if America ends up on the wrong path. But a lot of people also seem to see it as a heavy-handed exercise in shock value, considering a lot of the brutal imagery depicted within the film. But if I'm honest, my takeaway had very little to do with anything political at all, and the true thrill of the movie is in following our leads; all battlefield reporters who end up on the front lines of a slew of danger in order to deliver hard-hitting true stories to the nation. The idea here is that America is in the midst of its second Civil War between a US government run on a dictatorship, and various regional factions who are fighting back. It all opens with the President (Nick Offerman), now in a third term, who paints an instant portrait of what America has turned into. Enter our lead, a famous war photographer named Lee Smith (Kirsten Dunst) who we see doing her job to a disturbing degree, but we can still sympathize with her when she rescues an aspiring photojournalist named Jessie Cullen (Cailee Spaeny) from certain death. Lee, along with her friend and associate, Joel (Wagner Moura) plan to go to Washington to try to get one last interview with the president in before the city is taken. They are joined by Lee's mentor, Sammy (Stephen McKinley Henderson) and, unbeknownst to Lee, Jessie, who wants to follow in Lee's footsteps and become a pro. The thing is, in order to do that, Jessie will have to make herself come face to face with all sorts of torment, death, destruction and people who would just as soon shoot you as look at you. And it's all for the best photos. Throughout their journey to Washington, the foursome find themselves caught in the middle of a lot of the aforementioned danger, but as Lee looks after Jessie and tries to keep her out of danger, she simultaneously hints that the danger is where the action is in photojournalism, and Jessie gets better and better at the whole thing as the film unfolds. My takeaway from the film is more about the imminent danger that photographers put themselves through for a paycheck, and it helps us get a bit of insight into their brutal personalities. We've all seen a video or know of a story in which a reporter asks the victim of a disaster how they feel, and we've all had that same reaction of wanting to knock the reporter out for being so insensitive. This is not a movie that will change anyone's mind on that perspective, but it will give deeper insight into what it takes to be one of these people. You learn that in order to do this it takes a cold heart, but also quite a bit of bravery, and a lot of it is to spread the word to the masses about how terrible things have gotten in a situation. The film also shows us that these photojournalists do help where they can. But it still doesn't do a hell of a lot to make me like them. I had a hard time knowing how to feel at the end of it all, because without spoiling anything, there's a bit of a surprise ending. It doesn't really paint these people as heroes or villains, which is something I usually like, but the depth of these characters didn't offer much, despite a few solid performances that I can't really deny. In the end, I take it to be a bit of a thinker, and something to talk about, but I also don't know what else to say about it. I really think everyone's takeaway will be different. 3/5  I love a good revenge film, as several of my readers probably know by now. It's all about being able to route for the downtrodden, the "little guy," or victims of senseless circumstances. For me, 'John Wick' has the bar set, and set pretty damn high, plowing his way through four movies, each with something fairly unique to offer. Since the release of the first 'JW' (which set that bar), revenge films have still been solid, but not quite the same because, hell, you just do NOT mess with someone's puppy dog!
Nevertheless, it's still one of my favourite sub-genres of action, as they tend to allow the viewer to get inside the head of whoever is victimized and seeking their revenge. For as many as I've seen before, this one hits particularly hard for me, and probably will to anyone else who has a strong relationship with family. It leaves me with mixed emotions. I'd be hard-pressed to think of a revenge plot that I could get more behind (puppies aside), yet I'd be lying if I said I didn't have a few nitpicks about the movie's overall execution. Kid's (Dev Patel) revenge plot here is aimed mainly at the corrupt Yatana police chief, Rana Singh (Sikandar Kher) and corrupt guru Baba Shakti (Makrand Deshpande). When Kid was a... kid, living a happy life in a quaint Indian village alongside his family, Singh and several others, ordered by Shakti, drove his family out of the village, killing some, and Kid has pretty much devoted himself to revenge since. He makes his money at a grungy, bare-knuckle boxing club as a masked fighter, paid to take dives by his boss, Tiger (Sharlto Copley). In the meantime, in order to get close to Singh, Kid will need to infiltrate an exclusive luxury brothel called "Kings," run by Queenie Kapoor (Ashwini Kalsekar). He gets himself a job in the kitchen and befriends Alfonso (Pitobash), who ultimately helps him climb the ladder so that he can get closer to Singh and Shakti, not only to avenge the family he lost in the raid on his village, but to free the exploited girls in this brothel as well, namely Sita (Sobhita Dhulipala), whom he also befriends, and appears to be one of the more abused and taken advantage of out of the girls. Concerning Kid's family getting driven out of their village in such a brutal manor and the victimized girls of this brothel, the desire to see Kid succeed in this mission of his is pretty high. Kid's a very easy character to route for, especially considering how much patience and effort he puts into his mission. What I do like about this is that, unlike John Wick, Kid is sort of an "every-man" who needs to learn and train his way through things. There's something more relatable about that, and for that reason, this feels like there's a bit more heart put into things. Having said that, let's get into some of the problems I had with things here. Again, a lot of it is me being nitpicky about things. The biggest thing here is that shaky-cam action, which I have a hard time with. I wanna see what the hell is going on, not feel like I'm falling down the stairs, and there's a lot of shaky-cam action to this movie. However, the film's atmosphere is also very rough, raw and almost dirty, so that kind of messy action also sort of makes sense for the feel of things. I'm not mad about it or anything, but shaky cam isn't really for me these days. The only other thing I can say about it negative is that there's a couple of moments where the viewer might ask "what happened with this character?" Not that it creates plot holes, but some of the characters I liked in this (including a dog who thankfully survives this movie) kinda just get left behind after a while. In the grand scheme of things I can probably think of a lot of better revenge flicks, but there's really nothing particularly bad about this in any way either. 'John Wick' still has that bar set for me, and for as good as this was, it still didn't quite reach. If only the shaky-cam fights were smoother. 3/5  Hollywood has given us more than a fair share of crossover movies that include a "vs" in their title, including this particular franchise. But I have to give it up to the MonsterVerse here for not only having the big, epic wrestling match between two celebrity monsters, but also bringing them together as a tag team. I've said it before and I'll say it again; these movies just work better if you watch the monsters' story lines unfold as though it was something Vince McMahon dreamed up.
As far as this series has gone, it has been a fun ride so far. But considering how this movie unfolds, and the films that preceded it, this franchise kinda blew its wad already. Godzilla has already fought a good chunk of his big monster enemies, including the main event that was 'Godzilla vs Kong'. So for as cool as it is to see these guys team up, the truth of the matter is, the "villain" they go up against left a lot to be desired, and it sort of feels like things have taken a monstrous step backwards. But don't worry, this title doesn't come bereft of any solid monster-on-monster action. Picking things up three years after the last film took place (bringing us up to circa 2027 here), the concept of Hollow Earth has been revealed as fact, and Kong has been spending his time down there in search of more of his kind; Hollow Earth being the old home to many "Titans" or "MUTOs" (Massive Unidentified Terrestrial Organisms). Meanwhile, Godzilla stays on Earth's surface, fending off other big baddies like a giant crab named Scylla, and maintaining order between monsters and humans. These fights probably kill thousands in the process, but more on that later. A Monarch outpost within Hollow Earth picks up on a mysterious signal, which seems to be affecting Jia (Kaylee Hottle) on the surface with creepy dreams and hallucinations. Just to recap, Jia is the sole survivor of Skull Island's Iwi tribe after a natural disaster wiped them out. She lives with her adopted mother, Monarch researcher, Dr. Ilene Andrews (Rebecca Hall) and is able to communicate with Kong, using sign language. Jia's visions begin to worry Ilene, so she begins to assemble a crew including Titan veterinarian, Trapper (Dan Stevens) and podcaster for the conspiracy-minded, Bernie Hayes (Brian Tyree Henry) to head to Hollow Earth to figure out what this signals all about. Godzilla soon begins to act almost irratic because of this signal, attempting to absorb all the radiation he can for whatever threat may be coming. Meanwhile, within Hollow Earth, Kong discovers a secret that suggest that he may have found the rest of his kind, with the help of a young ape who was probably put in the movie just for cutesiness, Suko. And yeah, Suko's cute and all, but he's also a bit of an asshole. Kong has to keep him in line quite a bit, and it's often pretty funny to see how it plays out. One paritcular fight scene had me laughing out loud, and it's something you'll know when you see it. What the signal ends up coming from, however, is fairly anticlimactic, and it leads us to the big baddie of the film, Skar King, another giant ape who uses a reptile-like Titan named Shimo as both a weapon and a mode of transportation. I have to admit that this irks me just a little bit, while other much cooler monsters are briefly glimpsed, but quickly tossed aside, like the aforementioned Scylla and another named Tiamat, who is essentially an underwater Chinese dragon and should have made for a much bigger adversary than it was presented as. Going back to what I mentioned about destruction probably killing thousands, I've said it before, but one should probably just treat it as the old game 'Rampage'. Destruction is just a part of it. Something like a superhero movie feels different in that they're "heroes" who come across as careless. Titans, on the other hand, are giant animals who act like giant animals, so to me, it's more forgiving here. This chapter was definitely not the best of the franchise, but I still had fun with it, and I have to appreciate that they kinda go all-out here with some of the silliness. It's no 'Godzilla vs. Kong' with a cool big reveal, but it's fine for what it is. 3/5  To this series credit, I can say with all honesty that I find it to be altogether pretty solid. And right off the bat, I'll tell you that this instalment may have been, altogether, my least favourite of the bunch. But it's still a lot of fun, and carries on Po's (Jack Black) story even further, just when we thought '3' might very well be about as far as Po could get, becoming a full-fledged "Dragon Warrior" and Grand Master of Kung Fu, becoming Master Oogway's successor. It's a "happily ever after" ending to things, and I didn't entirely expect much more from it.
I won't go into very great detail on Po's development here, and the lessons and takeaways the three previous films give. For more on that, head over to my "Gearing Up" page for reviews on all three. Back to the point, however, it seems as though that "happily ever after" ending followed through, as we pick things up with Po being a hero to the Valley of Peace and bathing a little bit in his celebrty status which he also uses to help his adoptive goose Dad, Mr. Ping (James Hong), and his biological Dad, Li (Bryan Cranston) open a new and improved noodle restaurant. Soon, however, Po's sensei, Master Shifu (Dustin Hoffman) comes in, as usual, to drive the plot forward. Even though we may have thought Po's development couldn't go much further, it seems there's just one more thing he has to do, and that's to name a successor, as Oogway did, seemingly not to long ago with him. This will also mean passing down the mantle of "Dragon Warrior" to whoever it might be, and that's not something Po is entirely ready to do, illustrating quite plainly that for as much as Po has gone, he still has a bit of growing up to do. But this time, he will not have the Furious Five to help out, as they are each off on missions or just living their respective lives in different ways. Auditions are held, and the fighters are impressive, but Po's attention goes to a thief fox he catches in the act named Zhen (Awkwafina), instead. And with word of Tai Lung (Ian McShane) returning (the villain from the original film) demands Po to check it out, he uses the opportunity to bring Zhen along and teach her a thing or two along the way, generally having to do with attitude as opposed to fighting skills, which she shows she has. We soon find out that the actual culprit is a Chameleon named... the Chameleon (Viola Davis) who has the ability to shapeshift and use the abilities of Kung Fu masters she has bested. The Chameleon's motivation in all of this is to get her hands on Po's staff (which he received from Ooogway in the Spirit Realm in the previous film) which will giver her the ability to open the Spirit Realm and steal even more Chi (again, refer to 'Kung Fu Panda 3') from the deceased masters. Now it's up to Po to stop her with the help of his unlikely apprentice. In the meantime, there's a sidequest involving Mr. Ping and Li going after Po because they worry he might not be able to pull his mission off, and to that degree, it's a little more of the same. Ping has always been a it of an annoyand with that, and now Li's doing the same thing. I have a few other little nitpicks here and there, but they are nitpicks. For example, this is another animated movie that does the thing where we see a group of adorable, puppydog-eyed kids who ultimately become little terrors, which is something I tend to find fairly cliche at this point. But at the same time, it is one of those cliches I can put up with for a chuckle. I also missed the Furious Five in this, but of course, I do understand their absense. They weren't necessarily needed, and to be fair, it is quite a cast, just between those five characters. Again, these are minor nitpicks. I think the biggest takeaway from this is that at this point, 'Kung Fu Panda' should probably finally come to an end with this. It may be my least favourite of the bunch, but it's still surprisingly enjoyable if maybe a little, tiny bit stale after a 16-year run. Thankfully, the films have been spread far enough apart, however, which adds to the enjoyablity of it all. Don't flood us with things, make us want things. All in all, this is a super solid series of animated movies that provide themes on growth, acceptence, being an all-around good person, and even finding one's path in life. I can highly recommend it for anyone with some growing to do, and that includes some adults! 3/5  I should probably make things abundantly clear again about how I feel about 'Dune' in general. It's not really my cup of tea when it comes to things as a whole. I can't really explain why, it just never truly struck a chord for me as much as other things like 'Star Wars' did. Still, it has my respect as a great story (at least what I've seen from these two movies, as I've never read these books), one that established itself well before so many like it, and above all else, I still think of it as a breath of fresh air between overexposure to things like superheroes.
'Dune' feels much more as though it's meant to be the next big epic three-parter adapted from classic writings since 'Lord of the Rings'/'The Hobbit', and so far, it's succeeding very well. About 99% of anyone I talk to even remotely about these movies seem to be pretty blown away by what writer/director Denis Villeneuve has accomplished, changes from the book notwithstanding, as per usual with things like this. For yours truly, I've really been enjoying them for what they are, but I don't truly see myself coming back to them until the next chapter is about to release. Before getting into things here, however, it should probably be noted that some pretty heavy spoilers lie ahead for the first movie, so I wouldn't highly recommend reading on unless you've either seen the first film, or simply don't care one way or another. But without further adieu, let's get into it. In the first film, the honourable House Atreides are essentially given planet Arrakis by the Emperor of the Universe, Shaddam VI (Now played by Christopher Walken), taking it away from the House Harkonnen who, in turn, launch an attack to wipe Atreides out, all for control of a substance called "spice" which is the only means for interstellar travel. Following these events, Paul Atreides (Timothée Chalamet) and his Mother, Lady Jessica (Rebecca Ferguson) survive these attacks, and head for the Fremen (the native race of Arrakis) sanctuary of Sietch Tabr. While there, a bit more light is shed on Paul's role in this story, as a Fremen named Stilgar (Javier Bardem) and several others see that Paul and Jessica could be there to fulfill a prophecy that will bring order to Arrakis. Still, however, some Fremen aren't swayed so easily, believing they could be spies, and Chani (Zendaya) and her friend, Shishakli (Souheila Yacoub) believe the prophecy to be an all-out lie. Said prophecy includes a lot of stuff that comes "as written", as Stilgar mentions almost too many times in this, and slowly but surely both Paul and Jessica begin to fulfil the propechy on both of their ends. Chani eventually gives respect to Paul when he promises that he wishes to fight alongside them as opposed to rule over them as the prophecy seems to foretell. Meanwhile, a pregnant Jessica earns the ability to communicate with her unborn child, Alia, through injesting "The Water of Life" as a whole part of her end of prophecy fulfillment. I'm sure I'm missing a lot of important information here, so forgive me. On the Harkonnen end of things, after a series of spice raids on them from the Fremen, Chani and Paul, included, Baron Harkonnen (Stellan Skarsgård) replaces his nephew, Rabban (Dave Bautista) as the new Arrakis ruler with his other nephew, the totally badass but psychotic Feyd-Rautha (Austin Butler) who sort of becomes the big baddie in this chapter, complete with a beautifully shot arena scene in black and white to artistically reflect the "black and white", primitive and brutal Harkonnen way of life, so a definite kudos to them for letting the audience feel the Harkonnen as oppsed to just seeing and hearing them. I know I've still glazed over a few things in explanation, but just to speak of the quality of the movie, it's one that should definitely be seen on the big screen if one is genuinely interested in seeing what happens after 'Dune' ('21). Any sort of effects, CG or practical manage to jump off the screen with their epic quality, and it's pretty plain to see that this is the "next big thing" (as far as box office epics go). While it may not necessarily be in my wheelhouse as something I'll return to again and again, these movies are nevertheless solid and do a good job of reminding us that some things non-superhero can still demand a big-screen viewing. 5/5  This was one of those titles this year that sort of hovered in existence amid other titles that might put butts in seats. Admittedly, the advertising for this one wasn't entirely effective, and I was only really drawn in by Ethan Coen's name behind the film along with the stylistic look of it. The thing is, the trailer is altogether pretty misleading, offering up a fun road-trip looking 'Thelma & Louise' style adventure with a few solid names attached to it. The reality is that this is more of a story about two contrasting lesbian characters than anything else.
To be perfectly clear, I don't have a problem with what the film turned out to be, it's just that it didn't turn out to be what I expected. It should also be noted that the other big names we see in the trailer like Matt Damon and Pedro Pascal are barely a part of things, and show up just to say "look who's here!" And while the film isn't without a bit of casually dark humour as Ethan Coen is known for, in order to enjoy this one to any degree, one will have to let go of some of the greater expectations they have from the name. In other words, this could be considered another 'Burn After Reading' for some. Taking place in 1999, Philadelphia, we meet Jamie (Margaret Qualley), a lady living her life in the fast lane, cheating enough on her lover, Sukie (Beanie Feldstein) that it leads her to getting kicked out of their apartment. While she's figuring out what to do about her situation, she learns that her friend, Marian (Geraldine Viswanathan) is planning to head out to Tallahassee, FL to visit family, so she requests to come along for the road trip. To do so, they go to a drive-away car service in which someone drives a car from one place to another for another client. The pair ask about a car destined to Tallahassee, which confuses the shop owner, Curlie (Bill Camp) a bit, but he shrugs it off and gives the girls the keys. It turns out his confusion was warranted, however, as someone else had already booked a car for Tallahassee; three criminals, Arliss (Joey Slotnick), Flint (C.J. Wilson) and Chief (Colman Domingo), who seemingly leads the team. Here, we find out that Jamie and Marian are, by no fault of their own, carrying something very sensitive in a mysterious briefcase. From there, Arliss and Flint begin the chase, questioning everyone the "Dolls" have been in contact with along the way. That's pretty much the plot, and it doesn't sound as misleading as I might have mentioned, but that plot does take a back seat to the other story here. What the film is really about is two friends; Jamie, who's wild and free, and Marian, who's far more conservative and a bit uptight, and Jamie trying to get Marian to loosen up and enjoy life more. All the while the pair share some sexual tension within their friendship as well, so things do indeed get a bit spicy with this one as one, again, might not take away from the trailer. I think the worst thing about this one is that before seeing the movie, I joked about what the precious contents of the briefcase might be, and it turned out I actually called it. Despite having a good laugh about accidentally calling it with a joke, that's also the problem - It really was a joke, and to some degree, that makes things kind of disappointing. Between that, a total tease of star power and things being pretty misleading, I definitely have my criticisms. I don't have any hate towards it, really, but I have to say I was disappointed on the whole, and when it comes to the Coen name, there are much better titles out there. To put it another way, I could see this getting something of a cult following over time, considering its overall subject matter, and the fact that it was a box office flop, so not a whole hell of a lot of people went to check it out upon its release. I didn't hate it, I didn't love it, it's misleading and pretty silly overall, but it's also not really without its moments. I think as long as one can go in with their minds open and know that this is more of a movie about a lesbian relationship than anything else it can be a decent time. But again, not the top of the Coen list of great movies. 3/5  Here's an opportunity to talk a bit about how I feel about Sony and their "Spider-Verse". When it came to 'Venom' and 'Let There Be Carnage', they weren't great, but I enjoyed the execution of the titular characters. As for 'Morbius', it was just kinda "there" and ultimately forgettable. Nothing, however actually got completely under my skin until this, and even though none of the aforementioned titles were that good, this one takes the cake. All comic book/superhero universes combined, this is one of the worst modern titles I've seen yet.
Even upon hearing it was gonna be Sony's next project in their "Not-Spider-Man" line of 'Spider-Man' related films, I had to wonder who the hell was asking for it. The ONLY excuse I can think of is that they felt like they needed a hero to come in and battle all these villains Sony has been working on getting together. I'm no expert when it comes to the complete universe of 'Spider-Man', but I'm relatively sure that Madame Web is not nor has ever been a "main character" so much as a side character who's only ever popped up here and there. I seem to remember her being more of an old lady, as well, but I guess that's Hollywood for ya. We open in Peru, 1973, where explorers Ezekiel Sims (Tahar Rahim) and his pregant partner, Constance Webb (Kerry Bishé) are in search of a rare spider that is said to have healing properties in its venom. Legend has it that the spider has given rise to a tribe in the area who have superior climbing and jumping abilities and... they're basically a tribe of "Spider-Men" who don't have web-shooters. Anyway, the spider is found, Ezekial betrays their exploration team and, in the process, leaves a dying Constance behind. The "Spider-Tribe" manages to save the baby, Cassandra, but (spoiler alert) Constance doesn't make it. Fast-forward to 2003, where Cassandra (Dakota Johnson) works as a paramedic, accompanied by work partners *sigh* Ben Parker (Adam Scott), who's actually married to a Mary Parker (Emma Roberts), and O'Neil (Mike Epps). During one particularly dangerous call, "Cassie" has a near-death experience, and to make a long story short, she discovers that she can see into the future, giving her the ability to hopefully prevent future tragedy. Meanwhile, Ezekiel has developed limited precognition (among other Spider-Man related abilities including the ability to make his own Spider-suit that may get butts into theatre seast with a trailer). Ezekiel's precogntion leads him to believe that three teenage girls, Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced), and Mattie Franklin (Celeste O'Connor). would one day kill him, and his motivation through the film is as simple as "get to them before they get to him." The rest of it is essentally an escort mission movie involving Cassie protecting the teenagers from Ezekiel's constant attacks dressed as a dark Spider-Man. Alhough, I will be somewhat fair in that Ezekiel Sims' character does have similar abilities to Spidey in the comics, and each of the teenagers are representing different "Spider-Women" from the comics. So, I think I see what they were going for. Usually, if I do a little bit of homework on these characters, I can find things the movie did that were "right", so to speak, but I have to say right off the bat that if you came to see these "Spider-Women" do their thing, you get a grand total of maybe about 30 seconds of action and most of the movie is just a guy who looks like a dark Spider-Man chasing the group around while Madame Web uses her abilities to protect them. At the end of the day, it's too many characters with nothing much happening, a bunch of easy-to-call cliches, and really bad dialogue including the line "If you accept the responsibility, the power will come" and if you know anything about 'Spider-Man', you know what line that is trying to be. I'm genuinely curious to see where Sony goes from here, but it's not like with other properties that might have me excited for their futures. This is almost more like watching a very slow trainwreck happen, and it's baffling to me that Sony's animated 'Spider-Verse' movies with Miles Morales are so good while these live action flicks just keep failing harder and harder every time. If that's not enough, this comes from the writers of the hard fail that was 'Morbius', and directed by S.J. Clarkson, who was at the helm of 'Jessica Jones' and 'The Defenders', so this is about the level of quality we're looking at here. 1/5  Director Matthew Vaughn is one of those directors who, in my opinion, when he hits, he knocks it out of the park. Movie's like 'Stardust', 'Kick-Ass', 'X-Men: First Class' and the FIRST 'Kingsman' movie were all great for what they were. But it feels like once 'Kingsman: The Secret Service' hit, Vaughn has not been able to escape that world of making espionage "hip", so to speak. So at least going by the trailer for this, I knew a bit of what to expect. I went in thinking it would probably be all right as a fun romp, but what I got was... well, I'll just say worse.
Before getting into this, I'd like to bring up Bryce Dallas Howard and the fact that she is one of my least favourite actresses (but a pretty great director!) To be clear, I have nothing against her. But she always seems to end up playing a character I don't like, be it the girlfriend from '50/50', Hilly Holbrook from 'The Help', or Claire of the 'Jurassic World' series. Hell, I consider the 'Nosedive' episode of 'Black Mirror' one of its all-time best episodes, but her character in that is still easily loathed (until the end). The point is, I've just never really seen her in anything where I'm routing for her, and 'Argylle' continues this trend. Here, Howard plays Elly Conway, a novelist who writes spy novels centred on a character named Aubrey Argylle (Henry Cavill), who we often see in fantasy play-outs, along with, to a lesser extent, his Bond-like femme fatale, Lagrange (Dua Lipa) and his partner, Wyatt (John Cena). And when I say "lesser extent" I mean, if you came here to see them, you're done in about ten minutes. Anyway, Elly lives an introverted life, cozy at home with her cat (the poster-boy for this movie), Alfie. One day her mother (Catherine O'Hara) calls her to pay a visit, so she and Alfie hop on a train. On the train, she meets a real spy by the name of Aidan Wylde (Sam Rockwell) who, after they get attacked on the train, tells her that a secret group known as The Division, led by Director Ritter (Bryan Cranston) is tracking her because, supposedly, her novels predict future events. From there, the film unfolds with a lot of lazy writing, time-filler, confusion, and so many unnecessary twists and turns that M. Night Shyamalan would look at it and say "okay, calm down." Honestly, this movie is all over the place. It keeps you guessing, sure, but there's just too damn much of it. In fact, I'd even say it starts to feel like a parody after a while. Going back to Howard for a bit, here, she feels like a helpless character along for the ride who spends the whole time in distress, remind me a bit of Willie from 'Temple of Doom', which is never a good thing. Once again, nothing against the person, but I really wanna see what she can do aside from a character who, quite frankly, kind of annoys me. To her credit, however, she did direct a few solid episodes of 'Mandalorian' and 'Book of Boba Fett', so I'm not just brushing her aside as something "bad". She's also not entirely what makes me dislike this movie, so much as almost everything else about it. The big question on everyone's mind is probably something along the lines of "what's up with this cat?" Without spoiling anything, I'm just gonna say that for the most part, he's there to be a cute addition to everything going on. There is a reason for him to be there but when you see what it is, you see what I mean when I say "lazy writing." This is from Jason Fuchs, who wrote the screenplay for 'Wonder Woman', so we know he can do better. This just has a lot of situations in which a character needs a quck escape so something is just made up on the spot. It gets to the point of there being no real tension because you just know better. Going back to Matthew Vaughn now, I kind of hate that he's trapped in this fantasy spy world now. While the first 'Kingsman' movie was great, none of its following chapters quite matched up in quality, and I really wanna see him go back to directing some of those adaptations, because I feel like 'Stardust', 'Kick-Ass' and 'First Class' were among his best works. But even with the way this ends, we can tell he's not done with this spy stuff yet. I guess people still enjoy it, but I feel like there's a lot of what could be that we're missing out on with him. This could have been much better than it was, especially after seeing the mid-credit scene, which just kinda buried the film further. 2/5  If you enjoy a good action flick that's a solid combination of dumb and fun, 'The Beekeeper' is a fairly solid choice for something new that holds age-old action movie traditions. All told, this movie is kinda ridiculous when you get right down to it, but I'll be damned if I said I didn't still have a really fun time with it. If you've come to see a Jason Statham action movie, you will not be disappointed because that's what you get. But I do have to say that upon reading a few ratings elsewhere it is a flick that's probably kinda overrated for what it actually is.
That being said, what we do have here is pretty much a standard revenge film in the spirit of something like 'John Wick', but this time, the revenge is fuelled by crooked companies who delight in phishing scams. Anyone who knows someone who has fallen victim to something like a phishing scam, especially a family member, will not have any problem routing for our main character here, Adam Clay (Statham). And I will say that for anyone who loves seeing Statham kick ass and take names, the film does a good job of delivering that action. This whole thing starts when a woman named Eloise Parker (Phylicia Rashad) falls for a phishing scam so badly that it leads her to commit suicide. This, in turn, pours the fuel on the fire that is Adam Clay's rage, as he lived as a tenant in her barn as a friendly beekeeper, and she was only ever sweet and kind to him. Turns out that his title as "beekeeper" extends to a mysterious organization of people with incredible skills, very reminiscent of the Continental Hotel, once again, from 'John Wick'. Through them, Clay finds the scammers responsible for not only Eloise, but countless other innocent victims they've cleaned out. Clay begins his revenge by storming a UDG (United Data Group) building, which the Beekeepers led him to, messing it up real nice, and capturing the attention of technology executive, Derek Danforth (Josh Hutcherson) who sends thugs to take care of him. Of course, with Danforth being the head of everything, Clay gives him fair warning that he's coming after him, and will take care of anyone who stands in his way. This is fairly typical, we've seen it all before, and that's why I conclude that perhaps the film is a touch overrated according to various reviews. But again, it's fun, and it's easy to put ourselves in the victims' shoes. In the meantime, while Clay is doing his vigilante thing, we have two regular cops who are trying to get down to the source of Eloise's suicide; a cop of comedy relief, Agent Matt Wiley (Bobby Naderi) and more importantly, Agent Verona Parker (Emmy Raver-Lampman), Eloise's daughter. Meanwhile out villain also gets help from ex head-of-CIA, Wallace Westwyld (Jeremy Irons) whose seriousness brings a solid contrast to his scenes with Danforth; Danforth basically being the sarcastic brat who isn't listening to "Uncle" Wallace... or his own Mom (Jemma Redgrave), who, of course, is really running the show. All in all, this is something of a combination of 'John Wick' as far as revenge plot goes, and just about any old Steven Seagal action flick as far as how over the top and almost overkill it can get. And oh yes, there are a few one-liners here as well as some great (albeit cheesy) bee puns. This is one of those movies I like to classify as a "carnival ride" in as much as it's just a fun, good time. It's a film that doesn't take itself seriously, and you pretty much know exactly what you're in for just by the trailer, if not the title alone. A Jason Statham action movie called "The Beekeeper?" I mean, c'mon. Have fun with it. And while this movie is a good time, I return to the point where I said this was perhaps a bit overrated. That's only really because we've seen revenge films almost just like this before, many times, and often done better. But if you're like me and enjoy a good fun-dumb action movie full of puns, overall silliness, ridiculous scenarios and even a bit of relatability fuelling everything, this is a movie that holds its own. It's not gonna top my list by the end of the year, but it's something I had fun with, and it's something I'd recommend to anyone just looking for a bit of fun... but violent fun... as only Statham can deliver. 4/5 NOTE: The following review will eventually be moved to a special 'DC Films' page.  Let me start by saying I won't be getting into anything involving Amber Heard and her recent activity. Even having said that, while she remains a part of the movie, she is not at all any sort of main focus, so protesters need not think too much about it. The thing is, there are a few characters that get a bit of a back seat in the 'Aquaman' sequel, as most of the focus seems to be on Arthur Curry/Aquaman (Jason Momoa), his brother, King Orm/Ocean Master (Patrick Wilson) and the return of David Kane/Black Manta (Yahya Abdul-Mateen II).
For those who need a bit of a refresher course on what happened in the last film, once King of the city of Atlantis, Orm had plans to conquer not only the oceanic people but also the surface world, and he uses the help of Black Manta in his attempt. He is, however, thwarted by Arthur, who eventually takes the Trident of Atlan for himself and his rightful place on the throne, afterwards imprisoning Orm for his power-hungry crimes. In the meantime, Black Manta is thought to be killed in a final battle, but we see that he manages to survive and swear revenge on Aquaman. Four years have passed since the events of the first film. Arthur's living the good life, married to Mera (Heard), supporting his baby boy, Arthur Jr. (played by a variety of babies), and living his balanced life between land, where he stays with his Dad, Tom (Temuera Morrison) and sea, where he rules as King of Atlantis and can visit his Mom, Atlanna (Nicole Kidman). Things are relatively boring for Arthur for the time being, but it's all about to change when Black Manta continues his revenge plot with the help of a marine biologist named Stephen Shin (Randall Park). While searching for Atlantean artifacts, Manta and Shin find a black trident which promises its possessor (Manta) the power he needs to destroy Arthur and, as the trailer suggests, "everything he holds dear." Hellbent on power, Manta goes for Atlantis' stores of orichalcum, and this is where we realize that we end up getting a pretty heavy-handed message about the dangers of global warming and how easy it is to speed up: orichalcum being a source of greenhouse gasses. To stop Manta with his black trident, Arthur breaks Orm out of his prison to help him in his mission to save the planet and protect his family. Ultimately, the film ends up being DC's answer to Marvel's brotherly buddy comedy, ' Thor: Ragnarok,' as the two must put aside their differences to face a bigger threat. I have to admit that while I did enjoy their chemistry here, it almost felt like too much of a copy, right down to the fact that at one point, the villainous brother was once a main villain and is slowly coming around to fight for the side of good. But it is fun to watch Arthur mess with Orm on the surface world with things he's unfamiliar with. To some degree, it's entertaining. But it's also full of superhero cliches and doesn't necessarily leave the DCEU going out with a bang. This is another one in which the villain is out for the simplicity of revenge and power, and there's no real fleshing out of his character, even after he's already been in a film before this. Really, he's just kinda angry at things and is willing to destroy the world, all while being possessed by whatever's going on in a mysterious dark object (in this case, a trident). It plays as more of a superhero Saturday morning cartoon three or four-parter than an in-depth film, and it feels like the DCEU dropped the ball on their final flick. I can't honestly say that I hated it or even really disliked it. But it's a film for those looking for something typical in their superhero movie instead of something unique. It's about how I felt about its predecessor. If you wanna just come in for a fun ride, you might enjoy it, but it's not the best ride at the DCEU fair either. But, being that it is the cloer of the DCEU, I am hoping to see DC come out with more promising superhero sidequests like they've done with 'The Batman' and 'Joker', because I feel like DC has the potential to shine if they just keep their projects uniquely theirs as opposed to trying to conquer the MCU. 3/5 |
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