 It's probably plain to most people after my 'Lion King' ('19) review that the original '94 film, for yours truly, cannot be touched as far as quality goes, even if the new animation is admittedly breathtakingly beautiful. So, when I saw the trailer for this film, I was indifferent. On the one hand, it's digging up known and beloved characters for what seems to be an easy money grab. On the other hand, despite said beloved characters and familiarity, this IS an original story. While everyone else was wondering, "Who's asking for this?" I was in the minority saying, "Me?"
The film opens with a dedication to the memory of the late great James Earl Jones, who famously lent his voice to Mufasa in both the '94 and '19 versions of 'The Lion King. With that in mind, it moves on to some pretty familiar territory, as the animals of the African savanna all gather around Pride Rock, as Simba (Donald Glover) has an announcement to make; he and Nala (Beyoncé) are about to have their second cub, which means Simba has to take off to meet Nala at the birthing ground. This event leaves their first cub, Kiara (Blue Ivy Carter), whom some may remember from 'Simba's Pride,' in the babysitting hands of Timon (Billy Eichner) and Pumbaa (Seth Rogen), who are sadly irritating in this film whenever they're on screen. There's a laugh or two, but most of that is after Rafiki (John Kani) comes in to join them to tell the story, reacting to their stupidity. But hey, what can you do? Some of this annoyance is bound to happen, being a film aimed at kids. Moving on, Rafiki tells Kiara the story of her grandfather, Mufasa, and how he came to be King. Mufasa (Braelyn Rankins /Aaron Pierre) and his parents, Masego (Keith David) and Afia (Anika Noni Rose) live in a pretty barren African savanna in the middle of a drought. Mufasa's parents tell him of a lush land called Milele and that they will find it one day. Think of the Great Valley from 'The Land Before Time.' One day, a disastrous flood strikes at the watering hole, whisking Mufasa away from his parents, home, and everything he knows. Lost and floating down a river, he eventually meets up with another cub named Taka (Theo Somolu/Kelvin Harrison Jr.). As Mufasa and Taka grow up together, they become brothers, but Mufasa gets shunned by their King, Obasi (Lennie James), who sends Simba off with the females, where, guess what? He learns many valuable techniques from Queen Eshe (Thandiwe Newton) about tracking, hunting, etc. Meanwhile, Taka wants to join them, but Obasi tells him it's a waste, as one day he'll be King, and all he'll have to do is laze around all day. This negative attitude continues until, one day, the pride is met with some white lions, forcing Mufasa and Taka into exile. From here, the story turns into Mufasa and Taka searching for Milele (which translates to "forever"), eventually stumbling on the familiar characters of Sarabi (Tiffany Boone) and Zazu (Preston Nyman - voiced by John Oliver last time, which I failed to mention). Ultimately, a love triangle occurs between the three lions, leading Taka to become Scar (not a spoiler, as evident from the get-go). Not much about the story ends up surprising, as Sarabi choosing Mufasa over Scar is mentioned in the 2019 'Lion King,' in one of the very few additional bits to the film. With so much "copy + paste" technique given to Disney's live-action remakes, I found this movie kinda refreshing. It reminds me of how I felt about 'Last Jedi' when it came out. It may not have been the best movie, but I have to give the filmmakers credit for attempting to step outside that comfort zone and try out some unfamiliarity for once. That said, I met this one with about the same reception I did the 2019 remake - it's beautiful to look at, but the effects aren't enough to make it great. I'll still stick to the 1994 classic, but kudos to this film for the attempt. 3/5
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 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  Although I can admit that this was a title that didn't entirely live up to its predecessor, I do think that as a sequel, it's perfectly fine. This is another one I feel gets a bit worse of a rap that it truly deserves, but it's not without its faults, either. The original 'Moana,' much like with 'Frozen 2' and its predecessor, is a lot to live up to, so one has to try to give it a bit of slack. That said, much like it is with many other Disney fans, I would really like to see some more new, new material from the studio, and not just another live-action remake, or sequel.
The timing here is kinda brutal too, as this is also followed closely by the Disney prequel that is 'Mufasa: The Lion King.' In both cases, new ideas, sure, but still a part of something that already exists. And I'm mostly looking at Disney here, about this gripe, not so much Pixar, who released 'Inside Out 2' earlier this year, which I felt actually outdid the original. But I digress; the bottom line is that even though this was fine, it was something I felt didn't need to exist, because 'Moana' was such an instant classic as a stand-alone. The story here picks up three years after the events of the first film. Moana (Auli'i Cravalho) has since put her lessons about way-finding from Maui (Dwayne Johnson) to work, setting sail with animal companions Heihei (Alan Tudyk) and Pua, the adorable little piggy. She travels in search of other civilizations, connected to the ocean. One day, she manages to find a broken piece of pottery with a symbol of a couple of mountains on it, proving that somewhere out there, other civilizations exist. Her ancestor, Tautai Vasa (Gerald Faitala Ramsey) comes to her one day in a vision, during a brutal lightning storm, revealing why there's a lack of connection to other people of the ocean. This time, it's the fault of a storm God named Nalo, who sunk an island called Motufetu in an attempt to gain power over the mortals. Motufetu, itself, was once an island that connected the people of the ocean, and their islands, and since its sinking things have been stressful for those living the seaside life. If Moana can't travel to Motufetu's location and raise it, life on her home island of Motunui will slowly die out. Evidently, the whole first movie was just Moana's first step towards greatness. To accomplish this, she'll need a crew, consisting of a smart, if pretty annoying craftswoman named Loto (Rose Matafeo), a historian named Moni (Hualalai Chung), who's also obsessed with Maui, and a grouchy farmer and elder named Kele (David Fane). And yeah, as one can easily predict, Maui eventually joins the crew as well, because... how else are they gonna raise the island? Along the way, the encounter several obstacles, including another, rather different experience with the Kakamora tribe (a tribe of anthropomorphic coconuts), a vampire bat type being named Matangi (Awhimai Fraser), and a whole realm that takes place within a giant clam, where Gramma Tala (Rachel House) can't use the ocean to help Moana anymore. All in all, once the crew reaches the giant clam and has their encounter with the Kakamora, things get a little bit confusing, or perhaps even convenient for the crew to keep moving. My one real gripe with it is just that. It seemed that whenever the chips were down here, some kind of miraculous moment would happen that spares them. It all just feels too damn easy. After a while, there's no sense of dread or potential failure from this like you had with the first. It's still bright, flashy, beautifully animated, and the songs are mostly kinda catchy. But if you go into this thinking its gonna be the same, or better quality than the first, it's not. This one could have done the "straight-to-D+" thing, really. But still, it's decent for what it is, and I do think the youthful fans of the original will enjoy it just fine. 3/5  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  It's kinda crazy to think of myself as a guy who appreciates imagination after having grown up with a LOT of imaginative and creative material, yet never hearing of 'Harold and the Purple Crayon' until this movie came along. Not only is it a famous kids book, but it was also adapted into a series of shorts over the years, featured on 'Captain Kangaroo' (not that I really watched it), and even featured as a short-run animated series in 2001, narrated by Sharon Stone. You'd think just word of mouth would have gotten to me, eventually.
The story (which is also the opening to the movie) involves four-year-old Harold, who has the power to create his own world, simply by drawing it with his purple crayon. He creates, and creates, but eventually gets tired and wants to go home to bed, so has to search for his bedroom window. Soon enough, he remembers where his bedroom window is, and makes himself a bed to dose off in, "the end." But the opening of the film continues Harold's (Zachary Levi) adventures, as he grows up and creates his two best friends, Moose (Lil Rel Howery) and Porcupine (Tanya Reynolds). As the opening shows you all of this in animation, it's being narrated by Alfred Molina; someone Harold can actually communicate with as he tells Harold's stories. One day, Harold tries calling out to the narrator, and realizes he seems to have gone missing. Knowing that the narrator lives in the real world, however, Harold comes up with a simple solution by drawing a door to the "Real World" and opening it up, providing him a portal to Earth as we know it. You wanna roll your eyes at the simplicity of it, but at the same time, I admire that they just went with it, because if they didn't, we'd be asking "why doesn't he just?" Harold enters the real world with Moose, who turns into a human, but Porcupine gets left behind. They immediately get into an accident with a lady named Terry (Zooey Deschanel) and her son, (*cringe*) Melvin (Benjamin Bottani), ultimately giving them a place to stay, once Harold uses his purple crayon to fix Terry's tire. By the way, Mel sees this, Terry doesn't, and that's something that gets repeated time and time again throughout the film to a fault. But anyway, Harold and Mel become friends, which may or may not be creepy depending on who you are, but it is at least addressed by Terry more than once. Eventually, Mel offers to help Harold find his "Dad" (the narrator), and that's essentially what the movie is all about, while on the side, Zooey Deschanel is basically reprising her role from 'Elf' as a somewhat bitter lady who needs to cheer up through the help of a colourful main character. Meanwhile, Porcupine does end up entering the real world, but her story is a bit more fun, as she basically becomes a criminal through her actions, but really, she's just doing what porcupines do. It's a bit like watching 'Smurfs' where live-action Gargamel is the best part of an otherwise typical fish-out-of-water story. A lot of logic really irked me with this one. So many moments involve Terry dismissing the purple crayon magic as nonsense, and somewhat shunning her own kid for his overactive imagination. But either Harold OR Mel (who gets his own piece of the crayon) could show her how it all works, and for some dumb reason don't, even when the climax his happening, involving our villain; a failed author named Gary (Jemaine Clement), whose motivation through the movie involves using the purple crayon to bring his imaginary world to life, and hopefully getting with Terry. But I must say, for as stupid as things like that come across, there's a particular innocence about the movie that can't be overlooked. As far as truly family-friendly movies go, despite an irksome moment or two, it's fine. It's generally harmless, kinda fun in a kid's movie kind of way, and it's a solid reminder of how well our imaginations can serve us in a time of need. 'IF' was very similar in tone and morality; this too is very much a kid's movie, and needs to be seen as such. For as irksome as some of the more obvious things can be, I can say with all honesty that I'd have eaten this movie up when I was a kid. 3/5  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  Even though we all know that this is just another chapter in a series that can make some serious bank off those Minions, it's nice to see that despite a couple of rough entries into the series, it hasn't entirely lost its heart. If I were to compare this to one of the chapters in the series as far as quality goes, I would probably put it up against 'DM2', as it offers more growth to Gru's family (without his annoying brother), balances the cute moments between the girls and the Minions well, and offers more genuine laughs while still being a warmhearted story.
We're at a point in the game now where audiences are going to be split about a few things concerning the film. Most obviously, the Minions have been running amok in the public eye for years now, and it's understandable that many will just be tired enough by now to avoid seeing this. But beyond that, it has been going as a series since 2010, so by now, some people who enjoyed it as kids are also starting to really outgrow the cutesy stuff this series is so well-known for. I get that some people are just plain done with it. That said, I plan to review this as more of a hanger-on to the series, as I'm still a fan, so non-fans need not continue. As the film opens, Gru (Steve Carell) heads to a villain reunion at his old villain school Lycée Pas Bon (which translates quite literally to "Not Good High School"). Undercover, and still working for the Anti-Villain League, he's there to stop his old rival, Maxime Le Mal (Will Ferrell) before he uses his newly applied cockroach powers to take over the world. Gru is successful in his arrest, but it doesn't last when Maxime is busted out of prison with the help of his girlfriend, Valentina (Sofía Vergara). Maxime has been holding onto a grudge against Gru for ages now, as Gru stole his act for the school talent show when they were kids. Now this grudge becomes tenfold, and Maxime intends on using a machine he's developed to turn people into human/cockroach hybrids directly on Gru and Lucy's newborn son, Gru Jr. With this, head of AVL, Silas Ramsbottom (Steve Coogan) forces Gru and his family into the witness protection program in order to protect Gru's growing family. With that, the family all take on new identities, even though Agnes (Madison Skyy Polan) has trouble with lying being "wrong," and five Minions who have been taken in by the AVL are subjected to a super serum that gives them each super powers. This may very well be the best part of the movie, as it eventually provides commentary on how destructive superheroes can be, even though they're trying to do what's right. Quite frankly, I found the Minions to funnier there than they've been in a while - especially the poor guy who gets caught in a vending machine that no one seems to care about. Something else I appreciated about this story was that the B story to it mostly involved Gru as well, instead of the movie playing on the cuteness of the girls/minions for it. While in witness protection, Gru meets a young neighbour girl named Poppy Prescott (Joey King) who knows who he is, and wants to learn from him on how to become a villain. I won't get into spoiler territory concerning what it all leads up to, but altogether, I appreciated seeing something that lent itself to a bit of character development as opposed to... y'know, looking for unicorns. I think as long as you're anything like me and still have that soft spot for these characters, it's a perfectly enjoyable film, and a huge step forward from 'DM3'. It is nice to see the series seemingly finding its footing again. I don't know how much more life this series has in it, but as long as it continues down this kind of path, I'll keep coming to these movies just for that breath of innocent and fun fresh air we all need once in a while. As long as we keep the Minions and the girls as cute side characters and not main focuses, I'm here for it. 3/5  Most who know me have understood that I had a certain connection with the first 'Inside Out'. It was one of Pixar's many movies that actually spoke to me in a deeper way about deeper things; in this case, one's emotions, using the base emotions of Joy, Sadness, Fear, Disgust and Anger. While I admired the film for having so many cool and original ideas as to how the brain worked by giving personality to these emotions, the big takeaway is that some of the more negative emotions are absolutely necessary for growth.
'Inside Out 2' brings all of your favourite emotions back, but this time with a couple of voice casting changes. While Joy, Sadness and Anger (Amy Poehler, Phyllis Smith and Lewis Black, respectively) are the same voices coming back to the stage, replacements were done with Fear (now Tony Hale) and Disgust (now Liza Lapira). The five core emotions are on a role with their girl Riley (Kensington Tallman) as she's living her best life, now at 13, doing well in school, playing hockey, making new friends, Bree (Sumayyah Nuriddin-Green) and Grace (Grace Lu) and still giving lots of love to her Mom (Diane Lane) and Dad (Kyle MacLachlan). Through all of her development in the past couple of years, Riley has developed her "sense of self", which is home to her select memories that become core beliefs. Joy even creates a mechanism that will fire Riley's negative memories to the back of her mind, thus filling her sense of self with positivity. Riley is soon brought to a hockey skills camp to train with her best friends, but is challenged when, not only do her friends fess up to going to a different school in the next year, but the "cool girls" take notice of her, namely the somewhat legendary Valentina (Lilimar). This is where the Puberty Alarm we say at the end of the previous film springs into action, and new emotions come into play, including Embarassment (Paul Walter Hauser), Envy (Ayo Edebiri), Ennui (Adèle Exarchopoulos), and last but certainly not least, Anxiety (Maya Hawke). Due to the clashing ideas on how to run things in Riley's brain, Anxiety takes things over, most regularly teamed up with Envy, and sends the five core emotions to the back of the brain, along with Riley's sense of self. So this time, Joy and the others have to try to find Riley's good sense of self and get it back to Headquarters, making the execution somewhat similar. Having said that, however, the way this is all executed is nothing short of brilliant in my mind. I gave the first one a lot of credit for how it did things, but being one of those people who has had to find a way to curb his own anxiety, there was so much relatability to this movie, even to the point where I admittedly shed a few tears here and there because this was a film that completely understood what anxiety was and how it worked. The idea that Anxiety replaces Joy is sort of key, and there's even a few bits of dialogue here that tap into things. I also like what they did with Riley here because, like I'm sure many have done, I have gone through that exact thing. That inner struggle of whether you want to try to remain lyal to your good friends despite you feeling they may hold you back, or going with the popular kids to try to fit in and be what you think might be better. All things I've learned the hard way over time, and my sincerest apologies to those of my friends I've hurt along the way, due to my social blindness. It should be said that in many ways, this one is more mature than the first one. But I see this one a lot like I see 'Soul' in that regard. It's a movie that doesn't dumb anything down for the kids, involves some fairly mature themes, and will tug at one's heartstrings no matter what the age. But if you suffer from anything like depression or anxiety, I HIGHLY encourage you to check both of these movies out, especially this one, as it understand what you're going through, and may even provide comfort in its understanding. It reminds us that we're nor alone, and that while Anxiety can be a real bitch, Joy can be found if you look hard enough. 5/5  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  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  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  Like with many 'Ghostbusters' fans who were looking forward to this movie, I read and watched a few critic reviews for it before going in. It wasn't doing well, and my only reaction to it was as simple as "wait for the fans' reaction". Thankfully, almost across the board, fans came out of this thinking it was pretty great, but also really drilling into critics for having their opinions. And when it comes to such a divide as that, that's when I really enjoy writing my reviews, as I can easily see the argument from both sides.
Now, I'm not gonna sit here at my desk ripping something to pieces, but if I'm brutally honest with myself, I left the theatre liking it more than I probably actually did overall, as my fandom was kind of cranked to eleven for this. But don't worry, I'll get into everything I liked about it just as much, and at the end of the day, I'm still a huge fan of all of this, and would love to see more. But I should say that when I want to see more, I want to see this new crew move on with their new missions after this because as far as I'm concerned, the torch has officially been passed. We hit the ground running with the new Ghostbuster crew/family, consisting of the Spenglers, Callie (Carrie Coon) and her kids, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard) and Callie's now intimate partner, Gary Grooberson (Paul Rudd) as they drive Ecto-1 through the streets of Manhattan, giving chase to a ghost, and showing us how their skills have evolved over the past few years. Presumably, the old firehouse was handed to them by Winston Zeddemore (Ernie Hudson) after the torch was sort of passed to this family at the end of the last film, and they are the new Ghostbusters. In the aftermath of this destructive mission, the Spenglers are brought in front of Mayor Walter Peck (William Atherton), who has been looking for an excuse to shut down the Ghostbusters for ages. As leverage, the now somewhat rebelious 15-year-old Phoebe is taken out of the field, and the story turns largely more about her being upset about things and needing to "grow up", show more responsibility, listen to her mother, etc. She evntually meets and befriends a ghost named Melody (Emily Alyn Lind) and everything between them feels very much inspired by 'Casper the Friendly Ghost' concepts. Meanwhile, our side characters Podcast (Logan Kim) and Lucky (Celeste O'Connor) work for Ray Stantz (Dan Aykroyd) and Winston, respectively, studying haunted and possessed objects and testing new equipment, some of which has the ability to extract a spirit from an object and trap it, indefinitely. One day, a guy named Nadeem Razmaadi (Kumail Nanjiani) brings Ray a mysterious orb that has been in his family for ages, and inside said orb lies the big baddie threat of this movie, a master of ice a snow, a demon-like creature named Garraka who, if freed, will wreak frozen havok on the world. Critically, we have the return of these mini marshmallow men who, despite how cute they are, are basically here to be 'Despicable Me'. They seem to still be attached to Podcast in some way from the last movie, where they're also not explained very well. The best I can do is that they are meant to be leftover spiritual residue from the first fight with Gozer, which is where the 100-foot Marshmallow Man came into play. Besides that, we also already had out big nostalgic hit with 'Afterlife', so I don't see a whole lot of reason to throw so much of it at us at this point. Although the old toy commercials were a pretty great flashback. But for as much as I understand where critics are coming from with this, I have to admit that I still had fun with this for the most part. But it's a bit more about developing Phoebe and pretty much only Phoebe while giving us a bit of the old crew, namely Ray (who almost carries this movie) and Winston while Peter (Billy Murray), Janine (Annie Potts) and even Slimer are really only there for nostalgic purposes. Bottom line, If you're a long-time fan, check it out. If nothing else, it'll be a fun ride. If you're a critic, you're just doing your job, and even as a die hard fan of all this, I can't deny that it could have been much better than it was. 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  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 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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