rgkarim's Reviews

LIKES: Cinematography Acting Is Decent Good Characters Great Sound Editing Makeup Is Solid A Different Approach That I Liked Summary: Wolf Man's main factor is the special effects and presentation of the material in the form of sound and visual production. Whannell and his team have prepared a very engaging piece with camera work that changes approaches depending on the time of the movie. The constant shifting focus can be a tad disorienting, but once I adapted, I liked seeing the movie through the eyes of our characters and the general wide shots. Strong use of lighting added a character of its own merit, a sort of living shot that added life to a rather stagnant and abandoned landscape that is almost more terrifying than the actual monster itself. Shadows are horrifying and hide things well, and a cool direction of the developing new senses was something I liked and had wished for better execution and utility. It's a wonderful element for those who love an artistic approach, and it was amplified by the sound editing to go alongside the scenes, primarily the sounds of the house and the bestial tones that followed. Wolf Man likes to use the subtle techniques for establishing discomfort, which makes the jump scares have more bite when they approach. As for the wolf sounds, a fantastic focus of the transformation is focused on the audible sounds emanating from Blake as he falls further into the sickness. The makeup effects were gorgeous, and the great use of traditional techniques and computerized generation brought the body horror to great levels of reality and gave you the chills of the doom befall the family. All of these effects are some of the biggest pillars of the movie and by far the strongest aspect for audiences like me.

Outside of presentation, the characters are not too bad for a horror movie. Much of the genre is loaded with idiotic characters designed to be wolf fodder and the couple who usually gets through the events. In this case, the new approach focused on a family with real problems and trying to make a go of getting them solved with deep bonds, work, and qualities I was rooting for as they traversed the farmhouse. It was a touching if sometimes preachy, family, and I was happy to see a deeper set of characters face the legendary monster figure. Fantastic acting assisted this, with each of the limited cast doing quite well to bring the terror and dynamic relationship to life. I'm focusing on four characters in particular, but in summary, Prendergast is awesome in his monster moves, posture, strength, and commitment to the motions and anatomy, a solid display of physical acting. Matilda Firth is a marvelous young actress who can bring sincere fear and love to the role and not traipse into the annoying territory as some young roles can be. Abbott gets props for the most dynamic of the roles, forced to balance between beast and man in the fight to stay himself. His mannerisms, his acting, and his conveyance of emotions were great, and I gave him props for juggling all of these expectations. Finally, Garner has the stuff for leading lady roles in how she had depth to give strength and vulnerability and apply them in the appropriate times without stemming too far into the extremes. The chemistry is solid between it all, with direction that utilizes the strengths to the full amount and brings everything to life.

DISLIKES: Predictable Time Passing Is Inconsistent The Dialogue Mumbling Gets Annoying More Powers We Could Have Seen Crosses the Gross Line At Times More Character Development Needed Not Scary or Intense Enough For Me Summary: For all the good of the visuals and characters, I didn't quite enjoy the story and full presentation of the tension and suspense they were promising. Wolf Man is very predictable to the point I deciphered the twist in the first five minutes, alongside the ending fates for most of the characters well before the halfway point. It would have been fine if there had been other facets of the movie to offset the predictability of the tale and the lackluster delivery of the tale. The time passing is inconsistent and odd for me; the sickness somehow progresses rapidly while the night seems to drag shockingly slowly. Perhaps it's a metaphor for the time dilation of serious effects on one's mentality. As artistic as this is, it felt a little ridiculous and contrived to the point of making the movie silly in how long it was taking for the inconsistent pacing. One of the changes involved an alteration to his hearing, and though correct, the overuse and mumbling of the dialogue got overdone and annoying with the focus. I would have liked more of the powers and other sense exploitation, weaving them into changes and the fight to use them for good or evil as he battled his changes and the instincts coming with them. Yet, the powers came off a bit corny, almost comic book-like, and the other facets were underutilized to almost not be necessary. When the terror components started, the movie failed to scare me for the most part, and those who are attuned and desensitized to scare factors will find this boring and potentially will not find many thrills. The tactics are old hat, the suspense is diluted by the boring and stale tactics, and the movie instead thrives on body horror and gross factors more than anything else. Some of these body tactics made my spine tingle and skin crawl, and others were just gross or unnecessary and didn't do much for me in the long run. Had these been cleaned up, maybe the story could have been more endearing alongside the characters. Alas, the style seemed to take precedence, and it may have gotten away from them in the other facets of the movie.

The VERDICT: Wolf Man is a delight for the eyes and ears under the direction of Whannell. The new direction for a family and sickness was a nice touch and one that held more stakes than the typical werewolf movie. It's got heart, sincerity, and acting that brings characters to life in a legitimate way. A very symbolic presentation and an appreciation for such visual and audio techniques will be where most of the fans will enjoy this movie for the horrors it brings. Such strong work in the body horror, alongside the unique perspectives that they sought to bring to the table. For me, the movie failed to scare or thrill me, with more of a body horror approach than a true monster approach. Certainly, this works in some regards, but the gross factor gets in the way, and without the thrills, this predictable story grows a tad dull and lackluster at times, with only the characters to carry it on. New twists, some more characters, or perhaps some better traps and utilization of the new direction all needed to be executed to the fullest potential to take this film in the same direction the Invisible Man achieved. In terms of the Monster Verse, this film is in the middle of the run for me, and I would say its visual style and dark prowess will be maximized by a good theater. However, this film might be better for the home-viewing to fully enjoy the rest of the movie's qualities.

My scores are: Horror: 6.5-7.0 Movie Overall: 5.5-6.0.

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LIKES: Very Quick Pace Fun Performances Some Solid Lines It Has an Attitude In Audio/Visual The Songs If You Like The Genre The Ending Surprisingly Clever, If Cliché Summary: I'm sure most of the crowd will get the vibes from the trailers about the direction of this movie and the atmosphere it brings. It's fun, an unapologetic bout of bad luck in a very dense amount of time, and little restraint to the madness they get to the screen. One of Them Days is swift, a story with enough plot to illustrate the relationships but nothing more than necessary to give you the stakes of their game. Much of the movie is mindless fun that embraces cultural jokes in numerous mannerisms, with solid delivery by the cast of characters each adding their vibe to the community. The dialogue is loaded with jokes, the banter between the two leads alone is a mashup of insults, psyche-up lines, and confusion to entertaining degrees, only amplified by the slapstick extremes they go to for a laugh. Between and during sequences, the movie is all about bringing the attitude to the audience in visual and audio settings, the latter in particular shaking the theater with gunshots, community banter, and loud bass drops with the solid soundtrack. Fans of Hip-Hop, Rap, and Funk are going to love the tracks selected for the movie, most are just fun filler and homage to one of the stars, while others are a well-timed comedic device. When combined with the crazy visuals and a camera dynamic that gives you the perfect angle for their facial expressions, it had me laughing.

Finally, the acting may not be a unique Oscar role to shake things up, but the performances are still enjoyable in the context of the silliness of the film. Calloway did great when she was on screen, but I just wanted more time for her wisdom and guidance to kick in to handle the girls with sass. SZA was very enjoyable to watch. While not as in-your-face as Tiffany Haddish, SZA's character combines the sass of the streets with a surprisingly gentle artistic side that works to make a deeper character be more than just a silly accident. Palmer is my favorite, style, sass, and class all wrapped together for a well-rounded protagonist to adapt to the situations. She's got sensitivity and strength, and I was fascinated by the creativity her character was written to solve the problems. Together, the two leads might be silly, but they have a dynamic that is authentic and not forced, almost as if they had been best friends all their lives. It was the heart of the movie and made the ending deeper and more clever than I had expected this movie to have, with that relationship only further shining in authenticity and making the cliché ending meaningful.

DISLIKES: Plot Needed Time Very Aggressive Comedy Comedy Was Lost On Me Corny At Times Lazy Dialogue A Lot Of Good Parts Ruined In Trailers Summary: I'm sure this is no surprise, but the movie is not story-driven past the point of simply just being two friends in a tight situation. Despite this, the thin tale could have been amplified with either fewer points to explore or more time to give each point its charm and not feel rushed. Near the end, a lot of plots suddenly came colliding together in hasty, shallow, and conventional finishes that just lacked the finesse I had expected from these colorful characters. By maybe not having so much or resolving things earlier at times, I think the movie's ending could have brought the score up even further and delivered that climactic finish. Instead, the movie turned hyper-aggressive in comedy, sometimes trying too hard to be funny and going to that unnecessary length to get a ruse. It didn't help that some of the comedy was lost on me, and without that understanding or relevance, it sometimes got annoying when it detoured from the plot just to put an excessively corny line or skit. In addition, the movie gets very heavy on the language, crossing the line to what I call "Lazy Dialogue" when we just turn into a tennis match of expletives. Realistic as it may be...when the wittier lines turn into just repletion of the F and N words, you lose my appreciation from the oversaturation of "flavor" some writers think it is. As a last word of warning, the trailers have also spoiled about fifty percent of the fun moments of the movie, so take that with a grain of salt when choosing this outing.

The VERDICT: One of Them Days is a fun, silly, and quick escape from reality using a girl's day out gone wrong motif. The heart of the film is the lovely chemistry between the two leads and their ability to sell the lines with the most sincerity and sass they can muster. With an entertaining, though speeding, pace and plenty of supportive elements that add to the fun and mood of the movie, especially if you like the track list interspersed throughout the film. A plethora of over-the-top jokes, slapstick sequences, and stereotypes are ready for the audience to enjoy, so long as you go in knowing what the movie is about and are okay with that full-frontal comedy style. It does go out of the way sometimes, is ridiculous and lazy with the writing, and lacks an original story or depth outside of a few moments. Yet, if you are just looking for a stupid, silly, fun time, this movie is worth viewing when you have a moment. Is it worth a trip to the theater? I can't say yes on this one, probably better viewed on streaming when it comes out. My scores are: Comedy: 6.5-7.0 Movie Overall: 5.0-5.5.

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LIKES: Good Acting Funny At Times Realism Balanced With Hollywood Magic The Character Portrayal Decent Use of Most Characters The Establishment of a Community The Message Is Carried Throughout Summary: A sports movie often thrives on good characters, good performances, and finding the right amount of material to show in the film without cramming everything inside. Fire Inside accomplishes much of this for me, and I start with my review of the performances. Headley is great in her short time on her screen, cute, fierce, and shows that raw passion to succeed against all odds. She needs more time but establishes the groundwork that Destiny will build upon with Morrison's direction. Henry is my favorite character of the bunch, his utilization, his character, and his development are the most interesting of the bunch. He provides vulnerability, strength, and passion realistically, crafting a believable journey that I found relevant and emotional. It was a less intense version of Mickey and never tried to emulate the trainer to the same level, which served as a nice pairing to the much more intense older version of Shields. T-Rex is accurate on more than one level, the fighter inside brimming with heat that Destiny unleashes to such vicious degrees as the title suggested. The attitude matches the persona the interviews and footage show, and though a tad intense and over the top for me, fit the bill on the icon she had to portray. With fantastic chemistry and the establishment of a community, The Fire Inside doesn't stray from utilizing many of the characters to a respectable degree, as each member of Flint helps to control the inferno from engulfing Shields' entire character. Could there have been more involvement and time with other characters? Absolutely, but I felt there were few wasted characters in this film that other movies have done in their presentations. In addition, they never dropped the message or point of the movie in their inclusion but rather utilized it to further shape the fight that Shields was waging with her training.

Smart character use and acting aside, the movie also holds merit in the journey to where she is today. With a strong training focus present in many boxing movies, Morrison has managed to take the magic of Rocky's montage but curb it to be its own thing in focus on Shields and not just boxing. It moves towards some great fight scenes that center on Shields' attitude and the internal struggles that accompany them as almost a contender themselves. The fights have enough involvement to be exciting at times but never lose the realistic touch Morrison was targeting in her film. Throughout the whole film, though, the movie handles the drama components well through the message that is the mainstay of this film. The Fire Inside is all about hard work and determination to achieve the goals and the bumps along the way. Shields' journey was paved with challenges, but the movie shows what had to be done to get through them and how her coach assisted with this. It's smart, realistic, and relevant, perhaps the strongest component of this movie. Such a lesson provides a lot more meaning behind this story and could potentially do great things for the viewer with an open mind. Comedy helps ground the film from becoming cheesy but never undermines the message, a prime example of quality direction and writing culminating together.

DISLIKES: The Story Seems Crammed At Times The Fights Need A Little More Polishing and Magic The Fights Quit Two-Thirds Of The Way Becomes a slow drama that summarizes than explains Lacks the Full Spectacle Summary: Such balance came at a cost, though, primarily due to the shorter run time. The story feels cramped, elements are not fully explored, and it feels almost lacking in the grand scheme of things compared to movies like Remember the Titans and Cool Runnings. A few fights with the family seem quick add-ons, and some of the self-discovery is simplified or found off-camera during the time jumps. It helps not to bloat the film with massive levels of drama that would slow the pace down, but it's disappointing at times when it cuts into some of the other facets of the film I was invested in, like the fights. The Fire Inside short changes the boxing matches, the realism blunting them enough that they feel good, but then just sort of end. Where Rocky and Creed add that finesse to the movies with sound effects, an awesome score, and those key shots that unleash the fury of the bout, ironically, the flame felt sort of weak in these moments, with more vigor and vim in the post-fight moments than the actual punches. A little more spectacle and Hollywood magic would have enhanced these fights and made the build-up worth it. Even worse, about two-thirds of the way through, the boxing stops, which changes the entire pace and presentation of the movie to more melodramatic and after-school special design. This part felt a little stiff, the time dilating to a slower pace that, for an epic boxing movie, didn't feel the best finish to the film. Only the battle she waged on a different front added the spice it needed from being unnecessary, alongside the character development I talked about earlier. Either way, the full spectacle effect feels just shy in this movie for audience members like me.

The VERDICT The Fire Inside is a movie that is optimized for inspiring a lot of people with that incredible message baked into Shields' story. Morrison leads a great design with a strong and motivational film that should hopefully move people the way it moved me. Shields' life was hard and required a lot of sacrifice to get where she was, and this movie portrays that as one of the more realistic portrayals of a journey in a long time. Fantastic acting and character use keeps everything in check, and the added splendor of Hollywood helps enhance most things to an acceptable degree. Many, I feel, will love much of the story and find amazement in what this young woman accomplished in her rise to her current state. Movie-wise, the trailers exaggerate the fights a bit, the realism a bit too prevalent in the fighting that softened the impact of the fight, especially their finishes. Throw in the fighting scenes come to an end with still a third of the run time remaining, and you might be disappointed at the abrupt change of pace and feel of the movie. Thus, the full spectacle was not there for me, and it sort of hurts my recommendation to see this in theater, with a better optimization at home. My scores for this film are: Biography/Drama/Sports: 7.5-8.0 Movie Overall: 7.0.

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LIKES: Atmosphere Strong Dialogue Feels Like A Book Brought To Life At Time Creepy/Scary Elements Strong Cinematography Incredible Dialogue Acting Is Amazing Summary: Eggers is all about his visual style, and once more, he has accomplished a fantastic visual style that embodies the Gothic-horror combination quite well. With a period pace that is mixed with a spooky twist, Nosferatu is loaded with an atmosphere that feels like the pages of a book brought to life. The costumes and scenery are strong representations of the times and establish some of the confines that represent the personality of the party involved. The strong visual elements provide a foundation that builds into a lore-driven horror, where shadows hold just as much life as the characters that travel around them. The constant grey filter adds a foreboding nature to the tale, where light only provides a shallow sanctuary from the encroaching horrors of the menace orchestrating everything. That lack of safety, the layering of dread alongside stronger characters establishes stakes, assisting with the suspense and thrills that I came looking for in my viewing. Eggers' visual choices to play close to black and white are advanced by his visual storytelling, with so many pieces coming together to establish the connection between everyone involved. And though this might not be the biggest scare movie we've seen in the past, its twisted aspects and gore arrive to add this realistic and savage edge that makes the creature even more sinister than your average fanged freak. Wrap all this up with beautiful angles, dynamic camera work, and masterful shots that utilize all of these elements into a stylish set of sequences and scenes. It's a risk at times, but those risks paid off for me a lot of times.

Past his direction of visuals, the story and dialogue come together to help bring the twisted tale of the count to life. Strong dialogue that conveys such terror is poetic at times to reflect the soul, yet not so lost in old English to be confusing and condescending. I was able to follow much of the story while also seeing how the lines were curtailed to the character alongside the actor selected to be that character. It's filled with emotion, yet not to the point of soap opera theatrics (to most the extent), all while testing the foundations of truth with science vs. Faith, all intelligently written in trying to stop what is at play. To help unleash the full potential of the lines, Eggers has assembled a talented cast with impressive skill in handling old-world stories and occult-based lore. Skarsgard adds another role to his belt, the mannerisms of the creature captured in his movements and twisting of words in his regal and acidic tone, such passion in each uttering word as he weaves in and out of the tale. Hoult's complex character is done well as his character goes through the motions and tries to adapt to the situation at hand, often keeping his tone in check and elevating the quality of young Thomas. Depp is astonishing as well, a bit more dramatic, but fully immersed into the maiden role trying to make sense of her life. Her screams punch the heart and the ears, her tears so raw and natural, while her words change with each personality quirk she adapts. Add in her nonverbal abilities, and you have another solid performance for an Oscar. Taylor-Johnson, Dafoe, Ineson, and the rest are all stunning, with incredible chemistry to make this complex congregation come to life.

DISLIKES: Graphicness Inconsistent Lighting Elements At Times The Story Feels Truncated At Times Slow As Dirt At times Summary: As with most artistic components, though, sometimes there are limitations that come with it, and I found a few with Nosferatu. The graphicness component is a big part of the movie and a major essence of Nosferatu's terror. Such savagery adds so much to the villain and the suspense of wondering what other tricks he will extend to get his desires. Yet, for viewers like me, this aspect gets excessive, sometimes to levels I didn't need to see in the theatrical cut and could have been in a director's cut. I don't enjoy some of the more "intimate" bouts of gore that Eggers seems enchanted with putting in his movies, though I feel this was still tamer than some of his other movies. Still, those who aren't fond of realistic twists to such dark material need to avoid this film. The story at times also struggles, some of the elements feeling blunt and unfinished in their portrayals, or perhaps even rushed at times. Nosferatu sometimes was not present as much as I thought he would be, and I felt that there was more to adapt from the tale than what we got. Add in the pacing at times, and you get a story that sometimes feels a bit bloated and missing some of the thrills earlier parts held, and the film gets lost in the dialog that it got stuck for me once or twice. Finally, the lighting gets inconsistent at times, though nothing like Game of Thrones, and it was hard on my eyes from the varying brightness.

The VERDICT: Nosferatu is one of my favorite works by Eggers and, quite honestly, one of the best movies of the year when it comes to style and story. A wonderful cinematography leads the charge with creative visuals and settings to bring the authenticity of the period to life. Savage tones, an ominous presence, and intense dialog all continue to wrap you into this dark cloud of dismay to see how such an ominous presence can be stopped. With incredible acting that brought the characters to life and an edge that keeps the debate of science and mythology are as much an enemy as the count himself. This film will bring a lot of people into the mix, dividing many in the common age, most likely, but many should appreciate the rich visuals that he made. Yet, the movie does have some artistic limitations that may dilute your enjoyment of the film, especially if you invested in the original tale. The graphic elements are vicious and can be a tad too much at times that sensitive viewers will not like it. The story still has elements that can be improved, perhaps in a director's cut that gives him more time to delve into the lore of the vampire lord. And the pace could use some sprucing up if you aren't just about bathing in the grotesque world Eggers has crafted for us to see. Add in a little technical sprucing and a few balance issues, and you will help this movie shine further. With all this in mind, those seeking the dark thrills of this tale should see it in theaters for the balance of story and strong visuals. However, those who can't take the risks of the expense of movies for such a violent epic might need to wait at home to watch this one.

My scores for Nosferatu are: Fantasy/Horror/Mystery: 9.0 Movie Overall: 8.0-8.5.

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LIKES: The Setting The Costumes The Puls Om When All This Was Happening The Acting The Music Selection/Track List Summary: A Complete Unknown is a window back into history, and Hollywood continues to accomplish much in pulling us back into that experience. As the sixties roll in, the movie makes sure to adjust the technology and cameras to places that can reflect the times. Whatever was not naturally available was well-recreated, with so many details in the vehicles, appliances, art styles, and buildings welcoming us into Dylan's world. Layering with the effects were great hair, makeup, and costumes, all coming together to further immerse us into the times and fashion. What I particularly liked was the clothes sort of telling a story about Dylan's rise to fame as his pauper threads became princely. It's a statement, one that goes so well with the character that Dylan was portrayed to be in his musical arts. Such production value is something that excels for a movie of this type and reaches multiple audience types in their bouts of nostalgia.

Outside of the production value, the movie is also on the caliber of Oscar bait. The plot pays homage to the legendary music man and all he was involved in during a politically heavy time when so many things were brewing in the world. Mangold and his team were sharp in their presentation, keeping us ingrained in the times of Dylan's career and utilizing the setting to keep that realistic pulse beating. In addition, the writing also managed to maximize the impact of the songs by adding the emotional impact and innovation that Dylan's lyrics held. A smart medium to play in, I felt introduced to Dylan's attitude and his fortitude for changing by not playing to the traditions of artists before him, something highly illustrated in the opening of the film. As for the musical list, this is one of the best musical films that I've seen in a while in terms of quality and quantity. I'm not that big of a Dylan fan, but the nearly 150-minute run time was loaded with a lot of his tracks that are a staple to the fandom. A wondrous variety of numbers spread around various festivals, studios, and concerts, Dylan's movie biography will give you lots of his style to enjoy, with a stunning performance by Chalamet and his cohorts. It is authentic fun, and captures the spirit of the musical adventurer searching for their place in the world of music. In the theater, this music is loud, bold, and booming and optimizes the dive back into his performance world.

Finally, the acting is the crown jewel of this movie. The performances are as authentic as the music, the figures of the past brought to life by actors crafted and selected to mimic the artists. Excellent singing alongside instrument playing (or faking they are playing) further gives a music bohemian bond, with the festivals becoming a bonding ground for these actors to unleash their talents. Fanning is fine for the time she is on; she is sincere and an emotional light in a world that seems devoid of any fandom or real emotion. Monica Barbaro got more time on screen and made her own character come to life as Baez. I liked her fire and her balance. I loved her voice. And she was the character that I felt Elle's character needed to match in regards to billing. Norton did great as Pete Seeger, the mentor and friend, holding more positivity than I thought he would in this movie. I had fun with Mr. Roger's like charm and seeing his emotional spectrum broaden as Dylan's actions continued to test the amazing patience this man held for the upcoming star. Yet, Chalamet is going to be the man to pay attention to the most in this film. His mimicry of Dylan is spot on with his mannerisms and temperaments in the way he speaks and sings. He holds that attitude so well, and the way he managed to match the delivery of the songs. Chalamet continues to prove his power in becoming a character, and I feel this is a solid role for him to take the coveted award. By far one of the strongest pieces of this film, fans should rejoice in the work he has put into this character and how entertaining he can be at this time.

DISLIKES: It's An Okay Story Very Niche Too Many Characters Character Subplots Are Mediocre Some Songs Feel Skipped/Rushed The Numbers Are Okay At Times Too Much For One Movie Summary For all the good in the performances, the execution is a bit more limited in terms of all audience members enjoying this film. The story is limited to those who like political times and folk music and are Dylan fans, as this movie is focused on showing this man's mechanisms during the sixties. I found this one of the more niche music biographies, not focusing so much on the music-making or development process but instead more on just Dylan's very commanding personality. His legacy extends over many decades and awards, with an adaptable personality to evolve with the times, which sometimes comes off as more "interesting" than anything else. Dylan's personality was not to my liking, and when it floods the movie to this degree, it might be a bit off-putting than some of the other musical biography films. I felt sorry for several of the other characters whose stories seemed interesting, as many of them were very limited and seemed forgotten at times in the film. Elle Fanning, in particular, was shortened, her involvement much lower than I had anticipated from the trailers. Too many characters and figureheads sort of plague this movie for two hours, leaving me questioning why several of them were built up during the movie.

As for the songs, they don't all have the same time or attention; a few feel very edited down to the bare minimum to almost not be included. Fortunately, the times this is the case are few and far between, but if you aren't a fan of his music, this will make little difference. The main problem I had with the songs is that they included so many that I felt it got in the way of the other storytelling elements that I felt they were trying to craft. A Complete Unknown feels like a plot about nothing, not progressing to any extent, but instead just feeling like snapshots of his life that show his impact, but nothing more. The drama, the tests of time, a progression to something bigger, or at least the inspiration for his songs, and testing them felt marginal in this movie and kind of left me bored at times. With a plot reliant on character relationships, and those relationships lacking some merit and narrative due to paying homage to Dylan's work. Given the decades he spans, the movie is not remotely touching everything he achieved. Meaning that it would have been nice to have some stronger stories to sort of track to make this slice of life.

The VERDICT A Complete Unknown is another movie that immerses the audience in fan-favorite songs and indulges the Bob Dylan vibes to a shockingly amazing degree. The aesthetic is appealing, and the acting is of a high caliber that brings the role to life with frighteningly good matches to the mannerisms of the legend. Binding all of this together is a strong mix of songs and a phenomenal use of music to illustrate his influence in the world. Thus, fans of the man will enjoy this movie the most of anyone going to see this movie. Yet, with such focus on the music, the movie's compelling stories, subplots, and overall unity feel off and lost to the tribute to Dylan. So many characters feel underutilized, the full integration into all the historical events only feels a fraction of what it could be, and the generic pace is not as entertaining if you aren't the biggest fan of Dylan's music or his attitude. Certainly a fantastic Oscar candidate, the movie holds all the values of the award in terms of production and acting. Yet, as a movie in general, I think most will find the best entertainment value at home for most of the public. Fans of the legend should hit this one in theaters for the sound quality and the presence that the theater adds with the big screen. My scores for the A Complete Unknown are:

Biography/Music/Drama/Docudrama: 7.5-8.0 Movie Overall: 6.5-7.0.

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LIKES: The Animation The Voice Acting The Story Has Heart Comedic Interludes Are Fun At times The Dialogue At Times The Music Summary: The animation is the crown jewel of this movie and, again, a fine display of the power of CGI in Disney's hands. An amazingly realistic design of the animals is a treat to the eyes, loaded with smooth movement, powerful steps, and speed that I've seen in the documentaries. All the animals hold this detail and seldom lose that realism during their antics. A few added facial features add some personality to the mix, especially during the kid and comedy interludes, which were very welcome to add a little more of that 90s magic I fell in love with long ago. The mixture has crafted better characters that are no longer bound by the narrative so many hold dear. Outside of the visual work, Mufasa's tale also has beautiful sound editing to make the world come to life and the worth of the theater. From the roars of the proud lions to the thundering stomps of the elephants, it all holds the majestic prowess of the African Savannah and raises my goosebumps at the technical prowess. Even more impressive is the musical score that is filled with the spirit I wish was in Moana 2. Lin Manuel-Miranda achieves magic again with many of the tracks, injecting his pizazz and cleverness into live-action numbers that feel energetic, like the animated Disney world. Awesome beats, powerful coordination, and deeper lyrics bring the Disney Renaissance back to people like me and still manage to convey the thoughts of the characters in talented ways.

Past the technical moments, the movie does well at making a fun adventure for the family to watch. The story is familiar but now bent on the rise of the future king and his journey to Pride Rock. Geeks like me will enjoy the references made in the movies and start connecting the pieces to what our characters would wield as their trademark tools. Seeing some of the references make their appearance was fun, and I appreciated the creativity and ambiance that came with them, while others may have been a bit more of a stretch for the melodramatic lovers. Well-written dialogue is present in this movie as well, a combination of the shaman wisdom of the narrator, the British drama elements with an African twist, and also that fun family banter to soften it up. What's great for me is that it holds so much emotion to it, loaded with personality and tension that is performed beautifully by the cast at hand. Mufasa's words are delivered with precision that balances confidence and coming-of-age fears of a developing king in the making. Taka's voice holds a good spectrum as well, mirroring the journey to becoming the nefarious villain of The Lion King, great use of emotion that makes you feel so much for what was just a typical Disney villain in the previous iteration. Sarabi's words are beautiful and powerful at the same time. A strong character that also has many layers, her purpose was much stronger than I thought and yet still needed some more time to develop. Boone accomplishes much with what she does, though, and I loved the poise she injected into her tone. And the comedic interludes by our favorite odd couple, Timon and Pumbaa, are just as quirky as ever, fun, kiddy, and perfect for making the kids in my showing laugh in delight.

The result of all these components is a film that has a lot of heart, soul, and emotional depth that I love in my movies. All the great visuals deliver that powerful punch as the scenes come together, taking all the build-up of the voice acting and music and making it sing. Match that with fleshed-out characters and a story that holds a lot of the original movie's moxie, and you have accomplished a wonderous spectacle that should capture a lot of the younger generation's fascination and awe.

DISLIKES: The Plot Is Rushed The Story Is Predictable The Moments Get A Tad Cheesy The Fighting Is Dialed Down The Comedy Gets A Tad Too Much Still Doesn't Quite Have The Emotional Punch For Much Of The Movie More James Earl Jones Needed: Summary: In regards to my dislikes, the plot still needs some time and pizazz to have the caliber I think they were aiming to achieve. It's predictable and a bit too reliant on The Lion King to be original like they were doing. This tale could have thrived, but the time limitations get in the way and speed through too many things to get a grasp of most of the characters. That special connection, the development of the motifs, and the true impasses are eroded down to a mediocre level that still can't rival what the cartoon did so well. Maybe it's because they are trying to modernize the tale to not be so traumatic to the younger generation. Maybe it's because of the comedic interludes. Either way, the story still needed some more development to be the memorable origin story they wanted.

Speaking of the comedic interlude, Mufasa has sort of a Lion King 1.5 tone to it. It's funny to have the story's darker elements lightened by the comedic relief they provide. I laughed a lot at the self-badgering it gave to the movie and some of the corny jokes that this iteration delivers well. I enjoyed the reactions of Rafiki even more as his patience was tested by their obsessions to be in the story. Yet, the comedy did get a tad overbearing and happened enough to take a significant chunk of the movie that could have been used for optimizing other elements of the film. One thing is the action of the movie. Here is where the realism hurts the film because they have to portray the animal fights as close to realistic as possible. To maintain the rating, they can't turn it into a bloodbath of mauling slashes and piercing bites. What they did walks that tightrope well, but the result is a lot more talking than fighting (like some anime fights), meaning I was bored out of my mind for the epic climactic fights that the animation still does better. In addition, some of those speeches are kind of corny, diving a little too much into the Disney New Age to feel natural. They are relatively short-lived as a benefit, but I wanted more to these moments for an exciting climax. This again shows that the movie didn't quite capture the magic of the first animated film, nor did I give me enough James Earl Jones for a final send-off of the late actor.

The VERDICT: Mufasa was an improvement for me compared to the live-action version of The Lion King. The visuals are, of course, more polished and better tweaked, the sound is gorgeous and realistic, and together are a powerhouse worthy of the theater (perhaps even in 3-D). The music is one of my favorite aspects, thanks to clever lyrics, emotional undertones, and powerful performances that feel like a Disney movie. And crafting deeper characters with matching story elements and great voice acting to deliver the roles, including the comedic balance to cut through the sadder story. However, the movie still has work to do to bring everything I think they were trying for with this film. The story is still too familiar and reliant on the original material and needs more time to give everyone the elements they need to shine. I still want that enchanting attitude the original had, the fights that they made using those anthropomorphic qualities rather than toned-down fights to not terrify our kids. I want to bake some more of that adult humor into the film and rely less on forced interludes that are cutesy. And I still hope for a story that holds the same majesty that they got so right long ago. Balancing all this together, Mufasa is worth a visit for the technical prowess and musical scores, but you might get the most bang for your buck if you hit this one at home.

My Scores are: Adventure/Animation/Drama/Family/Musical /Fantasy: 7-7.5 Movie Overall: 6.5.

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LIKES: The Music The Design/Animation The Voice Acting The Comedy To A Point Some Touching Moments Fun After Credit Scenes The Pacing Is Entertaining Some Parts Of The Action The Fan Service Summary: The movie is all about flash and spectacle for me and accomplishes much in the entertainment value for fans of all ages. A fun soundtrack fills the movie, especially the end-credit song, which continues to keep the spirit and energy that this rendition of Sonic brings. Alongside the solid sound editing, the design and animation are better than ever, with updated visuals, upscaled shading, and better textures that make them look a little less alien in the human universe. It all flows well and continues to show the amazing talents of Paramount's animation team. Alongside a fast pace, Sonic 3 feels like elements of the video game weaved well into a movie and keeping the elements of both decently blended.

What the movie also excels at is the story elements up to a point, alongside the characters that they are trying to bring to life. Sonic 3 is a story I hold dear from my days of Sonic Adventure 2, and the adaptation is pretty decent, given the high bar the game set. The primal elements are there and building upon the story set up by the previous installments, the two stories meshing fine in the grand scheme of things. The deeper character elements of the two hedgehogs are perhaps the best story elements as both face their trials. A few of the other plots are adorable, while Eggman's is a pure comedy that works well to break up the drama and had me laughing several times. Many of these stories progress together and do well to be engaging enough for older non-fans, relevant and impressive to many fans, and not slow to offset younger members. Acting by Reeves and Schwartz helps bring much of this depth alive while still making the comedic moments fun and exciting.

When the action shows up, it feels like one part video game and one part anime, blending elements well and showing the promise that Sonic and his crew can do if given the chance. I particularly liked the first chase scene and the next to last main movie action sequence, which felt like the best blend of speed and style. Don't worry; the violence is minimized and appropriate for all but the youngest of watchers and quite fitting of the PG rating.

As for the comedy, it too has plenty of style to enjoy, with most of the members bringing that characteristic comedy of each character. Knuckles warrior instinct combating literal meanings, Tails has quirky cuteness and silly catchphrases, and Sonic spouts his usual childish and ADHD taunts that we fell in love with for the first movie. Carrey is the main comedic tone, goofy insanity with overdramatized dialogue, his bread and butter as he acts with himself, going several times to break the fourth wall with lots of varying jokes.

Yet, it was the fan service that was the strongest aspect of this movie. Sonic 3 does the fans well with everything it shoves into one movie. The plot mentioned above is but only a fraction of the homage to the Blue Wonder's legacy, as many games get a shout-out in this film. Several stages we played in the past. Jabs at frustrations or weaker sonic games that many wish to forget. Soundtrack selections that had my theater cheering in delight as they boomed across the speakers. However, it was the middle and end credit scenes that had the audience cheering, so I encourage you to stick It out as the next stage is set for Paramount's empire to continue netting the money.

DISLIKES: Pacing Is Too Fast The Action Is Too Short-Lived The Storytelling Is Hacked From The Deeper Narratives Too Many Characters Comedy Becomes The Focus Summary: While the movie accomplishes everything in terms of a fun and simplistic movie that we go for, some areas could have been improved to maximize the most of the movie. Like the title character, the pacing is too fast and leads to most of the other limitations I found with this movie. Sonic 3 tries to do a lot in one movie, and to get it all in under two hours requires very rapid fire for the story and leads to simpler stories that are good enough but not as good as they could be. Hacking things from Sonic Adventure 2 and trying to mesh with the other story is fine, but again, there is a better story in the game that isn't so distracted and diluted from the other elements of this movie. Character use is better than Sonic 2, but it still has room to improve, especially with the human actors that we started with taking back seats the further we get into the series. I know we aren't here for them, but they exist, and the storytelling needs to keep including them outside of some jokes and simplistic plot devices. Even more, the roster continues to expand for who shows up, and without the time or the series, it begins to become so much that their inclusion becomes less necessary. In addition, the action is fine, but they need to have more time to show off what they can do with Sonic and his crew. Most of the skirmishes last fewer than two minutes, with more talking and those glorified Snyder moves that are cool at the moment but need other elements to make it cooler for guys like me. My favorite fight would have been ten times better if there were more stakes, more involvement, and, of course, those creative moves I know they can pull. They felt more like hints than full spectacles, and this series needs to make the most of it to unleash its full potential. That would also mean to make sure to dial back on the comedy. I had fun, but some of the comedy gets so ridiculous, goofy, and focused on the younger group that it takes the time from the other elements I think this movie needs. There is promise in balance, and a little less comedy could be very welcoming to the movie as the story continues to progress to the darker facets of the Sonic Universe.

The VERDICT: When balancing all these qualities, the movie turns out to be one of the better films of the month for me. Sonic's third adventure continues to build upon the story elements and improve on the animation and sound techniques that make these guys come to life. I enjoyed so much of the film and had fun with the antics of this cinematic world, and I continue to hope to see the story and quality evolve into an ultimate game movie. The fan service alone is enough to recommend this movie, so much of the enjoyment is tied to my knowledge of the series and its integration into Paramount's plan. It is a family-friendly film, outside of some language and slightly darker story elements, and the family film to hit the theaters with when you can. However, I still think the movie has more potential to thrive in the story, character usage, and action department. More characters require better balance, and at this point, we have gotten too many that any more will only further cut time away from others you might enjoy. In addition, the action still needs to get some more stakes, some more creativity, and increase the time limit so we can get more of the hard work they put into the film. Dialing back the comedy at times can accomplish this and all without compromising the PG rating they seem fixated on maintaining. Thus, with all of this put together, I do recommend many to get to the theater to see the film, but if you can't, please check it out at home when it arrives.

My Scores are: Action/Adventure/Sci-Fi/Comedy/Family/Fantasy: 8.0 Movie Overall: 7.0-7.5.

7 out of 10 found this helpful

LIKES:

The Animation For The Most Part

The Voice Acting For Much Of The Movie

The Dialogue And Writing

The Pacing

The Story Elements That Work

Engaging Characters To Some Extent

The Action Is Decent At Times

The Musical Soundtrack

The Sound Editing And Effects

Summary: Choosing an anime to tell Tolkien's tale is a risk, but for this reviewer, it worked super well. Under Kamiyama's direction, the visuals are breathtaking as the plains of Rohan come out in vibrant colors and textures that this style emphasizes so well. A fantastic display of the Japanese art style, Tolkien's world thrives as light and dark clash and vibrant settings take on a life that only this style can bring. Much smoother than I anticipated for most of the movie, this war holds as much personality as the characters that embark on the quest. Supporting the world is beautiful sound editing that rivals the movies as the war commences and the battles begin between the rival families. Swords clang together, beasts roar with mighty prowess, horse hooves hit the ground with thunderous beats, and snowstorms howl in majestic surround sound that a theater provides, and I loved the way the experience increased with each blast of the speaker. And the music was incredible as another symphony of instrumental excellence unleashed with blaring horns, incredible drum work, and the blend of high and low tones that further sell the emotions of the screen. During many of the action moments, all these elements come together to bring as much might as they can in their fights with surprisingly smooth animations for much of the battles.

Outside of the animation, the story has a number of things that I enjoyed and found a promising start to this medium. War of the Rohorrim has depth worthy of the Middle-Earth legacy, with elements that match much of Tolkien's direction and lore. Strong characters return to the art of storytelling I like, each with vulnerabilities and strengths that give the characters depth and intriguing qualities. Voice work by the gang mostly brings them to life, feeling much like Jackson's portrayal, but have that slight emotional outburst that Anime thrives on in their stories. I felt so much emotion in much of the dialogue and the writing that felt very welcome in the Medieval realms that such genres thrive on for their epic debates amidst the table. The result is that the characters have more dimensions, and I was invested in their survival as we learn of this chapter in Rohan's history. Though the action was not the full splendor it could be, I still was fascinated and intrigued by what the characters would do in this ever-shifting game of control and power. The writers seemed to have studied their lore and found a place for this tale, respecting the information they mostly had and piecing it into the world without straying too far down their own creative path. With pacing that somewhat balances all these aspects together, the movie again shows promise of what a medium like this can bring to the realm of Middle-Earth.

DISLIKES:

The Story Is Simplified and Rushed

The Action Still Does Not Live Up To Original Trilogy

The Characters Need More Time

Animation Design Drop At Times

Summary: In terms of my dislikes, the movie still has failed to live up fully to what the original trilogy accomplished long ago. Though the story is befitting of Tolkien's universe, it still needs more time to marinate and unfold to the highest degree. At just over two hours, the movie does well to balance action, story, and world crafting into a reasonable run time, but it could have been more if given the time and focus. I wanted to see a bit more of Hera and Wulf's history outside of a few memories and rage. Her familial history and relationships could have used some more attention, as well as much of her fellowship, to not feel so secondary as some of the Hobbit dwarves felt. There could have been more focus on skills and uncovering more of the strength, or perhaps a bit more time seeing the encroaching darkness to help accomplish these tasks, but perhaps that will come in the future. In addition, the action still needed more oomph to match the majesty of the six movies. Though they did much better than most of Rings of Power, this animated film still has not fully put the art of fantasy battles to its best efforts. I recognize animation makes this much harder to accomplish, but I would have made a few of the battles feel a bit more coherent and less montage/viewed from afar as they did in this film. Better use of swordplay, some cool anime flips, and coordination of strategies better integrated would have helped spice things up, but alas, much of it was in small moments of singled-out battles and a few moments of stalwart finishing moves. These were the moments where the animation kind of felt rushed or less detailed, to the point of being a tad too noticeable.

The VERDICT: Anime continues to grow more abundant and stronger, and pieces like Lord of the Rings display why the medium continues to grow. War of the Rohirrim is a stunning display of art, with the animated medium a wonderful canvas to bring Tolkien and modern styles together. With beautiful visual design, stunning voice acting, appropriate sound and music integration, and some battles that combine the worlds, the film proves to be a spectacle worthy of the silver screen in production and delivery. Yet, the movie still shows the need for more money and time to fully master what we got in the 2000s. The action could use more involvement and integration, alongside the need to not compromise the visual style for cheaper background shots. In addition, more time would allow for more character involvement and development while helping build the suspense of the impending battles that further integrate these players. Still, I enjoyed this film more than I did Rings of Power, and I feel that if given another chance and more time, it could become a solid way of telling these focused tales that might otherwise be ignored. Worth a trip to the theater for many reasons, I hope you'll catch it in theaters. My scores are:

Animation/Action/Adventure/Fantasy/Drama: 7.5-8.0 Movie Overall: 6.5-7.0.

4 out of 17 found this helpful

LIKES:

An Attempt At Story

Good Visuals At Times

Some of the Action

Comedy Is Okay

Cinematography At Times

The Lead Acting

Summary: Kraven attempts to be more of a narrative than most of the other films in Sony's universe. The origin story, in particular, holds some solid bones that feel a bit contrived but at least have some more bite and levels than some of their other installments. The character development, in particular the relationships, is solid and shows promise of a deeper narrative to pursue if they can focus on it. Kraven, in particular, has the best presentation, mostly thanks to strong acting by Taylor-Johnson, who continues to impress me with his comic book range. He's got the honor and darkness of the hunter, not dipping too much into the accent to be cheesy and never losing his grip on this in-between time of Kraven's life. DeBose has a lot of good work as Calypso, finding these awesome moments to shine and be a Marvel "heroine" and help progress the journey without taking over the tale. As for Hechinger, I'm torn on his character, but I feel he did fine with the material, the progression of the story, and the focus on being a "man." The chemistry is there at times when it shines and is fully developed. These are the strengths for me in terms of story, with the drama being a bit more of the focus but still having enough "action" to help break up the politics.

For production components, I'll start with said action. In regards to the action, there are about two or three instances where Sony shows that it can do good sequences that I search for in my Marvel movies. Kraven's tone is much more savage, so I was not surprised to see some awesome scenes that mirrored those tones, even to the point of showing nods to Rambo and his unhindered fighting style. In terms of comedy, the movie got me to chuckle at times, some quips and nonverbal comedy antics were very entertaining in their timing. I had hoped for a few more of these moments balanced into the script, but at least the movie did not become saturated with overzealous comedy like others. In regards to the visuals, the movie is not the best, but also not the worst for me either. Kraven's visuals, at times, look more realistic than other films, with great details in the CGI villains and makeup to help fill in the gaps that computers could not fill. Even some of the kills look authentic, helping add to the emotional weight of the moment when it appears. Camera work further helps add elements that kept me in the movie, primarily the filters they used to help add that looming shadow of Kraven's world. Some choice camera angles for the dramatic moments round out the work I liked, and I feel they did a nice job to try and keep things moving.

DISLIKES:

The Story Is Still Weak At Times

The Action Scenes Are Inconsistent

The Acting Is Cheesy

The Visuals Dip Frequently

Too Many Characters In One Story

Boring For Most Of The Movie

Still Toying With Spiderman Verse

Writing At Times Is Lacking

Summary: My broad likes can only buffer the movie so much, for Kraven is still plagued by lots of vulnerabilities. While the story has moments that work, it generally is a crowded mess of about five stories mixed hastily together. The flow isn't the best, and the details are all secretive that the narrative becomes a big circular mess with family honor always being mentioned in every facet. Too many characters integrated into the film, many of them big names, just continued to trip the tale up, with characters never feeling fully fleshed out (aside from Kraven), leaving me wondering why they needed to be in here. The writers seemed to be unable to decide on a villain, and the result was a messy collection of subplots that were never deep enough to care about. In addition, the consistent toying with the Spiderman verse has gotten old, and without the webbed wonder to bring these villains together, this universe's storytelling continues to be weaker than many other films. When the dialogue suffers the same fate, alongside cheesy lines and shallow stereotypical jokes, the movie further falls from memorable standards. The acting suffers from this writing and direction, with some of the performances struggling to make the rewritten jargon come to life or even bring the sincerity of the scene to believable performances. And sadly, even the action takes a hit. Some of the visual elements quickly fall into artificial obviousness, with CGI reverting to the early 2000s. Action scenes also lose the tone they were setting, changing instead to something with a completely different feel that did not make sense to me with my comic book knowledge. And sadly, most of the action scenes die off quickly and without the finesse that Disney has done so well. The result is that the story is lackluster in terms of excitement to invest in the story the same way I did during Phase 1 and 2 of Marvel.

The VERDICT: Kraven has elements that prove that Sony can craft a good movie, but at the same time, it still fails to fully pull all of these elements together in a consistent manner. The lead actor was much of the enjoyment and quality for me, doing everything he could to offset the writing and make Kraven a character worth watching. Alongside some of the other actors, some small spotlights of good writing, and some okay cinematography, the movie has elements that show they could have made an awesome film. Yet, the film suffers from inconsistent dialogue, poor visual quality, engaging action, and a fully fleshed story. The rewrites and constant delays prove again to be fatal to quality, alongside trying to cram too many key characters into one film and making them compete for screen time. I'll admit, it is better than some films, but it still proves too bloated and simplified to thrive, as well as pulled back too much on the R rating to not make the rating worth the risk. Sound quality is the most theater-worthy quality, but the rest suggest a home watch. With all this, my scores are:

Superhero/Action/Thriller: 5.5-6.0 Movie Overall: 4.0-5.0.

1 out of 5 found this helpful

LIKES:

The Music Choices

The Silliness At Times

Comedic Timing Gold At Times

Acting Is Okay

The Look And Feel of the 90s

The Message

Summary: The likes start with the acting, a cast pulled into a ridiculous movie, and somehow going with the flow of the ludicrous script. Dennison owns the idiotic spirit of youth and yearns to be popular, using an accent with razor precision and dancing like everyone's watching. Zegler does her best to deliver that silly humor, but I found her better in the serious performances and vulnerability to drive some character development and only ingrain the silliness when needed. And Martell is a blend of both: one part awkward humor as he tries to go against the societal caste of high school and one part relevant nerd trying to do the right thing. The chemistry is jumbled, but surprisingly, it works well to craft what would probably be a realistic portrayal of kids vs. The end of the world. Amongst the acting, the movie utilizes the actors to deliver silliness to a dark, though sometimes humorous, level as odd one-liners, crappy trash talk, and nostalgic burns flood the screen. I, for one, found some of the comedic timing perfect, the writers finding those opportunities to drive the comedy to the fullest potential.

Where Y2K reigned supreme for me is the look of the movie. A heavy investment in nostalgia, A24 has put a lot of resources into bringing the end of the Millennium back to life and ensuring as much immersion as possible. The clothing styles are as varied as the high-school cliques, with hair, makeup, and accessories throwing back to the trend of the 90s. The cars, the televisions, the video stores, and modes of transportation are all well incorporated into the mix, utilized to the point that both mock and cherish the adventures adolescents had before screens took over. Even the devices that go bad are loaded with authentic designs of Mac computers, Tamagotchi devices, animatronic trinkets, and anything else you might have forgotten has a chip and is ready to deliver a memorable death to some unfortunate extra. In true A24 fashion, the movie uses all of this to help buffer the darker comedy while also finding a way to inspire with the messages loaded in this movie. One big message being about the terror of technological dependence and the unhindered evolution of technology that businesses are pushing. A tad cheesy at times, but A24 continues to find ways to spin their ideas into enjoyable and moving messages.

DISLIKES:

Plot Is Weak

Predictable

Blood Bath That Crosses Some Lines

Horrible Character Development

Rather Stupid Ending

Loses Any Horror Element

Lazy Language

Leans Too Hard Into The Humor

Summary: For all the good Y2K brings, the movie's unique direction may not be entertaining to a wider audience group. For one thing, the plot is weak, another contrived tale that wants to try many things but ends up becoming highly predictable in the amount of foreshadowing and cliché icons that they set up. There is a lot of suspense of disbelief in this movie, cheesy conveniences and off-camera moments that make the story feel disorganized and of secondary importance. The character development is weak, reducing most of the characters to a level found in most SyFy movies, where the characters try to be cool but often come out cheesy. This led to me not being invested in the characters that much, nor having time to ever build suspense for their survival, something I find important in a horror movie. Much of the horror element was very diluted for me, choosing instead to be more of a blood bath with the over-the-top kills that are drenched in dark comedy as much as they are blood. If you like the malice and mayhem of devices going postal on humans in a montage of gore, then you'll enjoy some facets of this movie, but for the truly terrifying close calls and thrill of survival, the movie fails to do much in that department. As the ending approached, things only got stupider for me, the language becoming even more bloated with R-rated language and the conventional plot devices concentrating more to give one of the stupidest and most lackluster endings I've seen in a while, despite the humor and running joke coming to fruition. Thus, my main dislike is that the movie leaned too much into the comedy element that the other elements sort of got lost to the massive amounts of teenage jokes and off-kilter humor.

The VERDICT:

Another notch in the ever-growing belt of A-24, Y2K proves to be more of a comedy than anything else. A twist on the nostalgic past of campy 90s movies, it's a movie that blends Bodies, Bodies, Bodies and a SyFy original film in an amalgamation of gore and crude humor. The visuals, acting, and perfectly timed references and comedic jokes are what thrive for me as I laughed and appreciated the clever transformation into the metallic beasts roaming the streets. Yet, the movie may have leaned too far into the comedy element to be a knockout victory for viewers like me. While the silliness brings some dark comedic finishes to the annoying group of characters, any horror elements are gone in the montage of mayhem. The story is not only predictable but filled with holes and contrived details, doing little to make me care for the characters as they were washed away by highly aggressive insults and more ridiculous integrations. Thus, if you are ready for stone comedy with a dark twist, this movie is going to reign supreme and be entertaining. If you want a horror with comedic elements blended in and some suspense, then skip this film and wait til it hits home streaming. My scores for the movie are:

Comedy/Horror/Sci-Fi: 7.5 Movie Overall: 6.0.

12 out of 50 found this helpful

LIKES:

Animation

The Songs Are Cute

The Message Is Strong

New Characters Are Interesting

Humorous

Very Brisk Pace For Kids

Voice Acting

Funny/Fun

Clever Humor At Times

Summary Disney knows how to make an animated feature, which Moana 2 continues to show off. Their big budget has brought beautiful design and animation to the silver screen in that same style that captured our hearts long ago. Updated wardrobes, an expanding island, and the magnificent expanse of the ocean. Moana and her group have got more of that high-definition edge but never lose the cute style that we fell in love with Walt Disney Animation. This style is maintained through all the sailing, falls, and fights, always keeping the pulse on family-focused but upping the game a bit to have a little more bite than a mythological "epic" should have, as Riordan has proven in his books.

Past the obvious, Moana 2 is loaded to the nines with entertainment value for most audience members to enjoy. The songs are cute, styled in peppy pop numbers at one point, comedic pep raps at another, and almost that sea-shanty vibe at other times. Most of these are going to be drowned by the powerful ballad that has already flooded the airways, but they all work in some way to "advance" the story. It's humorous, loaded with plenty of comedic jokes and styles to appease a wide audience, with most adult humor very above most young audience members' heads. Those clever moments were my particular favorite, especially those breaking-the-fourth-wall jabs the writers got in at times, while I also enjoyed the references to the previous movie and the nostalgia it brought with it. Though the comedy is much of the backbone of this movie, there are still elements to help balance this film from being just another messy joke fest with limited story elements. There is a strong message of motivation and bravery against insurmountable odds and finding the same strength to find ways to solve problems. Sometimes, this movie hits that moment perfectly, the written dialogue and delivery with the timing to score that knock-out punch to deliver the full message. Ingenuity, lore expansion, and the modern-day messages are all trying to find their way in the water, but they are all there to help expand the characters somewhat to better avatars for facing the Disney adventures. The new characters introduced were... engaging enough and held potential from when they were recruited into Moana's journey. All of this fits within a very brisk pace that is perfect for those with short attention spans and a short run time alongside it.

Finally, the voice acting is spot on when you get time with the character. Cravalho has quite a range this time, even more than her first time in the waters, with fierceness, doubt, vulnerability, and motivation where it counts, delivering that same inspiring tone with engaging ferocity, confident words, and, at times a, relatable tone that offered comfort. Johnson may not have the same rivalry and showmanship in this role, but he replaces it with tenacity, emotional depth, and a surprising exposure that, at times, gave me the chills. Fortunately, he still has his shouting abilities to cut through the emotional times. As for Tudyk, he's got animal sounds down well and still knows how to give Hei-Hei that human quality that pairs well with the animation and planned stunts of the adaptable chicken (whose idiocy is still a running joke). The rest of the group did well when they got a chance to speak, and the little community of misfits had enough merit behind their voices to help draw attention to them and earned a few chuckles.

DISLIKES:

Some Jokes Got Stale

The Songs Are Okay

The Preachiness Gets Heavy-handed

The Impasses Are Again Kind Of Lame

New Characters Are Very Underdeveloped

The New Baddies Are Kind Of Lame

The New Little Sister Is Pure Kid and Cuddliness

Too Much In One Movie For The Short Time

Summary: In a kids' film, jokes are going to be overused, and corners are going to be cut to help get the giggles out. Some of the running gags lost their edge with me by the fifth iteration, and some of the other jokes were just not my style and lacked the creativity or placement that the other films did. The fun factor helped blunt this for me, and the brisk pace is more than adequate to minimize your exposure to the jokes.

The jokes are not the only thing that lost some of the shine. Moana 2's songs are, at times, fun and cute, but they lack a lot of the same spirit and wow factor that the first installment brought with the songwriter's talents from that film. A change in the musical direction was not killer to the movie, but the songs didn't have the best use in this movie nor the same pop that I had hoped would be present. Ironically, these are the moments that integrated the new characters the most, with the remainder split between comedic quips and the occasional actual skill set they were chosen to apply in the voyage (with the latter saved primarily for the end). This brings me to my next limitation with the movie: the characters. Moana was brilliant in limiting its characters to three main protagonists that the secondary characters worked with instead of against. Moana 2 pushed the envelope, with too many characters introduced and their application very limited and often pointless on most levels outside of humor. I was bored with them and their stale jokes, with character development as juvenile as the intended audience who will not care. Yet, with such a promising story and mythology to base that story around, I expected more integration and fewer shortcuts to just load the movie with that superficial flash in the pan. Even the new antagonists are a waste in this chapter, with only the last fifteen minutes bringing any impasse to the quest that is supposedly much harder than the first quest. Technically, they weren't right, but all the buildup was rushed, and the solutions diluted down to mere jokes or shallow incorporation of a plot element to get to the next phase. Even the little sister is limited to a confined niche of humor, with her cuteness and sassiness being adorable and a great medium for love, but not much past that. It's not that I'm heartless to such tactics, but I know there was more they could have done, but I felt shorted for the interest of time and making the message preachy in that Disney way. A strong message is present, but at times, it gets blasted in our faces by that same direct and overemotional method that Disney has become a fan of since about the mid-2010s. It's not the worst movie to do this, but I get tired of such antics when they are present in so many movies these days.

The VERDICT: Moana 2 is another beautiful dive into the Polynesian culture that blends Disney magic with the mythology of the culture. It's fun and mostly family-friendly (though cautious with sensitive children and loud sound delicate) that takes the familiar jokes and cuteness and loads it into the short run-time. The movie introduces enough new things to hook you in and make those motivational moments hit hard the way that Disney knows how to deliver. And as I have said, I did have fun and found that there was enough of the showmanship to be entertaining. However, the movie is not the masterpiece I had hoped it would be and felt very much like a Disney+ series condensed down into a short time limit. The characters are not as adequately used; the villains have more shimmer than bite, and the impasses are still too rapidly cleared due to the fast pace. It was way too much in one film for me, never hitting the most potential nor having the same wow factor and breathtaking value its prequel had. So many characters felt like gimmicks, reduced to mere comedy or song tokens before being overshadowed by the main two again. We have some foreshadowing and a mid-trailer teaser to show what is to come, but this movie felt very chopped up into a setup film that is semi-self-contained but shakily for this reviewer. Is it worth a trip to the theater? Yes, if you are the target audience and don't mind a very cramped and simpler family film. Worth 3-D? To be honest, it has potential with the way the scenes are designed, the colors, and some of the more exciting parts enough that 3-D could be enhanced by the glasses. With all this in mind, I give Moana 2:

Adventure/Animated/Family/Comedy/Musical/Family: 7.5 Movie Overall: 7.0.

29 out of 49 found this helpful

LIKES:

Cinematography

Costumes/Setting

The Music

Sound Editing

The Performances

Another Look At Multiple Aspects

The Action To Some Degree

The Acting

Summary: Scott is a fantastic director for visuals and making things into reality that are often restricted to the imagination. Gladiator's scenes are beautifully captured in high film quality with sensational direction to help get the best angle at the right time. Paying attention to lighting without compromising my ability to see the screen, he brings emotion and authenticity to so many scenes, selling the internal thoughts and drives of the character. He finds optimum shots to help give a dynamic experience, almost transporting you from one patron to another and decorating the arena in a manner most choose to be stagnant with showing. Add in the authenticity of the setting/visuals, and you have a window into history during the peak of the Empire. Sure, many things have an artificial shine to them, but details in the settings are realistic enough to be appreciated as our characters act out another drama to behold. When it comes to the sounds, the complementary editing, effects, and orchestrating come together to grant that same epic feel that so many movies bring. The crunch of a jaw, the unsheathing of a sword, or the perilous destruction of an extra all explode in theater quality and make it worthy of seeing on the big screen.

Story-wise, the movie takes direction from its predecessor and focuses on giving the audience a little bit of everything regarding the time. Gladiator II grants one plenty of time with the Senate, seeing the various citizens in their approach to the events at hand that feel reminiscent of the play Caesar. Its complex dialogue and various involvement help paint another arena as various members navigate the ordeal laid out by the emperors. Meanwhile, our hero has his demons to face, the stage being both in and around the Colosseum, where he works to enact a heavy set of plans of his own doing. The two groups overlap well, and neither portion stands alone, a connectivity I think many will enjoy if you like the balance of politics and parrying. And to some degree, I liked the action of the film, finding some of the new elements fresh and invigorating amidst the familiar fisticuffs and slashing that the first movie made famous. The writers seemed to dig well into the historical archives for new inspiration, and these ideas were made possible by the technology Hollywood has focused on for the last two decades.

Yet, the acting is the thing that I find is the highest caliber of the film. Connie Nielsen reprises her role well, taking the helm as the confident woman helping to face the stagnant greed of the current regime. A balanced character with varying strengths and weaknesses that allowed me to invest my time as she navigated the labyrinth of politics and deceit. Mescal is the lead of this movie, and he reinvigorates the hero role with the same skill set as Crowe's Maximus but with new vigor and an energy that plays well to the story's continuation. He comes off a tad overaggressive at times, but he has a flair for speeches and banter that moved me or made me laugh when timed right. Pascal does his job well, and though not quite the level I thought he would be, he executed his lines to the same quality he always does and managed to get physical combat in that flows better than most these days. Yet, Washington is the champion for me in this movie. A complex role for a man who can make a complex performance come out with natural style, reliable balance, and a delivery worthy of his multiple awards. He wears the costumes well and wears the character even better, as his interactions require much more colorful emotions than I anticipated for this role. He plays each role so well and sadly needs more time to optimize every part of the plot, but the man knows how to take what he gets and work with it so well.

DISLIKES:

Semi-Bloated Movie

The Gladiator Focus Is Missing

Pointless "Brotherhood"

A Bit More Soap Opera Feeling

A Tad Contrived

The Action Is Under Par For me

Graphics Do Dip At Times

Summary: Scott struggles with several things in this movie for me, though, especially given the promises of the trailers for what this movie involved. A small element is that some of the graphical prowess fails at times and dips in quality, becoming obviously fake and artificial-looking. It's a semi-bloated movie, with the ending fourth of the film feeling sort of dragged out and long-winded as things start to come together. It's a darker part of the story and focuses more on politics than the action, leading to a lackluster climax that starts to feel half-baked and underdeveloped. The gladiator aspect from the first movie (and the title) is not as much focus as I anticipated. Sure, the hero's story gets focus, but that brotherhood, that navigation through the events, and the strategy are a fraction of the first film, leading to weaker investments into the other characters. They showed potential for getting to know these characters, but we don't learn their names, nor do they really get involved in any of the fights full-on. It leads to inconsistent use and less intriguing fights, with many of the battles looking great but lasting mere minutes and not having the cohesive choreography or planning as the first one did. The strategies are legitimate, and the feel is realistic, but the edge and the attachments are so minor that I struggled to feel the full intensity like that movie long ago. This is especially true with the naval battle moments and the climactic finale, all sort of pushed to the back to make way for more of the political turmoil that Scott seemed invested in pursuing. Without the distraction of battles, the story's plot starts to feel a bit washed out and contrived, the twists semi-shocking and the stretches of logic a tad eye-rolling, if I'm being honest. This leads to the movie feeling somewhat soap opera-like and returning to the drama origins of the theater rather, which I wasn't quite looking for when I strolled into the showing.

The VERDICT:

The return to the Colosseum is one rich in graphic prowess and cinematography that Scott continues to thrive on in his work. It's a beautifully shot and decorated film with plenty of aspects pulled together to bring Ancient Rome back to life. Amazing performance further helps give life to this movie and adopts a wonderful persona to make all facets of the scenario come to life. However, the movie is not necessarily the action epic you might expect, nor does it hold the same forte that Crowe's movie brought long ago. The action scenes look mostly good, but feel bland and tempered down without the same level of commitment or planning. There were other characters I wanted to know, but I feel they were just male models for the camera and doing very little in terms of combat and survival. Instead, the political drama and ego of the characters become the central focus and take up much of the time than the actual battles. For those who enjoy this historical endeavor, this film is for you to enjoy and strongly encouraged to hit the theater for the best experience possible. However, the contrived plot, bloated time frame, and lack of the full investment of action balancing with the politics was a tad too off for me to say this was the best movie of the year, as they called it in the trailers. Given all of this, my scores are:

Drama/Action/Adventure/Epic: 7.5 Movie Overall: 6,5-7.0.

2 out of 7 found this helpful

LIKES:

The World Building

The Design

The Costumes

The Acting

The Pacing

The Energy

The Emotional Wow Factor

The Dance Numbers

The Musical Score/Music

The Respect For The Material With Some Twists

The Fun

Summary: A movie offers a means to take the impressive components of the stage and take them to a level conventional props cannot make come to life. Chu's vision is gorgeous and a big screen-worthy display of the power of his imagination. Solid sets mixed with computer animation craft the world described in the Oz literature and unleash them into the splendor and spectacle I always imagined Oz to be. From the stylish costumes that convey the classic world with a new age design to the grandiose cityscapes, Wicked's first part is everything modern that I love in a movie and helped immerse me so much into the world of a magical high school that conveys its emotions through music, dancing, and drama.

The performances are a big part of the show, as you know, and there were giant shoes to fill, given the powerful voices and acting that have preceded this film. For this reviewer (and his three friends), they accomplished much and made these performances their own, but never stepped on the established characters over the last two decades. Erivo hits much of Elphaba's qualities with powerful vocal ranges that fill the screen with a majestic prowess worthy of the Wicked cast. She brings much of that vulnerability and anger to the movie and shows the turmoil that arises and what it can be forged into for her character, truly spellbinding and engaging as the film continues to the climactic number. She may not completely capture the original sarcasm or dryness that comes with the green witch, but she still owns the role and gives her performance everything she can. Grande, on the other hand, is a delightfully wonderful Galinda, bringing the spoiled brat nature out in delightful charm and adding that flighty, airheaded giddiness the Good Witch is famous for holding. Complex sincerity arises, and she is allowed to build more up for the character with fantastic emotion that tangles with Erivo's performance to give the complicated relationship between the two future witches. Her mimicry of Chenowith is spot on at times, and though maybe not as sassy and bullying, she still captures enough of the spoiled girl to be hard to turn away from her delightful delivery of the lines. Their chemistry is unbelievable, and I was engrossed in what these two divas accomplished in bringing the characters to life and making them so emotionally complex.

As for the presentation, the movie shoots for the stars and reaches them by handling the story, or at least part 1 of it. Like the show, Wicked's film manages to add the energy of the stage show but gives its own energy with the additions of the movie. It respects the material, the dance numbers charming, delightful, and holding moments where I feel like I'm watching people jump about in choreographed displays. Yet, the movie also keeps to the emotional ties and the constant bouts of joy, sadness, and more that are balanced throughout the film and never so much to drag the movie into that slow crawl that dramas sometimes fall into when they get to the darker parts. Throw in the musical score and powerful musical ballads that are filled with the same majesty of the play, only now supported by those visual support structures that raise them to incredible heights. It shook the theaters with joy, cascaded the crowd with crazy ranges, unleashed the emotional torrents of the character to startling degrees, and brought the power of the stage with it. Such a balance between everything accomplishes an engaging pace that helps make the nearly three-hour run time feel shorter and never get too out of hand with the changes to bloat the movie too much. And that kind of fun is always welcomed by a reviewer like me when it is accompanied by quality.

DISLIKES:

Some Slow Moments

Some Okay Excess Material

Two Characters Not Bringing the Full Magic

Some Graphics Traipse To Less Impressive

Would Have Maybe Extended Some Other Stories

Summary: For all the good of this movie, I found only a few things that I felt took away from the film. As a warning, I have not seen the shows and am not a purist of the franchise, so the accuracy checks are something I leave to other reviews to determine how close this movie hit. My first dislike was that there were still some slow moments, extensions, or additions that didn't feel necessary for the level of detail and could have maybe been redirected to another story or character that might be a better use of the new direction. I felt a little robbed of Nessa's storyline, and though my friend said it matched close enough, I just felt this was the place to add a little more oomph to her tale with how tied she was to Elphaba's tale and her father that at first seemed to be a shadow looming around her. Two characters in particular that felt a tad limited and off were The Wizard and The Madame, both having their strengths of being jovial and ominous as the trailers expected and really capturing elements of them well. Yet, the two stars didn't quite get the full spectacle down, sometimes unable to break out of their stereotypical roles and other times not quite getting the full quirkiness and suave performance that they were trying. In the grand scheme, it is minimal secondary to the rest of the entertaining spectacle. Outside of some graphic trips here and there, the only other thing is that it doesn't quite capture the full show-stopping power of the play, but that order was going to be hard to accomplish given the differences between theater and film.

The VERDICT Though Wicked's first part might not be the theatrical show to the full extent, it does a fantastic job of bringing much of it to the screen. It respects the material and keeps the energy alive with stunning visuals, powerful musical performances, and the complex energy famous for Oz's prequel. Incredible performances by the leads in singing and acting are a solid core that supports all the components of the film, adding their own twists to the character but never to the point of obliterating the established personalities of these dazzling women. With a moving pace and enchanting energy, Wicked's movie is indeed a fun film worthy of the theater and perhaps in 3-D if you want that added detail to enhance the design of the world. True, there are some excess scenes and slower moments that could have been buffed with better storylines for other characters. Some of the actors could have tightened their performances or expanded outwards to help with getting the most out of the characters. Outside of that, this movie is certainly one of the better films of the year, and I encourage all to go out and see it, especially those who love powerful performances. I can say that purists are still going to find some qualms with the film, but if you can accept some of the new changes (some of which are very welcome for more reasons than one), you might just have a good time.

My scores are:

Fantasy/Musical/Romance/Drama: 9.0 Movie Overall: 8.5-9.0.

4 out of 15 found this helpful

LIKES:

Funny Banter

Moving Pace

Little References to Other Holiday Movies

Fun Mythological works

Decent Acting

Creative

The Krampus

Surprisingly Heart Felt

SUMMARY: The movie is a buddy comedy wrapped in a Christmas package and loaded with some fun and funny moments to start the season on the right foot. Evans and Johnson have great banter work in this film, trading metaphorical blows as they each try to work together to take point in the mission. A dry security expert and a lackadaisical hacker are two very different personalities that work well to give the buddy humor, and I liked the twist they brought to the holidays with it. I found myself laughing several times at the lines, clever puns, witty insults, and some well-timed deliveries all assisted with increasing the comedy. Even more impressive, the movie manages to pull in comedy for all ages, though a caution as there are some very adult references that your kids might imitate. Outside of the fun, the movie moves at an engaging pace, chewing through the two hours without difficulty as they try to investigate the depth of Santa's conspiracy. Red One manages to integrate mythology and modern times into a Percy Jackson adventure full of clever references and ingrained lore that surprisingly fit better than they should. I particularly enjoyed how the movie also seemed to patch together several references to previous Christmas movies into one film; each component hybridized into a recognizable homage that still had its unique traits. The whole film is quite creative and makes for entertaining, popcorn-munching quality that still is surprisingly heartfelt with the messages at hand. Yes, it gets a tad cheesy, but I have to say that Red One managed to modernize the message about Christmas and add just that new-age mentality without falling into the modern-day agenda other films have found.

As a section on itself, I give props to the acting in this film and the commitment they made to a very odd movie like Red One. Johnson is the same man he often is, in this case, the stoic, no-nonsense, brute-force hero with the mission in mind and nothing more. He plays the rugged "action" role well and does little to escape from the stereotype he has placed himself in. Evans also plays his typical range, this one more of that haphazard and aloof demeanor with only sarcasm and rogue fun to break through the façade. He will, of course, have some changes in the movie, but it's nothing new and perfect for the broad audience the movie is trying to appeal to for these primary ratings. Liu sort of falls back to her 90s roles again, never extending past her intense stares and very monotone emotion, which again fits the bill for the head of a government organization. She has a few moments to break through the hard-as-stone persona, but otherwise, you get another personality that meshes well with the energy of the movie. The Krampus, however, is probably the most unique and dynamic of the characters in this film. Kristofer Hivju brings fantastic energy with his vocal and non-vocal acting as the big baddie of Christmas. His delivery is top-shelf quality, owning the moment with how he embraces the darker emotions that come with the holidays. His costume and makeup work is some of the best of the bunch, with the group putting a lot of time and energy into crafting realistic costumes that I like in my movies and not compromising on the complexity of the character. I would have liked a lot more of this type of character, range, and creativity in other characters, but I at least got this gold nugget (alongside Simmons' take on the Big Man himself).

DISLIKES:

Action Is Dialed Back

The Comedy Is A Little Flat

Character Usage Is Uneven

You've Seen A Lot In The Trailers

Needed A Little More Excitement

Some Story Components Could Use Touching Up

Visuals Are Inconsistent

Summary: Red One's campiness is certainly fun and a fresher take on the Christmas holiday stories, but it still has some workshopping to help get the movie to the full spectacle they were trying to achieve. Despite the trailer promises, the movie is not the Die Hard of the new era. Many of the stunts are CGI runs, simplified punches, dives, and choreography that is very stiff and practiced with limited opposition that wasn't drowned out in montages. I found it funny how kid-friendly the action was, while the language was certainly not scaled back for the potential young audience members. And like the action, the comedy sometimes becomes a tad flat and stale by about the middle of the film. Fortunately, some of the other characters do the lifting, but it only helps so much to break up the cringe-inducing jokes that come at times. The character usage is bad in this film. Most of the characters were reduced to cameos, simple appearances, and some minor actions/moves that were fun but highly reduced from what I thought they were going to be in this film. Had they maybe integrated a few more characters and dove into their backstories or emotional depth, we might have gotten a movie that could help add more integration and stakes to the fight. Increase the action alongside the threat of the villain, and you could have further helped give this movie more vigor and excitement, I think they were going for in the design. I'm not saying I needed vicious dismemberment or gory messes, but the world of Santa Claus offers a lot of potential for unique fighting and solutions that I think just didn't have the same level of creativity. And finally, the visuals are indeed inconsistent, as other reviews have mentioned. Sometimes, the movie makes things in stunning detail, like the Krampus or Garcia the polar bear, that are realistic as they can be outside of really good costumes. At other times, the special effects are back to the 2000s level, with the fake animation showing some budget cuts that could have been better utilized. It's not the worst by far, but... it's annoying to see such inconsistencies when this was a movie with a lot of backing.

The VERDICT: Red One has accomplished much in terms of being a new generational tradition in the holiday movie lineup. It's corny, campy, and overall fun, bringing a lot of comedic styles into the film and not apologizing for being the fast-paced festivity that it serves to be. A good leading cast helps to lift much of the writing, and the creativity is certainly something for the books and will touch a lot of hearts with the messages and references they make in this menagerie. True, the movie is not the action epic they promised, and the story needs more edge, time, and character balance to accomplish the lofty goals it south. Yet, the movie is still decent and fun enough to get out to the theater to see and enjoy the holiday spirit.

My scores for Red One are:

Holiday/Mystery/Action/Satire/Comedy/Fantasy/Adventure: 7.5-8.0 Movie Overall 7.0.

11 out of 20 found this helpful

LIKES:

The Message At the End of the Credits

Fantastic Acting

Great Cinematography For The Most Part

Smart and Engaging Dialogue

A Test Of Some Sorts

Good Characters To An Extent

Realistic To Some Degree

Decent Run Time

Keeps the Gore/Horror Elements In Check

Summary: Heretic is a film with an A24 approach to making genres feel a little more original. The visual style again takes precedence, with the directors and their team making a splendid-looking film that keeps rather droll material engaging. Switching of camera angles leads to movement around the room, giving emotional weight to the film and helping drive that point across with the subtlest effort. The lighting is almost an actor alone, changing its face at any moment, which made me feel different levels of heaviness as I watched our protagonists try to navigate out of this ordeal. With an incredible setting to assist in all the visual aspects, Heretic's intelligence in doing a little with less money shows the talent of human creativity that shortcuts like AI seldom capture. The message at the end was very appreciative to a viewer like me, happy to see the minimization of the popular "work" ethic of the modern-day studios.

Past the visual style, Heretic's writing and acting are the bread and butter of the movie and perhaps the strongest element to bring this tale to life. It's a dialog-heavy movie, and Beck and Woods have managed to integrate philosophy, theology, and ethics into a surprisingly intriguing screenplay. Our characters are not stuck in some colonial dialect but instead feel like students talking to a professor and requiring various adjustments to the lesson. When that takes a Thriller turn, the script changes without leaping into some trivial, run-of-the-mill horror mess that we've gotten so many times. Instead, it builds upon the previous dialogue and never shifts too far from the characters at the start and still changes them as these events do. Helping to deliver this dialog at such brilliant levels is the cast. East is by far the most dynamic of the group, shifting between her tones organically and maintaining a believable performance that doesn't get too farfetched or obnoxious. Thatcher keeps to her tone pretty consistently but manages to add inflections that show vulnerability without changing too much. A strong counterpoint for much of the film and never being too overwhelming that she displaces the other characters. Hugh Grant is sort of the pillar for this movie, though, and has now taken his performance range to a new level for me as he portrays this thrilling antagonist. Certainly not the token villain, Grant's acting with the direction of the story creates a chilling character that is not so over the top to be ridiculous nor too contrived to be unbelievable. You can certainly sense he is a bad guy, but to what degree you don't know during the first parts of the film. As the tale continues, that level gradually unfolds, all from the brilliant angle he started with and never degrading into some other form that Horror movies often take. It's a wonderful and articulate performance that never gets too cheesy, and I was enthralled by just his next move. Together, the chemistry brings the best out of each of the thespians to make this odd story truly shine in that A24 way. Throw in that movie didn't fall into the radical levels of horror and gore, alongside a decent run time and pace, and you have found another A24 movie that I enjoyed.

DISLIKES:

Slow at Times

Gets Caught Up in the Banter

May Not Be Thriller/Horror Enough

A Couple of Concepts From Trailers Poorly Used

The Setup Feels A Little Lacking

The Ending Is Both Justifiable And Yet Lackluster

Summary: Despite all the strengths, though, there are still some areas I felt were weaker in the movie. I place a warning that this movie is going to be a heavy theology plot that is going to call into the challenges of faith and religion. Those who do not want a film like this are essentially going to be unamused by this film, if not insulted, if you don't fall into the niche of this movie. With that aside, the movie is not the most exciting nor unique of the A24 films compared to some of their other eccentric plots. While this means less of the excessive gore, nudity, and other body horror elements, it comes at the cost of not having the full Horror element I got from the trailer. Heretic's teaser suggested logic puzzles with character development as they moved about a house in what I thought might be a less eccentric Saw. That is not the case. The promise instead went to more of the philosophical debacle, and I wished they could have done more with the house the girls entered. With a central focus on the dialog, the movie got lost in the banter and sometimes felt stagnant and slow, only to then move too fast as we got near the end. Even the ending, while justifiable, feels a little tied up and mundane as the final shot fades out and left my mind wandering. Thus, the direction they took may not be quite as appealing when you go into the film with expectations that I had from the trailers, nor if you want a movie relying on philosophical teachings and a case of faith.

The VERDICT: Heretic is, without a doubt, another A24 entry that is elevated in many facets when it comes to modern cinema. The visual work alone continues to be its own entity, filled with engaging angles, creative use of lighting, and movement despite the rather sedentary plot. A dialog-heavy narrative that encompasses modern teaching with time-tested theology stimulates the mind and is well-integrated into the plot as the means for navigating about the 90-minute runtime. And the acting is another display of talent with strong characters, amazing control of emotion, and some of the best delivery of lines I've seen in quite some time. Yet, if you saw the trailers, what you get might be very different than what you perceived. Heretic had a lot of potential to take what I liked and integrate it into a shifting ordeal of logic. Sadly, that potential fell flat at times, and became infatuated with the dialog that it doesn't move or really scare you by any means. While it is nice to tone down the usual A24 elements, Heretic needed a little more thrill to be the Thriller it promised instead of an educational piece. The audience who I predict will enjoy this film the most is going to be those who like logical banter and testing of religious principles in modern society. Worth a trip to the theater? The acting and cinematography are worth the support, but alas, this movie might feel better at home.

My scores are:

Horror/Thriller/Psychological: 7.5% Movie Overall: 6.5-7.0.

1 out of 1 found this helpful

LIKES:

Cute

Moves At a Good Pace

Funny And Wholesome

Good Acting

Realistic With Modern Sheen

Message Is Strong As Ever

Summary: The trailers portrayed this movie as a cute dive into a simpler time before the Internet exploded out of control. This remake is an example of taking history and bringing it to the present and capturing the wholesome nature of what was an adventure for most. It's not flashy, it's not state-of-the-art, and it's just feeling like living in a town that is fixated on traditions no matter their intended purpose. The movie lets the narrator tell the story, feeling like a television special, with an engaging teller to pull you into the tale. Its humor relies on relevance and timing, which had my fellow audience members frequently laughing and doesn't rely on wit or engaging quotes to do the work. A realistic overtone helps to keep this film in that cute sort of sitcom role and helps instill some emotions that hit me harder in this approach than the artificial feeling Hallmark injects its movies with every year. The real heart lies in the strong messages this movie brings, with the very message of Christmas radiating out, but again feeling genuine and perfect for the holiday season. As for the acting, the entire cast plays the roles well and makes this community of varying personalities match closely to communities I have lived in previously.

DISLIKES:

Preachy

Missing Character Development Completeness

A Tad Too Simplistic

Predictable

Missing The Full Fleshed Out Finesse

Too Many Characters in A Short Amount Of Time

Summary: Yet, the movie still suffers from what you might expect of a drama film such as this one. It's preachy at times, getting caught up in quoting the bible and taking asides to paraphrase the passages that it can get a bit too Hollywood. The movie's simplicity will be incredible for the key audience groups of family, while those looking for something more will find it tireless and boring, perhaps thinking this would have been best left to a straight-to-home release. The predictable plot is great for the family night-in but suffers from the lack of depth in character development and full immersion into the process. I felt there were too many characters and not enough time to fully invest in the characters nor give you time for build-up and gradual progression to the goal. It's a little too simplistic, lacking the full depth for just bites of the inevitable conclusion coming at the movie's end. I guess that's what religious-heavy movies are known for, but I would have liked just a bit more storytelling baked into the heartfelt message contained in this movie.

The verdict: The Best Christmas Pageant Ever is a remake that sticks to the foundation without being a soulless carbon copy of the film before it. It is a delightful production that teaches the meaning of the holiday in classy, fun, and adorable tones without relying too much on the cliché theatrics and forced acting that some programs do. A wholesome and realistic edge works in this film, using just enough movie shine to glam it up without costing anything away from the goal of this movie. Yet, the simplistic direction of this movie is also a big limitation in terms of unique flavor and wow factors that one might be looking for in this movie, The short run time might get you out of the theater faster, but the storytelling suffers in regards to shallower character development, limited buildup of impasses, and a rather lackluster finish in terms of any real stakes to have you on the edge of your seat. It feels like a big-budget version of a Hallmark film at times, and those who like said movies should come out and see this movie (a killer youth group film). With all this in mind, my scores for this film are:

Adventure/Comedy/Drama/: 7.0 Movie Overall: 6.0.

13 out of 31 found this helpful

LIKES:

Good Acting

Realistic On Many Facets Of Life

Dynamic use of Set/Setting

Creative Transitions

De Aging Technology

Some Fascinating Connections At Times

I loved the Artistic Angle At the Times

Relevant/Relatable

Emotional

Summary: The movie's advertising has not lied to you, Here is a film that is truly one of the most unique concepts we've seen in a while. The movie relies on one to enjoy the single-camera/location fixation and tell a story about time's impact on life and the people moving through it. Zemeckis has accomplished this task on many levels and managed to utilize the space well and keep the shot dynamic despite being so static. Dynamic set changes help make this piece fascinating, with the idea of furniture changes being a characteristic of the house itself that is impressive and serves as a metaphorical window to life. I loved seeing this room lived in and the families who each called the villa home, seeing their interactions, auras, and personalities give a different light to the scene and tell their own micro-stories. Transitions occurred via outlines of photographs, drawing attention before rippling into a new scene, the technique is smooth and seldom overdone for me. It held many facets that were creative but never lost the anchor to realism to make this a nice, balanced piece.

As for the story and acting, an A-list of talent has helped bring this movie to life and achieve the goal of being a look at life. Here is a film that relies heavily on being relevant and the cast to make that relevance come to life. In regards to the story, it seldom bleeds away from people living life, taking snippets of various periods and reflecting them in the times. The ups and downs are beautifully captured on screen, and Zemeckis' vision helps drive the concepts home and hit you with that emotional punch this movie promised. When the relevant tales hit me, it only further strengthened my connection to the film, and I found my inner self reflecting on what this movie had to teach me. The acting is there to give words to the visions, with much of the dialog poetic without being too Shakespearean in its delivery. Bettany was a surprise to see, and though not quite as engaging or dynamic as his Disney films, it still manages to impress me with a stellar performance of the Boomer generation facing the fast changes befalling the world. Wright's return to the screen is fierce as her character is torn between fun and frenzy, a brilliant portrayal of struggles that befell so many in her spot during the great decades of change. Hanks is, of course, just as talented as he has been, incorporating elements of his other characters into each moment of his life and doing it with that same class and vigor he almost always brings to the screen. It's a chemistry that works, this family atmosphere appearing so natural and almost authentic with strong leads to guide the characters and never fall too much into the Hollywood portrayals. The age portrayal technology also gets props for the work it did to make the impossible possible, and though I'm not the biggest fan of the use of such tactics, this was the right movie to use it.

DISLIKES:

Incoherent Story Angles

Very Ambiguous Connections

Boring At Times

Difficult to Connect To Most Tales

Sad And Depressing

Perhaps Too Artistic

Summary: Yet, an artistic movie comes with a potential risk in modern commodities of movie making, and this film amplifies those costs that come with such a unique approach. My biggest complaint comes with the non-linear storytelling and the sort of random drops into some of the stories. The tale uses one of the periods to serve as visual chapter headings to usher the next theme of life but serves little to the story and, at times, feels short-changed and worthless. This, unfortunately, extends to just about every other tale in the movie that is not related to Hanks, making them feel last minute and unnecessary. A few times, there are some clever connections if you pay attention, but for the most part, the ambiguous and chaotic jumps between lives did little to make an engaging story worth the diversion time. Eventually, the sadder parts of life start to become the focus, and for people like me, a bombardment of sadness doesn't usually entertain or make me enjoy the film. The last third of the film is hard to watch, and those who might have recent or traumatic episodes in their lives need to be cautious not to get triggered. If you are like me, then getting drowned in the beautiful moments of sadness becomes overwhelming and excessive, dragging out the film further when the pace Is tripped by the unnecessary divergence mentioned earlier. When that happens, the movie starts to really fall in terms of enjoyment and becomes a bit of a chore to get through despite the smaller runtime.

The VERDICT Zemeckis' gamble pays off in terms of making a movie that just captures life without being a documentary. Here has beautiful visual storytelling that focuses on life in one room unfolding and giving time to human qualities. The film teaches lessons using simplistic measures and is creative in showing evolution from one angle without becoming too fixated on being abstract or unique. Solid acting and picking relevant points in life should provide relatable moments for a variety of audience members, which may be both a curse and a blessing, depending on the type of viewer you are. Helming all of this is a brilliant cast to deliver realistic lines and balanced performances and establish that familial charm movies like this one thrive upon for their material. Those very qualities are also the limitation of the movie, primarily in the haphazard storytelling that Zemeckis and company took with Here. Jumping between so many periods without solid connections made many tales feel irrelevant and unnecessary. As this compounds, the movie starts to feel like a chore, especially near the sadder parts of the film and begins to make the film boring. Beautiful and realistic as it can be, if you aren't ready to handle such things, Here is going to fall short for many people. Balancing all of this, Zemeckis' artistry deserves praise for originality, but is such an approach worthy of the theater? In my opinion, no. It's a film that can be appreciated in most homes and gives the same message. Thus, my scores for Here are:

Drama: 6.5-7.0 Movie Overall: 6.0.

31 out of 44 found this helpful

LIKES:

Design Is Charming

Animation is Fluid

Some Funny Jokes

Very Short Runtime

Original Direction

Fun Voice Acting

Very Touching At Times

The Music

Summary: Hitpig is an odd animated movie, but it's a cute film that has charming animation and design that is fun to watch. These anthropomorphized animals move like the humans they are mimicking, with a few extra animal nuances to mix things up. It's simplistic and fun, and we've seen it done a bunch of times, but it's still charming and perfect for families looking for a friendly movie to visit the theater. While talking animals do not seem like an original idea, Hitpig gives the protagonist an interesting job and background compared to most of the films we've gotten. A pig whose job is to retrieve fellow animals for the owners is kind of funny and certainly one of the odder plots they have presented. I had wished that they had pursued it more, but the movie goes down the Dr. Seuss meets Despicable Me mashup arc that pulls the heartstrings and makes you feel the power of friendship.

In regards to the other aspects of the movie, Hitpig is simplistic fun and funny at times as well. The film is juvenile in much of its delivery, but some adult jokes made me laugh, while some of the banter had me chuckling. Being a fan of some of the styles was hysterical at times, with just the right amount of silliness to make it amusing. The voice cast is doing their best to make their characters come to life. Most of the time, they succeed, sometimes going into those deeper character moments that are relevant and other times just being the biggest doofs you can imagine. The extremes do become annoying, but kudos to them for giving each extreme the best of their abilities and making each joke the best it could be. And if all of this does not sound appealing, then take solace in the fact the movie is only about 75 minutes of actual runtime. Just enough time to let your ears bathe in the sweet symphonies of the awesome soundtrack designed for the movie.

DISLIKES:

Plot is Scattered

Characters Are Shallow At times

Little Suspense Or Intensity

Incessantly silly

Random Inclusion of Characters

Tried Too Hard To Be Funny

World Building Is Mundane

Too Many Plot Conveniences

Not Original Enough

Summary: Despite the fun I had, the movie is certainly not standing out amongst the bigger studio projects that Disney and DreamWorks have claimed. A smaller budget required cuts, and I felt a lot of them primarily in the story over anything else. The plot is adorable, but the movie is so scattered in plot, a buddy adventure that tries to test greed vs. The power of friendship. It's predictable, but the fight is not impressive, and the character development is small dips instead of plunging into deeper characters that are going on their journeys of self-discovery. There are very few moments of intense battles, moral tests, or climactic finales, with much of the danger sanded down to asinine skits with little recovery from the comedic bouts of humor. Characters seem haphazardly included, with only some fun background moments to proceed, suddenly becoming a big part of the movie. While they were cute (and again) a great comedic device, they held little point to the abrupt appearances but to design a team capable of the final plan. These plot conveniences become hyperbolic and soon distracting to the point of annoyance to the point it robs the story of full emotional investment. Mundane world-building does little to help support the movie, especially when it is too silly to the point of being stupid without any strategy or tact to execute it. And there is not enough originality to save it when the unique circumstances transform into a carbon-copy Dr. Seuss story.

The VERDICT: While certainly cute and fun, HitPig feels more like a Nickelodeon special condensed into a seventy-minute runtime and sent to get some money before the end of this coming month. Its cute atmosphere and characters are perfect for the younger audiences (alongside the young at heart) to gravitate towards, and the humor is a perfect entry into the movie world without crossing any major PG lines. However, those very qualities are what also limit the movie from reaching its full potential, therefore making the movie less of a must-see. Its simple story, with reckless character use, mundane trials, and excessive comedy use, just didn't fully engage my interest and lacked a lot of the layers that some of my favorite animated films have managed to craft. Perhaps sticking to the original plot could have accomplished much, and adding a little more maturity into the film could have helped spice things up. Alas, I can't recommend this movie for the theater outside of a daycare field trip as the ideal way to view it, and I would encourage a stream at home when it comes out.

My scores are:

Action/Adventure/Animation/Comedy: 6.5 Movie Overall: 6.0.

9 out of 13 found this helpful

LIKES:

Funny At Times

Faster Pace

Good Graphics

Hardy

Expands the Universe Some

The Ending Is A Great Finale

Summary: The direction for Venom seems to always be humor in the movies more than anything else. No surprise, the third entry is just as much geared towards the comedy routine as anything else. Eddy and Venom have internal banter, the duo constantly filling your ears with a lot of jokes, gags, and run-on gimmicks that are idiotic, fun, and very quick. It can be a tad hard to hear sometimes in the distorted voice of Venom, but I admit I was laughing at much of the tale with the Guardians-like humor. It goes amazingly in time with the pace of the movie, and for the most part, fans should find very few boring moments as they hop from one location to the next. Of note, Hardy is the man who carries the movie; his voicework as the symbiote is as fun as before, with the same dynamic range he can get out of a growl. Hardy plays very well against himself, and the buddy-cop-like comedy takes full hold.

In terms of the rest of the likes, the movie's story has elements that show promise for something rising from this series. For one thing, the graphics continue to look good, with flowing tendrils and cool creature concepts arising. Some of the extensions they made in this film look really cool in the movie, with the 3-D elements a potential enhancement if you are feeling bold. Past that, the universe extends some as the story introduces some new elements that this series had struggled for so long to incorporate despite all the trailers promising they wouldn't be so poor. This was very promising, and if they can actually pick up the pieces of this trilogy, it could be the starting point for something very promising, especially with the finale that finally started approaching the Marvel majesty. With good action, engaging stakes, comedic relief in the right areas, and some depth to the characters, we finally got an ending sequence that felt worth the wait. Was it perfect? Not even close, but it is the closest thing to success in a long time.

DISLIKES:

Mediocre Story

Poor Antagonist Use

Stakes Being Rather Bland

Too Many Tales In One Movie

Too Much Focus On Comedy

All The Expansion Is Done Before It Even Starts

Trailers Gave Too Much Away

Summary:

The Last Dance is still horrible in the story and, to be honest, is probably the weakest of the three tales for me. There are small elements that work and show merit, primarily at the end, but the film's story overall is very lacking in substance, mainly comedic moments with a few action or chase scenes to mix things up. These supposed threats are in name alone, with only mere minions doing most of the work while the king sits on his throne doing very little but mumbling. It's boring, it's senseless, and without the comedy, it was not needed for much of the film, again making this an almost unnecessary sequel. The stakes are rather mundane, trying to find solutions is super simplistic or conventional, and way too many tales to balance between one another for one film. With so little focus on these elements, the movie just fails to build any lasting impression, especially with the waste of such a devastating antagonist. Venom's focus on comedy continues to kill any incredible story, and they needed to take more risks given the content they had. Even the potential at the ends too quickly. The climactic fight has some cool moves and coordination, but alas, it fails to come together the way Avengers or Guardians did, leading to a lot of background movements that again become drowned by more comedy or simple theatrics that have become stale with the overuse. Much of this also came due to the trailers, with commercials revealing too much and ruining what little surprises the movie still had left to give.

The VERDICT:

Venom: The Last Dance is a movie that continues to tango with the comedic overhaul that Hollywood thinks all comic movies need. Its humor is the same tricks but still works in the hands of Hardy, with a few new elements added to try and spice the antics up. With fun elements, a breakneck pace, and some good design elements built for 3-D. Yet, the movie's potential was wasted with too many comedic gimmicks, an unfocused narrative, and too little time advancing the elements seen in the climactic ending, resulting in this movie again failing to meet the expectations most probably set. I wanted more out of this film, but I don't think that Venom's latest entry is going to appeal to most audiences unless they are mega fans of the movies, die-hard positive movie fans, or just want massive comedy in your face and little else. Those are the target audience members for this movie, and a word of warning for younger fans for scary elements and some language parents might not want their kids to hear. Thus, for visuals alone, the movie does get some theater quality, but this one is again best left for home if you want to optimize your experience, money, and time. My scores for the film are:

Action/Adventure/Thriller/Superhero/Sci-Fi: 6.0 Movie Overall: 5.0-5.5.

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LIKES

Acting

Realism (To Most Degrees)

Some Dramatic Intervention

Smart Dialogue

The Mystery To Some Degree

Involvement Of Most Characters

The Cinematography

Summary: A legend like Ralph Fiennes is a solid opener for my likes, as the man takes so much of his English heritage and integrates it into the head of the Conclave. Elegant, crafty, poised, but never shy of getting emotional when needed, Fiennes abilities of balance continue to impress me with how he invests in making a good character. Tucci goes a bit more theatrical, his character the voice of the "liberal" side as his aggressions and passions are artfully delivered in a manner fit for the stage to offset Fiennes' calmer tones. Lithgow, on the other hand, is almost a mix of the two extremes, holding his usual support role that keeps so many of the leading sides held and providing perhaps most of the engaging mystery element in the search for the truth. All the cast members excel in this movie, each member vying for the seat, making adequate contributions and performances to present those ideas. I'll use this moment to also say I'm impressed that Conclave is very efficient at keeping all the players introduced at the beginning of the movie ingrained in the story. Conclave is all about the interactions and connections that each Cardinal has to go for the throne, and Berger's team has kept them all engaged in the very complex story. And with such smart dialogue, the characters and performers have plenty of material to bring this realistic tale to life and give one a feeling of being involved in such an established tradition. When the drama is integrated to spice things up, the realism does not lose much merit, resulting in a nice balance that plays well to the character development and office traditions.

Finally, the best thing about this movie is the cinematography for viewers like me. Powerful camera work adds so much emotional support to the film, with impressive coordination of shots, each diagrammed to give you the best visual display. In my viewing, I got wide shots of the church that portrayed the majestic expanse of the historical architecture, close-up shots that give the intensity of a character's stare as they ponder the latest information, and panning shots that give one fleeting shots of someone walking throughout as they seek to make things happen. Brilliant lighting and filters accompany these shots and further add that dramatic touch, but they seldom get in the way of seeing what's going on in the shot. Fantastic editing brings all of this together in smooth cuts, logical storyboards, and not relying on too many effects to enhance the experience.

DISLIKES:

Slow In A Lot of Places

Very Pretentious At Times

Most Of The Mysteries Have Lackluster Finishes

Becomes More About Politics

Contrived Ending That Shatters Some of the Disbelief

Summary: For all the acting and visual strengths of this movie, Conclave does fail for some other elements that take away from the splendor hinted at in trailers. The movie is slow, with other points feeling slower than others, as they do their best to move towards the election of the Pope. Primarily in conversational bantering and repetitive sequences in the same rooms, the film sometimes gets lost in this sequential discovery of facts and, without the assistance of more exciting movie elements, becomes droll outside of drama lovers. A mystery is established somewhat at the beginning, but this quickly fades and starts becoming more of a political drama than the mystery thriller I thought it would be. If you don't care to be reminded of the current political views, this is a major limitation as the movie starts to leave the mystery elements behind, with many of the questions having rather bland and pretentious answers. This is especially true at the end, where politics becomes a key focus and almost takes a major divergence towards feeling like social media debates and a philosophy class rather than an engaging end to the mystery. What could further disappoint is that the movie's ending completely undermines realism at times and again forgoes the logic and just about all the actions and litigation you see in the movie. That stumble led to a very disappointing ending in regards to the selling point of the movie despite the symbolic and characteristic ending they pulled in at the last minute.

The VERDICT:

Conclave is indeed a stunning piece of work for me, primarily for the acting and cinematography that brings this tradition to life in extraordinary detail. I loved the wit, the realism, and the process of electing a pope alongside the earlier moments of trying to figure out the mysteries at hand. It's a fantastic portrayal of characters while also testing the traditions and credos that many discuss about religion in their various media. While the film thrives as a political and religious drama, it fails in regards to a mystery and thriller, and adjusting your mindset may help you enjoy this movie more with that effort in mind. Contrived, pompous, and slow make this film less engaging, and the realistic content is going to provide less opportunity to escape if that is what you are looking for when hitting the movies. In the end, this film is probably best reserved for home vs. A theater trip, but for quality acting, definitely give this one a try.

My scores are: Thriller: 6.5-7.0 Movie Overall: 6.0.

30 out of 57 found this helpful

LIKES:

Great Cinematography

Fantastic Editing

Story Is Actually Good In A Horror Movie

Great Character Development

New Uses Of The Entity's Tricks

Surprisingly Suspenseful

Good Balance of Scare Types

Some Music Interludes

The Acting

Summary: A horror sequel is seldom worth the ride or investment in your time, with only a few movies that prove worthy of being added to the series. Smile 2 was a movie I found worthy of my time. Finn brings style to the sequel, adding wonderful work in bringing the terror to life with engaging camera angles, horrifying close-ups, and the use of filters that truly engorge the horror genre. Psychological transitions are accompanied by incredible technique, sound, and visual jarring at times, while other times subtle to gradually chip away your barriers of comfort. It maintains the realism of much of the movie, only stretching the disbelief to certain extents to add that flair I like to have to spice things up. Combine this with the impeccable lighting effects, and the atmosphere is set to provide variety in the types of chills you will feel as this movie progresses. Jump scares, mind-breaking thrills, grotesque body horror, and building suspense are in this movie, and the crazy balance of these types (especially when integrated into the story) fully brings the spectacle to life.

The other element of Smile 2 I liked is the story component and the foundation to which all the theatrics are anchored. This sequel focuses on the lore being integrated into each character, and Skye's (Naomi Scott) story is one that is fascinating in a movie such as this one. It's filled with layers portraying her own struggles as a person, alongside the pressures placed on superstars when the spotlight hits them. Those pressures work in tandem with the primary story of Smile and finding a way out of the mess, Skye has fallen into without ever getting in the way of the movie's pace. Finn's writing has incorporated a lot of necessary components, but never in too flashy or distracting of a way, including music interludes that show off Scott's talents and again never dominate the movie. It's fantastic character development and story urgency that, when mixed with the scares, puts this film into a suspenseful and engaging piece that goes beyond the usual scream and gore fest some sequels choose to become. As for the acting, the top cast does their job well, but it's Scott who serves the most recognition from this writer. To see her once more portray such a different character is an acknowledgment of this woman's range. Every shout, every scream, every haunting look and reaction holds such merit to what Finn required of her, and I felt myself drawn to her struggles, silently rooting for her to find a way out of this horror. The hurt, the anguish, the growth, and the authenticity of how tormented Skye was came out on such hauntingly levels, and I can't wait to see more work from her if she can create such believable performances like this one.

DISLIKES:

Predictable

Grotesque To Points Of Being Unnecessary

The Overuse of the F Word

The Ending To Some Degree

Caution With Some Sensitive Content

Summary: However, for all the great things mentioned, Smile 2 is still a victim of predictability in this genre. An engaging pace certainly helps, but if you pay attention, you can figure out the nature of things to come and perhaps even the ending. The finale is indeed intense and still brings all those charms, but when the curtain closes, it's another divisive ending that will either be a fantastic entry or piss you off at the grandiosity that they took with finishing the movie. After the arduous journey to get to the ending, I lean a little more on the disappointing ending side, but that's only due to how well Finn was building on something and my expectations for something of matching wit. In addition, Finn's investment in gore and the F word is a tad too investing for someone like me, and I found it to be excessive at times to the point of either unnecessarily grotesque or annoying. The F word, in particular, was annoying to me, becoming a bland flavor instead of the seasoning spice that I particularly like in my movies, nor as witty or fun as Deadpool and Wolverine. Finally, a warning that this movie is going to handle some serious content in very graphic ways. If you are someone who is affected or perhaps not ready for such material, then I warn you to shy away from this movie until you are with a group or place where you can handle the material.

The VERDICT: Smile 2 turns out to be a sequel that, on many levels, is worth the hype. A story that continues to advance the story of the predecessors but still be a tale of its serves as an awesome foundation for the scares at hand. It contains plenty of horror styles coming together in very dynamic ways and has the technology and technique to execute them masterfully. Alongside a stunning performance by the lead with a talented support system, the risky choices are well worth the time, especially during the Halloween season. Smile 2 does suffer from predictability and excessive language, dark themes, and, at times, gore, but fans of this genre should welcome most of these things despite the predictability. Should you see it in theaters? Absolutely! The effects, story, and acting are worth this being your Halloween movie of the month (not on streaming as of yet). However, just note that this movie may be hard for some viewers, so make sure you ask questions or use caution before taking certain audience members.

My scores for Smile 2 are:

Horror/Mystery/Thriller/Psychological Thriller: 8-8.5 Movie Overall: 7.5-8.0.

6 out of 11 found this helpful

LIKES:

Plenty of Pharell Songs

The Cast They Got

Covers A Lot Of His Life

Never Gets Stuck On One Time Period

Loved The Lego Presentation/Combination

It's Emotionally Beautiful

It's Deep And Eye Opening

SUMMARY Pharrell fans rejoice for this movie is all about the man who changed the industry when it came to beats that meshed various styles together and united the genres. The man is super talented, and I learned so much about just what this guy went through on his journey into the stardom he currently claims. The film is fascinating to learn about his origins with his family and his friends as they found their sounds and to see his gradual introduction to the collection of artists that belonged in the world of Hip-Hop that would help his career rise. A fantastic integration that manages to explore emotions and paint the picture of fame's influence, Piece by Piece manages to build a lot of emotion without relying solely on melodramatic tactics. Having such a great collection of artists, each one helping to add some diversity to the film, not only in musical track style but in the energy of the film, helps to get around the problem I have with musical biographies when they get stuck on one period and forget the music. This film avoids that quite well and keeps the momentum up as they continue to push toward the end goal. The best part is all of these qualities are done in Legos, and somehow...it worked for me. Like Pharell's visions, the Lego aspect manages to meet the emotions and keep the movie so fun at the same time. This animated style opens up the mindset much better and keeps things vivid, colorful, exciting, and enjoyable as imagination meets reality. Seeing sound turn into color, watching him and his friends fall into the rhythm zone as they find the beat, several artists getting their own twists into the Lego universe, and Pharell's outlook on his life were all very enjoyable for Sure, it is silly at times, but Neville and his crew have managed to make this documentary stand out from the number of specials that have been rolling into streaming.

DISLIKES:

No Complete Song Numbers

Gets Preachy/Feels At Times Curbed

Never Dives Into The Full Details Of Some Things I Wanted More Details

It's A Documentary, So Niche

Summary: Yet, the movie still has not accomplished getting to see some full song numbers, again trading showmanship for numbers. In a movie like this, it's not as hard of a blow, but I had hoped the movie would have picked a few songs that were key players in his career and give us the creation process or the video from his perspective and add that Lego magic. Though it does better to avoid the fixation on one period, the movie does occasionally get stuck on that preachy message and "heartfelt sensibilities" that feel a tad forced or set up to the point it was eye-rolling and loses a bit of him being real. Sure, I'm up for motivational messages and inspiring words, but the presentation is everything, and I think Pharell could have done it a little better in terms of being natural. In addition, there are facets of his life I wanted to see with a little more detail, especially seeing a few of his startup numbers or maybe his first big project of how they pulled the magic out into a full track, but I did not get these details at times as they crammed a lot of years into a ninety-minute run time. Finally, because it's a documentary about one artist, there's going to be a niche audience to enjoy it, and that is going to curb your approach and appreciation very easily. Thus, the limited scope is going to potentially polarize the audience and lead to reflective scores.

The VERDICT If you are a fan of Pharrell Williams, this movie is going to match the unique character that is Williams' career. Piece by Piece is going to give you a more detailed Spark's Note version of his life, and does it in a charming style that is imaginative, fun, and balanced to keep it entertaining for all ages. It's silly, it's quirky, and if you don't like Lego animation those factors might dilute your enjoyment. However, if you get past that, you get a documentary that I find more entertaining and unique than most of the approaches to this film despite the preachiness, selective editing, and not having the Hollywood magical story that helps add pizazz to it. Should you see it in theaters? Yes, if you are a fan of his work as the theater does give some vibes to the music and the colors. Otherwise, this is one to skip if you don't want a documentary on this artist.

My scores for Piece by Piece are:

Animation/Comedy/Musical/Family/Biography: 7.5-8.0 Movie Overall: 7.0.

6 out of 13 found this helpful

LIKES:

Great Acting

Mimicry

The Exciting Elements Of The Business

The Drama

The Pace

All The Insight

Surprising Dialog

Just Fun And Shows A Classic

Summary: If you are going to make a movie referencing some of the most established comedians of the time and a historical "documentary), you need to have great acting. And this casting call was sensational in pulling together some amazing talent to play these iconic roles. I won't mention any actors, but the chemistry alone was beyond fantastic in bringing out the chaos and aggressive humor that was known in the show. While the perfect likeness and voice might elude some moments, the mimicry is startingly accurate in much of the cast in how they sing, walk, react, and deliver those solid lines. Belushi, in particular, was the one that blew my mind the most in what they pulled from the past. Still, so many others did their homework to revive these entertainers in all their glory and deliver a performance very reminiscent of the times.

Once you get past the cast, though, you'll find the setting also a character of its own, a beast that demands the most of the performers as they have to get ready for the opening night that seemed fleeting. Saturday Night hits you hard with the facets of making the show, each element providing insight into what was a circus meeting a warzone that might have been suffering the apocalypse (yes, that is how chaotic this night was). A counting clock that interrupts the scene at times adds to the frenzy, alongside so many people clawing their way into this debut with very little to keep the frenzy in control. You'll get so much in a short amount of time at a pace, I feel, matches the intensity of that night and everything Lorne had to get ready. There is drama, comedy, and a little bit of psychological thriller thrown into the mix, giving a character profile movie without diverting too much time away from the big picture. The dialog is surprising on many levels, with some moments going into the old comedy people don't want to talk about and other times into motivational one-offs to help establish the stakes. As the experience continues to evolve and show time starts to get closer, Reitman and Kenan manage to somehow pull the whole thing into a window of the past and bring back the specialty that live TV brought back in the day. Between costumes, props, cultural references, and more, Saturday Night accomplishes fun and classic feels that have been lost to the advancements of technology and business, and I loved that escapism and authenticity.

DISLIKES:

The Language Got Stale

Lots of Dark Sides Of People

So Chaotic A Tad Hard To Believe

More Stories Needed More Time

Niche Audience

SUMMARY: The tales of the sketch show are riddled with the darker sides of humans and how the monster of showbusiness can eat at people. Saturday Night emphasizes that in very relevant ways, again conveying that hastiness and manic nature as everything is trying to come together. The audience needs to be ready for that because, though not the worst use of these elements, it can be a tad overwhelming and overdone in such a compact amount of time. The F word is thrown around a lot more readily, and even in the background is the word to craft a symphony that does get stale at times. Fortunately, there is enough to break that up, and much of it is lighter than I anticipated, but I do want to issue a warning. Another aspect is seeing the ugly side of the movie come out and being bombarded by a lot of the more provocative, meaner, nastier, and often demeaning comments, actions, and hostilities that were present. Accurate as the portrayal seems to be, it can be hard to withstand the onslaught of this irate and ill-tempered behavior at such a colossal speed, and you might find yourself a bit exhausted by the movie (which I'm sure matches Lorne's feelings to a degree. The chaos of the night is so much that, at times, I found it hard to believe, some stretches seeming to be a bit too time dilating, but per the records, they are accurate to a degree and more amazing to see. In movie form, it's a bit fast at times and leads to some hasty editing choices for transitions, but it still maintains a good flow compared to other films. Where I think the film is at a loss is that the stories for all these iconic moments, plot elements, and stakes are a tad diluted, with everything in a roughly 89 -90 minute run time. A mini-series could solve this, but the movie has so many elements you might not get the full experience with a performer you want, nor get the full effects of a cast member that might be promoting the movie and pulling you in. So much in so little of a time might have been real, but to convey that and give everyone their full time needed more time than a limited-run series could have done well. Outside of a few performance drops at times, some preachy finale at the end, and losing that finish they had been building up, I can't make too many other complaints outside of one. It's a niche movie, catered a bit more to those who 1) Like Saturday Night Live, 2) Care about historical preference, and 3) Care about what goes into a production value. That limitation might lead to people avoiding this, and the enjoyment drops significantly when a certain detail doesn't quite float your boat or the story you are engaged in is suddenly dusted over.

The VERDICT:

Saturday Night is a movie that blends Hollywood magic and reality into a package that feels much more balanced than most. A chaotic world of actors, producers, and technical support trying to launch something new is inspiring and daunting, with emotions running high the entire time as to how much the central character faces. Fantastic acting, immersion in the whole process, and an engaging pace that goes alongside a countdown all come together to recreate history as much as possible. It felt good to have fun and find appreciation for what the live-taping shows do before the new age hit, and to see such fortitude and comedy in one, alongside the eye-opening drama, is a good marriage of styles. However, the nature of SNL and getting that first taping is a very aggressive movie with a very chaotic pace that might be overwhelming. With so many stories and characters, you are going to have to process a lot of material and culture that could leave you feeling robbed, depending on what you are going into this movie expecting. A mini-series probably would have offered more time to balance the characters and their tales and maybe expand it to a less niche audience. Outside of that, though, the movie is a solid film to look into, and I recommend giving it a shot if the material interests you, most likely at home for most. My scores are:

Biography/Comedy/Drama/History: 8.0 Movie Overall: 7.0.

3 out of 8 found this helpful

LIKES:

The Artistic Message

The Unique Theme

Cinematography

The Sound Editing

The Makeup/Prosthetics

The Twists/Unpredictability

The Acting

The Horror At Times

SUMMARY My friend and fellow reviewers are correct in that the movie is certainly one of the more unique tails and takes on the Horror genre. Fargeat's writing loads the film with metaphorical content, all about the obsessions, vanity, and imbalance that humans have and the consequences that arise from it. Under his direction, the film is not afraid to show the hardships of life that come with the fickle approaches of fame and present a nightmare in manifesto form. Though we've had plenty of such tales, The Substance makes the material its own, taking familiar media and molding it into a unique story that is one of the more original films of the year. Powerful cinematography helps elevate that horror to new heights as it incorporates excessively long hallways of aggressive colors, dynamic movement that symbolizes the mind, and varying teases of shots that something is amiss. Even some of the aggressive changes were hit with the perfect sot that made my gut twist and bile rise in my throat. The effects are a gorgeous display of practical and computer meshing together to make the ugliness extraordinarily haunting, especially during the transition moments as the twists start to take the film to an aggressive level.

The horror aspect is certainly "elevated" in a manner that isn't traditional, relying more on sadistic material and unsettling body elements, all supported by a sound array that is much of the horror itself. A mind-bending, ear-splitting soundtrack accompanies cringeworthy, hyper-realistic sounds as bones crack, skin tears, and sinew is stretched. The twists and unpredictability help as well, sticking with the bizarre rules but pushing the boundaries with little apology to the audience. It's horrific, and the underlying messages only further amplify the things you are watching and the realization of what he means. And to seal everything up (so to speak), with performances that are quite stellar and some of the best I've seen in a very long time. Dennis Quaid is okay. He plays the extravagant role well, the magnified persona of an exec being satirically funny and purposefully over the top to hit the message hard. He plays that part well, but it's nothing blowing my mind. Qualley is a delight, bubbly and cheerful at one point, and then dives into the dark material the next. She is physically impressive for the role cast, but her acting skills show fantastic merit that is going to continue to bleed into a lot of roles if given the parts. Demi Moore is the star of this movie, though, and she has returned to the big screen with such style, authenticity, and compassion for the role it's like she is living the nightmare. Her screaming, her facial emotions, and the way she has to change so much in this movie are frighteningly spectacular and very worthy of recognition and awards. I loved her in this film, and she was a huge line that kept me reeled into the movie.

DISLIKES

The Artistic Approach At Times

The Pacing At Times Get Slow

Very Sexual To Pornographic Levels

Disturbing Content That Crosses A Line

About Thirty Minutes Of "Fluff"

SUMMARY And despite all the good of this movie, there are going to be things that I feel will not be as enjoyable as it is to a certain niche. Fargeat's artistic approach dives deep into the material, complex, bloated, and convoluted, leading to a semi-stagnant plot that feels like it will go nowhere for those who like a more linear plot. His vision is certainly a higher presentation, and the content that comes with it is going to turn many people away. The pacing got slow for me at points, material that is important but yet bloated, alongside material you might not be interested in, drew the movie out for me and made the movie a tad boring. Dark content as it is, I am not interested in a lot of sexual displays of the body that poke at the addiction to such content, but I felt it could make its point with a lot less aggression or at least fewer minutes dedicated to the visual. If that's up your alley and you love that heavy punch, this will do little to phase you, but for all his creativity, there could have been other avenues to explore. Past the hypersexuality, the material's darkness is already going to be more selective, but it really crosses lines near the end that are tough to watch. No spoilers, but The Substances effects are really disturbing and easily cross several lines that are excessive, ugly, and to many extent again unnecessary. Body Horror fans are going to swim in delight with the tricks at hand, which, combined with the impressive visuals, will make them grin a mile wide. However, a major warning to those with sensitivities is to avoid this movie and any pictures or clips if you can. Such excessive methods do little for me and again bloated the end that could have been trimmed away to help trim back the time limit. And for people like me, there was a lot of fluff that was not needed and, with a little curbing, could have elevated this movie to even greater heights.

The VERDICT: The Substance is a movie that is going to be the talk of the trade for a few weeks. It's a powerful visual essay on the frailty of the human ego and the horrifying elements presented are a powerful message on many levels. A powerful combination of visual and audio tricks alongside an original angle to present the material all work to make one of the scarier stories that I've seen in a while. Add in twists and a fantastic acting crew to unleash the full might of the character study in this dramatic entry. Yet, with such an artistic presentation comes a little more selective audience to enjoy it and I was not one of those who could not relish the entire movie. Fargeat's focus on hypersexuality, disturbing imagery that crosses lines I didn't want, and fluff that only drew out the film. Had the movie been about twenty to thirty minutes shorter, or if they substituted it with some other type of content would have gone very far to improve this movie. This is definitely going to check all the boxes for a lot of body horror enthusiasts who love such graphical prowess over a fully tight story. Is this worth a trip to the theater? If you are into this genre, yes, but otherwise a better use of time at home. Scoring this movie is tough, but factoring everything in, I'm giving The Substance:

Comedy/Drama/Horror: 8.0-8.5 Movie Overall: 7.0.

10 out of 27 found this helpful

LIKES:

Animation

Voice Acting Is Not Bad

Story Feels Transformers

Surprisingly Good character development

Pace Is fantastic for the Last Two-Thirds Of The Movie.

Good For Kids and Adults (mostly)

Some Great Comedic Timing/Writing

Plenty Of Robots Get Decent Screentime

Action Is Definitely Better Than Live Action Movies

Awesome Musical Score

SUMMARY: The animation is fantastic for me, looking much like a comic book turned CGI film in colors, designs, and movements that are a step above some of the straight-to-TV/Streaming. Fluid motions carry for much of the film, whether they are transforming, fighting, or just shooting the Energon amongst the robots. A strong foundation to build on, the movie takes advantage of the medium to give us more Transformers and gives it that classic cartoon and comic feel. Action scenes are fast, fun, and full of that classic Transformers blasting, but yet have a bit more gruff to them as bots are assaulted without hesitation. Exciting racing scenes are a tad sporadic but, for the most part, hold the same vigor of high-octane speed with a Cybertronian twist to assist.

Outside of the animation, the movie's writing is very Transformers feeling to me in many ways. The comedy feels very 80s, fun, fresh, and very witty, with plenty of sarcastic hits to remove a lot of the tension that comes with this movie. When not being silly, the bots are diving deep into the story well, this time taking some real-life topics but actually incorporating them into a movie instead of forcing them. Many characters have some great dives into their characters, with Orion Pax and D-16 going through the most rollercoaster ride when of emotional changes. It's conveyed well by the voice acting, with Hemsworth surprising me with how well he did following the steps of Peter Cullen. He's not nearly as majestic, but I still felt the honor and hope that the leader of the Autobots is famous for having. Henry as D-16 may not have the sinister tones, hiss, or manipulative malice as Welkder, but when it comes to hurt and being gradually blinded by rage and pride, he nails that aspect alongside the brotherhood that this movie conveys. They work so well together and are my favorite, outside the strong, theatrical prowess of Fishburne when he is character steps in to assist. AS for Johnasson and Key, they are welcome additions in regards to helping add a little fire and laughs to the mix. The former has integrated Black Widow into a robot, and it worked for me in the direction this film took. Key is... well... Key. He is energetic, jabbering, comedic, and, of course, annoying, but he plays the comedic role very well, and it's a welcome component to off-lay the forlorn and morose tones that the others have early in the film. Finally, the movie does a decent job of balancing a lot of bots in this film, and while some of my favorites are not fully integrated this go around, I was surprised at how many had a decent time-fighting in the first fights of the series. What does this add up to? Just a great Transformers adventure that solves the problem of too much focus on the humans and not enough on the big bad machines.

DISLIKES:

The First Third Is Slow

Some Characters Don't Feel Matching To Their Characters

Predictable Plot

At Times, Too Much Comedy

Summary: Though I enjoyed much of the film, there are some components that I feel are going to be less appealing and limiting audiences coming to see this movie. A quick note: this movie is PG, but there is a language that will show up, though not the worst words in the cursing dictionary. Please take caution for those who like to repeat lines with little reserve. Moving to the bigger issues, the first part of the film is a tad slow and uneven, with lots of build-up and details to come, but not the action to help chop up the information and comedy rush that they try to do. This gets solved after the first third, but such a slow opening can be a little grating at times. The next thing that I think was limiting was the movie trying to force a lot of Nickelodeon humor into the mix, feeling like the current writing of Spongebob, where it was more stupidity than actual wit. Those moments were either ill-timed or just too much Key to the point of being annoying. And yet, that cleaned up well in the second half of the movie, with writing and timing much better as the movie finds its rhythm. The biggest hindrance, though, might be a predictable plot that takes a lot of Transformers material and folds it into a newer modality that sadly holds too much familiarity to be surprising. Even more so, I'm not sure how many of the characters match what fans of the series might expect them to be. I have only had a handful of stories in this universe, but I can say that these robots were not as close a match as some of those installments. Therefore, the purists of the franchise will not quite enjoy this direction and may find much of the film frustrating to see how different some of their favorite characters are from the characters they love. Those who just love and want more Transformers, though, are going to get their wishes in this film.

THE VERDICT: Transformers One turned out to be much better than I anticipated, and I quite enjoyed what this animated feature brought to the screen. It's a great adventure with deeper character development than I expected and a story with a little more heart and joy. It's dark at times, certainly, and the first part of the movie is very slow and off-putting as they build their new trilogy. However, once the second part of the movie starts, most of the limitations go away, and the movie really finds its wheels on the road of a Transformers plot. The film has fantastic animation to make everything come to life and is a solid choice to make future films if they can keep this magic up, especially with action scenes like we got in this film. And again, I really did just have fun with the movie despite how predictable the film was. Purists and very loyal fans may hate much of the changes made to the film and the characters, and I can understand that notion. However, this film is far more put together and Transformer-centric, which is what I desired from the Bay Films for so long. Should you see it in theaters? I say yes for many reasons. As for the scores, I give Transformers One:

Action/Adventure/Animation/Sci-Fi/Fantasy/Family: 8.0 Movie Overall: 7.0.

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