Haunted Mansion (2023) - Review: A Ride Based Film That's More Creaky Than Spooky

One of the greatest rides ever constructed by Disney Imagineering, The Haunted Mansion has been captivating and spooking attendees at any of Disney’s theme parks for decades and decades. The ride has itself become a property that could rival any of Disney’s other franchises, spawning television specials, merchandise, and numerous covers of that classic theme song. Now, Disney is attempting a second run at making a big-budget blockbuster out of its ghost-infested manor with the simply titled “Haunted Mansion.”

Directed by Justin Simien (“Dear White People,” “Bad Hair”) and written by Katie Dippold (“The Heat (2013),” “Ghostbuster (2016)”), the film follows an ensemble cast of characters including LaKeith Stanfield (“Sorry to Bother You,” “Judas and the Black Messiah”) as Ben, a former astrophysicist turned New Orleans ghost tour guide, Tiffany Haddish (“Girls Trip,” “Night School”) as Harriet the psychic, Owen Wilson (“Cars,” “Wedding Crashers,”) as Father Kent, a local priest, and Danny DeVito (“Matilda,” “It’s Always Sunny in Philadelphia”) as Professor Bruce, a local historian obsessed with the mansion. They all team up to attempt to help Gabbie, played by Rosario Dawson (“Clerks II,” “Luke Cage”), and her son Travis, played by Chase W. Dillon (“Pinecone & Pony,” “The Underground Railroad”), exorcise their new mansion home from various ghosts lead by the Hatbox Ghost, voiced by Jared Leto (“House of Gucci,” “The Little Things”).

The overall story is fairly simple and that’s to the film’s advantage. There’s no weird curses or mystical supernatural experimentation or anything that could clutter a relatively simple premise. There are ghosts in this house, they want the ghosts out, the ghosts don’t want to leave. Chaos ensues. Dippold keeps things light throughout with a sense of breezy dialogue, peppered with pop-culture references and a simple sense of rapport between the main cast. It gets the job done, and while the dialogue might not be amazing, the overall story is wonderfully sweet. Stanfield in particular really takes the material and runs with it, not only commanding the film as its defacto protagonist, but also making the material better by virtue of his talents.

The rest of the cast are all silly and fine, each getting a little arc to themselves without cluttering the movie. Somehow, despite being an ensemble movie packed with celebrity faces, the movie doesn’t feel overstuffed or like it’s forgetting some characters in favor of others. That’s not to say it doesn’t drag, but it never feels overstuffed. It does, unfortunately, hit a moment towards the end of the second act where the location changes and virtually all of the energy is sucked out of the movie. It quickly returns once things return to the Haunted Mansion, but it’s a stretch that drags regardless.

Meanwhile, the Mansion itself looks incredible. This is an intricately built set that lets the actors really get to play with the space, cobwebs and all. It’s a great example of some fantastic production design, and most of the time the CGI ghosts and phantasmagorical elements help to build the atmosphere by layering over the physical mansion, not replacing it. One segment about halfway through involving said ghosts is the absolute best part of the film and easily could have been three times as long and still great. Even the Hatbox Ghost, while clearly being a CGI creation, looks great and a perfectly menacing reinterpretation of the ride’s classic character. The music, from composer Kris Bowers (“Green Book,” “Space Jam: A New Legacy”), is also great. Combining the original themes from the ride with a New Orleans flare and some electronic instruments creates a fun new take on those classic tunes heard for decades now.

However, all is not right in the mansion, as the third act really turns things around for the picture. It becomes a soupy visual effects mess, coming closer to a C-tier superhero movie than the semi-spooky horror-comedy seen thus far. Not only does it look remarkably worse compared to the physical mansion location, but it feels at odds with the rest of the movie. It’s as if someone came in just to rewrite the last thirty minutes and nothing else. It’s not just that it doesn’t look good, it doesn’t work with the rest of the film and its atmosphere or character arcs. Try as he might, not even Stanfield can save this last act.

Which leaves this new “Haunted Mansion” ending on a pretty sour note. The last few minutes are better, but the preceding thirty minutes take such a nosedive that it affects the rest of the film by extension. It’s not as if the film was Shakespeare besides that, but it certainly managed to be a relatively fun and spooky adventure led by a commanding Stanfield. It’s a shame that the last act feels so positively dreadful, and not in the way the Mansion normally does. 3/5 

Oppenheimer - Review: Christopher Nolan's Tale of an American Prometheus

Leave it to Christopher Nolan, the writer/director behind hits like “The Dark Knight,” “Dunkirk,” “Interstellar,” and “Inception” to convince a major movie studio to let him make a three-hour-long, $100 million, R-rated, adult drama about Robert Oppenheimer’s life and the Trinity tests. In today’s age of blockbusters underperforming and post-pandemic box office slumps, it’s a daring move to be sure.

Written and directed by Nolan, the movie follows the life of J. Robert Oppenheimer, played by Cillian Murphy (“28 Days Later,” “Peaky Blinders”), from his days at the Cambridge through his time teaching at various colleges in California until he’s approached by General Leslie Groves, played by Matt Damon (“Good Will Hunting,” “Ford v. Ferrari”), to run the Manhattan Project to construct a nuclear bomb for the United States. Intercut with this and the Manhattan Project’s progress are scenes of a hearing to remove Oppenheimer’s security clearance years later due to his political outcries against further nuclear weapons and his former Communist ties, as well as the hearing for a cabinet position for Lewis Strauss, played by Robert Downey Jr. (“Kiss Kiss, Bang Bang,” “Iron Man”).

This film is absolutely stuffed to the brim with actors all here for mere moments and it can almost be compared to the works of Wes Anderson, like “Asteroid City”, wherein his films are populated with a who’s-who who just want to work with him. Of course, there are those who take up more time than others, such as Emily Blunt (“Edge of Tomorrow,” “A Quiet Place”) as Oppenheimer’s wife Katherine, Florence Pugh (“Little Women (2019),” “Black Widow”) as Jean Tatlock, Oppenheimer’s friend and mistress, Benny Safdie (“Licorice Pizza,” “Are You There, God? It's Me, Margaret.”) as Edward Teller, a fellow scientist working on the Manhattan Project, and David Krumholtz (“The Santa Clause,” “The Deuce”) as Isidor Isaac Rabi, a close friend of Oppenheimer’s on the Manhattan Project.

There are far far more, to list the number of people in the film would take the entire review, but let it be known that they’re all doing great work, even the ones who appear for mere moments. Pugh and Blunt are particular standouts, with the latter getting a searing final scene that’ll be remembered as one of the best in her career, and Krumholtz is a warm and welcoming constant throughout the movie’s runtime. Downey Jr. is great as well but seems to almost be holding a bit back. He’s great in the way that most actors of his caliber are when given a role like this that requires a lot of monologues and yelling. Still great, but nothing revolutionary.

Murphy is an absolute revelation, however. Not only will this likely be his most known performance for many casual moviegoers, but he takes that opportunity and runs with it. Oppenheimer is a conflicted and haunted man, but it doesn’t feel like he’s simply resting on the natural horrors of the events and calling it a day. There’s conflict and clear ambition in his eyes. Even while watching the Trinity test and knowing the horrors that could be inflicted, you can see that wide-eyed scientific twinkle of fascination at what he’s accomplished. It’s not an easy feat and Murphy is an all-encompassing joy to watch.

The film is stuffed with Nolan’s particular technical trademarks and they’re just as impressive here as they’ve always been. The cinematography from Hoyte van Hoytema (“NOPE,” “Tenet”) is breathtaking, especially in numerous moments that can’t be simply shown. The music from Ludwig Göransson (“Black Panther,” “Tenet”) is phenomenal and helps to build the kind of tense crescendos that Nolan loves so much. The editing as well, done by Jennifer Lame (“Marriage Story,” “Tenet”), mixed with the black-and-white and color imagery makes great use of the film’s non-linear narrative and builds a compelling tale, even for a movie that’s based on a true story. It’s hard to build this kind of tension out of material already known, but she and Nolan do it marvelously. In what will surely be a future Oscar win for the film, the sound of it all is also just, well, incredible. It’s a technical feat for the ages. Even the bomb’s explosion at the Trinity Test, which Nolan has famously stated was achieved without CGI, is something wonderous and horrifyingly magical to behold.

Let it be known as well, this is a dower film to be sure. There are no bones about Nolan or Oppenheimer’s opinions on the nuclear bomb and what its meant for our world after the fact. Those expecting a kind of inspiring movie about a scientist should turn and walk away. It’s also very clear about its opinions of the government and people who made the decision to drop said bomb. Oppenheimer himself states that he knows what happens if the Nazis have a bomb and they do not, and its not an easy choice by any measure. Its not exactly a film that would be called anti-American, but its hardly cheering and applauding what happen in Hiroshima or Nagasaki or patting the men who made that call on the back.

Yet, for all of these claims, there are moments, a handful of things holding the film back. It’s not death by a thousand cuts, perse, but moments that just feel like unexpected fat from a butcher normally celebrated for slicing all of that away. While the character of Strauss is integral to Oppenheimer’s story, the cabinet hearing scenes aren’t, and they feel tacked on from another film, simply adding to the runtime. The same goes for the younger Oppenheimer moments at the beginning of the film; they just don’t feel like they add as much to the movie besides length, padding things out before we get to the Manhattan Project. And even for those who’re fine with a movie this long and this dower, the film’s length becomes an issue by the end. There have been a lot of long movies, even in 2023, but this is a movie that feels almost an hour longer than it is. It’s not that it drags or is poorly paced, but that the nature of this material and story means that it just can’t be avoided.

Yet, even with those complaints, “Oppenheimer” is a radical achievement. If any other director turned out a work this assured, it would be their best movie by a country mile. For Nolan, it’s almost expected at this point. Regardless of how the film does, “Oppenheimer” as a movie stands as a powerful tale exemplifying some of Nolan’s best and worst qualities as a filmmaker, with a powerful lead performance from Murphy helping to anchor the movie’s emotional core. It’s quite long, and quite dower, but it’s an impeccably made film that knows that that length and dower-ness is the point. 4/5

Barbie - Review: Life in Plastic is Surrealist and Fantastic

 

After decades of being a doctor, lawyer, astronaut, dentist, chef, president, musician, teacher, lifeguard, zoologist, and even UNICEF ambassador, Barbie is finally on the big Hollywood silver screen. While she’s had her own CGI animated movies for over two decades, this new film marks the first time she’s had her own live-action tale to tell. And what a tale it is.

Written by Greta Gerwig (“Lady Bird,” “Little Women (2019)”) and Noah Baumbach (“Marriage Story,” “The Meyerowitz Stories”) and directed by Gerwig, the film follows Barbie, played by Margot Robbie (“I, Tonya,” “Birds of Prey”), and Ken, played by Ryan Gosling (“The Nice Guys,” “Blade Runner 2049”), as they venture to the real world and encounter all sorts of hijinks involving the likes of Gloria, a secretary who works at Mattel played by America Ferrara (“Superstore,” “How to Train Your Dragon”), her daughter Sasha, played by Ariana Greenblatt (“Love and Monsters,” “The Boss Baby: Family Business”), and the president of Mattel, played by Will Ferrell (“The LEGO Movie,” “Step Brothers”).

That’s the briefest possible synopsis because believe it or not, the directions Gerwig and Baumbach take this film in are truly wild and should not be spoiled. The film is loaded with tons of extremely complex ideas and themes on Barbie as a concept, as well as the place something like her has in modern day femininity and masculinity. The film is also stacked with other Barbies and Kens played by a wide gambit of Hollywood celebrities; there are Barbies played by Issa Rae (“Insecure,” “Spider-Man: Across the Spider-Verse”), Kate McKinnon (“Bombshell,” “Ghostbusters (2016)”), Alexandra Shipp (“Love, Simon,” “tick, tick… BOOM!”), Emma Mackey (“Sex Education,” “Emily (2022)”), Hari Nef (“You,” “Assassination Nation”), Sharon Rooney (“The Electrical Life of Louis Wain,” “Dumbo (2019)”), and Dua Lipa, and Kens played by Simu Liu (“Shang-Chi and the Legend of the Ten Rings,” “Kim’s Convenience”), Kinglsey Ben-Adir (“Peaky Blinders,” “One Night in Miami...”), Ncuti Gatwa (“Sex Education”), John Cena (“Blockers,” “The Suicide Squad”), and Scott Evans (“One Life to Live,” “Grace and Frankie”). And don’t forget Allan, Ken’s buddy, played by Michael Cera (“Superbad,” “Nick & Norah's Infinite Playlist”).

Gerwig and Baumbach have packed this film not just with Barbies, Kens, and societal themes, but also with jokes. There are visual gags, pop culture references, random bits of wordplay, and more that build the entire film to a continuously hilarious crescendo. There are even moments that feel inspired by the films of expressionist Jacques Tati, or the screwball comedies of the 30s and 40s. There are even bits of visual comedy that feel straight out of a Looney Tunes cartoon, and it can border on feeling surrealist. It never runs out of steam from the very beginning, but the jokes never feel like they squander the messages either. It really does feel like a very serious story being told with Barbies and Kens, with humor injected into it to help flesh out just how seriously everything is being taken.

Robbie is absolutely phenomenal here, not playing a walking joke or the straight man either. Her performance is actually shockingly emotional and is a lynchpin of the film’s themes. It’s hard to imagine any of this working as well without her. That’s not damning the rest of the cast either, they’re all hilarious and all around great. But Robbie just seems to be operating on another level. The same goes for Gosling, who’s delivering an Oscar worthy comedic performance here. The magic of his role is that, while Ken is often the butt of many jokes and Gosling is clearly playing him as such, he’s also taking him extremely seriously. Ken might be funny, but he also isn’t unserious, and injecting that kind of commitment into a character that could’ve been a one note joke is what makes his performance so memorable.

It’s not just funny or well-acted, but the film is an absolute joy to look at. From the borderline cartoonish real-world sets of Mattel to the scale accurate Barbieland to the hand painted skylines and practical effects. It’s a visual and technical feast, bringing back a lot of old-Hollywood techniques of filmmaking and also staging aspects. A dance number in the third act feels like a direct homage to the Gene Kelly musicals of the 40s and 50s. Just when you think you’ve run out of things to look at, some other detail comes along and shocks you. But you’d be hard-pressed to notice any of those details on the first viewing given that you’ll likely be laughing too hard or welling up with tears.

Because at the end of the day, no matter what brand this is based on or what production company’s logos are at the front of it, this is clearly Gerwig’s film. Not only does it contain the same sorts of themes on exploring femininity and what it means to be a woman that were explored in her previous movies, but it has her signature touch of slight snark and whimsy. Yes, the film might have some heavy themes, but there’s also a wide-eyed fascination to it that makes it easy to just smile at. There’s some heavy stuff here, but it never feels dower. Greta is simply taking you by the hand and telling you a story with the mixture of heart, humor, and pathos that only she can do.

Even with all of the hype leading up to release, it still feels a bit weird and cathartic to say, but “Barbie” is easily one of the best movies of the year. It’s fantastic on a technical and production level, but never lets anything get in the way of its genuine emotional pathos. Lead by two phenomenal, award worthy performances and rolled into a film not interested in being strictly a toy commercial, “Barbie” is surrealist and plastic and truly fantastic. 5/5

Theater Camp - Review: A Skewering of the Theatrical Arts From a Place of Love and Familiarity

 

Is there any group more ripe for mockery than those self-important theater nerds? Probably, but that doesn’t matter right now because it’s time to go to camp. In the tradition of other mockumentaries from over the years such as “This is Spinal Tap,” “Popstar: Never Stop Never Stopping,” and “Waiting For Guffman,” as well as numerous television programs in a post-“The Office” world, co-writer/co-director Nick Lieberman and co-writer/co-direcotr/co-star Molly Gordon (“Shiva Baby,” “Booksmart”), alongside co-star/co-writer Ben Platt (“Pitch Perfect,” “Dear Evan Hansen (2021)”) and co-star/co-writer Noah Galvin (“Booksmart,” “The Good Doctor”) have brought the irreverence of the mockumentary to the world of summer camps for theater kids with “Theater Camp.”

The film stars Platt, Gordon, and Galvin as Amos, Rebecca-Diane, and Glenn, respectively, three teachers/wannabe thespians who help run the camp AdirondACTS in New York. After their beloved founder, played by Amy Sedaris (“Strangers With Candy,” “The Mandalorian”), falls into a coma, her internet influencer son Troy, played by Jimmy Tatro (“American Vandal,” “Home Economics”), takes over the camp to hopefully prevent it from being shut down by corporate land developer Caroline, played by Patti Harrison (“Together Together,” “The Lost City”).

The cast is a who’s-who of comedic character actors and theater alumni. There’s also Nathan Lee Graham (“Zoolander,” “The Comeback”) as Clive, one of the other teachers at the camp, and Ayo Edebiri (“The Bear,” “Bottoms”) who continues to showcase her ability to take extremely silly roles extremely seriously as impromptu teacher Janet. Throughout the film, it’s clear that each actor here has such a love for the theater and the experience of putting on a show that it allows them to not only mock themselves but the process in such a specific way. This is a film that can be seen and enjoyed by anyone, but that is so clearly laser focused on providing jabs and jokes for other theatrically-inclined young adults.

It's the kind of movie that could only get made because the people involved are so intrenched in the world they’re making fun of. Platt and Gordon, both childhood friends and Broadway actors, play the self-important director role so well its scary. But there’s a genuine love within the characters that makes it hard to completely hate them, even as they continue to do groan worthy things throughout the runtime. Harrison is just as silly and scene stealing as she’s ever been, and her scenes opposite Tatro are extremely funny. Sedaris is also a veteran of this kind of weird comedy, and she’s deployed with precision to get the most laughs out of her brief appearances.

But the absolute stars of the show are Tatro and Galvin. Their scenes together end up being the heart of the movie, not just because of their characters’ arcs, but their chemistry. These two are just so good together, bouncing off each other and creating an interesting friendship between a shy gay stage manager and a crypto obsessed dude-bro. Tatro especially continues to show why he’s the best at this kind of shtick and Galvin is so endearing you’ll want to cheer for him at the end. The cast of young kids are also complete stars in the making, practically challenging you not to love them by the time the film is over.

Even the film’s handful of original songs end up being legitimately great. It’s difficult to have a song work both as a joke and also as a good song as well, but “Theater Camp” pulls it off effortlessly. It’s a toe-tapping good time and a fantastic way to end the film, which wraps itself up in a short and sweet 93 minutes. It’s not a flawless production, as things start to drag a bit towards the middle when the film’s more dramatic elements crop up and it starts to feel more episodic, but there’s never a lack of jokes even in those slower moments.

“Theater Camp” might get less out of you if you don’t know the difference between Sondheim or Streisand, but it still manages to be extremely funny regardless. Packed with some committed comedic performances, a real sense of scrappy charm, and some fantastic kids and songs, at the end of the day, “Theater Camp” really sings. 4.5/5

Mission: Impossible - Dead Reckoning Part One - Review: A Harrowing, Exciting, and Paranoid First Half

 

When your franchise is seven films in, you’d likely forgive audiences for being a bit fatigued. But, somehow, Tom Cruise (“Top Gun: Maverick,” “Tropic Thunder”) and his longtime team behind and in front of the camera keep doing the, well, impossible and elevating each subsequent movie in this series to dizzying heights of action spectacle, character drama, and practical filmmaking technique. But when you have a franchise led by a character described within the film as “For all intents and purposes, a mind reading shape shifting incarnation of chaos”, it’s hard not to up the ante each time.

And up the ante they have because this isn’t just the next “Mission: Impossible” film. This is “Mission: Impossible – Dead Reckoning Part One”, the first half of an epic two-part adventure that already sits at two-hours-and-forty-three-minutes long. When things already get earth-shatteringly crazy with each new incarnation, splitting the next chapter into two films, well that’s a recipe to get even more nuts.

Cruise once again plays Ethan Hunt, the leader of the Impossible Mission Force, a secret branch of the U.S. government who carries out missions that others cannot. Accompanied by his team once again consisting of hacker Luther Stickell, played by Ving Rhames (“Lilo & Stitch,” “Dawn of the Dead (2004)”), and field agent Benji Dunn, played by Simon Pegg (“Shaun of the Dead,” “Star Trek (2009)”), and assisted by disavowed MI6 agent Ilsa Faust, played by Rebecca Ferguson (“Doctor Sleep,” “Dune (2021)”), the team must track down a pair of keys that could potentially be the first step to stopping a rogue sentient Artificial Intelligence known as The Entity. Meanwhile, all manor of people are trying to stop them, such as Gabriel, played by Esai Morales (“Ozark,” “Titans”), and his personal assassin Paris, played by Pom Klementieff (“Guardians of the Galaxy Vol. 2,” “Ingrid Goes West”), who both work for The Entity, and Ethan’s own boss at the CIA Eugene Kittridge, played by Henry Czerny (“Revenge (2011),” “Ready or Not”). All the while, Ethan must also deal with a new wrinkle: Grace, played by Hayley Atwell (“Captain America: The First Avenger,” “Christopher Robin”), a pickpocket caught interfering with the mission.

That’s a lot of characters and despite being just “an action movie”, the film spends a lot of time establishing the rules of The Entity and the people coming after Ethan and his team. Not only that, but numerous scenes also feel at least a third longer than they otherwise would given that everyone needs to be introduced and/or shown getting to each location. That’s fine when you have the main team and one, maybe two bad guys. But when your film quickly starts to stack up to five or six other parties all at play, it can lead to quite a bit of bloat.

For a film coming in at nearly three-hours, it makes sense that it would feel long. That’s basically what you’re signing up for. This is one of those movies where the opening credits don’t even come until thirty minutes in. The pacing within each scene is great though, pushing along to make sure all the requisite information is communicated so the plot comes across clearly and also leaves room for the spectacle. The editing is also great, keeping things clean and clear, while also being playful.

Cinematographer Fraser Taggart (“Dead Fish,” “Robot Overlords”) is also having a lot of fun here. It feels like 90% of the film is shot with varying degrees of Dutch angles, and it not only adds to the feeling of paranoia rampant throughout, but it also just makes things fun to look at. Like the editing, it’s clean and non-intrusive, but also isn’t flat the entire time either. Numerous moments have an almost comedic styling to them, such as a long take that ends with a door opening and a character standing perfectly in the middle of it.

Writer/Director Christopher McQuarrie (“The Way of the Gun,” “Jack Reacher (2012)”) has spoken at length about how he and Cruise have taken inspiration from silent films and the works of Charlie Chaplin when designing their stunts and approaching these films, and nowhere does it come across better than here. The film is remarkably funny, not just with throwaway lines but also with varying practical moments. An extended sequence involving a kitchen car on a train is a cavalcade of crazed stunt work and also borderline absurdity with food flying everywhere and its escalation. There are even multiple moments of actual sleight of hand magic on display, showing just how committed to the art of practicality and showmanship McQuarrie and Cruise are, and just how truly dorky they are about their inspirations.

Speaking of the Cruise missile himself, what can even be said about Ethan Hunt at this point? The man is a legend, completely committing to this character like virtually no other. As these films have progressed, you can see Ethan evolve and gain more of a teacherly role, helping guide his team along, train them, and trust them more. That emotional core is on full display here, just like in “Fallout” and it makes for the film’s best moments. One conversation between Luther and Ethan is simply one of the best in the entire series because of how grounded and character driven it is.

There’s also another element slipped in here that, like last year’s “Maverick” and its subtext about aging movie stars, feels plucked straight from the headlines. The fact that Cruise is now up against an Artificial Intelligence, and one that could replace him, feels very much like the kind of talk that’s cropping up around Hollywood right now in the midst of numerous strikes and the idea of AI writing and studios owning digital likenesses. Who knows if this was intentional from McQuarrie and co-writer Erik Jendresen (“Band of Brothers,” “Killing Lincoln”), but it does make the film feel a bit more thrilling, as if Mr. Movie Star himself is trying to craft a $290 million presentation to show the studios why this prospect would completely suck.

Pegg and Rhames are, by extension then, fantastic, keeping the chemistry and charisma of the central trio alive and very much well. Ferguson continues her streak of being the best actor and action star in this series outside of Cruise, and she’s thrilling to watch. Atwell is also great, forming an almost protégé kind of role with Cruise. She’s so good, you practically spend the whole movie wondering why she isn’t leading her own action series or why “Agent Carter” only lasted two seasons.

Meanwhile Czerny is a fun throwback to the first Cruise “Mission” film all the way back in ’96, and his character acting style is right at home here. He’s not in the film much, but he’s a bright spot when he is. The same goes for Vanessa Kirby (“The Crown,” “Pieces of a Woman”) reprising her role from “Fallout” as the White Widow. She’s not here much, but her semi-crazed look is always a highlight when she is. Morales and Klementieff are the only two that suffer here, and the reasoning why is very clear: their characters are actively hurt by the two-part nature of this film. Klementieff, for as great as she is barreling through Rome in a giant armored car or sword fighting with flamboyant outfits, she doesn’t feel like she really has anything to do yet. Likewise, Morales is a fun, gravely voiced servant to The Entity, but he feels one note, like his true exploration hasn’t arrived yet.

And that right there is where the rub comes: for as great as what’s here is, for as thrilling and fun as this adventure is, it can’t escape the fact that it feels like half of a movie. Yes, there is still three acts, things are escalated accordingly, there is a complete character arc, and it doesn’t just cut to black in the middle of a scene; it is, for all intents and purposes, a complete film. But it doesn’t feel like a stand-alone film.

Even as we experience more and more two-part films, pretty much all others are able to exist as a satisfying stand-alone film while also building to a larger and better part two. “Infinity War”, “Across the Spider-Verse”, “Deathly Hallows Part 1”, even the “Lord of the Rings” trilogy threaded that needle perfectly. But this feels like half of a story, like it ends at an intermission rather than an actual conclusion. It’s frustrating, as it means the feeling of excitement and anticipation isn’t there, either for the next film or due to what was just witnessed. Those expecting the kind of white knuckle, catch your breath ending of “Fallout” shouldn’t look for that here. This is merely intermission.

That’s not to say what’s here isn’t fantastic. Slap a different name on this and it would be lauded as one of the greatest action films of the 20th century. Call it the unfortunate nature of the two-parter idea or the increasing expectations of this franchise, but “Dead Reckoning Part One” simply feels incomplete. It doesn’t end so much as it pauses, with its third act feeling anticlimactic because of it, and its villain feels too one-note, especially compared to past antagonists. But these are issues that are likely fixed when watching the two halves as a whole, which is unfortunate as this isn’t a review of that whole, but of the first half. And for better or for worse, this does feel like a “Mission: Impossible” movie, but just the first half of one. 4/5

Joy Ride (2023) - Review: A Hysterical Ride That Should Not Be Missed

 

In the post-pandemic film landscape, it seems like the one genre that’s been hung out to dry more than most is the studio comedy. A movie that exists, more or less, simply to make you laugh for 90 minutes and not much else. Most have been pushed straight to streaming, but the few that have made it to theatres (“Bullet Train,” “The Lost City,” “Ticket to Paradise”) have done fairly well for themselves. However, a blatantly R-rated comedy in the vein of “The Hangover” hasn’t been seen in quite some time, and writer/director Adele Lim (“Crazy Rich Asians,” “Raya and the Last Dragon”) and co-writers Cherry Chevapravatdumrong (“Family Guy,” “The Orville”) and Teresa Hsiao (“Nora from Queens,” “Family Guy”) are here to change that.

“Joy Ride” sees childhood best friends Audrey, played by Ashley Park (“Emily in Paris,” “Girls5eva”), and Lolo, played by Sherry Cola (“Claws,” “Good Trouble”), travel to China for a work trip for Audrey’s law firm, reluctantly accompanied by Lolo’s cousin Deadeye, played by Sabrina Wu in their film debut, and Audrey’s college roommate turned movie star Kat, played by Stephanie Hsu (“Everything Everywhere All At Once,” “The Path”). While overseas, they learn that Audrey’s birth mother is in China, and they set out to track her down so she and Audrey can meet. There are numerous incidents and gags that impede their progress along the way, none of which will go spoiled here.

The ensemble cast here can’t help but be compared to previous films like “The Hangover” and “Bridesmaids,” and that’s no small feat. Park, Colo, Wu, and Hsu are absolutely hysterical individually, and a complete riot when they’re all working together. Their comedic flow and chemistry are off the charts and when they fire on all cylinders, it’s easily the funniest comedy released in theatres in years. Hsu in particular is so excellent in her bad-girl-turned-good persona that she practically begs for an Oscar nomination like Melissa McCarthy received for her fantastic comedic turn in “Bridesmaids.”

Lim stuffs the film with gags and jokes constantly, but the film is at its best when things are just going crazy. There are a handful of moments here that are simply shocking, the kind of mouth agape laughing fits that leave you simply wondering, “are they really doing this?” Most impressively, both for a directorial debut and for comedic material this outrageous, there’s never any hesitation. Lim and her team are completely committed to bringing this filthy adventure to its fullest potential and it feels effortless.

Yet, when the film decides to slow down and deliver an emotional gut-punch in its third act, it delivers. Not only does it not feel out of place, but it’s a great showcase of its main quartet’s dramatic talents as well. Park particularly shines here, and it’s easy to tear up in the last twenty minutes; a pretty impressive feat for a comedy this raunchy to not only pull out a dramatic ending but really nail it. To do all that in a relatively short runtime of just 95-minutes is no small accomplishment.

Beyond the humor and the heart though, the film also manages to be a fantastic showcase of various Chinese and Asian lifestyles and families. There are numerous moments of heartwarming acceptance, while also moments of ribbing at the internalized racism between various Asian ethnicities. It doesn’t paint everything with the same brush, allowing for complications and details, while also showcasing some beautiful landscape with Paul Yee’s (“Reality (2023),” “JessZilla (2023)”) cinematography.

If “Joy Ride” was simply just its laughs and nothing else, it would still be one of the best movies of the year based purely on its comedic merits. Yet the film’s heart and unexpected dramatic weight in the end help to make it more than just a barrel of laughs. Its central foursome are to die for and the near constant hilarity makes for a side-splitting night at the movies that might just be supplemented by some tears as well. 4.5/5