Marty Supreme - Review: Don't Hate the Player

 

Sports movies may be a dime a dozen; biopics arguably even more so.  But just because a film takes on the shape of either of those genres doesn’t mean it’s following their rhythm. Case in point, the latest film from co-writer/director Josh Safdie (“Uncut Gems,” “Good Time”) and his first solo-directed film since splitting with his brother Benny, “Marty Supreme” certainly wears the skin of an underdog sports film or a biopic about an athlete wunderkind. But while its main character is only loosely based on a real-life person, the stress it’ll put you, the viewer, through is all too real.

Written by Safdie and Ronald Bronstein (“Uncut Gems,” “Good Time”), the film follows the titular Marty Mauser, played by Timothée Chalamet (“Dune (2021),” “Wonka”), a young hustler and ping pong player living in New York City. After losing the International Table Tennis Championship to Japanese player Koto Endo, played by Koto Kawaguchi, Marty becomes determined to make it back to the tournament in Japan the next year. This results in him hustling with his friend Wally, played by Tyler Okonma (“Loiter Squad,” “The Jellies!”), to earn the money needed to travel and compete, as well as manipulating his married girlfriend Rachel Mizler, played by Odessa A'zion (“I Love LA,” “Hellraiser (2022)”), aging movie star Kay Stone, played by Gwyneth Paltrow (“Iron Man,” “The Royal Tenenbaums”), and her pen magnate husband Milton Rockwell, played by Kevin O'Leary, all while evading the police and his overly concerned mother Rebecca, played by Fran Drescher (“The Nanny,” “This is Spinal Tap”).

If nothing else is ever said about “Marty Supreme,” let it be known that Chalamet’s leading performance is the stuff careers are made of. What he and Safdie are able to do with a character as off putting as Marty is nothing sort of a magic trick. At no point in the film do they hide, obscure, or hoodwink you into thinking Marty is any other kind of person than he is: this is a complete bastard of a man, willing to manipulate his loved ones and virtually anyone around him in the pursuit of greatness. Not even money, just so he can make a grandstand of showcasing his own skills. At one point early on, Marty describes himself as a being such a good salesman that he “could sell shoes to an amputee.”

The fact that he describes himself like that tells you everything you need to know. And Chalamet absolutely runs away with the role. He’s effortlessly charming in the role, and he takes Marty so far that he doubles back around on himself and becomes the sort of despicable character you find yourself rooting for by the end. Even if you actually don’t though, Chalamet keeps you invested in him the entire time, whether to see his success or downfall. Even as the final act ratchets to a fever pitch of tension, you’re still not sure if you really want him to fail or really want him to succeed. But he’s so utterly compelling, you want to watch him no matter what.

The rest of the supporting cast are all fantastic in their own rights. Okonma has wonderful chemistry with Chalamet, and their all too few scenes together are excellent fun as they galivant around together. A’zion somehow matches Chalamet’s chaos in a twisty, more unique way, making each scene with the pair of them a balancing act of relationship woes. Paltrow’s role might not require a ton of interesting or complicated choices from her, but she nails it regardless. Drescher is in a far briefer role than one might expect, but she punctuates the film nicely when she does appear. What becomes much more interesting though is Safdie’s continued choice of casting real athletes and unknowns to fill out the cast.

Koto Endo, for example, is a Japanese deaf ping-pong champion who is played by Koto Kawaguchi, a Japanese deaf ping-pong champion. It’s proof of the skills of Safdie and company that these minor roles never feel out of place or mis-performed. It could be the simple fact that these are so close to their real lives, but each one of these performers, from Kawaguchi to published authors like Larry Sloman, who plays Marty’s uncle Murray, or essayist Pico Iyer, who plays ITTA head Ram Sethi, to internet personality Luke Manley as Marty’s best friend Dion Galanis, manages to excel in their roles even up against experienced actors. The only odd spot amongst them is Kevin O’Leary; while his personality on Shark Tank isn’t far off from his well-documented arrogance in real life, that real world attitude spills over into the role here in a way that is certainly appropriate but occasionally distracting.

Thanks to Safdie’s tight directorial control, cinematographer Darius Khondji’s (“Uncut Gems,” “Panic Room”) 35mm period photography explodes off the screen. The mid-1950s style of New York bleeds into each aspect of Marty’s story, and the scrappy nature of the city and its claustrophobic interiors works to further his repressed feelings. Each frame is stuffed to the brim with gorgeous set and production designs, giving the whole film the feeling of an overly decorated off-Broadway black box play. Daniel Lopatin’s (“Good Time,” “Uncut Gems”) score putters along as a deliberately anachronistic juxtaposition to the period setting, and it rattles your brain with various bits of nerve shredding electronic music to match Safdie’s nerve shredding direction and plot.

Unfortunately, that is the largest barrier to entry with this latest film from one of the brothers who brought you “Uncut Gems.” If that film’s heightened stress and anxiety inducing plot turned you off, “Marty Supreme” won’t fare much better. It’s a deeply engaging film thanks to Chalamet’s lead performance, but it's also one of the few non-action films in recent memory that’ll have you digging your nails into your armrest with each bone headed decision Marty makes. That, combined with Marty’s generally brash attitude, could lead this to be a film that most hate purely based on that lead role. But again, something magically happens by the end as Safdie almost dares you not to feel some kind of way about this hustling ping pong player.

“Marty Supreme” would be worth talking about based purely on its titular performance, a genuine career best from Chalamet, but it's surrounded by top tier elements across the board as well. Paced like a rocket ship, with cinematography and music to match, this is a supremely entertaining piece of high-wire entertainment with a central character that’ll certainly stick in your mind. For better or for worse. 5/5 

Avatar: Fire and Ash - Review: Rising from the Ashes

 

It’s hard to believe that just a few years ago James Cameron (“Terminator 2: Judgement Day,” “Aliens”) returned to the world of Pandora for the first time in thirteen years for the sequel to his mega-blockbuster highest grossing film of all time. Despite claims that the sequel would have “zero cultural impact” and bomb given its $450 million price tag, it once again made waves, generating over $2 billion at the global box office and awards nominations, including one for Best Picture. Now comes the ultimate test: will people show up for another adventure with the Sully family just three years later? And will it be worth the wait and price tag?

“Avatar: Fire and Ash” picks up almost immediately after the events of the previous film, with the Sully family reeling from the death of their eldest son. While traveling with a tribe of merchant Na’vi, they’re attacked by the violent Mangkwan tribe, a group of fire themed Na’vi led by the villainous Varang, played by Oona Chaplin (“The Comey Rule,” “The Hour”). Now separated, Jake Sully, played by Sam Worthington (“Hacksaw Ridge,” “Under the Banner of Heaven”), Neyteri, played by Zoe Saldaña (“Guardians of the Galaxy,” “Emilia Pérez”), their children Kiri, played by Sigourney Weaver (“Alien,” “Ghostbusters”), Lo'ak, played by Britain Dalton (“Dark Harvest,” “Goliath”), Tuk, played by Trinity Jo-Li Bliss (“The Life of Chuck,” “A Really Haunted Loud House”), and their adoptive human son Spider, played by Jack Champion (“Scream VI,” “Everything’s Going to Be Great”), must survive while being hunted by the human RDA military, the Na’vi form of Colonel Miles Quaritch, played by Stephen Lang (“Don’t Breathe,” “Public Enemies”), and Varang.

As expected, Cameron’s latest is a gigantic spectacle that’s difficult to describe in its visual majesty. Even without taking the incredibly detailed motion capture into account, “Fire and Ash” continues the series’ epic swaths of alien, naturalistic beauty and deep technicolor wonder. There are times where it almost seems as though Cameron has taken the observation that modern blockbusters have become too gray or washed out as a persona challenge. There’s a reason that even this franchise’s detractors can’t help but praise the look of these films, and this latest is a continuing example of that. Returning composer Simon Franglen (“Peppermint,” “The Magnificent Seven (2016)”) keeps James Horner’s original melodies alive just as much as he did before, but with new injections of alien, electronic motifs. Like the film itself, it's a familiar score, but an enhanced and broadened one. Cameron’s little Na’vi family continues to deliver the kinds of performances one would expect from a blockbuster of this scope. Worthington continues to deliver as an incredibly heartfelt soldier turned father, Weaver yet again surprises with how well she can play a teenager despite being in her mid 70s, and Saldaña once again turns out a heartbreakingly honest portrait of a woman dealing with an internal battle between her deep grief and her warrior spirit. Truly, her performances in this franchise are the stuff that Oscar nominations are made off, if the Academy ever decided to truly recognize motion capture performances.

What stands out the most in this particular film are Lang and Chaplin. Lang is exploring the fruits that were planted in “The Way of Water” with Quaritch, slowly helping him to evolve into possibly the franchise’s most fascinating character. He becomes a twisted version of the grizzled military man, as Cameron and screenwriters Rick Jaffa (“Dawn of the Planet of the Apes,” “Jurassic World”), Amanda Silver (“Dawn of the Planet of the Apes,” “Jurassic World”), Shane Salerno (“Armageddon (1998),” “Savages (2012)”), and Josh Friedman (“War of the Worlds (2005),” “The Fantastic Four: First Steps”) clearly see more for him than just being the main antagonist. Chaplin is also turning in a truly evil role here as Varang, the sort of villain so easy to hate it becomes fun. She has a clear swagger and energy to her that anytime she pops back up onscreen, she becomes a delight to watch.

What does become increasingly apparent as things continue is that this is a film that feels more like a direct sequel to the previous film than the third in the overall franchise. Eventually it essentially becomes “The Way of Water 2.5,” with some scenes and moments seeming as though they are repeating from the previous film. It’s the most frustrating aspect of the film, yet it somehow still doesn’t drag. There’s still plenty of new explorations made here, both emotional and in the overall narrative of the series. Despite being longer than the previous film, its pacing is somehow even better, resulting in a film that's getting more mileage out of its length. Normally when people say a film feels longer than it is, it's a bad thing. However, with “Fire and Ash” it feels longer simply because it seems impossible to cover the kind of ground Cameron does in the listed length.

Even more than with “The Way of Water,” “Fire and Ash” proves that the “Avatar” series is the largest, most expensive soap opera ever made. For some people, that will always be enough. It’s not just that the drama continues to escalate and complicate with each moment that passes on Pandora. But Cameron is a director who so clearly loves this world and cast of characters that he has created. Yes, it would be so easy for him to just cash a check as the producer of these and sit back and watch them print money. But by having his voice and hand in each of them, he injects them with something blockbuster entertainment is so often missing: sincerity. Not a moment goes by in any of these films where it isn’t apparent that he genuinely cares about what happens to Jake, Neyeteri, Kiri, Lo’ak, Spider, Tuk, Quaritch, or any other character just as much as we do. And that makes all the difference.

“Avatar: Fire and Ash” continues to deliver exactly what fans of the franchise would expect: great performances and visuals wrapped up in gorgeous science fiction locals and melodrama. At this point, it's a series that you’re either on board with or you’re not. For those who are here and committed, Cameron has laid the groundwork for even more interesting things to come in the potential (or inevitable) fourth and fifth films. 4.5/5 

The SpongeBob Movie: The Search For SquarePants - Review: Another Big Screen Adventure for a Big Guy

 

It’s hard to believe that a little less than a decade ago, a yellow spongy guy premiered his first underwater adventure on televisions nationwide. What followed wasn’t just a beloved TV show, but a merchandising juggernaut that's expanded to theme parks, video games, plush toys, books, clothing, candy, etc. Not only has it been over two decades since the first film, but this latest adventure is now the fourth one for everyone’s favorite porous buddy and his other sea-dwelling miscreants.

“The SpongeBob Movie: Search for SquarePants” follows the titular sea sponge, voiced by Tom Kenny (“Adventure Time,” “Rocko’s Modern Life”), as he learns that he has finally become tall enough to ride a terrifying roller coaster and therefore becoming a “big guy.” After being dissuaded by his boss Mr. Krabs, voiced by Clancy Brown (“Carnivàle,” “Superman: The Animated Series”), SpongeBob becomes even more determined to prove his manliness. This leads him to summon the ghostly Flying Dutchman, voiced by Mark Hamill (“Star Wars,” “Batman: The Animated Series”), who tells him that if he completes a series of challenges, he can make him a true swashbuckling big guy. Unbeknownst to SpongeBob and his friend Patrick, voiced by Bill Fagerbakke (“Gargoyles,” “Coach”), the Dutchman actually wants them to help break his ghostly curse, leading to Krabs, Squidward, voiced by Rodger Bumpass (“Invader Zim,” “Where on Earth Is Carmen Sandiego?”), and Gary the Snail to venture to the ghastly underworld to save SpongeBob and Patrick.

As if it even needs to be said, the voice cast here is more than up to the task. There’s a specific kind of reassurance that comes from watching a group of actors who’ve inhabited the same roles for over two decades. Kenny might be aging a bit, leading to him losing a bit of the squeak in his voice, but the buoyancy and energy is as present as ever. The same can be said for Bumpass, Brown, and Fagerbakke. None of them sound a moment out of step, keeping the feelings of their undersea characters alive and well at each passing moment. Hamill is good, but there’s nothing particularly exceptional about his role that makes it clear why longtime performer of the role Brian Doyle-Murray was recast. An unexpected bright spot is Regina Hall (“Scary Movie,” “The Best Man”) voicing the Dutchman’s assistant Barb. There’s nothing flashy about her performance, just simply turning in some really good cartoonish delivery, and she’s a highlight as a result.

Director Derek Drymon (“Hotel Transylvania: Transformania,” “Hey Arnold!”) has a long and storied history with the television series, even directing one of the most beloved episodes, the series premiere “Help Wanted.” What’s apparent from the first moments is that he simply gets this world, these characters, and this sense of humor basically flawlessly. There’s an ease in everything done that feels like just another day in the life of this Bob and his pals. There’s no overblown tale to set the stage or anything. It just happens to be a larger scale tale than what’s been on the small screen.

The script, written by Matt Lieberman (“The Christmas Chronicles,” “Free Guy”), Marc Ceccarelli (“SpongeBob SquarePants,” “Uncle Grandpa”), Kaz (“SpongeBob SquarePants,” “Camp Lazlo”), and Pam Brady (“South Park: Bigger, Longer & Uncut,” “Team America: World Police”) is quite the mixed bag comparatively. Given the writing team's composition of longtime series writers and newcomers, the humor and general plot are an equally mixed bag. While things are certainly better than the last two films, it lacks the sincerity or self-seriousness that's made the first film such a beloved cult hit even twenty years later. Luckily, the most annoying aspects of the last two films (the forced superhero action of the second and the blatant shoehorning of spinoff material in the third) are absent from this one, letting it breathe and become its own fully formed work.

Humor and plot notwithstanding, this is an exceptionally gorgeous looking animated film. While not as experimental as the likes of “Spider-Verse” or even the previous “SpongeBob” film, it strikes a nice balance between the clean, plastic look of the CGI in “Sponge Out of Water” and the most psychedelic, malleable style of “Sponge on the Run.” The general look of the film plays with forms just like the series does, with hyper-realistic stills, cartoony squishiness, and purposefully exaggerated live-action footage. It’s the best of both of the previous films’ CGI worlds, and just a sumptuous little visual treat.

In general, there’s nothing about this latest silver screen adventure for this subaquatic sea sponge that’s particularly terrible, nor is there anything particularly noteworthy. The animation looks great, the humor is amusing enough, and the voice cast is as good as ever, but it lacks anything novel about it. There’s little here to separate it from the direct-to-streaming Netflix spinoff films that have arrived in the past few years, and it’ll be plenty amusing and satisfying for fans of the series. For others, it's just more "SpongeBob" and likely the franchise's best film since the first, for whatever that’s worth. 3.5/5 

Ella McCay - Review: An Old Fashioned Kind of Gal

 

When you have a career like James L. Brooks’ (“Terms of Endearment,” “Broadcast News”), it can be hard to be told no. Decades of warmth and comedic dramas have established him as one of the premiere voices in the genre, and that’s even before he helped create a little show called “The Simpsons.” Now, fifteen years after even his most recent directorial feature, he’s returned to the silver screen with a dramady about the political landscape, choked with as many celebrities as he’s ever had in a film. Here’s hoping an 85-year-old guy can still make a movie about a mid-30s career driven woman.

Set in 2008, the film follows the titular Ella McCay, played by Emma Mackey (“Sex Education,” “Death on the Nile”), as she learns she’ll be taking over as Governor from her mentor, the current Governor Bill Moore, played by Albert Brooks (“Broadcast News,” “Finding Nemo”), as he accepts a cabinet position in the current presidential administration. What should be an exciting day for her is marred by various familial strife, including the reappearance of her estranged father Eddie, played by Woody Harrelson (“The Hunger Games,” “Zombieland”), her anxious younger brother Casey, played by Spike Fearn (“Alien: Romulus,” “Tell Me Everything”), and her ticking time bomb husband Ryan, played by Jack Lowden (“Slow Horses,” “Dunkirk”), whom she deals with thanks to the helpful voices of her aunt Helen, played by Jamie Lee Curtis (“Halloween (1978),” “Freaky Friday (2003)”) and assistant Estelle, played by Julie Kavner (“The Simpsons,” “Click”).

Brooks’ films certainly have a very specific kind of appeal. There’s a reason they’re still beloved even decades later. However, much like most of his non-animated post-2000s work, “Ella McCay” has a bit of an identity crisis. This is a film clearly made up of two halves: one half wants to be a family drama/comedy about a, as the characters put it, not normal family. The other half wants to say something about idealism and hope within the political realm. Each have their strengths, but neither mesh particularly well. In fact, most of the time characters seem as though they’re being adjusted on the fly to fit one of the stories versus the other. Make no mistake, things do click into place at numerous points and when they work, they work. But when they don’t, it becomes a film desperately in need of pruning.

Mackey is the best part of the film by a landslide. She somehow balances Ella’s neuroticizes and anxieties into a genuinely endearing and charming portrait of a woman in her 30s who’s struggling with an overabundance of caution and optimism. While not necessarily requiring a lot of effort, Curtis also delights as Aunt Ellen, backing up Ella with sharp motherly wisdom doused in spouts of vulgarity. Brooks, for as brief as his appearances are, proves he still has the same dry wit and charm he did back in the 80s. Kavner is a small delight as well, providing a brief window into the comedy juggernaut she was back in the 80s before permanently becoming America’s animated blue-haired television mom.

Most of the men in Ella’s life are wildly incompetent, and their performances are just as varying. Harrelson is trying to capture some kind of a sad sack, hurt puppy kind of angle with his performance, and it just gets more grating the longer the film goes on. Fearn is best opposite his fictional sibling, and their scenes are some of the best the film has to offer. When he’s away from her, that’s a different story. Meanwhile, Lowden feels like a cartoon villain, and his subplot feels genuinely baffling compared to the rest of the film, as if it was sliced out of some other project and slotted right into this film. Kumail Nanjiani (“The Big Short,” “Silicon Valley”) appears as Ella’s security detail Nash and proves to be a sweet, understated bright spot in the rest of this film’s chaotic plots, and Ayo Edeberi (“The Bear,” “Bottoms”) briefly appears to play the same kind of neurotic characters that propelled her into the spotlight and she does well enough here.

Even at their worst, the cast still does an amiable job together, and the general chemistry does help keep things lively and amusing. It’s a quite amusing film, but Brooks’ script is the film’s biggest weakness. It’s not that the material is bad; it's charming in a dated kind of way. This feels like the sort of film that use to get made all the time, but at no point has anything been changed for a modern movie-going audience. That can be nice, but it also feels far too safe. For example, multiple times people tell Ella she’s the governor “of the state you were born in.” But at no point is any actual place named. When Bill announces that he’s going to be a cabinet member, he simply says to “the president,” with no specificity. Even Ella seems as though she’s designed to be politically ambiguous: one scene has her, a woman who’s working for free programs for under privileged kids and mothers, a very liberal program, state that she voted against medical marijuana.

It’s as if Brooks wanted to make a film about someone in politics but became so terrified of making anyone raise an eyebrow, he scrubbed it of any specificity. That issue the extends to the rest of the film. What’s here is painfully safe. Charming and funny, sure. Well-acted, kind of. But painfully safe. It's admirable that he’s still trying to make the same kind of film he always had, but by doing so he’s made the same kind of film he always has. It’s also simply too long, with too many subplots and added scenes that should have been cut. Sure, Edeberi and Fearnes are charming, but their subplot adds nothing to the overall film and it just keeps going on and on. It is at least a pretty film, with Robert Elswit’s (“There Will be Blood,” “Good Night, and Good Luck”) cinematography managing to drape everything in a gorgeous simplicity that modern studio comedies have been sorely lacking in recent years, and the score from Hans Zimmer (“Gladiator,” “Dune (2021)”) is fun and cheery, if slight.

For a seemingly simple film that they don’t make many of anymore, a critique of “Ella McCay” is anything but simple. It has plenty to like; it's a good-looking film with some charming and charismatic performances that lock in when they get to play with others. Mackey is a terrific lead, and when the film zeroes in on her, it's just delightful. But the script is overstuffed with subplots that lead nowhere, a handful of performances that are weaker than the rest, and a general sense of sameness that prevents things from really soaring. There are rumors that Disney only greenlit this film to get Brooks to make “The Simpsons Movie 2” happen, and if that's the case, we’ll only know if it was worth it after that film releases. Like Ella herself, this is a film with a good heart that tries hard and therefore feels hard to truly dislike. But you can certainly say they don’t make them like they used to. Even Brooks. 3/5 

Dust Bunny - Review: Bryan Fuller's Twisted Little Bedtime Story

 

If the name Bryan Fuller (“Pushing Daisies,” Hannibal”) means anything to you, it’ll likely be thanks to his years of television work. From creating some of the most imaginative series to the tensest series of the past twenty-five years of TV, his pedigree is long and weird. Now, after decades of work on the small screen, he’s finally getting the opportunity to bring his sense of macabre whimsy to the big screen with a tale befitting of his interests.

“Dust Bunny” follows eight-year-old Aurora, played by Sophie Sloan (“The Chemistry of Death”), whose parents keep mysteriously disappearing in the middle of the night. Hoping to prevent the issue further, she enlists in the help of her next-door neighbor, a man known simply as her concerned neighbor played by Mads Mikkelsen (“Casino Royale,” “Hannibal”), to kill the source of her parents' disappearances: the people eating monster living beneath her bed.

Anyone remotely familiar with Fuller’s previous works should be right at home here in this fairy tale-esque world of macabre wonder. While locations are few, each make a specific impression upon their first appearance. While mostly shot at night, the pops of color are vibrant and fantastic, setting a distinct visual identity for this childhood horror. Cinematographer Nicole Hirsch Whitaker (“One Piece (2023),” “Lioness”) plays with various viewing angles and camera perspectives with a massively wide 3:1 aspect ratio to craft something that, if nothing else, is unlike most films being made nowadays. Backing up this slight-cartoonified adventure is an excellent musical score from composer Isabella Summers (“Lisa Frankenstein,” “Little Fires Everywhere”) that further fleshes out the world; numerous moments have various sound effects activating in time with the music, blending into the score to create an effect similar to the “Merrie Melodies” Looney Tunes cartoons from back in the day.

Given her young age, Sloan’s performance is excellent, and her chemistry alongside Mikkelsen is really fun. They have a distinct “father daughter” vibe to their relationship, and its as if Fuller is pulling from fairy tale stories as well as the likes of films like “Leon: The Professional” or “True Grit.” Mikkelsen’s performance is only slightly less impressive, simply because he’s proven that he can sleepwalk his way through a role like this. It doesn’t rebuke how good he is, but rather his is a more expected quality. The supporting cast has quite a few character actors hamming it up in the best ways; Sigourney Weaver (“Alien,” “Avatar”) pops up as the concerned neighbor’s handler Laverne, David Dastmalchian (“The Suicide Squad,” “Late Night with the Devil”) as an assassin leader targeting the concerned neighbor, and Sheila Atim (“The Woman King,” “The Underground Railroad (2021)”) as Brenda, a child protective services agent looking after Aurora. Weaver is the one who seems to be phoning it in the most, with Atim and Dastmalchian giving just the right degree of half-cartoonish delivery that amps up a world and tale like this.

The sets and production design look fantastic, digging into the gothic, bedtime story kind of vibe that Fuller wants to evoke. The film shares tonal similarities with family horror-fantasy flicks from the 1980s, like “Gremlins” and the slight touches of this whimsy in the environment help build on this. Some scenes have the trees and leaves on the wallpaper in Aurora’s apartment blowing in an unheard breeze, as she pushes herself on a giant metal wheeled hippo as she refuses to touch the floor. The action is similarly stylized, with bright colors and camera flourishes abound. One moment has the concerned neighbor getting knocked through a skylight before falling back into the house via the next skylight over. The practical effects also blend seamlessly with the production design, which makes the handful of digital effects stand out like a sore thumb. While not terrible, it's clear that those are where the budget began to run out, and it shows. Fuller still tries to use them sparingly and hide them with other actors and physical props, but when they do appear in full view, they make the wrong kind of impact.

For those who know exactly what they’re getting themselves into with a Bryan Fuller work, “Dust Bunny” will likely be a highlight of the year. For those unfamiliar with his specific style and worlds, it’ll require quite a bit of suspension of disbelief. However, regardless of which camp you’re in, this is an undeniably unique and stylish film that makes great use of its premise, even as its ambitions seem to outweigh its own budget at times. You’re in safe hands with Fuller, Mikkelsen, and Sloan as they take you on this silly, fantastical, twisted little bedtime story. 4/5

Five Nights At Freddy's 2 - Review: More Maniacal Mascot Malarky

 

As a certain someone in the titular video game series once said, “I always come back.” And after becoming the highest grossing film ever released by Blumhouse, it should be no surprise that the same goes for the film adaptation series. Hence where we are right now: “Five Nights at Freddy’s 2” is here and promises to be scarier and more violent, with more lore and animatronics than before. A bigger budget certainly backs up that claim, but does any of it come to fruition, or is it all just kiddie stuff?

This sequel follows Mike Schmidt, played by Josh Hutcherson (“The Hunger Games,” “The Kids Are All Right”), attempting to put the events of the first film behind him for the sake of his sister Abby, played by Piper Rubio. Abby still harbors an obsession with Freddy, Chica, Bonnie, and Foxy, the animatronic characters from the first film. After an electronic device begins to communicate with her, encouraging her to find her old friends at the first Freddy Fazbear’s restaurant, Mike and Vanessa, played by Elizabeth Lail (“You,” “Mack & Rita”), the daughter of Freddy’s murderous creator William Afton, played by Matthew Lillard (“Scream (1996),” “Scooby-Doo (2002)”), set off to find her before she can be found by an animatronic puppet housed within the original location: the Marionette.

Whereas the first film featured series creator Scott Cawthon as a writer alongside multiple other screenwriters, this sequel has him penning the script entirely on his own. While the games are beloved for some purposefully convoluted narratives, that same approach doesn’t make for a compelling or even intelligible film. Mr. Cawthon simply isn’t a good screenwriter and while he packs the film with plenty of nods and easter eggs for diehard fans, he can’t construct a cohesive narrative. Even for the horror genre, famous for characters making stupid decisions, the film is rife with eye-rolling moments of pure stupidity. Abby in particular is an infuriating character to watch as she stumbles her way through deadly scenarios like a preteen Mr. Magoo.

Hutcherson and Lali are fine enough, chugging along with a decent amount of effort put into their roles considering the material. Lillard is woefully underutilized here, as is Mckenna Grace (“Gifted,” “Ghostbusters: Afterlife”) as paranormal reality show host Lisa, with the rest of the cast slotting so neatly into their horror film fodder roles that they might as well be wearing big neon signs that say “dead body walking.” Skeet Ulrich (“Scream (1996),” “The Craft”) even briefly appears for a role so minor you can only assume he was stunt cast simply to capitalize on nostalgia for his and Lillard’s previous roles in “Scream (1996).”

Luckily, the thing that most will likely be here for continues to be the best part of the film: the animatronics and practical effects. Given the nature of this series and its basis in real-world purpose-built robots and puppets, the Jim Henson Creature Workshop continues to excel in their craft. The newer batch of “toy” robots are hyper smooth and a lot of fun to watch trapse around the fantastically designed Freddy’s locations, and the older “withered” versions are legitimately terrifying, acting almost as an antithesis to the first film’s detractors who bemoaned it wasn’t actually scary. These mechanized beasts also feature in the film’s best moments such as one segment in the third act that directly recreates the gameplay of the second video game, and virtually any moment within a Freddy’s establishment. Returning director Emma Tammi (“The Wind”) manages to deliver on these highly engaging sequences, even as the dramatic moments falter like before.

Even the voices of these new animatronics are one of the best parts. Megan Fox (“Transformers (2007),” “Jennifer’s Body”) voices Toy Chica, Matthew Patrick voiced Toy Bonnie, and Kellen Goff voices Toy Freddy, and they all manage to do great things with a handful of moments. The Marionette is without a doubt the best part of the film though. In a handful of all too brief moments, the puppetry of the character is terrifying and impressively done, and the way it’s integrated into other character’s performances is a massive highlight.

There are plenty of easter eggs and fan service stuffed throughout this latest adventure at Freddy’s, but those can only do so much. Especially when paired with a subpar script. Emma Tammi does her best with the material, as do the cast, but it all comes down to the script and Scott Cawthon simply isn’t able to craft a compelling or cohesive narrative in the ways a film needs. It’s a practically impressive film that still excites with its robotic counterparts and sets, but even hardcore fans will likely have less fun than they expect with this second outing. It might be entertaining, but it certainly isn't good. 2.5/5 

Oh. What. Fun. - Review: Some Spiced, Yet Flat, Christmas Eggnog

 

In the long-standing tradition of the holidays, moms seem to be the ones put upon the most with the fewest cinematic escapades to show for it. Sure, there are plenty of bumbling father figures in holiday classics (“National Lampoon’s Christmas Vacation,” “The Santa Clause,” “It’s a Wonderful Life,” “Bad Santa”), but Michael Showalter’s (“Wet Hot American Summer,” “The Big Sick”) latest film attempts to give the moms ample ground to run amok and play in the landscape of the slightly more anarchistic holiday feature fare.

Written by Showalter and Chandler Baker, the film follows Claire Clauster, played by Michelle Pfeiffer (“Batman Returns,” “The Fabulous Baker Boys”), a Texas housewife planning her yearly elaborate Christmas celebration with her husband Nick, played by Dennis Leary (“Rescue Me,” “Demolition Man”), and kids: her eldest Channing, played by Felicity Jones (“Rogue One: A Star Wars Story,” “The Theory of Everything”), and her husband Doug, played by Jason Schwartzman (“Rushmore,” “Scott Pilgrim vs. The World”), her middle daughter Taylor, played by Chloë Grace Moretz (“Kick-Ass,” “Hugo”), and her girlfriend Donna, played by Devery Jacobs (“Reservation Dogs,” “Echo”), and her youngest child Sammy, played by Dominic Sessa (“The Holdovers,” “Now You See Me: Now You Don’t”). After the stress of the holiday season gets to her and she is forgotten while the rest of the family travels to an activity she planned, she packs her bag and decides to drive cross country to California to crash the Holiday Mom contest run by daytime TV host Zazzy Tims, played by Eva Longoria (“Desperate Housewives,” “Dora and the Lost City of Gold”).

Dysfunctional families are a staple of holiday films from across the decades, and this is no different. The Clausters are quite a dysfunctional family, with arguments and emotions boiling over seemingly at a moment's notice. It’s hard to call these roles particularly complex, and they certainly aren’t demanding for a cast as experienced as this. Pfeiffer is coasting through her performance, and Leary lands squarely in “bumbling dad who falls to pieces without the wife” territory. Jones is the one doing the most engaging work, but that’s simply because her character is the one given the most complex arc in the film. Apart from that, everyone is just fine.

Showalter and Baker’s script cribs plenty of elements from other dysfunctional family comedies and holiday films, jamming them into a hodgepodge of material that manages to spike the holiday comedy just a bit. There’s plenty of shocking “I can’t believe they said that” humor as well as a lot of awkward cringe comedy. Schwartzman gets the brunt of it, playing the punching bag for the majority of the film, if not the entire time. When separated from the comedy though, the dramatic moments feel half-baked. It’s not that Claire’s frustrations aren’t justified, but rather that everyone in the family seems equally awful to each other. It definitely nails the “lying to save someone’s feelings” elements that are tackled in most holiday films, but that’s just it. These elements have been tackled in plenty of other holiday films over the years to greater effects.

What you’re left with then is a straight-to-streaming film that features plenty of amusing humor and decent performances alongside reheated holiday material. Any technical elements aren’t really worth mentioning, given the flatness of everything. While there are definitely films that manage to still look great despite their cheap streaming only status, this is not one of them. The sets certainly look nice and lived in, with a fun dichotomy between deeply decorated warm houses and the flat white style of Christmas decorations, it all gives off the air of simply being “good enough.”

“Oh. What. Fun.” is a fun enough Christmas romp, one that certainly pulls from its fair share of other holiday works. The cast is fun, and the humor is just spiked enough, but it's hard to call this a top-tier effort for anyone involved. Rather, this is a prime example of a film that’ll entertain the whole family without staking a claim in anyone’s memory alongside the true Christmas classics. 3/5 

Hamnet - Review: The Rest Is Silence

 

There’s a certain mythology surrounding works that have outlived their own creators, especially if they’ve outlived them for hundreds of years. For the works of Shakespeare, even that might be damning them with faint praise. His works have endured for centuries for numerous reasons, but beyond that, there is a fascination with trying to imagine the inspirations behind their creations. That’s what itself inspired the novel “Hamnet” by Maggie O'Farrell which then itself has been adapted by co-writer/director Chloé Zhao (“Nomadland,” “Eternals”) and O’Farrell herself into this work.

The film follows William Shakespeare, played by Paul Mescal (“Aftersun,” “All of Us Strangers), and his wife Agnes, played by Jessie Buckley (“The Lost Daughter,” “i’m thinking of ending things”), from their initial meeting and courtship through their marriage and the births of their three children: Susanna, played by Bodhi Rae Breathnach, Judith, played by Olivia Lynes, and the titular Hamnet, played by Jacobi Jupe (“Peter Pan & Wendy,” “Before (2024)”). With William in London working in the theatre, the plague reaches the family, eventually taking the life of a young Hamnet. The strain on Agnes and William’s relationship after his death then inspires William to write arguably his most famous work, “The Tragedy of Hamlet, Prince of Denmark.”

While O’Farrell’s original novel is a fictionalized interpretation of Shakespeare’s life (he did have a son named Hamnet who passed away before he made “Hamlet”), Zhao and O’Farrell ground it in a deep emotional truth that they spread throughout the film. Watching Agnes and William’s relationship ebb and flow throughout the film is a deeply affecting experience. These are two performances anchored by their actors’ skills and the depth of the material at work. Buckley gives a career best performance, wallowing in the sort of grief that only a mother can express, while also showcasing great and varied joy throughout her life. Mescal is slightly more one note, if only because he hides behind William’s tortured artist persona for some of the film. Regardless of that though, this is clearly Buckley’s film to lead and she does so exceptionally.

The surrounding supporting cast has plenty of great, if brief, highlights. Breathnach and Lynes have a wonderful sibling dynamic, with Lynes getting some particularly great moments with Jupe. But it is Jupe himself who delivers a truly fantastic performance, one of the best performances from a young actor this entire year. The way he’s able to perfectly encapsulate this kind of sibling bond and tragedy within his arc is nothing short of heartbreaking.

Zhao’s strengths lie in the quiet, reflective moments that rhyme with their futures, and “Hamnet” showcases plenty of moments like that. Whether an imposing pit of inky blackness or the slowly encroaching surrounding river, Zhao and O’Farrell’s story runs rampant with visual motifs and symbolism that’s wonderful to immerse deeply into. Large stretches of the film have little to no dialogue as well, allowing Zhao and cinematographer Łukasz Żal (“The Zone of Interest,” “i’m thinking of ending things”) to fully encapsulate the film’s mood with gorgeous forests and English landscapes. It also proves to be an excellent statement on the powerful catharsis of art in general, and the way it can touch us despite the depth of our grief. The moments when it depicts this are some of the most wonderful in the entire work, and it’ll be one of many times you’ll likely be reaching for the tissues.

For a film as calm and deliberately paced as this, the first act does present a minor hiccup on its journey to that patter. The first act feels remarkably slower than the rest of the already slow film, leading to it simply being the least interesting part of the film. It still maintains the same gorgeous visuals and performances, but the film simply takes time to ramp up to its most engaging aspects. Max Richter’s (“The Leftovers,” “Ad Astra”) score is also slightly underwhelming, at times positively perfect in its beauty and musical motifs, and other times confoundingly heavy handed. A moment of anticipation as Agnes approaches the Globe theatre for the first time, for example, is scored with an almost apocalyptically thundering menace. It’s still good music, but it's one of a few moments that feel as though the score is attempting to tell the viewer what to feel rather than letting it accompany the film.

Those two detractions will likely matter far less to some viewers, as they are slight dings against a truly fantastic and cathartically overwhelming emotional experience. Buckley and Mescal take charge of a great cast, with Jupe proving to be a deeply emotional surprise. It’s a tale of love for a couple responsible for some of the English language’s greatest love stories, and it's told with a deft and impressive hand that makes this a can’t miss emotional experience to end the year on. 5/5 

Wake Up Dead Man - Review: Rian Johnson's Holy Trinity

 

Rian Johnson (“Star Wars: The Last Jedi,” “Looper”) may not be a household name yet, but “Knives Out” and its sequel “Glass Onion” have certainly put him well on his way. Both released to rapturous critical success and audience viewership in theatres and on Netflix, now the third film has arrived. “Wake Up Dead Man” sees Johnson and Daniel Craig (“No Time to Die,” “Logan Lucky”) delivering the series darkest and most dense mystery yet, pulling at moral threads not yet tackled in the most interesting of ways.

The film follows Reverand Jud Duplenticy, played by Josh O’Connor (“God’s Own Country,” “Challengers”), as he arrives at Our Lady of Perpetual Fortitude, a flagging church run by arrogant and incendiary preacher Monsignor Jefferson Wicks, played by Josh Brolin (“No Country for Old Men,” “Avengers: Infinity War”). When Wicks dies during Good Friday service, his group of devout followers; the church’s secretary Martha Delacroix, played by Glenn Close (“The World According to Garp,” “Albert Nobbs”), the church’s groundskeeper Samson Holt, played by Thomas Haden Church (“Sideways,” “Spider-Man 3”), town doctor Nat Sharp, played by Jeremy Renner (“The Avengers,” “The Hurt Locker”), local lawyer Vera Draven, played by Kerry Washington (“Scandal,” “Ray”), her adoptive son and wannabe politician Cy Draven, played by Daryl McCormack (“Peaky Blinders,” “Good Luck to You, Leo Grande”), washed up science fiction author Lee Ross, played by Andrew Scott (“All of Us Strangers,” “Fleabag”), and disabled former concert cellist Simone Vivane, played by Cailee Spaeny (“Civil War (2024),” “Priscilla”), all point their finger at Rev. Duplenticy. That is, until the local police chief Geraldine Scott, played by Mila Kunis (“Forgetting Sarah Marshall,” “Black Swan”), enlists in the help of gentleman sleuth/detective Benoit Blanc, played by Craig, to help solve the case.

Johnson has always been unafraid to tackle some pricklier subjects in his films, from the arrogant tech bro culture in “Glass Onion” to toxic fan culture in elements of “The Last Jedi” to class warfare in “Knives Out.” But “Wake Up Dead Man” gets into the thralls of organized religion with a specificity unlike any of his previous works. There’s a dialogue happening at the center of this tale that's increasingly engrossing as things progress. It arguably overtakes the central mystery, leaving everything out on the table for Blanc and by extension Johnson.

There's plenty of poking and prodding without ever becoming disrespectful or mean, and it's a testament to his skill as a screenwriter that he can tackle ideas like this without removing the dry humor this series is known for. Despite the nature of this being the most grim and dense film of the series thus far, Johnson and his cast never forget to have fun with things either. The fantastic wit and sense of humor is still there in spades, allowing each cast member to get some jabs and comedic moments in. It’s a film that always remembers, even in its most dower moments, to have fun with itself.

Craig is expectedly great, but his presence and performance as Blanc would be more notable at this point if he wasn’t. O’Connor is the star of the show though; the series threepeats its tendency to have Craig help showcase the talents of another younger actor, and O’Connor virtually steals the entire film from Craig. He has a warmth and determination to him that makes it easy to believe his faith and prognosis on what religion can and should be in the world. Brolin is easy to hate and adds layers to Wicks that make him far more complicated and complex than one might initially expect from his archetype. Scott, Kunis, and Renner are all great, despite being less attention grabbing than the other performances. Washington and McCormack have great verbal sparring sequences together, Spaeny gets some great heartbreaking moments that are well worth her entire role, and Church is a spot of genuine warmth amongst the chaos.

Close is giving one of her best performances in years, possibly eyeing a Best Supporting Actress nomination, and it's a great example of one of the things Johnson’s films do so well: they double back and reveal depth you didn’t see before. Like the previous two films in this series, “Dead Man” has plenty of elements and scenes that turn back around in the end. In typical whodunnit fashion, they showcase pieces that you didn’t know were there the first time around and add layer upon layer to the characters, performances, and themes of the film as a whole. Johnson never makes it as obvious as simply having Blanc explain everything at the end though. Even down to how things are presented and in what way, it all ties back into the film’s central themes of religion, faith, and belief.

Unsurprisingly, it's a gorgeous looking film. Johnson’s longtime collaborator, and cinematographer for the whole “Knives Out” series thus far, Steve Yedlin (“Looper,” “Brick”) sets up some wonderful camerawork that plays with zooms and the oscillating light and darkness of this small-town New York state setting. Numerous moments within warm, wooden living rooms lit with faint lamp light or foggy nighttime darkness are simply delectable to look at. Nathan Johnson’s (“Looper,” “Brick”) score fits right in with his previous work in the series, while adding a more church-y angelic tone with slower, darker string work and organ music.

With the social satire of “Glass Onion” and the dusky, warm, dark tones of “Knives Out,” this latest Benoit Blanc mystery combines all of the already excellent elements from the previous films into a dense concoction that manages to be thought provoking as well as riotously entertaining. “Wake Up Dead Man” makes a strong case as the best film in the series, and if this latest film is any indication, things are only going to keep getting better with each subsequent mystery. 5/5 

Zootopia 2 - Review: Disney's Newe-ssssss-t Hare-raising Z-equel

 

Somewhere squeezed into the 2010s Disney canon, between the snow queens, princesses, and video game baddies, there is “Zootopia,” an original film that surprised the world with its quality, prodding social commentary, and rocket ship-esque box office receipts. What started as Disney’s springtime offering for 2016, a film that would certainly play second-fiddle to its Thanksgiving 2016 release (a little ocean themed princess adventure called “Moana”), became an Academy Award winner and grossing over a billion dollars worldwide. Now, almost a decade later, Disney has finally brought a second adventure for the animal city’s resident bunny and fox duo to the big screen.

“Zootopia 2” picks up shortly after the events of the first film and finds police officer Judy Hopps, played by Ginnifer Goodwin (“Big Love,” “Once Upon a Time”), and conman-turned-rookie-cop Nick Wilde, played by Jason Bateman (“Horrible Bosses,” “Arrested Development”), attempting to prove that their previous success was more than a one-time occurrence. They get that chance when, on the eve of the city’s Zoocential hundred-year celebration, Gary De’Snake, played by Ke Huy Quan (“Everything Everywhere All At Once,” “Loki”), finds his way into the city, the first snake to do so since reptiles were exiled a hundred years prior. Now Judy and Nick are attempting to solve the mystery of Gary’s appearance, how it might involve the Lynxley family led by patriarch Milton Lynxley, played by David Strathairn (“Good Night and Good Luck,” “Lincoln”), and the true history of Zootopia’s very creation.

Returning co-director Byron Howard (“Encanto,” “Tangled”) and writer/returning co-director Jared Bush (“Encanto,” “Moana”) are clearly right at home returning to their animalistic city and characters for this second tale. With an increase in animal-based puns, Judy and Nick’s second adventure is off at a quicker pace than before. Gone is the more deliberate mystery and first act, instead we hit the ground running and hardly let up. It’s a film that manages to pack far more into its plot than its 108-minute runtime might suggest, but that fast pace never drags. A few more moments of calm would’ve been nice, and the film isn’t without them, but it's a very confident film within that. It never feels as though the pacing is a victim of needing to keep the seven-year-old’s attention.

That central mystery is one that only the best kinds of sequels can offer. Not only does it further expand the ideas of social commentary using the animal world that the first film managed to (messily) deliver, but it expands the lore and world-building of the titular city itself. Bush’s script, like the best family films, doesn’t talk down to the audience about its themes or events. It understands the levels that the kids watching can work at and helps to bring them up. Sure, there are plenty of pop-culture references sprinkled throughout as well, but it's clear that the emotional journey of Nick, Judy, and Gary is the main focus.

Goodwin and Bateman’s chemistry is still here in spades, and the pair are simply a delight. This second adventure deepens their relationship even further and allows them to explore their friendship in ways the first simply couldn’t. Quan’s performance is also fantastic, with his trademark enthusiastic delivery bringing Gary to life in exceptionally fun ways. The extensive supporting cast, prominently featuring Andy Samburg (“Hot Rod,” “Hotel Transylvania”) as Pawbert Lynxley, Fortune Feimster (“The Mindy Project,” “The L Word: Generation Q”) as Nibbles Maplestick, and Patrick Warburton (“The Emperor’s New Groove,” “Seinfeld”) as Zootopia’s new mayor Brian Winddancer, all feel right at home in this world. Samburg and Feimster are particular highlights, with the latter avoiding a potential easy annoyance with pure charms.

The gorgeous animation further fleshes out the world that came before by expanding things beyond the four major districts of the city into more hidden, background areas. The new Marsh Market is a highlight, emphasizing more aquatic elements and characters than before. There’s also a focus on more industrial, metallic areas, separating things further from the first film. Michael Giacchino’s (“The Batman,” “Up (2009)”) score keeps things flowing, clearly curbing from other films this series owe tribute to, and it, along with the expansions of the world, allows things to truly feel like a buddy cop film, especially a buddy cop sequel, in all the best ways.

After a few rocky years for Walt Disney Animation Studios, “Zootopia 2” has managed to rocket the studio back to their former heights. A sequel that expands the world, characters, mythology, and narratives rather than retreading what came before, it's the best example of a follow-up film. Still packed to the brim with excellent vocal performances, gorgeous animation, and a fantastic sense of fun and mystery, it’s an easy recommendation for anyone looking for a delightful bit of furry family entertainment over the holidays. 4.5/5 

Rental Family - Review: You Can Choose Your Family

 

There’s something about being kind in the modern film making landscape that seems to have fallen out of style. Blockbusters and television shows are focusing more on crime and despicable individuals or actions, and the idea of being nice to people has been tossed aside. Recently though, with films like “Superman (2025),” there has been a surge of kindness to the mainstream once again. While not a blockbuster itself, “Rental Family” is a film that finds kinship with others like it by taking a look at one of Japan’s most unique industries with a careful and sympathetic eye that is, above all else, kind.

The film follows Phillip Vandarploeug, played by Brendan Fraser (“The Mummy (1999),” “The Whale”), a struggling American actor living in Japan trying to make ends meet. That is until he meets Shinji, played by Takehiro Hira (“Shōgun (2024),” “Gran Turismo (2023)”), the manager of Rental Family Inc., an agency that allows people to rent people to pretend to be friends, family members, lovers, or any other kind of person missing from their lives. Initially reluctant, Phillip takes on the role after the encouragement from fellow Rental Family employee Aiko, played by Mari Yamamoto (“Monarch: Legacy of Monsters,” “Pachinko”), and soon finds himself taking on the roles of a young woman’s fiancé, a reporter interviewing an aging movie star, and a young girl’s absent father.

While the very concept of the film will likely raise eyebrows, the way co-writer/director Hikari (“37 Seconds,” “Beef”) and co-writer Stephen Blahut approach the material is really admirable. These are actual agencies that exist in Japan and while the film certainly points out some of the more absurd scenarios they’re used for, it's never mocking in any way. More than anything, it's a legitimate dissection of the very concept, of how it can majorly benefit an individual as well as harm them. Hikari’s hand is a deft one, and the film breezes along every as things begin to get more complicated and emotions bubble up. The overwhelming sense of kindness can lead to the film feeling a bit too sugary sweet though. Everything happens in a very specific way that leads the film to feel very “convenient” with many of the plot developments, as if it's skirting over a lot of real-world details to reach the emotional truth it wants to.

Fraser’s performance leads the film and it’s a remarkably honest and vulnerable kind of role. It’s not a difficult or ambitious kind of character, but there’s a deep truth to his arc and the decisions that he makes. Fraser brings a true sense of joy to the role and he’s simply a joy to watch; a big beating heart of a man at the center of an already emotional vulnerable tale. Hira gets more of the sillier bits of the film, but he keeps a gruff exterior allowing him to fill the teacher role to Fraser’s student role without betraying his own arc. Yamamoto is the scene-stealer though, with her sweetly abrasive side playing wonderfully against Fraser’s overt optimism.

No matter your thoughts on the tale, it is a gorgeous looking and sounding film that is a fantastic display of Japan. As opposed to most Hollywood films that stick to the big cities, Hikari and cinematographer Takurô Ishizaka (“Enter the Fat Dragon,” “Tang”) showcase a little bit of everything the country has to offer. From wide vistas and tree-laden countryside to snow-covered mountains overseeing small cities and towns, it's a quietly beautiful film that matches the film’s quietly beautiful score from Jónsi (“How to Train Your Dragon (2010),” “We Bought a Zoo”) and Alex Somers (“Captain Fantastic,” “Nickel Boys”). If nothing else, it’s a calm and beautiful film to sit back and breathe in.

“Rental Family” won't be for everyone based purely on how nice it can be. Some simply won’t be able to get on board with that sense or the central concept itself. But Hikari has crafted a film that is able to deliver on its numerous ambitious by bringing this aspect of Japanese culture to a broader audience. Packed with some great performances, gorgeous camerawork and music, and a sweet and honest script, if a bit convenient, it's an emotional salve of a film. The kind that can easily be described as a nice movie; not in the sense that it's middling or of simply good quality. It’s just a nice movie. 4.5/5

Wicked: For Good - Review: Be Changed For Good

 

After years of dominating Broadway and musical stages across the globe, 2024 finally saw “Wicked” grace movie theaters the world over to critical and financial success. Well, it saw the first act of “Wicked” grace movie theaters, as Universal and director John M. Cho (“In the Heights,” “Crazy Rich Asians”) saw fit to split the behemoth into two films, expanding on the tale and character arcs in each. Now, one year after the first, we have the second act of the musical in film form as “Wicked: For Good.”

Set some time after the events of the first film and act, “For Good” sees Elphaba, played by Cynthia Erivo (“Harriet,” “Bad Times at the El Royale”), villainized by the Wizard of Oz, played by Jeff Goldblum (“Jurassic Park,” “Thor: Ragnarok”), and Madame Morrible, played by Michelle Yeoh (“Everything Everywhere All At Once,” “Crazy Rich Asians”). In order to keep the Wizard in the good graces of the people of Oz, they’ve fabricated a story of Elphaba and the talking animals of Oz being responsible for the recent issues in the land, propping up Elphaba’s former friend Glinda, played by Ariana Grande (“Victorious,” “Sam & Cat”), as the Good Witch of Oz and Elphaba as the Wicked Witch of the West. Elphaba’s attempts to speak truth to the people of Oz and dethrone the Wizard’s powers eventually come to a head as a tornado blows into the land, bringing a young Kansas girl along with it.

Notoriously so, the second act of “Wicked” as a Broadway musical is... less good than the first. Most of the moments and songs people know from the show all come from the first act, and that rings true for the film version as well. Like the first film, co-writers Winnie Holzman (“Roadies”) and Dana Fox (“Cruella,” “The Lost City”) have expanded the second act as well, adding additional scenes and, unlike with the first film, new songs. Those expansions, unfortunately, add little to the overall story and serve to simply extend what is already a fairly long and overdrawn film. The two new songs added certainly fit within the film (if you didn’t know they were added, you likely wouldn’t notice), but they are fluff compared to the others, repeating already established plot and character developments in a different way.

Erivo and Grande’s performances are still fantastic, and when the pair of them are together, the film becomes magical. The gradual evolutions of these characters are really fascinating to watch, and their arcs help the film build toward its gradual point about fascism and media manipulations. Goldblum keeps the same kind of weird, very Goldblum-y charm that he always has in spades, and it keeps his wizard unique. Not much has changed about Yeoh’s performance in this film versus the first, however her singing is far grander here than before. Which is unfortunate as, in a film packed full of singers, Broadway and otherwise, her average voice stands out far more than it otherwise would.

The supporting cast feels mostly forgotten about this time around, with many of the performances being fine but simply disparate in the plot itself. Marissa Bode, Ethan Slatter (“Lost on a Mountain in Maine”), and Johnathan Bailey (“Jurassic World Rebirth,” “Bridgerton”) all return as Nessarose, Boq, and Fiyero respectively, but you’d be hard pressed to notice. While Bode's role is understandably slim, Slatter simply vanishes from the film for the entirety of the third act. Bailey meanwhile is more present but seems to have the same care given to his character as the one-dimensional damsels that populated 1960s black-and-white noir films. Their performances are fine, doing the best they can with what they’re given, but the script simply doesn’t do them any favors.

The biggest issue with why this second half simply fails to elicit the same excitement as the first really does come down to the script and overall plotting. Given the simultaneous shooting schedules, the film maintains the same fantastic costuming work, production designs, cinematography, and visual effects that helped bring this vision of Oz to life in the first. While there are a handful of odd sore spots, such as the film's interpretation of the Scarecrow, it's mostly excellent work across the board just as before.

“Wicked: For Good” was likely always going to be a slight dip from the first film given the status of the original musical’s second act. However, the new songs and expansions certainly don’t help matters. As it stands, this is still an entertaining film, with performances that help overcome the weaker extended material almost in spite of itself. The technical merits remain as great as the first film’s, and those who are already completely on board are unlikely to be swayed, but the magic isn’t as strong as before. 3.5/5

The Running Man (2025) - Review: Catch Me If You Can

 

If Hollywood is going to continue to dig up old properties and franchises and remake them until the heat death of the universe, then it at least stands to reason that they should remake some films that weren’t beloved to begin with. Works that didn’t live up to their original potential. The 1987 adaptation of “The Running Man” is certainly one of those works, tossing out all but the most basic concepts of Stephen King’s original novel to turn it into an Arnold Schwarzenegger action vehicle. And it wasn’t very good. Now, co-writer/director Edgar Wright (“Shaun of the Dead,” “Baby Driver”) has arrived to try this all too-pertinent concept once again, with a far more faithful adaptation and an up-and-coming movie star front and center.

Set in the near future, the film follows Ben Richards, played by Glenn Powell (“Twisters,” “Anyone But You”), a blacklisted blue-collar worker trying to scrap funds together to afford medicine for his sick daughter and get his family out of the slums permanently. That’s how he happens upon “The Running Man,” a ultra-violent reality show watched by millions created by super producer Dan Killian, played by Josh Brolin (“Avengers: Infinity War,” “Dune (2021)”) and hosted by Bobby T, played by Colman Domingo (“euphoria,” “Sing Sing”). The show allows people to attempt to run from the general public and a group of skilled Hunters, led by McCone, played by Lee Pace (“Pushing Daisies,” “Foundation”), for thirty days in an attempt to win $1 billion at the end. Against the better wishes of his wife Sheila, played by Jayme Lawson (“The Batman,” “Sinners”), he enters believing he can win and change the rigged game for good.

It’s not hard to imagine why a director like Wright would want to tackle material like this. The ripe social satire and commentary on reality television, as well as media manipulation, has only become more relevant in recent years. He and co-writer Michael Bacall (“Scott Pilgrim vs. The World,” “21 Jump Street (2012)”) have zeroed in on the novel and Richards’ intense anger in an exceptionally compelling way. Regardless of anything else in the film, the idea of this man and the world broiling just below the surface at the media conglomerates is executed wonderfully. It gives everything a distinctly fiery personality, and it helps to smooth over the film’s rough edges. It also allows Powell some material that really lets him explode. He's a great lead, riding the line between an action hero and an every-man. Thankfully he’s more than just a muscular exterior, and he gets a lot of room to run around with ingenuity and smarts.

The surrounding cast are all fine enough, with Domingo and Brolin being particular standouts. However, the nature of the pseudo-road trip adventure is that no one really gets to make a particularly large impact. A late game addition of civilian Amelia, played by Emilia Jones (“CODA,” “Locke & Key”), kidnapped by Richards in the third act, injects some perspective into the adventure by setting him up against someone from the upper crust, but it feels like a band-aid to jam more perspectives into the film. The rest of the supporting cast outside of Domingo, Brolin, and Jones are just underutilized. Outside of the central anger at the establishment, the rest of the scripts themes feel half-baked and underutilized, as if Wright and Bacall went through a checklist of dystopian thriller ideas and what to include.

From a technical standpoint, the film’s production design and sets are fantastic. The grim and smudge of this vision of future America is detailed and fun to explore, and the pacing is quick and frenetic. As stated before, while the film has a lot of ideas it mostly just gives surface glances to, it keeps everything moving along briskly for the two-hour-and-thirteen-minute runtime. However, for as nicely as everything moves along and as good as the world looks, you’d be hard-pressed to say this feels remotely like an Edgar Wright film. It’s a competently shot action-adventure film, but the filmmaker’s signature style is gone. There’s no fun camera tricks from cinematographer Chung-hoon Chung (“Last Night in Soho,” “IT (2017)”), editing tricks, or any flourishes whatsoever. Even the musical score from Wright’s longtime collaborator Steven Price (“The World’s End,” “Baby Driver”) is a generic bunch of action movie musical touches. Energetic, sure, but generic as hell.

While its certainly much better than the 1987 original film, it's hard not to view Edgar Wright’s version of “The Running Man” as at least a semi-disappointment. For a director as stylish and unique as him, to have a pet project of his result in a film that feels almost indistinguishable from any other director is sad. The deep-seated sense of anger at the world and Powell’s great lead performance makes it a watchable good time, and the film certainly still looks good and moves along well. But for those expecting the next mega hit in Wright’s filmography might want to keep on walking. 3.5/5 

Predator: Badlands - Review: Welcome to the Hunt

 

Reappraisal is a funny thing within the world of 1980s nostalgia. While a fair share of maligned films from the era have been looked upon fondly nowadays, the “Predator” franchise is one that’s been mostly respected rather than liked. Sure the first film is good, and the design of the titular alien killer is cool, but you aren’t likely to find someone willing to watch the franchise at the drop of a hat like they would the “Alien,” “Back to the Future,” “Indiana Jones” “Die Hard,” or “Ghostbusters” franchises. That is until Dan Trachtenberg (“10 Cloverfield Lane,” “The Boys”) came along and effectively revitalized the franchise, directing three films back-to-back; 2022’s excellent “Prey,” “earlier this year’s adventurous and fun anthology film “Predator: Killer of Killers,” and now this latest film, his first theatrical “Predator” tale: “Predator: Badlands.”

Set in the distant future, the film follows Dek, played by Dimitrius Schuster-Koloamatangi (“Red, White, and Brass,” “The Panthers”), a young runt in a clan of Yautja (the alien species we know as Predators). After his Father, played by Reuben De Jong and voiced by Schuster-Koloamatangi, sentences his to death due to his size and weakness, Dek sets off for Genna, the deadliest planet in the galaxy, on his first hunt. While on the planet, he befriends Thia, played by Elle Fanning (“The Great,” “Super 8”), a friendly damaged Weyland-Yutani synthetic who agrees to help Dek on his quest to find and kill the legendary Kalisk, a creature also sought by Thia’s fellow synthetic and surrogate sister Tessa, also played by Fanning.

In a franchise first, Trachtenberg and co-writer Patrick Aison (“Prey (2022),” “Last Light”) have made the smart decision to center this adventure around a Yautja itself. As opposed to previous films, which feature the alien as a monstrous force attempting to hunt and slaughter the other human characters, here we get to see a side to the creature and their culture never explored before. It’s hard to say it was necessary or revelatory, but it's an amount of care and expansion rarely seen in modern day blockbusters. It being tied directly to Dek’s story and evolution also means that it never feels as obvious or eye-rolling as moments like “when Han Solo got the name Solo” or things like that. Plenty of these moments also work fantastically as simple setups and payoffs. This is a tight and simple script, and Trachtenberg and Aison know how to set up an item, creature, device to later have it used in spectacular fashion. It’s a perfect example of how you don’t need a complicated setup to give way to a wonderful payoff.

Schuster-Koloamatangi's physical performance is remarkably impressive here. Given the fact that the Yautja’s face is mostly CGI, it means much of his performance has to be communicated physically and vocally. He does a remarkable job getting us to care for this alien killer, using some easy short hands to communicate where he’s at emotionally at the start of his journey. Like the script, his performance is a great example of effective simplicity, allowing Dek to evolve throughout the film from a runt of his clan to a formidable warrior and letting us attach to that journey with him. Fanning is fantastic as well in her dual roles; she manages to deliver two very different interpretations of the same character dynamically, with Thia easy to fall in love with and Tessa easy to hate. She’s the cherry on top of a simple, effective, physically demanded cast at the center of this adventure.

Given the focus on an alien species notorious for its brutality and weaponry, you’d hope that the action and stunt sequences are up to snuff, and thankfully Trachtenberg and his team have delivered the goods here. While the look of the film itself is on the flatter and blander side, the action is well worth it. There are plenty of fantastic sequences of practical and digital effects work, meshing together to deliver Dek’s epic adventure through the jungles and creatures of Genna. The PG-13 rating doesn’t hold this tale back either: while there might not be any red human blood, it’s still a gruesome and delightfully viscously violent tale.

As the guttural chants and deep growls of Sarah Schachner (“The Lazurus Effect,” “Prey”) and Benjamin Wallfisch’s (“Blade Runner 2049,” “IT (2017)”) excellent musical score shade this tale of a warrior’s journey in a sense of brutal menace, what’s at the core of Trachtenberg and Aison’s story is much more ambitious for the franchise. It might be hard to believe, but there’s a legitimate emotional core at the center of this film and Dek’s journey that works excellently. Like most of the film’s strengths, it’s an example of the effective simplicity at the core of Trachtenberg’s work here. It’s nothing exceptional, but there is something surprisingly moving about this Yautja’s tale.

“Predator: Badlands” continues Dan Trachtenberg’s streak of bringing new blood to the franchise and delivering some of the best stuff it’s ever seen. This third film delivers on its intriguing premise with remarkably effective simplistic approaches to its story, action, setups, and emotional arcs, even if the film’s look is blander than one would expect. It’s a popcorn movie through and through, but an excellent one that will satisfy anyone looking for a thrill, whether they’re familiar with the Yautja’s previous exploits or not. 4.5/5 

Die My Love - Review: One Crazy Mother

 

The prospect of going to the movies to specifically seek out a “bad time” might seem foreign to some. But some directors make their living off of tackling uncomfortable, unpleasant, or downright confusing ideas on the big screen. Lynne Ramsay (“We Need to Talk About Kevin,” “You Were Never Really Here”) is one of those directors, and she’s returned with a new project featuring two of cinemas most flexible actors and source material that’s been described simply as “uncomfortable.” It’s an interesting one to say the least.

Based on the 2012 Spanish novel by Ariana Harwicz, “Die My Love” follows Grace, played by Jennifer Lawrence (“The Hunger Games,” “No Hard Feelings”), and Jackson, played by Robert Pattinson (“Twilight,” “The Batman”). They’ve just moved into a house in the countryside and Jackson is off every day working in the city, leaving Grace at home alone with their new baby. As the days grow longer, Grace finds herself slipping into madness, injuring herself around the house, and slowly dipping more and more into post-partum depression, much to the fear of Jackson.

How to describe this film is as much a question as what actually happens in this film, as much of the time it borders on being indescribable in its events and the order in which they appear. Co-writers Ramsay, Enda Walsh (“Hunger,” “The House (2022)”), and Alice Birch (“Dead Ringers,” “Normal People”) craft a film that feels more like a series of segments in Grace’s larger journey into madness than a strictly coherent three-act structured film. It’s a film that coasts along on vibes and energy rather than any narrative structure, and while your mileage may vary with that kind of approach, it’s nevertheless effective in evoking this very specific emotional panic.

This is Lawrence’s film, no doubt about it, and she carries the entire thing from start to finish. It's the sort of project most actors would die to get a hold off, taking material that’s this elaborate and metaphorical and running away with it. Regardless of your opinion of the rest of the film, her performance is undeniably fantastic. Pattinson gets just as much to sink his teeth into, delivering a wild and crazed performance to match hers. Given that the film is entirely her tale, he doesn’t get as much to play with, but he’s great regardless and any scene where they’re at each other's throats is a great time.

Meanwhile, anyone outside of Lawrence and Pattinson gets a lot less to work with. Sissy Spaeck (“Badlands,” “Carrie (1976)”) has a fun, but all to brief role as Jackson’s mother Pam. She lights up the screen when she appears, adding an older female perspective to Grace’s turmoil, but nothing substantial as a character. LaKeith Stanfield (“Sorry to Bother You,” “Atlanta”) pops up for what charitably might be two lines and 5 minutes of screentime as a pseud-imaginary affair for Grace named Karl, and the film simply wastes him. Nick Nolte (“48 Hrs,” “The Prince of Tides”) appears briefly as well as Harry, Jackson’s elderly father who somehow manages to deliver great warmth and humor despite being just as brief as Stanfield, if not moreso.

There is clearly a goal in the visuals, editing, and cinematography to evoke the kind of unhinged, slowly escalating madness that Grace is going through but in film form. Large swaths of the film have little to no dialogue and the musical score ratchets up at random points mixed in with needle drops from everything from “Love Me Tender” to “Hey Mickey” to “Souljacker Part 1.” Cinematographer Seamus McGarvey (“Atonement,” “Anna Karenina”) crafts a look that somehow makes the surrounding forest and open house claustrophobic, draped in some positively gorgeous nighttime photography. The musical score composed by George Vjestica (“The Sky Above Zenica”), Raife Burchell, and Ramsay is deeply unsettling, when it does appear, while also maintaining a playfulness purposefully absent in the rest of the film.

Ramsay’s vision for this film is a clear and deliberate one; it's just that said vision is one meant to evoke specific feelings and interpretations rather than present a concise narrative structure. It’s a viewing experience that feels purposeful even in the moments it becomes challenging to parse. The ending in particular is a perfect example of the film’s daring visual and metaphorical goals while also settling into a very specific vibe and refusing to explain itself further. While not so much the sort of “art house” film shown in museums, it's definitely not a mainstream hit and that should be noted for any viewer going in blind.

“Die My Love” certainly accomplishes its goals of maintaining a specific vibe somewhere between despair and feminist rage, without ever tipping its hand to explain what it's all specifically “about.” Lawrence and Pattinson run away with their roles, helping to ground the project in their excellent performances, even amongst a mostly wasted supporting cast. It's hard to say that anything in this film is “bad” or didn’t accomplish exactly what Lynne Ramsay set out to do. It’s just hard to say that it’s a good recommendation for anyone who would normally turn their nose away at a film like this. If you can get on its wavelength though, it’s a hell of an entertaining piece of madness. 3.5/5