jonnydt

As a high-concept sci-fi film, Predator: Badlands has a lot going for it. Structurally, it's solid - a straightforward tale of reward and revenge, wrapped in a buddy-movie dynamic that keeps the journey moving at a decent pace. Interestingly, the film places the Predator in the protagonist role, which offers a fresh angle on a well-known franchise. And to its credit, the main characters are likeable and well-drawn enough to keep you invested, at least moment to moment.

In today's blockbuster landscape, where CGI spectacle is the norm, what really matters is inventiveness - audiences can no longer be expected to marvel at explosions and alien creatures alone. Badlands certainly presents a dangerous and visually engaging world, filled with hostile threats and imaginative environments, but it rarely feels truly original. There's a familiarity to everything, as though the setting is made from borrowed parts of better films.

The biggest issue, however, lies in its central conflict. The antagonist - while not something I'll spoil - feels like a one-note plot device rather than a real, character-driven opposition. The stakes feel superficial, and the action, while serviceable, never rises beyond simply pushing the plot forward. As a result, the journey starts to feel mechanical - energetic but hollow.

There are still entertaining moments, thanks mainly to the committed lead performances and the film's confident pace. But without deeper stakes or meaningful conflict, Predator: Badlands ultimately struggles to stand out. It's a competent entry in the franchise, but not one likely to be remembered alongside the genre's more daring or imaginative outings.

It's rare to see a film that so gleefully knows exactly what it is - and just runs with it. Make no mistake: the filmmakers behind Sisu have absolutely no interest in telling a deep story or creating a character that goes beyond one dimension. And honestly? That's part of the fun.

At its best, Sisu delivers a refreshing cinematic spectacle that leans hard into its B-movie roots. It literally divides itself into chapters and moves from one outrageous set piece to the next, fully embracing the ridiculousness of its premise. Thankfully, the director sets a consistent tone early on - a mix of deadly serious delivery with a wink of absurdity - and the cast is totally on board with that vision. Their performances, grounded within the madness, help sell the chaos without ever fully tipping into parody.

That's not to say it's perfect. Some of the action lacks the punch it needs, occasionally feeling overworked rather than thrilling. And while the concept is strong, it starts to wear thin by the final act. Even with a short runtime, the film struggles to maintain its momentum all the way through and risks overstaying its welcome.

Still, it's a fun enough ride - stylish, committed, and unashamedly pulpy. If nothing else, Sisu proves that the director has both the energy and vision to take on bigger, bolder projects in the future.

I can see it now: all the Christmas food, and for me, nothing beats a giant turkey and piles of cheese. So I should've loved Christmas Karma - it's one massive turkey absolutely dripping in cheese. And yet, I hated it.

The problems are too many to count, though I'll give the tiniest nod of praise for at least trying to raise important social issues around inclusion and racism - however ham-fisted and awkward those attempts may be - and for a few of Gary Barlow's catchier tunes. But even those can't save this mess. If anything, the songs make it worse: lyrics that might have worked as standalone radio tracks are repurposed here as clumsy exposition, adding to an already over-explained and painfully on-the-nose script.

Exactly how the director managed to butcher the classic character arc of Scrooge is a mystery - and sadly, it's the most impressive thing about the film. The tone is all over the place, veering between light and dark with no clear sense of direction. The editing only adds to the chaos, throwing in key narrative moments where they stall rather than drive the plot forward, completely missing the emotional beats they're meant to hit.

The film has no idea who it's made for: too shallow and smug for adults, yet too boring and serious for children. The cast seem trapped in this confusion, delivering stiff performances that never quite settle between forced sentimentality and half-hearted slapstick. "Comic relief" is generous - nothing that's supposed to be funny actually lands. The visual storytelling lacks any imagination, and the dialogue is, frankly, dreadful.

Honestly, this might be the worst Christmas film I've ever seen - and considering the amount of festive junk that gets churned out every year, that's quite an achievement.

Still, I'll take one positive from the experience: if Christmas Karma can find its way onto a cinema screen, there's hope for every aspiring filmmaker out there. That thought, at least, might save me from the nightmares poor Scrooge had to endure.