eddie_baggins's reviews
This page compiles all reviews eddie_baggins has written, sharing their detailed thoughts about movies, TV shows, and more.
1,800 reviews
Based on the best selling book by Isabella Tree, who also acts as this features main talking head, British documentary Wilding is a mostly unremarkable exploration of a remarkable work of nature as director David Allen for his debut feature examines the rewilding project of the Knepp Wildland in West Sussex.
An estate that is owned by Tree and her partner, the Kneep Wildland project is an entirely fresh way of looking to farm and sustain land outside of the stereotypical fashion that modern science and agribusiness has set in place with an idea to instead let the natural environment and animal species create their own ecosystems from the ground up as man takes a massive backwards step from the whole scenario.
It's a controversial approach and one that bought Tree and her team much vitriol and hatred early on in their journey but after decades of sustained practice and a commitment to the cause, the benefits of what their approach can gain is there for all too see, especially with Allen's keen eye.
When we say that Wilding is unremarkable as a film it can't be a statement that reads true when one talks about the visual elements of Allen's film that are beautiful and unique in equal measure.
Whether its pigs exploring local watering holes for fresh food or deer roaming the estate, Wilding has numerous moments of breath-taking beauty and while the films flashbacks and more staged elements don't real as natural as the modern day segments, even they have their moments, a scene involving 1000's of butterflies descending on the property is gorgeously staged.
For anyone seeking out a documentary that connects the viewer directly too nature the way in which is intended to be found Wilding will be a major winner and while it may struggle to find a broad and wide-ranging audience, this is a well-intentioned visual exploration of a true life underdog story.
Final Say -
A visually outstanding British documentary that never soars to great heights otherwise, Wilding is a workmanlike feature that never outstays its welcome but never becomes a must-see at the same time.
3 busy beavers out of 5.
An estate that is owned by Tree and her partner, the Kneep Wildland project is an entirely fresh way of looking to farm and sustain land outside of the stereotypical fashion that modern science and agribusiness has set in place with an idea to instead let the natural environment and animal species create their own ecosystems from the ground up as man takes a massive backwards step from the whole scenario.
It's a controversial approach and one that bought Tree and her team much vitriol and hatred early on in their journey but after decades of sustained practice and a commitment to the cause, the benefits of what their approach can gain is there for all too see, especially with Allen's keen eye.
When we say that Wilding is unremarkable as a film it can't be a statement that reads true when one talks about the visual elements of Allen's film that are beautiful and unique in equal measure.
Whether its pigs exploring local watering holes for fresh food or deer roaming the estate, Wilding has numerous moments of breath-taking beauty and while the films flashbacks and more staged elements don't real as natural as the modern day segments, even they have their moments, a scene involving 1000's of butterflies descending on the property is gorgeously staged.
For anyone seeking out a documentary that connects the viewer directly too nature the way in which is intended to be found Wilding will be a major winner and while it may struggle to find a broad and wide-ranging audience, this is a well-intentioned visual exploration of a true life underdog story.
Final Say -
A visually outstanding British documentary that never soars to great heights otherwise, Wilding is a workmanlike feature that never outstays its welcome but never becomes a must-see at the same time.
3 busy beavers out of 5.
Further adding fuel to the fire that 2025 may just be the best calendar year for the horror genre of the modern era, if not cinematic history, Zach Cregger's follow-up to his breakout 2022 effort Barbarian is one of the years wildest cinematic rides, one that's brimming with creativity, surprises and a sense of playfulness not often found in studio backed offerings, making this a must-see affair.
Centred around the brilliantly marketed concept of a group of school children disappearing at the same time of 2.17am and how the small community in which they live tries to come to terms with the mystery and also find a resolution, Weapons is a film best watched as blind as possible, as in a day and age where so much predictability has become part of the package of how we consume content, Cregger's original offering stands out above the crowd as something special and unpredictable.
Promoted as more of a straight up horror mystery, Weapons moulding together of genres that includes hearty doses of thriller elements and even against the odds seriously comedic ingredients (no doubt familiar to those that remember Cregger's work in hit sketch comedy outfit WKUK) works wonders to keep things fresh and exciting throughout its two hour plus running time that culminates in one of the years most unforgettable and frantic final acts.
Broken up into distinct chapters that each focuses on an individual character caught up in the core mystery, a highlight of which ends up being Austin Abrams as down on his luck junkie James, Weapons rarely pauses for breath and while it takes a while to get going during the initial periods where we are introduced to Julia Garner's unfortunate school teacher Justine Gandy, once the pieces of the puzzle start to become more apparent, there's no stopping Cregger and his ingenious imagination.
Equal parts scary, equal parts violent and even working well in its quieter character driven moments that includes Josh Brolin's grieving father Archer and Cary Christopher's unfortunate sole classroom survivor Alex, Weapons is a lot of things all at once and while arguably not every element of its wide-spanning narrative pays off as some might hope for, there's no denying that Weapons is major bang for buck cinematic spectacle that deserves its breakout box office success and critical/audience adoration.
Based off what we have been gifted here and all the highs that the flawed but highly entertaining Barbarian provided, it's safe to say Cregger has quickly become one of the most notable and original creative voices in Hollywood with his upcoming take on the Resident Evil series likely to be a blockbuster to keep a very close eye on.
Final Say -
If you let yourself be taken willingly on the ride Weapons provides it's likely to provide you with one of the most memorable, unpredictable and outrageous feature film experiences you're likely to come across in the near future.
4 1/2 bowls of water out of 5.
Centred around the brilliantly marketed concept of a group of school children disappearing at the same time of 2.17am and how the small community in which they live tries to come to terms with the mystery and also find a resolution, Weapons is a film best watched as blind as possible, as in a day and age where so much predictability has become part of the package of how we consume content, Cregger's original offering stands out above the crowd as something special and unpredictable.
Promoted as more of a straight up horror mystery, Weapons moulding together of genres that includes hearty doses of thriller elements and even against the odds seriously comedic ingredients (no doubt familiar to those that remember Cregger's work in hit sketch comedy outfit WKUK) works wonders to keep things fresh and exciting throughout its two hour plus running time that culminates in one of the years most unforgettable and frantic final acts.
Broken up into distinct chapters that each focuses on an individual character caught up in the core mystery, a highlight of which ends up being Austin Abrams as down on his luck junkie James, Weapons rarely pauses for breath and while it takes a while to get going during the initial periods where we are introduced to Julia Garner's unfortunate school teacher Justine Gandy, once the pieces of the puzzle start to become more apparent, there's no stopping Cregger and his ingenious imagination.
Equal parts scary, equal parts violent and even working well in its quieter character driven moments that includes Josh Brolin's grieving father Archer and Cary Christopher's unfortunate sole classroom survivor Alex, Weapons is a lot of things all at once and while arguably not every element of its wide-spanning narrative pays off as some might hope for, there's no denying that Weapons is major bang for buck cinematic spectacle that deserves its breakout box office success and critical/audience adoration.
Based off what we have been gifted here and all the highs that the flawed but highly entertaining Barbarian provided, it's safe to say Cregger has quickly become one of the most notable and original creative voices in Hollywood with his upcoming take on the Resident Evil series likely to be a blockbuster to keep a very close eye on.
Final Say -
If you let yourself be taken willingly on the ride Weapons provides it's likely to provide you with one of the most memorable, unpredictable and outrageous feature film experiences you're likely to come across in the near future.
4 1/2 bowls of water out of 5.
Despite a name brand cast and an intriguing concept, there's every likelihood that many keen eyed moviegoers had no idea about the existence of Amazon original The Assessment, the feature debut of long-term music video director Fleur Fortune who brings enough to the table here to suggest she has what it takes to craft a special movie in the future should the stars align.
Enlisting the not insignificant talent pool of Elizabeth Olsen, Himesh Patel, Alicia Vikander and an important cameo from industry veteran Minnie Driver, Fortune has surrounded herself with the right people to bring her futuristic vision to life, one that's built on the foundations of its performers and the core concept of Fortune's unique science fiction vision.
Based in an unspecified future where Earth has been ravaged by a series of global catastrophes and the choice of having a child is now not an individual choice rather one decided by a government backed agency who anoint parents based of a series of invasive "assessments", The Assessment is intimate and confined in nature with the majority of its close to two hour run time taking place in the household of Olsen and Patel's couple Mia and Aaryan who are being visited by Vikander's assessor Virginia to try and pass the parental test.
It's not the type of film that's going to appease general fans or more specific genre fans seeking out action pact or spectacle driven offerings but there's a softly spoken power to Fortune's film, one that isn't afraid to get very weird in parts and confounding in others, but for those willing to accept its flaws there's great pay-offs to be had and getting to witness such a talented cast play off one another is always a great viewing opportunity.
Relatively quiet over recent years following her Oscar winning period, it's particularly great to see Vikander back plying her trade on a worthy product while Olsen's post-Marvel career continues to impress while Patel keeps edging closer to the breakthrough role he has been flirting with over the past few years.
With the lead trio all up to the task and on board for The Assessment's weird and wacky ride with a pertinent and heartfelt message this Amazon original is well worth tracking down.
It may not all work at every given moment and there are elements and ingredients in Fortune's debut that feel underexplored or out of place but when The Assessment works it's operating at a very intriguing level, giving us a confronting and humanistic offering that deserves to finds its audience.
Final Say -
Culminating in an emotional rich and thematic fashion, The Assessment is a flawed but noteworthy debut from a new directional voice, who manages to unearth three top-quality performances from her main cast along the way.
3 1/2 greenhouses out of 5.
Enlisting the not insignificant talent pool of Elizabeth Olsen, Himesh Patel, Alicia Vikander and an important cameo from industry veteran Minnie Driver, Fortune has surrounded herself with the right people to bring her futuristic vision to life, one that's built on the foundations of its performers and the core concept of Fortune's unique science fiction vision.
Based in an unspecified future where Earth has been ravaged by a series of global catastrophes and the choice of having a child is now not an individual choice rather one decided by a government backed agency who anoint parents based of a series of invasive "assessments", The Assessment is intimate and confined in nature with the majority of its close to two hour run time taking place in the household of Olsen and Patel's couple Mia and Aaryan who are being visited by Vikander's assessor Virginia to try and pass the parental test.
It's not the type of film that's going to appease general fans or more specific genre fans seeking out action pact or spectacle driven offerings but there's a softly spoken power to Fortune's film, one that isn't afraid to get very weird in parts and confounding in others, but for those willing to accept its flaws there's great pay-offs to be had and getting to witness such a talented cast play off one another is always a great viewing opportunity.
Relatively quiet over recent years following her Oscar winning period, it's particularly great to see Vikander back plying her trade on a worthy product while Olsen's post-Marvel career continues to impress while Patel keeps edging closer to the breakthrough role he has been flirting with over the past few years.
With the lead trio all up to the task and on board for The Assessment's weird and wacky ride with a pertinent and heartfelt message this Amazon original is well worth tracking down.
It may not all work at every given moment and there are elements and ingredients in Fortune's debut that feel underexplored or out of place but when The Assessment works it's operating at a very intriguing level, giving us a confronting and humanistic offering that deserves to finds its audience.
Final Say -
Culminating in an emotional rich and thematic fashion, The Assessment is a flawed but noteworthy debut from a new directional voice, who manages to unearth three top-quality performances from her main cast along the way.
3 1/2 greenhouses out of 5.
The newest high-concept thriller from the struggling Blumhouse production line, Drop is the type of affair where you know beforehand you're going to need to switch your brain and better judgement into off mode but despite being one of the better looking and technically sound low-budget genre efforts you're likely to see this year, Christopher Langdon's increasingly undercooked effort isn't one you'll be overly glad you partook in.
A director who has proved in times past he has an ability to make low-budget films that can provide simplistic entertainment for willing audiences, with the Vince Vaughan starring Freaky or the Happy Death Day series proof of this, Langdon struggles to keep some early momentum in Drop going as we grow ever bored by Meghann Fahy's Violet trying to unearth a criminal culprit taunting her while on a date with Brandon Sklenar's charisma free date Henry.
Early on here there appears to be lots of potential for Drop to become a B movie delight as we join Violet in trying to juggle a first date after years out of the scene all the while trying to lockdown who in the fancy restaurant she finds herself in is taunting her and threatening her family but as Fahy and Sklenar fail to create sparks together and the film becomes a repetitive and progressively more far-fetched offering, the goodwill towards Drop falls all the way into general disinterest when the final revels and set-pieces arrive.
With such an over the top concept and a bizarre plan by a villain who could've easily accomplished their job in a much simpler fashion, Drop really needed to ramp up the fun factor and creativity to make its mark and while Langdon has a few visual tricks and technical powers to unleash across Drop's thankfully short 90 minute running time, there's not playfulness or payoffs here to mark his latest effort as a success, clearly represented by Drop's dismal box office return that is yet another Blumhouse miss after years of sustained success.
Bursting onto the scene in a big way with 2009's Paranormal Activity and riding high on the likes of Insidious, The Purge and even Whiplash, producer Jason Blum and his company have hit a genuine rough patch in recent times and one suspects crunch time is coming if they can't manage to nail some huge hits critically and commercially soon.
Final Say -
There's some mindless moments of fun to be found in your reservation with Drop but for the most part this over the top and bland offering gives us very little to care about or remember.
2 excitable waiters out of 5.
A director who has proved in times past he has an ability to make low-budget films that can provide simplistic entertainment for willing audiences, with the Vince Vaughan starring Freaky or the Happy Death Day series proof of this, Langdon struggles to keep some early momentum in Drop going as we grow ever bored by Meghann Fahy's Violet trying to unearth a criminal culprit taunting her while on a date with Brandon Sklenar's charisma free date Henry.
Early on here there appears to be lots of potential for Drop to become a B movie delight as we join Violet in trying to juggle a first date after years out of the scene all the while trying to lockdown who in the fancy restaurant she finds herself in is taunting her and threatening her family but as Fahy and Sklenar fail to create sparks together and the film becomes a repetitive and progressively more far-fetched offering, the goodwill towards Drop falls all the way into general disinterest when the final revels and set-pieces arrive.
With such an over the top concept and a bizarre plan by a villain who could've easily accomplished their job in a much simpler fashion, Drop really needed to ramp up the fun factor and creativity to make its mark and while Langdon has a few visual tricks and technical powers to unleash across Drop's thankfully short 90 minute running time, there's not playfulness or payoffs here to mark his latest effort as a success, clearly represented by Drop's dismal box office return that is yet another Blumhouse miss after years of sustained success.
Bursting onto the scene in a big way with 2009's Paranormal Activity and riding high on the likes of Insidious, The Purge and even Whiplash, producer Jason Blum and his company have hit a genuine rough patch in recent times and one suspects crunch time is coming if they can't manage to nail some huge hits critically and commercially soon.
Final Say -
There's some mindless moments of fun to be found in your reservation with Drop but for the most part this over the top and bland offering gives us very little to care about or remember.
2 excitable waiters out of 5.
A joint production between America and Australia that combines something we never knew we needed combined in our cinematic landscape, serial killers and sharks, Dangerous Animals marks Aussie director Sean Byrne's first feature film since 2015's The Devil's Candy in what's a unique and sporadically brilliant offering that is a little to contrived and long in the tooth to be regarded as an outright success.
Basking in its demented and inventive set-up that follows the life and death battle of wits Hassie Harrison's American free spirit surfer Zephyr finds herself in as she tries to escape the clutches of Jai Courtney's shark aficionado serial killer Bruce Tucker, Animals starts off in a rollicking fashion with a scene-chewing Courtney having the time of his life but as its seemingly brief sub-100 minute running time ticks on Byrne's film can't maintain the momentum and energy it's early segments possess.
Unafraid to get bloody and play into its darker nature, Animals has a very similar vibe to Byrne's breakout debut Australian cult classic The Loved Ones and when its got a Zephyr and Bruce focus, Animals has a great time playing off the good vs evil angle with a fishy twist but once it gives way to more screentime dedicated to Zephyr's one night stand knight in shining armour Moses (played by Josh Heuston), a lot more plot contrivances and repetitive back and forwards take hold, ensuring Animals is unable to reach the grand heights its wild concept may have had within its reach.
What is an unquestionable aspect of Animals is the joyous performance of Courtney who has unarguably never been better than he is here.
Matching the energy of famous Australian cinema villains such as Wolf Creek's Mick Taylor or Animal Kingdom's Andrew "Pope" Cody, Courtney's Bruce is an instantly iconic creation and after being misused in various ways across his career so far in the likes of Terminator Genisys, A Good Day to Die Hard or Suicide Squad, Courtney here showcases a whole other element to him as a performer and one suspects that following on from this Hollywood may look at Courtney in a whole different line when it comes to future roles, not dissimilar to Ben Mendelsohn's career revival in the wake of his Animal Kingdom turn.
Full of little moments and some darkly twisted ingredients that sadly don't always gel together to give us the first official serial killer/shark classic combo, Dangerous Animals is a uniquely designed local offering that has equal amount of highs and lows creating an uneven viewing experience that can't be accused of not taking a big swing.
Final Say -
An unfortunately mid-tier affair that flirts with being something special, Dangerous Animals isn't a must-see but thanks to Jai Courtney's unexpectedly great against type performance and some solid shark carnage there's still some viewing joy to be found here.
2 1/2 Pinkfong songs out of 5.
Basking in its demented and inventive set-up that follows the life and death battle of wits Hassie Harrison's American free spirit surfer Zephyr finds herself in as she tries to escape the clutches of Jai Courtney's shark aficionado serial killer Bruce Tucker, Animals starts off in a rollicking fashion with a scene-chewing Courtney having the time of his life but as its seemingly brief sub-100 minute running time ticks on Byrne's film can't maintain the momentum and energy it's early segments possess.
Unafraid to get bloody and play into its darker nature, Animals has a very similar vibe to Byrne's breakout debut Australian cult classic The Loved Ones and when its got a Zephyr and Bruce focus, Animals has a great time playing off the good vs evil angle with a fishy twist but once it gives way to more screentime dedicated to Zephyr's one night stand knight in shining armour Moses (played by Josh Heuston), a lot more plot contrivances and repetitive back and forwards take hold, ensuring Animals is unable to reach the grand heights its wild concept may have had within its reach.
What is an unquestionable aspect of Animals is the joyous performance of Courtney who has unarguably never been better than he is here.
Matching the energy of famous Australian cinema villains such as Wolf Creek's Mick Taylor or Animal Kingdom's Andrew "Pope" Cody, Courtney's Bruce is an instantly iconic creation and after being misused in various ways across his career so far in the likes of Terminator Genisys, A Good Day to Die Hard or Suicide Squad, Courtney here showcases a whole other element to him as a performer and one suspects that following on from this Hollywood may look at Courtney in a whole different line when it comes to future roles, not dissimilar to Ben Mendelsohn's career revival in the wake of his Animal Kingdom turn.
Full of little moments and some darkly twisted ingredients that sadly don't always gel together to give us the first official serial killer/shark classic combo, Dangerous Animals is a uniquely designed local offering that has equal amount of highs and lows creating an uneven viewing experience that can't be accused of not taking a big swing.
Final Say -
An unfortunately mid-tier affair that flirts with being something special, Dangerous Animals isn't a must-see but thanks to Jai Courtney's unexpectedly great against type performance and some solid shark carnage there's still some viewing joy to be found here.
2 1/2 Pinkfong songs out of 5.
The little 2024 film that could, earning a raft of audience and critical praise as well as a large collection of festival awards at some of the industries premiere events, one suspects that the life of Tracie Laymon's debut feature Bob Trevino Likes It is only just beginning as more audiences discover this based on a true story tale for themselves.
Based on Laymon's own personal experiences after meeting with an online contact while searching for a connection with her real life father, Trevino clearly comes from heartfelt place and while it walks the same path of many similar low-budget character driven films of the past, it's hard not to be moved and inspired by this small but effective offering that is worked brilliantly by its two leads.
Finally getting a chance to test herself in the feature film landscape after making her mark in hit HBO series Euphoria, a lot of Trevino's success rests on the shoulders of Barbie Ferreira and she is more than up for the task.
A tricky role for any performer to deliver on, with Lily being a complex and flawed iteration of Laymon's own-self, Ferreira does a fantastic job of keeping Lily on the right side of the ledger while at the same time creating a memorable chemistry with her off-sider John Leguizamo who is as good as his been in years as the softly spoken and kind-hearted Bob, reminding us all that when he is given the right material and he himself invests, he's one of Hollywood's most reliable character actors.
With her two leads on fine form there's any easy-going nature and feel to Trevino yet while viewers may feel as though they have everything pegged as the early stages march on, Laymon has some tricks up her sleeve with where Trevino goes and how it goes there, creating an emotionally resonate and powerful watching experience that is sure to surprise many unsuspecting viewers unaware of what Trevino has too say about life, love, friendship and finding ones way in this big scary world.
In a day and age where small independent films like Trevino feel like a dying breed as they are forced into fighting for space in cinemas or standing out in crowded streaming marketplaces, Laymon's relatable and humanly focussed dramedy isn't a revelatory experience but its a timely reminder of the power of films of this shape and size.
Final Say -
Sure to discover a wide-reaching and passionate fanbase as a larger audience accesses the film on home media, Bob Trevino Likes It is a heartfelt and heart-warming little tale that features two fine central performances anchoring proceedings.
3 1/2 possessed toilets out of 5.
Based on Laymon's own personal experiences after meeting with an online contact while searching for a connection with her real life father, Trevino clearly comes from heartfelt place and while it walks the same path of many similar low-budget character driven films of the past, it's hard not to be moved and inspired by this small but effective offering that is worked brilliantly by its two leads.
Finally getting a chance to test herself in the feature film landscape after making her mark in hit HBO series Euphoria, a lot of Trevino's success rests on the shoulders of Barbie Ferreira and she is more than up for the task.
A tricky role for any performer to deliver on, with Lily being a complex and flawed iteration of Laymon's own-self, Ferreira does a fantastic job of keeping Lily on the right side of the ledger while at the same time creating a memorable chemistry with her off-sider John Leguizamo who is as good as his been in years as the softly spoken and kind-hearted Bob, reminding us all that when he is given the right material and he himself invests, he's one of Hollywood's most reliable character actors.
With her two leads on fine form there's any easy-going nature and feel to Trevino yet while viewers may feel as though they have everything pegged as the early stages march on, Laymon has some tricks up her sleeve with where Trevino goes and how it goes there, creating an emotionally resonate and powerful watching experience that is sure to surprise many unsuspecting viewers unaware of what Trevino has too say about life, love, friendship and finding ones way in this big scary world.
In a day and age where small independent films like Trevino feel like a dying breed as they are forced into fighting for space in cinemas or standing out in crowded streaming marketplaces, Laymon's relatable and humanly focussed dramedy isn't a revelatory experience but its a timely reminder of the power of films of this shape and size.
Final Say -
Sure to discover a wide-reaching and passionate fanbase as a larger audience accesses the film on home media, Bob Trevino Likes It is a heartfelt and heart-warming little tale that features two fine central performances anchoring proceedings.
3 1/2 possessed toilets out of 5.
Arriving onto our screens at home (courtesy of Netflix) 29 years on since the original 1996 sports comedy launched its star Adam Sandler into the big leagues, Happy Gilmore 2 marks the return of one of Sandler's most well-liked and well-known properties, gifting us a final product that is sure too appease fans of the original while not gaining new fans along the way.
More so an excuse for Sandler and his team that includes original members Christopher McDonald as fan favourite/Gilmore nemesis Shooter McGavin and Julie Bowen as Gilmore's loving partner Virginia (getting one of the films most unexpected moments) to harken back to past glories, mix and mingle with an abundant array of celebrity cameos that matter little to the grand scheme of things, Happy Gilmore 2 doesn't worry too much about crafting a real reason to exist but considering what could've been the end result here is about as mindlessly enjoyable as it could've been.
Working alongside director Kyle Newacheck, who last collaborated with Sandler on the atrocious Netflix offering Murder Mystery, Happy Gilmore 2 kicks off proceedings in a fast-paced and solidly humorous fashion, enhanced by the films secret weapon John Daly as a Gilmore house co-inhabitant, with anyone who regularly quotes or revisits the original likely to enter peak reminiscing nirvana as we go for a trip down memory lane to a bygone era where comedies in this ilk use to be prime movers at the global box office.
Getting looser as time wears on, Happy Gilmore 2 certainly starts to feel the weight of clocking in at just under two hours in length and looking to draw out a very flimsy premise and audience enjoyment is likely going to depend on how willing one is too go along with an increasingly chaotic and juvenile outing but when you consider much of Sandler's Netflix original work, Happy Gilmore 2 is thankfully one of the more watchable and entertaining examples of their lucrative partnership.
Not so much of a film, more so an excuse to live off the good-will of the 1996 original and get as many willing celebrities to come along for the ride (did anyone ever think a feature film would include Post Malone, Eminem and Bad Bunny?), including a bunch of scene-stealing real life golf pros who have a blast at their own expense in the films second half, Happy Gilmore 2 is as slight as they come but by owning what it is and giving its target audience an experience that was too be expected, Sandler and his merry band of off-siders may not have hit a hole in one but they've struck the right amount of energy and good-natured fun to allow Happy Gilmore 2 to come in just under par.
Final Say -
Unlikely to win over any new fans or convince any naysayers of the brand of its worthiness, Happy Gilmore 2 is unashamedly what it is for better and worse as Sandler takes a victory lap of his most popular past achievement.
3 hidden flasks out of 5.
More so an excuse for Sandler and his team that includes original members Christopher McDonald as fan favourite/Gilmore nemesis Shooter McGavin and Julie Bowen as Gilmore's loving partner Virginia (getting one of the films most unexpected moments) to harken back to past glories, mix and mingle with an abundant array of celebrity cameos that matter little to the grand scheme of things, Happy Gilmore 2 doesn't worry too much about crafting a real reason to exist but considering what could've been the end result here is about as mindlessly enjoyable as it could've been.
Working alongside director Kyle Newacheck, who last collaborated with Sandler on the atrocious Netflix offering Murder Mystery, Happy Gilmore 2 kicks off proceedings in a fast-paced and solidly humorous fashion, enhanced by the films secret weapon John Daly as a Gilmore house co-inhabitant, with anyone who regularly quotes or revisits the original likely to enter peak reminiscing nirvana as we go for a trip down memory lane to a bygone era where comedies in this ilk use to be prime movers at the global box office.
Getting looser as time wears on, Happy Gilmore 2 certainly starts to feel the weight of clocking in at just under two hours in length and looking to draw out a very flimsy premise and audience enjoyment is likely going to depend on how willing one is too go along with an increasingly chaotic and juvenile outing but when you consider much of Sandler's Netflix original work, Happy Gilmore 2 is thankfully one of the more watchable and entertaining examples of their lucrative partnership.
Not so much of a film, more so an excuse to live off the good-will of the 1996 original and get as many willing celebrities to come along for the ride (did anyone ever think a feature film would include Post Malone, Eminem and Bad Bunny?), including a bunch of scene-stealing real life golf pros who have a blast at their own expense in the films second half, Happy Gilmore 2 is as slight as they come but by owning what it is and giving its target audience an experience that was too be expected, Sandler and his merry band of off-siders may not have hit a hole in one but they've struck the right amount of energy and good-natured fun to allow Happy Gilmore 2 to come in just under par.
Final Say -
Unlikely to win over any new fans or convince any naysayers of the brand of its worthiness, Happy Gilmore 2 is unashamedly what it is for better and worse as Sandler takes a victory lap of his most popular past achievement.
3 hidden flasks out of 5.
A key moment in the Marvel cinematic universe, one that has gone through a tumultuous period since The Avengers: Endgame came and went with much fanfare in 2019, The Fantastic Four: First Steps sees director Matt Shakman herald in the beginning of "Phase 6" for the media giant that's looking to strike gold with the currently filming Avengers: Doomsday that is proposed to arrive at the end of 2026.
A seemingly cursed cinematic property thanks to the early 2000's double bill of films and the diabolical 2015 entry that many would regard as one of the worst comic book adaptations of all time, Shakman and the wider Marvel creative team certainly had their work cut out for them in ensuring past mistakes weren't repeated here while at the same time convincing audiences that have been burnt by this series in the past that this time was the time where the stars aligned.
Pleasingly for long-suffering fans, Marvel acolytes and those just wanting to watch a fun and fast-paced summer blockbuster, First Steps is a (pardon the pun) step in the right direction for the future of "Phase 6" and while it absolutely doesn't do anything extraordinary, this back to basics like offering that is well-casted, shot and produced is a breezy and enjoyable experience that puts in place a solid foundation for what is too come.
Steering clear of attempting to do another fully fledged origin story, Shakman gets stuck straight into things as we are transported to a retro-futuristic New York in 1961 and the awesome foursome that is Reed Richards ( Pedro Pascal), Sue Storm (Vanessa Kirby), Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn) are tasked with their greatest challenge yet trying to protect the world from the threat that is Galactus (Ralph Ineson) and his loyal offsider Silver Surfer (Julia Garner).
While this stereotypical world destroying threat and battle plays a key part in First Steps, what's impressive about this enjoyably baggage free offering is the fact Shakman is just as keen to allow the family element of this group play out, even more so than CGI spectacle or carnage, an angle that allows his talented cast to take centre stage and First Steps to become more than just another excuse for Marvel/Disney to waste their significant budgets on eye-candy and cameo loaded sugar rushes.
It's refreshing to see a more stripped back Marvel offering, one that has the brands most striking visual palette in some years thanks to the old-school Jetson's like atmosphere and in particular one that isn't obsessed with one liners every other minute and wink wink jokes with the performers natural charms all generating natural emotions both of a frivolous nature and far more serious when the time calls for it.
All doing well with their debuts in the Marvel universe, all casting choices here work well with Kirby and Quinn standing out amongst the Four while Ineson and Garner do a lot with limited screentime, making their respective marks as some of the most interesting Marvel villains to grace the big-screen over the last decade.
Clocking in at under two hours, moving along at a constantly moving pace and even featuring a notable score (very unlike Marvel) courtesy of the legend that is Michael Giacchino, First Steps may not be ground-breaking but this is an enjoyable and polished experience that sets the scene for what is all of a sudden an appealing next era of the Marvel universe.
Final Say -
With an on-song cast, a fun and visually memorable retro-futuristic setting and some impressive villains, The Fantastic Four: First Steps is an easy to like summer event film that continues the Marvel momentum after Thunderbolts.
3 1/2 rock beards out of 5.
A seemingly cursed cinematic property thanks to the early 2000's double bill of films and the diabolical 2015 entry that many would regard as one of the worst comic book adaptations of all time, Shakman and the wider Marvel creative team certainly had their work cut out for them in ensuring past mistakes weren't repeated here while at the same time convincing audiences that have been burnt by this series in the past that this time was the time where the stars aligned.
Pleasingly for long-suffering fans, Marvel acolytes and those just wanting to watch a fun and fast-paced summer blockbuster, First Steps is a (pardon the pun) step in the right direction for the future of "Phase 6" and while it absolutely doesn't do anything extraordinary, this back to basics like offering that is well-casted, shot and produced is a breezy and enjoyable experience that puts in place a solid foundation for what is too come.
Steering clear of attempting to do another fully fledged origin story, Shakman gets stuck straight into things as we are transported to a retro-futuristic New York in 1961 and the awesome foursome that is Reed Richards ( Pedro Pascal), Sue Storm (Vanessa Kirby), Ben Grimm (Ebon Moss-Bachrach) and Johnny Storm (Joseph Quinn) are tasked with their greatest challenge yet trying to protect the world from the threat that is Galactus (Ralph Ineson) and his loyal offsider Silver Surfer (Julia Garner).
While this stereotypical world destroying threat and battle plays a key part in First Steps, what's impressive about this enjoyably baggage free offering is the fact Shakman is just as keen to allow the family element of this group play out, even more so than CGI spectacle or carnage, an angle that allows his talented cast to take centre stage and First Steps to become more than just another excuse for Marvel/Disney to waste their significant budgets on eye-candy and cameo loaded sugar rushes.
It's refreshing to see a more stripped back Marvel offering, one that has the brands most striking visual palette in some years thanks to the old-school Jetson's like atmosphere and in particular one that isn't obsessed with one liners every other minute and wink wink jokes with the performers natural charms all generating natural emotions both of a frivolous nature and far more serious when the time calls for it.
All doing well with their debuts in the Marvel universe, all casting choices here work well with Kirby and Quinn standing out amongst the Four while Ineson and Garner do a lot with limited screentime, making their respective marks as some of the most interesting Marvel villains to grace the big-screen over the last decade.
Clocking in at under two hours, moving along at a constantly moving pace and even featuring a notable score (very unlike Marvel) courtesy of the legend that is Michael Giacchino, First Steps may not be ground-breaking but this is an enjoyable and polished experience that sets the scene for what is all of a sudden an appealing next era of the Marvel universe.
Final Say -
With an on-song cast, a fun and visually memorable retro-futuristic setting and some impressive villains, The Fantastic Four: First Steps is an easy to like summer event film that continues the Marvel momentum after Thunderbolts.
3 1/2 rock beards out of 5.
Close to 40 years on from its initial release, it's safe to say The Naked Gun needs no introduction.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
The brainchild of comedic superpowers David and Jerry Zucker and Jim Abrahams, the trio responsible for fellow genre classics Airplane and Top Secret!, this Police Squad spin-off that follows Leslie Nielsen's bumbling police detective Frank Drebin on a journey through L. A to stop a potential assassination of a visiting Queen Elizabeth II is a laugh a minute exercise that embraces its silliness to achieve memorable results.
Soon to be re-imagined by Lonely Island member Akiva Schaffer with a Liam Neeson starring outing that is starting to appear more and more likely like a surprise winner, this original Gun sets the tone from its opening minutes as Drebin takes it to a room full of plotting world leaders in Beirut before the films opening credits begin to roll over the adventures of a very adventurous police siren, giving its audience an ample taste of what's to be expected from a film that is intent on coming at you thick and fast at every given opportunity.
With every minute of its sub-90 minute running time loaded with a joke (or two), there's no denying that not every joke, punchline or piece of slapstick jammed into David Zucker's film works but the hit ratio found here is one that's far above average and the amount of classic one-liners and situational hilarities on offer makes one wonder little as too why Gun has remained such a timeless comedic classic across all these years, a film enjoyed by repeat viewers and those discovering it for the first time.
Front and centre throughout this unashamedly goofy venture is the game and iconic Nielsen who has an absolute blast inhabiting Drebin on his mission that includes safe practices with Priscilla Presley's Jane Spencer, event filled baseball matches, up close and personal statue interactions and some questionable parking moves.
Once known as a more straight up dramatic performer, it's hard to imagine anyone else in the shoes of Drebin with Nielsen's timing, facial expressions and general presence a major reason as to why Gun ended up spawning a further two follow ups and a raft of imitators all looking to capture the same lightning in a bottle that was found here.
Upcoming reboot star Liam Neeson has his work cut out for him as he takes on the role of Frank's son, here's hoping he can do his legacy proud and prove to us all that there's life still yet in the spoof film that has mostly gone to ground in today's new movie-making climate.
Final Say -
Still holding up with the best of them all these years on from its launch, The Naked Gun may not be for all tastes but for anyone willing to embrace its zaniness and go along for the ride, there's not many better ways to find a boatload of laughs.
4 steamrollers out of 5.
One of 2025's most infamous box office duds that put Warner Brothers CEO David Zaslav's head firmly on the chopping block until Minecraft and Sinners arrived to save the day after Barry Levinson's mob drama followed in the footsteps of the Joker sequel and Mickey 17, The Alto Knights is a film that may've made an impact in another era but in the current climate feels stale and without voice.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
Another forgettable addition to the growing collection of sad and sorry Levinson feature films that use to be Rain Man and Good Morning Vietnam and now are Envy and Rock the Kasbah, Knights based on a true story of Mafia players Frank Costello and Vito Genovese could've been a grand new addition to the mobster sub-genre and with star Robert De Niro pulling lead duties and a script by Goodfellas and Casino scribe Nicholas Pileggi, the stars were there to align but unfortunately for all, Knights is a DOA experience.
Produced for an estimated $50 million, Knights had some money behind it as well as talent to make it work but after multiple decades in various stages of development hell and starts and stops, Levinson's eventual version of the life and times of Costello and Genovese is such a generic and lifeless offering you wonder why anyone thought this was a good idea, even more so with De Niro bizarrely playing both main protagonists for no apparent reason other than because he could.
Not related in anyway, shape or form, Knights makes no attempts to justify why it decided to get De Niro in the make-up chair to bring both these figures to life and while De Niro gives it as much of a shot as an 80 year old actor can give the dual casting of the esteemed screen legend is more of a distraction than a service to the film around him that seemingly takes place around a bunch of still photographs and talking head interviews that all go hand in hand to make this feature one that feels disjointed and disengaged.
There are some brief moments where Levinson's film comes to life, an integral senate enquiry and some brief segments where De Niro goes toe to toe with himself in shared scenes bring some interest to the viewer but for such a layered true life tale there's so much within Knights that never comes into full bloom and despite the prestige attached to it, including cinematography work from the Oscar nominated Dante Spinotti, nothing ever feels fully formed or functioning within an end product that lacks a heart and soul.
Formulaic and lacking a spark, Knights is a missed opportunity to gift De Niro with one final mob-centric hurrah and for director Levinson to finally get back on track after years of missed opportunities and half-baked concoctions.
Final Say -
There's good reason why The Alto Knights came and went from cinemas in record pace as this talk-heavy mobster tale fails to find its place in a mismanaged examination of two life long friends bought to conflict by their life in the mob scene.
2 pleadings of the 5th amendment out of 5.
Making a name for himself with his particular brand of awkward humour that has served him well on various stand-up specials and Netflix backed series I Think You Should Leave, American comedian Tim Robinson makes the leap to leading man duties in Andrew DeYoung's feature debut that is one of the years most unique propositions.
Working alongside seasoned audience favourite Paul Rudd, Robinson here plays everyday office worker Craig, a softly spoken and floating middle-aged man who has recently been supporting his wife Tami's (a typically strong Kate Mara) cancer journey and see's huge potential with a friendship he has been striving for with his new neighbour Austin (Rudd).
It's a simplistic set-up in principle and one that's been a tried and true narrative starter in a multitude of purely comical or more dramedy centred affairs across the years but with Robinson in the lead and DuYoung committing to making sure his debut is not a cookie-cutter affair, Friendship provides an odd, unexpected, sometimes hilarious sometimes sad journey that is sure to win as many fans as it loses.
Early on in the building block stages of the film and Craig and Austin's budding relationship, Friendship provides a healthy ratio of hearty laughs and awkwardly hilarious hijinks but as we move forward from the initial half hour set-up Friendship enters into darker territory and it's likely that many willing viewers will begin to wilt as Craig's venture into the depths of desperation and poor decision making takes hold over him and the story itself.
It's undeniable that Robinson has a particular range as a performer and you can't see him ever escaping a typecast scenario he has created for himself and is likely content in but for what Friendship required he is a great choice and his back and forwards with Rudd are a real winner for the film with Rudd becoming the perfect foil for Robinson's mannerisms and antics that won't be for everyone but work for what is required here.
The film's fantastic early stretch is sadly never formed into the potential classic genre entry it might have been as things progress and narratively there's some significant gaps in pay-offs and exploration but in a climate where a lot of films of this ilk play it safe or do the bare minimum, its refreshing to watch something like Friendship that's so content being something a little bit different and non-concerned with the towing the line of expectation.
Final Say -
A must-see for any Tim Robinson fans and for anyone willing to take a strange and off-kilter journey into one man's crumbling life, Friendship isn't always an easy film to digest and is as much a drama as it is a comedic trip but it's an intriguing watch throughout and proves there's a place for Robinson in the feature film landscape.
3 1/2 fast moving pigs out of 5.
Working alongside seasoned audience favourite Paul Rudd, Robinson here plays everyday office worker Craig, a softly spoken and floating middle-aged man who has recently been supporting his wife Tami's (a typically strong Kate Mara) cancer journey and see's huge potential with a friendship he has been striving for with his new neighbour Austin (Rudd).
It's a simplistic set-up in principle and one that's been a tried and true narrative starter in a multitude of purely comical or more dramedy centred affairs across the years but with Robinson in the lead and DuYoung committing to making sure his debut is not a cookie-cutter affair, Friendship provides an odd, unexpected, sometimes hilarious sometimes sad journey that is sure to win as many fans as it loses.
Early on in the building block stages of the film and Craig and Austin's budding relationship, Friendship provides a healthy ratio of hearty laughs and awkwardly hilarious hijinks but as we move forward from the initial half hour set-up Friendship enters into darker territory and it's likely that many willing viewers will begin to wilt as Craig's venture into the depths of desperation and poor decision making takes hold over him and the story itself.
It's undeniable that Robinson has a particular range as a performer and you can't see him ever escaping a typecast scenario he has created for himself and is likely content in but for what Friendship required he is a great choice and his back and forwards with Rudd are a real winner for the film with Rudd becoming the perfect foil for Robinson's mannerisms and antics that won't be for everyone but work for what is required here.
The film's fantastic early stretch is sadly never formed into the potential classic genre entry it might have been as things progress and narratively there's some significant gaps in pay-offs and exploration but in a climate where a lot of films of this ilk play it safe or do the bare minimum, its refreshing to watch something like Friendship that's so content being something a little bit different and non-concerned with the towing the line of expectation.
Final Say -
A must-see for any Tim Robinson fans and for anyone willing to take a strange and off-kilter journey into one man's crumbling life, Friendship isn't always an easy film to digest and is as much a drama as it is a comedic trip but it's an intriguing watch throughout and proves there's a place for Robinson in the feature film landscape.
3 1/2 fast moving pigs out of 5.
Arriving 12 years on from the last dedicated feature length solo outing that came in the form of Zack Snyder's divisive Man of Steel, James Gunn's first major test as the new overseer of the rebirth of the DC cinematic universe is the newest iteration of the comic staples most iconic and adored creations, Clark Kent/Superman.
As high-profile of a release as they come, every man and in this case his dog (literally here with the cinematic debut of flying super-pup Krypto) has an opinion of what they want their Superman too be making Gunn's job an almost impossible one when it comes too pleasing everyone who wants to gain and get something from Warner Brothers big-money expedition.
Steering a long way from doing yet another origin story, Superman wastes little time trying to re-establish or re-hash old ground as Gunn gets stuck straight into the thick of the action as our powerful hero finds himself in a world where the public are divided over the way in which he acts and where billionaire businessman and ruthless Superman hater Lex Luthor is intent on ending the reign Superman has over the world as its protector.
One of the most comic-book feeling Hollywood blockbusters of recent memory, Gunn ensures the tone and vibe of his version of Jerry Siegel and Joe Shuster's creation is not too be taken overly seriously but despite the fact he does away with the baggage of trying to establish a character and world we've already had built for us multiple times over, there's an overarching feeling that Superman is a jack of all trades but a master of none as its two hour running time gets crammed with a boatload of ideas of concepts that never feel as though they're allowed to fully come into focus.
It's a well intentioned film and there's some very intriguing ideas that Gunn raises in his take on the iconic property, some of which is going to be undoubtedly controversial to long-term fans, but while flying from one segment to the next and loading this feature full of a large collection of integral Superman side-characters and bit-players, Superman often feels rather unfocussed and short-changes us on components such as time spent with Kent's adoptive parents, his relationship with love interest Louis Lane and his time as Clark Kent the everyday reporter too, with Gunn's film very much favouring Superman with his cape on not off.
While loading everything into his first foray into the world of red underwear, green rocks and irresistible reporters there's also a sense that Gunn has dialled back a little bit of his quirkiness and directional creativity that made his three Guardians of the Galaxy films such global hits and while there's still undoubtedly an undercurrent of the zaniness and kookiness that has been a staple of Gunn's career so far, there's not a lot here that's going to be remembered that intently once the credits role and for such a high-priced production it's slightly disappointing that so much of the visual spectacle and set-piece work feels rather forgettable and pedestrian.
What is a major win for the film whether it's grounded or flying is the casting choices with Gunn and his production team striking some serious wins in its role assignments.
In the key role, David Corenswet proves to be a wise choice to bring Superman into the next phase. While he's not as instantly iconic as Christopher Reeves or perhaps as notable as the physical presence of Henry Cavill, he appears to be exactly what Gunn needed in his refinement of the character and he plays well with all key cast members.
In a key segment towards the end of the film, Corenswet delivers a powerful monologue that showcases what might be achieved in the future when all the stars align with him in the role.
Stealing all his scenes, Superman is overshadowed by a dominating Nicholas Hoult who makes a major case for the best big screen Lex Luthor yet, getting many of Superman's best scenes, while support from Rachel Brosnahan and long-term Gunn offsider Nathan Fillion is notable, as is an almost MVP turn from Edi Gathegi as Mr. Terrific who has an absolute blast bringing the underrated DC character to life on the big stage.
Unable to become a truly memorable big-screen outing, Superman rewrites some of the past wrongs of the brand in the cinematic landscape while also struggling to maintain its focus or grip its best ingredients, becoming a fun but slight rebranding of classic character who still has a lot more to give in the future.
Final Say -
A hard film to hate but a hard one to love at all times, Superman has a lot going on within its two hours of running time, nailing its inspired casting choices and its comic book feel but struggling to always juggle the many elements it's grappling with at any one time.
3 saved squirrels out of 5.
As high-profile of a release as they come, every man and in this case his dog (literally here with the cinematic debut of flying super-pup Krypto) has an opinion of what they want their Superman too be making Gunn's job an almost impossible one when it comes too pleasing everyone who wants to gain and get something from Warner Brothers big-money expedition.
Steering a long way from doing yet another origin story, Superman wastes little time trying to re-establish or re-hash old ground as Gunn gets stuck straight into the thick of the action as our powerful hero finds himself in a world where the public are divided over the way in which he acts and where billionaire businessman and ruthless Superman hater Lex Luthor is intent on ending the reign Superman has over the world as its protector.
One of the most comic-book feeling Hollywood blockbusters of recent memory, Gunn ensures the tone and vibe of his version of Jerry Siegel and Joe Shuster's creation is not too be taken overly seriously but despite the fact he does away with the baggage of trying to establish a character and world we've already had built for us multiple times over, there's an overarching feeling that Superman is a jack of all trades but a master of none as its two hour running time gets crammed with a boatload of ideas of concepts that never feel as though they're allowed to fully come into focus.
It's a well intentioned film and there's some very intriguing ideas that Gunn raises in his take on the iconic property, some of which is going to be undoubtedly controversial to long-term fans, but while flying from one segment to the next and loading this feature full of a large collection of integral Superman side-characters and bit-players, Superman often feels rather unfocussed and short-changes us on components such as time spent with Kent's adoptive parents, his relationship with love interest Louis Lane and his time as Clark Kent the everyday reporter too, with Gunn's film very much favouring Superman with his cape on not off.
While loading everything into his first foray into the world of red underwear, green rocks and irresistible reporters there's also a sense that Gunn has dialled back a little bit of his quirkiness and directional creativity that made his three Guardians of the Galaxy films such global hits and while there's still undoubtedly an undercurrent of the zaniness and kookiness that has been a staple of Gunn's career so far, there's not a lot here that's going to be remembered that intently once the credits role and for such a high-priced production it's slightly disappointing that so much of the visual spectacle and set-piece work feels rather forgettable and pedestrian.
What is a major win for the film whether it's grounded or flying is the casting choices with Gunn and his production team striking some serious wins in its role assignments.
In the key role, David Corenswet proves to be a wise choice to bring Superman into the next phase. While he's not as instantly iconic as Christopher Reeves or perhaps as notable as the physical presence of Henry Cavill, he appears to be exactly what Gunn needed in his refinement of the character and he plays well with all key cast members.
In a key segment towards the end of the film, Corenswet delivers a powerful monologue that showcases what might be achieved in the future when all the stars align with him in the role.
Stealing all his scenes, Superman is overshadowed by a dominating Nicholas Hoult who makes a major case for the best big screen Lex Luthor yet, getting many of Superman's best scenes, while support from Rachel Brosnahan and long-term Gunn offsider Nathan Fillion is notable, as is an almost MVP turn from Edi Gathegi as Mr. Terrific who has an absolute blast bringing the underrated DC character to life on the big stage.
Unable to become a truly memorable big-screen outing, Superman rewrites some of the past wrongs of the brand in the cinematic landscape while also struggling to maintain its focus or grip its best ingredients, becoming a fun but slight rebranding of classic character who still has a lot more to give in the future.
Final Say -
A hard film to hate but a hard one to love at all times, Superman has a lot going on within its two hours of running time, nailing its inspired casting choices and its comic book feel but struggling to always juggle the many elements it's grappling with at any one time.
3 saved squirrels out of 5.
A remake of 2019 Argentinian thriller 4×4, Brightburn director David Yarovesky under the supervision of producer Sam Raimi delivers a sleek looking but entirely forgettable high-concept thriller that pits Pennywise vs Hannibal Lector all within the confines of a custom made SUV.
Built around Bill Skarsgård's down on his luck slacker Eddie Barrish who in a mad rush to get money to be able to pick up his estranged daughter ends up locked in Anthony Hopkins William's car, initiating a game of life and death as William sets about teaching Eddie a lesson, Locked always faced an uphill battle to ensure its audience was along for the ride for 90 minutes with many likely to be looking for escape before the final stretch takes place.
Continuing on a long hard road to cut it as a leading man when free from the makeup and prosthetics chair, Skarsgård gives it his best shot as the not entirely likable Eddie, a potty-mouthed drug user who really doesn't endear himself enough for us to care if he escapes the clutches of William's fairly bizarre plan but despite Hopkins doing a lot with merely his voice, the battle between Eddie and William isn't that gripping making Locked more of a chore than a joy to sit through.
Attempting to overcome his relatively ho-hum directional outings that were his much hyped Brightburn and his instantly forgotten Netflix original Nightbooks, Yarovesky doesn't bring any imagination or creative flair to Locked to make its mostly singular location setting work either.
Similar films that transpire in tight spaces such as Locke, Buried or Panic Room all manage to elevate their surrounds by filmmaking nuance or innovation or by a tight and taut script that engages purely by its character interactions or evolutions but Locked doesn't possess these skills as it heads along its way to a non-event of a finale that makes the whole journey feel like one you'd rather not have started.
There's a time and a place for mindlessly entertaining games of cat and mouse and high-concept thrillers cut from the same cloth as Locked but with little magic or smarts, this potentially white knuckle ride is a non-starter.
Final Say -
This battle of wits between Nosferatu and Hannibal Lector is only minorly engaging as the potential of this game of life and death gives way to boredom long before the end game is in sight.
2 wishful McDonald's orders out of 5.
Built around Bill Skarsgård's down on his luck slacker Eddie Barrish who in a mad rush to get money to be able to pick up his estranged daughter ends up locked in Anthony Hopkins William's car, initiating a game of life and death as William sets about teaching Eddie a lesson, Locked always faced an uphill battle to ensure its audience was along for the ride for 90 minutes with many likely to be looking for escape before the final stretch takes place.
Continuing on a long hard road to cut it as a leading man when free from the makeup and prosthetics chair, Skarsgård gives it his best shot as the not entirely likable Eddie, a potty-mouthed drug user who really doesn't endear himself enough for us to care if he escapes the clutches of William's fairly bizarre plan but despite Hopkins doing a lot with merely his voice, the battle between Eddie and William isn't that gripping making Locked more of a chore than a joy to sit through.
Attempting to overcome his relatively ho-hum directional outings that were his much hyped Brightburn and his instantly forgotten Netflix original Nightbooks, Yarovesky doesn't bring any imagination or creative flair to Locked to make its mostly singular location setting work either.
Similar films that transpire in tight spaces such as Locke, Buried or Panic Room all manage to elevate their surrounds by filmmaking nuance or innovation or by a tight and taut script that engages purely by its character interactions or evolutions but Locked doesn't possess these skills as it heads along its way to a non-event of a finale that makes the whole journey feel like one you'd rather not have started.
There's a time and a place for mindlessly entertaining games of cat and mouse and high-concept thrillers cut from the same cloth as Locked but with little magic or smarts, this potentially white knuckle ride is a non-starter.
Final Say -
This battle of wits between Nosferatu and Hannibal Lector is only minorly engaging as the potential of this game of life and death gives way to boredom long before the end game is in sight.
2 wishful McDonald's orders out of 5.
To be fair, when within the first 5 minutes of screen time you witness a Snickers wrapper causing a system malfunction in a remote dinosaur research lab causing untold carnage and destruction, you get a pretty clear indication of the type of film Jurassic World: Rebirth is and the type of quality you can expect it to deliver on.
Overseen by Rogue One: A Star Wars Story and Godzilla helmer Gareth Edwards, Rebirth is another example of the director showcasing incredible visual prowess around less articulated and well-formed narrative understanding as he and his screenwriter David Koepp struggle to find a reason to once more bring mankind face to face with rampaging dinos, here set years after the events of Jurassic World: Dominion where dinosaurs have now mostly migrated to remote equator settings away from the hustle and bustle of civilian worlds.
For a series that at one time was synonymous with wonder and excitement, Rebirth mostly lacks in that department with the feeling that the brand is running on fumes more prevalent than ever after the disaster that was Dominion and the instantly forgettable feeling you'll have from watching this mediocre big budget affair.
Struggling majorly early on where our new collection of human fodder establishes themselves and the simplistic set up of a team for hire venturing into the forbidden dinosaur lands to extract dinosaur DNA (for you guessed it!) a pharmaceutical company is established, Koepp's cringe-laden script and cookie-cutter characters will make one beg for some scaly fiends to get busy chomping but before any of that happens we first have to deal with Manuel Garcia-Rulfo and his yacht loving family.
One of the most bizarre, poorly established and irritating examples of Hollywood storytelling I can recall, someone needs to sit me down and explain why Garcia-Rulfo's seemingly loving and intelligent father has decided to take his two girls and one of their boyfriends on a yacht sojourn through the open seas right through the heart of dinosaur land, as from the moment they come into the story in the most strange set of circumstances you feel like Rebirth has jumped the (Jurassic) shark in a major way and from that painful point on everything else within Edwards film plays out exactly how you'd expect with barely an attempt to provide anything unexpected.
Playing a bit like a Jurassic greatest hit parade, there are numerous throwbacks, references and straight up copies of past glories and triumphs and when composer Alexandre Desplat's take on John Williams iconic score can't even get the goose bumps going you know Rebirth is stuck where it belongs, deep in the well of popcorn munching blockbusters that can provide mindless thrills and spills for willing audiences that are likely to never contemplate the film again.
Saved from the doldrums of badness that Dominion found itself in by some well-staged set-pieces such as a T-Rex vs inflatable boat showdown or some eventful abseiling as well as some impressive visual moments, Rebirth is a mostly sad and sorry affair that it's talented cast including a phoning it in Johansson and pedestrian Mahershala Ali can't do much about, making one wonder more so than ever before if the Jurassic brand needs a time of laying dormant until a decent reason (if there ever is one) to bring it back to life makes itself apparent.
Final Say -
Playing out exactly how you will suspect and offering up very little to a franchise that has now seemingly run out of new ideas or reasons to keep coming back to the table, Jurassic World: Rebirth is a tiresome blockbuster exercise that also harbours one of the most mysterious yachting group inclusions of recent memory.
2 unneeded fence cuttings out of 5.
Overseen by Rogue One: A Star Wars Story and Godzilla helmer Gareth Edwards, Rebirth is another example of the director showcasing incredible visual prowess around less articulated and well-formed narrative understanding as he and his screenwriter David Koepp struggle to find a reason to once more bring mankind face to face with rampaging dinos, here set years after the events of Jurassic World: Dominion where dinosaurs have now mostly migrated to remote equator settings away from the hustle and bustle of civilian worlds.
For a series that at one time was synonymous with wonder and excitement, Rebirth mostly lacks in that department with the feeling that the brand is running on fumes more prevalent than ever after the disaster that was Dominion and the instantly forgettable feeling you'll have from watching this mediocre big budget affair.
Struggling majorly early on where our new collection of human fodder establishes themselves and the simplistic set up of a team for hire venturing into the forbidden dinosaur lands to extract dinosaur DNA (for you guessed it!) a pharmaceutical company is established, Koepp's cringe-laden script and cookie-cutter characters will make one beg for some scaly fiends to get busy chomping but before any of that happens we first have to deal with Manuel Garcia-Rulfo and his yacht loving family.
One of the most bizarre, poorly established and irritating examples of Hollywood storytelling I can recall, someone needs to sit me down and explain why Garcia-Rulfo's seemingly loving and intelligent father has decided to take his two girls and one of their boyfriends on a yacht sojourn through the open seas right through the heart of dinosaur land, as from the moment they come into the story in the most strange set of circumstances you feel like Rebirth has jumped the (Jurassic) shark in a major way and from that painful point on everything else within Edwards film plays out exactly how you'd expect with barely an attempt to provide anything unexpected.
Playing a bit like a Jurassic greatest hit parade, there are numerous throwbacks, references and straight up copies of past glories and triumphs and when composer Alexandre Desplat's take on John Williams iconic score can't even get the goose bumps going you know Rebirth is stuck where it belongs, deep in the well of popcorn munching blockbusters that can provide mindless thrills and spills for willing audiences that are likely to never contemplate the film again.
Saved from the doldrums of badness that Dominion found itself in by some well-staged set-pieces such as a T-Rex vs inflatable boat showdown or some eventful abseiling as well as some impressive visual moments, Rebirth is a mostly sad and sorry affair that it's talented cast including a phoning it in Johansson and pedestrian Mahershala Ali can't do much about, making one wonder more so than ever before if the Jurassic brand needs a time of laying dormant until a decent reason (if there ever is one) to bring it back to life makes itself apparent.
Final Say -
Playing out exactly how you will suspect and offering up very little to a franchise that has now seemingly run out of new ideas or reasons to keep coming back to the table, Jurassic World: Rebirth is a tiresome blockbuster exercise that also harbours one of the most mysterious yachting group inclusions of recent memory.
2 unneeded fence cuttings out of 5.
Director Alex Parkinson turns his 2019 documentary on the same subject matter into the recently released Last Breath, a film that is by no means bad but neither is it by any means overly good.
The very definition of a mid-tier proposition that's hard to hate but hard to love, Breath explores the unbelievable true story of a group of deep sea divers that must defy the odds when a storm leaves one of their members stranded at the bottom of the ocean with only minutes of oxygen at their disposal.
Wasting little time getting into the thick of it, ensuring that Breath's 90 minute runtime is always constantly on the move, Parkinson quickly introduces us to Finn Cole's Chris Lemons, Woody Harrelson's Duncan Allock and Simu Lu's Dave Yuasa as the trio set out on a typically dangerous job to repair some underwater infrastructure, diving 100's of feet into the depths to conduct one of the most dangerous operations humankind can undertake.
Not worrying with much in the way of backstory or motivation, Lemons, Allock and Yuasa are all relatively cookie-cutter figures in a survival story with a lot of unique elements but not a lot of unique cinematic qualities as Parkinson generically goes about shining a light on the trios misadventure and most tellingly Lemon's battle to survive as his oxygen levels dwindle when he's separated from his crew mates and ship.
The films lead trio are all capable performers but with Harrelson and Liu not having to stretch themselves by any means and Cole not suggesting too strongly that he's going to breakout in a huge way from his time in hit TV show Peaky Blinders, Breath doesn't get a lot out of its recognisable cast that also includes genuine bit parts by the likes of Cliff Curtis and Mark Bonnar.
What carries the film its entire way is the true story on which it is based upon.
The type of story that would be deemed far fetched if it were in fact not based on cold hard truth, Breath has an incredible story of human perseverance and survival at its core and it's hard not to be griped by that founding ingredient and while the film around it merely goes through the motions, there's something special about the tale at the centre of Parkinson's film that is sure to gain his feature film some fans.
Final Say -
An amazing true story becomes a rather generic and forgettable survival tale in Last Breath. If you're after the best version of this occurrence, the 2019 documentary of the same name is your best option.
2 1/2 comfy beds out of 5.
The very definition of a mid-tier proposition that's hard to hate but hard to love, Breath explores the unbelievable true story of a group of deep sea divers that must defy the odds when a storm leaves one of their members stranded at the bottom of the ocean with only minutes of oxygen at their disposal.
Wasting little time getting into the thick of it, ensuring that Breath's 90 minute runtime is always constantly on the move, Parkinson quickly introduces us to Finn Cole's Chris Lemons, Woody Harrelson's Duncan Allock and Simu Lu's Dave Yuasa as the trio set out on a typically dangerous job to repair some underwater infrastructure, diving 100's of feet into the depths to conduct one of the most dangerous operations humankind can undertake.
Not worrying with much in the way of backstory or motivation, Lemons, Allock and Yuasa are all relatively cookie-cutter figures in a survival story with a lot of unique elements but not a lot of unique cinematic qualities as Parkinson generically goes about shining a light on the trios misadventure and most tellingly Lemon's battle to survive as his oxygen levels dwindle when he's separated from his crew mates and ship.
The films lead trio are all capable performers but with Harrelson and Liu not having to stretch themselves by any means and Cole not suggesting too strongly that he's going to breakout in a huge way from his time in hit TV show Peaky Blinders, Breath doesn't get a lot out of its recognisable cast that also includes genuine bit parts by the likes of Cliff Curtis and Mark Bonnar.
What carries the film its entire way is the true story on which it is based upon.
The type of story that would be deemed far fetched if it were in fact not based on cold hard truth, Breath has an incredible story of human perseverance and survival at its core and it's hard not to be griped by that founding ingredient and while the film around it merely goes through the motions, there's something special about the tale at the centre of Parkinson's film that is sure to gain his feature film some fans.
Final Say -
An amazing true story becomes a rather generic and forgettable survival tale in Last Breath. If you're after the best version of this occurrence, the 2019 documentary of the same name is your best option.
2 1/2 comfy beds out of 5.
An Amazon Prime original that marks up and coming director Mimi Cave's first feature film since her breakout Covid hit from 2022 Fresh, you'd be right in heading into Holland with high expectations but sadly this visually arresting and potentially gripping thriller is all bark and no bite.
Based off a Blacklist script that has been bandied about Hollywood since 2013, Holland's core concept and unique setting suggest that audiences should be in for a rollicking twisting and turning thriller, much like Fresh, but Cave loses her grip on proceedings very early on as Holland gets stuck within itself, going round and round on a merry go round of scenes and situations that undo much of what could have been.
Featuring a well-staffed array of Hollywood veterans that's led by leading lady Nicole Kidman with able-bodied support from character actor heavyweights Gael García Bernal and Matthew Macfadyen respectively, Holland has the tools at its disposal to be an above average mystery/thriller and there's a polished production feel to Holland that makes you feel as though you are watching a film of prestige but there's far too many amateurish angles to Cave's film that hold it back from becoming a feature you could recommend.
Losing any sense of flow and its grip on its audience in the first half in a very notable way, Holland feels like a film struggling to come to terms with what it wants to be and there's really not a lot to write home about for much of the films first hour as you await the real heart and soul of Cave's film to become unearthed and when it finally does it looks like Holland is really going to ramp up and take us on a wild final act stanza but as quickly as the flame begins to really burn, it gets extinguished just as quickly, killing the films chance of overcoming a slow first half with a rip-roaring second half.
It all adds up to a very frustrating viewing experience as you see snippets of the film Holland might have been and there's some of the same energy and vibrancy on show here that made Cave's Fresh such as a fun film but these little wins and minor moments can't overcome the overall feeling that Holland isn't the sum of its parts and the films noteworthy cast appear as lost as the film they're in, another addition to Kidman's recent cold run that has seen the actress struggle to get herself involved in features that are worthy of the time a viewer needs to invest.
Final Say -
There's a lot of potential for Holland and there are moments where that potential is grasped but it's only ever fleeting as Mimi Cave's disappointing new thriller struggles to give you a reason to care.
2 windmill's out of 5.
Based off a Blacklist script that has been bandied about Hollywood since 2013, Holland's core concept and unique setting suggest that audiences should be in for a rollicking twisting and turning thriller, much like Fresh, but Cave loses her grip on proceedings very early on as Holland gets stuck within itself, going round and round on a merry go round of scenes and situations that undo much of what could have been.
Featuring a well-staffed array of Hollywood veterans that's led by leading lady Nicole Kidman with able-bodied support from character actor heavyweights Gael García Bernal and Matthew Macfadyen respectively, Holland has the tools at its disposal to be an above average mystery/thriller and there's a polished production feel to Holland that makes you feel as though you are watching a film of prestige but there's far too many amateurish angles to Cave's film that hold it back from becoming a feature you could recommend.
Losing any sense of flow and its grip on its audience in the first half in a very notable way, Holland feels like a film struggling to come to terms with what it wants to be and there's really not a lot to write home about for much of the films first hour as you await the real heart and soul of Cave's film to become unearthed and when it finally does it looks like Holland is really going to ramp up and take us on a wild final act stanza but as quickly as the flame begins to really burn, it gets extinguished just as quickly, killing the films chance of overcoming a slow first half with a rip-roaring second half.
It all adds up to a very frustrating viewing experience as you see snippets of the film Holland might have been and there's some of the same energy and vibrancy on show here that made Cave's Fresh such as a fun film but these little wins and minor moments can't overcome the overall feeling that Holland isn't the sum of its parts and the films noteworthy cast appear as lost as the film they're in, another addition to Kidman's recent cold run that has seen the actress struggle to get herself involved in features that are worthy of the time a viewer needs to invest.
Final Say -
There's a lot of potential for Holland and there are moments where that potential is grasped but it's only ever fleeting as Mimi Cave's disappointing new thriller struggles to give you a reason to care.
2 windmill's out of 5.
This far into his long and storied career we all know that when Nicolas Cage's name appears on the cast list of a film there's going to be a certain level of uniqueness and quirkiness involved, with locally made Australian oddity The Surfer certainly fitting the Crazy Cage billing.
Directed by Vivarium filmmaker Lorcan Finnegan, the concept of The Surfer may sound like a rather generic everyday citizen pushed to the edge type of thriller but be warned, Finnegan is not at all interested in making his sun-baked and crazy-eyed feature tow the line of the expected as Cage's unnamed surfer goes head to head with a bunch of cultish locals who have taken up residence on the beach of his childhood town.
A visually stunning production that feels as though it's coming straight out of the 80's era of Ozploitation films and is infused by composer François Tétaz's psychedelic score, The Surfer wastes precious little time on establishing its set-up that sees Cage and his son (played by rising Australian actor Finn Little) get into a confrontation with a local group of surfers who are under the control of Julian McMahon's Scally, leading to Cage setting up shop in a beach carpark, spiralling into a series of events that slowly but surely head towards a chaotic endgame.
Taking place entirely within the confines of this beach setting, there's going to be a lot of viewers that will quickly grow bored or disinterested in Cage's quest to surf the break at his old stomping ground but despite its many varied flaws and shortcomings there's an odd charm and dark magic present within Finnegan's demented and comically tinged affair and you've got to admire everyone's commitment to the cause here in a feature that is quite clearly not to be taken too seriously.
Front and centre throughout the entirety of this devilishly bizarre offering is a new Cage turn that is likely to enter into his ample meme/pop culture vault of delights and whether his waltzing around with a rodent protruding from his pocket, entering into back and forwards with coffee shop merchants or throwing down with burly surf types, Cage is all in here and if you're entering into this viewing journey in hope of finding new Cage delights, you're in for a genuine smorgasbord of offerings.
With the local Australian film industry floundering along, filling the semi-regular quotas of generic offerings and po-faced dramas/family friendly affairs, The Surfer stands out as a unique and unexpected feature that may not be refined or deep-meaning but does all it can to be something we've never seen before.
Final Say -
With a memorable visual presentation and typically bonkers Nicolas Cage performance, The Surfer is an unashamedly unhinged Australian feature that is destined for a long shelf life in the cult film circuit.
3 bottles of water out of 5.
Directed by Vivarium filmmaker Lorcan Finnegan, the concept of The Surfer may sound like a rather generic everyday citizen pushed to the edge type of thriller but be warned, Finnegan is not at all interested in making his sun-baked and crazy-eyed feature tow the line of the expected as Cage's unnamed surfer goes head to head with a bunch of cultish locals who have taken up residence on the beach of his childhood town.
A visually stunning production that feels as though it's coming straight out of the 80's era of Ozploitation films and is infused by composer François Tétaz's psychedelic score, The Surfer wastes precious little time on establishing its set-up that sees Cage and his son (played by rising Australian actor Finn Little) get into a confrontation with a local group of surfers who are under the control of Julian McMahon's Scally, leading to Cage setting up shop in a beach carpark, spiralling into a series of events that slowly but surely head towards a chaotic endgame.
Taking place entirely within the confines of this beach setting, there's going to be a lot of viewers that will quickly grow bored or disinterested in Cage's quest to surf the break at his old stomping ground but despite its many varied flaws and shortcomings there's an odd charm and dark magic present within Finnegan's demented and comically tinged affair and you've got to admire everyone's commitment to the cause here in a feature that is quite clearly not to be taken too seriously.
Front and centre throughout the entirety of this devilishly bizarre offering is a new Cage turn that is likely to enter into his ample meme/pop culture vault of delights and whether his waltzing around with a rodent protruding from his pocket, entering into back and forwards with coffee shop merchants or throwing down with burly surf types, Cage is all in here and if you're entering into this viewing journey in hope of finding new Cage delights, you're in for a genuine smorgasbord of offerings.
With the local Australian film industry floundering along, filling the semi-regular quotas of generic offerings and po-faced dramas/family friendly affairs, The Surfer stands out as a unique and unexpected feature that may not be refined or deep-meaning but does all it can to be something we've never seen before.
Final Say -
With a memorable visual presentation and typically bonkers Nicolas Cage performance, The Surfer is an unashamedly unhinged Australian feature that is destined for a long shelf life in the cult film circuit.
3 bottles of water out of 5.
It's never good to assume but my assumptions would lead me to believe that you enter into an ice cream shop to buy ice cream, a shoe shop for some shoes or head to a music festival to listen to some music.
Taking that same assumption approach, I would be thinking viewers are buying a ticket to F1: The Movie to see Brad Pitt drive really fast cars in a formulaic sports drama that has made no false pretences about what it is and what it's trying to offer cinemagoers.
One of the summer blockbuster seasons few original I. P releases that also acts as Apple's biggest gamble and last ditch hurrah to pursue big-scale cinematic releases for its feature film products, F1 is a $200 plus million dollar tentpole that teams Pitt up with the masterminds behind 2022's box office smashing Top Gun: Maverick and for anyone wanting big-scale Hollywood entertainment at its most thrilling, crowd-pleasing and at all times unashamedly within the confines of expectations, Joseph Kosinski's latest adrenaline rush is exactly what the doctor ordered.
Following the tried and true formula of a grizzled veteran who's seen better days being called back into action by an old friend to help an ailing team and impart their wisdom onto the next generation, Kosinski and his screenwriting partner Ehren Kruger throw Pitt's Sonny Hayes into a scenario that will be familiar to anyone that's ever watched a Hollywood underdog story or partaken in a sports themed drama but that matters little when everyone involved is having the time of their lives roaring around the worlds most famous racing tracks all the while involving the audience into the Formula One scene in ways that's never been achieved on the big screen before.
With the full backing of the global brand, F1 has been granted an all-access pass to the world of the high-octane and high stakes sport and while hardcore racing fans may find themselves nit-picking the liberties taken by the film in regards to certain rules and regulations to make the story tick along, going into F1 with an open mind to have fun and enjoy the ride should provide a huge majority of audiences to have an absolute blast with the show Kosinski and his team put on.
Utilising the long established charms of leading man Pitt who gives Hayes a hearty dose of Cliff Booth DNA, F1 gets the most out of its main star who collaborates well with the films other key players including Snowfall rising star Damson Iris as young protégé Joshua Pearce, the always joyous Kerry Condon as design specialist Kate McKenna and scene-stealer Javier Bardem as team manager Ruben Cervantes, making F1 a pole position finisher when it comes to winning ensembles.
While all these characters are as thinly drawn as you'd like, given small moments of backstories and depth, it matters little in the grand scheme of things as this crowd-pleaser will win you over with a razor sharp script, ample adrenaline rushes in the thick of the petrol fuelled action, a hit heavy soundtrack accompanied by yet another top-notch Hans Zimmer score and a quick-fire education into a world that many audiences members may not have previously had an interest in.
A refreshingly old-school Hollywood effort that hearkens back to the glory days of 90's fist-pumping audience pleasers, producer Jerry Bruckheimer and his creative team have crafted a winning big screen offering that provides its audience with exactly the type of experience that's been promoted to them, no baggage attached.
Final Say -
A wonderfully captured piece of cinematic entertainment that maximises the star power of its leading man, F1: The Movie plays it safe but when it's done this well it does little to dampen the joy of 2 and a half hours of pure Hollywood escapism at its shiniest and sharpest.
4 odd pairs of socks out of 5.
Taking that same assumption approach, I would be thinking viewers are buying a ticket to F1: The Movie to see Brad Pitt drive really fast cars in a formulaic sports drama that has made no false pretences about what it is and what it's trying to offer cinemagoers.
One of the summer blockbuster seasons few original I. P releases that also acts as Apple's biggest gamble and last ditch hurrah to pursue big-scale cinematic releases for its feature film products, F1 is a $200 plus million dollar tentpole that teams Pitt up with the masterminds behind 2022's box office smashing Top Gun: Maverick and for anyone wanting big-scale Hollywood entertainment at its most thrilling, crowd-pleasing and at all times unashamedly within the confines of expectations, Joseph Kosinski's latest adrenaline rush is exactly what the doctor ordered.
Following the tried and true formula of a grizzled veteran who's seen better days being called back into action by an old friend to help an ailing team and impart their wisdom onto the next generation, Kosinski and his screenwriting partner Ehren Kruger throw Pitt's Sonny Hayes into a scenario that will be familiar to anyone that's ever watched a Hollywood underdog story or partaken in a sports themed drama but that matters little when everyone involved is having the time of their lives roaring around the worlds most famous racing tracks all the while involving the audience into the Formula One scene in ways that's never been achieved on the big screen before.
With the full backing of the global brand, F1 has been granted an all-access pass to the world of the high-octane and high stakes sport and while hardcore racing fans may find themselves nit-picking the liberties taken by the film in regards to certain rules and regulations to make the story tick along, going into F1 with an open mind to have fun and enjoy the ride should provide a huge majority of audiences to have an absolute blast with the show Kosinski and his team put on.
Utilising the long established charms of leading man Pitt who gives Hayes a hearty dose of Cliff Booth DNA, F1 gets the most out of its main star who collaborates well with the films other key players including Snowfall rising star Damson Iris as young protégé Joshua Pearce, the always joyous Kerry Condon as design specialist Kate McKenna and scene-stealer Javier Bardem as team manager Ruben Cervantes, making F1 a pole position finisher when it comes to winning ensembles.
While all these characters are as thinly drawn as you'd like, given small moments of backstories and depth, it matters little in the grand scheme of things as this crowd-pleaser will win you over with a razor sharp script, ample adrenaline rushes in the thick of the petrol fuelled action, a hit heavy soundtrack accompanied by yet another top-notch Hans Zimmer score and a quick-fire education into a world that many audiences members may not have previously had an interest in.
A refreshingly old-school Hollywood effort that hearkens back to the glory days of 90's fist-pumping audience pleasers, producer Jerry Bruckheimer and his creative team have crafted a winning big screen offering that provides its audience with exactly the type of experience that's been promoted to them, no baggage attached.
Final Say -
A wonderfully captured piece of cinematic entertainment that maximises the star power of its leading man, F1: The Movie plays it safe but when it's done this well it does little to dampen the joy of 2 and a half hours of pure Hollywood escapism at its shiniest and sharpest.
4 odd pairs of socks out of 5.
Sometimes you have those real life experiences where someone is recounting a story or a memory that should be tagged with the "you really had to be there" sentiment, for as nice as it is for them to be recounting or reminiscing, no amount of energy or enthusiasm in their storytelling is ever going to get you feeling the same sense of emotions as someone who was never there, a sentiment that can be felt with Anna Boden and Ryan Fleck's latest directional collaboration.
Filmed all the way back in 2022, Fleck and Boden return to the their respective directors chairs for the first time since their box-office smashing Captain Marvel with Fleck in particular instilling a lot of himself into this late 1980's Oakland set feature that is based in part off his experiences growing up in the city during his early years.
From what I can gather, Freaky Tales has nailed the tone and vibe of the city of Oakland and for anyone that has spent time in the area it's likely that Tales will become an elevated viewing experience while for the rest of us less Oakland-infused viewers Fleck and Boden's low-budget but spirited event is throwaway fun in parts but far from a mandatory watch offering.
Clearly inspired by the grand opus of multi-storied features Pulp Fiction, Tales is broken up into four interconnected stories taking place across 100 minutes in the city during the 1987 calendar year with punk rockers, Nazis, rappers, criminal underworld figures, corrupt cops and NBA players all playing their parts in this wild experience that should absolutely not be taken with any form of seriousness in mind.
Enlisting a talented array of performers for their colourful collection of stories, hot at the minute Pedro Pascal, regular collaborator Ben Mendelsohn, Oakland icon Too Short and even a scene-stealing Tom Hanks all join forces to bring Fleck and Boden's vision to life that is often produced like it was an MTV music video from the era and is imbued with over the top violence and general comedic tones that culminates in Jay Ellis's Sleepy Floyd's supernatural confrontation with a gang that threatened his family.
An undeniably unique and specific feature film experience, there's likely to be a significant place for Tales in the cult-film catalogue moving forward and an extra special place for it in the hearts and minds of local Oakland viewers but for the rest of us it's more of a passable time waster than anything else of note, a shame since it clearly comes from a passionate and heartfelt place in the eyes of its directors.
Final Say -
Finally making its way into the public realm after a long journey to distribution, Freaky Tales has its moments but overall this wild and loose multi-storied experience is one that's easy too forget for anyone not strongly connected with the city in which it takes place.
2 1/2 rap battles out of 5.
Filmed all the way back in 2022, Fleck and Boden return to the their respective directors chairs for the first time since their box-office smashing Captain Marvel with Fleck in particular instilling a lot of himself into this late 1980's Oakland set feature that is based in part off his experiences growing up in the city during his early years.
From what I can gather, Freaky Tales has nailed the tone and vibe of the city of Oakland and for anyone that has spent time in the area it's likely that Tales will become an elevated viewing experience while for the rest of us less Oakland-infused viewers Fleck and Boden's low-budget but spirited event is throwaway fun in parts but far from a mandatory watch offering.
Clearly inspired by the grand opus of multi-storied features Pulp Fiction, Tales is broken up into four interconnected stories taking place across 100 minutes in the city during the 1987 calendar year with punk rockers, Nazis, rappers, criminal underworld figures, corrupt cops and NBA players all playing their parts in this wild experience that should absolutely not be taken with any form of seriousness in mind.
Enlisting a talented array of performers for their colourful collection of stories, hot at the minute Pedro Pascal, regular collaborator Ben Mendelsohn, Oakland icon Too Short and even a scene-stealing Tom Hanks all join forces to bring Fleck and Boden's vision to life that is often produced like it was an MTV music video from the era and is imbued with over the top violence and general comedic tones that culminates in Jay Ellis's Sleepy Floyd's supernatural confrontation with a gang that threatened his family.
An undeniably unique and specific feature film experience, there's likely to be a significant place for Tales in the cult-film catalogue moving forward and an extra special place for it in the hearts and minds of local Oakland viewers but for the rest of us it's more of a passable time waster than anything else of note, a shame since it clearly comes from a passionate and heartfelt place in the eyes of its directors.
Final Say -
Finally making its way into the public realm after a long journey to distribution, Freaky Tales has its moments but overall this wild and loose multi-storied experience is one that's easy too forget for anyone not strongly connected with the city in which it takes place.
2 1/2 rap battles out of 5.
Proving that if it isn't broke don't fix it, Dean DeBlois's "live action" version of his very own animated smash hit from 2010 How to Train Your Dragon is proof that sometimes a successful formula doesn't need to be reimagined, as his big-budget summer blockbuster becomes one of the better real life remakes of the modern era.
Not entirely a shot for shot new take of the original but close to it in many aspects, even if this new version adds roughly 20 minutes of extra run time to proceedings, Dragon manages to look and feel every part of its substantial $150 million dollar plus budget as it offers up cinemagoers a great family movie option for the Summer blockbuster period.
Following the adventures and budding friendship of misunderstood Viking boy Hiccup, here played by rising star Mason Thames, and his new dragon acquittance he names Toothless, Dragon as per the original offering follows a familiar and tried and true formula but thanks to an added energy, inventiveness, colourful characters and more than its fair share of heart, DeBlois's feature is far more enjoyable than most of its compatriots and for his live action debut, DeBlois has proven himself to be the perfect choice to helm the series as it evolves into this new era.
Overcoming a relatively sluggish start that likely suffers from the fact we know what's coming based off the original, once Hiccup and Toothless's relationship starts to properly bubble along and Hiccup's own personal journey of growth and finding his place in the isle of Berk, Dragon really starts to fly and offer up a fantastically entertaining mix of heart, humour and spectacle that's sure to appeal to a wide target market.
Backed by John Powell's renowned score and some of the years most impressive uses of CGI that shine on the big screen when Hiccup and Toothless reach for the clouds and in the films final act that provides some notable dragon infused action, there may not be anything provided here narratively that enhances anything from the series three main animated entries so far but it's hard to imagine fans of the series or those coming into this as fresh viewers not being entertained by what they've been given.
With the added bonus of Gerard Butler having as much fun as his had in years reprising his role as village leader Stoick, Dragon is a strong candidate for one of the most easy to enjoy crowd-pleasers of the 2025 release calendar, making the proposition of the announced sequel one to look forward too rather than dread.
Final Say -
With a winning cast, a steady pace and some memorable eye-candy, this live action version of Dreamworks beloved scaled property is a winner, despite it never attempting to do anything different with its tried and true approach.
3 1/2 baskets of fish out of 5.
Not entirely a shot for shot new take of the original but close to it in many aspects, even if this new version adds roughly 20 minutes of extra run time to proceedings, Dragon manages to look and feel every part of its substantial $150 million dollar plus budget as it offers up cinemagoers a great family movie option for the Summer blockbuster period.
Following the adventures and budding friendship of misunderstood Viking boy Hiccup, here played by rising star Mason Thames, and his new dragon acquittance he names Toothless, Dragon as per the original offering follows a familiar and tried and true formula but thanks to an added energy, inventiveness, colourful characters and more than its fair share of heart, DeBlois's feature is far more enjoyable than most of its compatriots and for his live action debut, DeBlois has proven himself to be the perfect choice to helm the series as it evolves into this new era.
Overcoming a relatively sluggish start that likely suffers from the fact we know what's coming based off the original, once Hiccup and Toothless's relationship starts to properly bubble along and Hiccup's own personal journey of growth and finding his place in the isle of Berk, Dragon really starts to fly and offer up a fantastically entertaining mix of heart, humour and spectacle that's sure to appeal to a wide target market.
Backed by John Powell's renowned score and some of the years most impressive uses of CGI that shine on the big screen when Hiccup and Toothless reach for the clouds and in the films final act that provides some notable dragon infused action, there may not be anything provided here narratively that enhances anything from the series three main animated entries so far but it's hard to imagine fans of the series or those coming into this as fresh viewers not being entertained by what they've been given.
With the added bonus of Gerard Butler having as much fun as his had in years reprising his role as village leader Stoick, Dragon is a strong candidate for one of the most easy to enjoy crowd-pleasers of the 2025 release calendar, making the proposition of the announced sequel one to look forward too rather than dread.
Final Say -
With a winning cast, a steady pace and some memorable eye-candy, this live action version of Dreamworks beloved scaled property is a winner, despite it never attempting to do anything different with its tried and true approach.
3 1/2 baskets of fish out of 5.
In the lead up to the release of his long-gestating return to the "zombie" franchise that reignited his career with 2002's 28 Days Later, director Danny Boyle has been quoted multiple times as saying that 28 Years Later is "not what you'll expect at all" and having now unleashed his newest venture with screenwriting partner Alex Garland into the wild, it's safe to say he wasn't lying.
Without delving into spoiler territory, with Later's distributor Sony doing a fine job at keeping much of the films content and structure hidden before release with some carefully curated trailers and very late critic screenings, Later is easily going to become the most divisive of the series so far with general cinemagoers in particular likely to be both passionate fans and disappointed naysayers in equal measure upon viewing the final product.
Centred around what appears to be a relatively predictable set-up of a small family living on a remote island community years after the initial aftermath of the rage virus's ravenous destruction of England and its neighbours, the tale that Boyle and Garland weave around Aaron Taylor-Johnson's committed father Jamie, Jodie Comer's under duress mother/wife Isla and Alfie Williams as their young boy Spike who is coming of age in a world that demands he be older and wiser than his years, is a tale that's anything but a stereotypical one and it's something I would say in confidence when I claim that you've never seen a zombie film quite like Later.
Filmed largely via iPhone's , Boyle alongside frequent D. O. P collaborator Anthony Dod Mantle ensure that from a visual point of view also Later looks and feels different to anything we've consumed from a content aspect and when combined with an unapologetically weird undertone and story beats, there's an off-kilter nature to Later that will enthral some and annoy others with audiences being asked on more than one occasion to go along for the ride that Boyle and Garland have designed for us.
Managing to keep the same amount of energy and frenzied nature of the classic original entry and its fun if unsubstantial sequel, those seeking an endless barrage of zombie attacks and set pieces may find themselves underwhelmed by Later, as while they're to be found here, an early segment involving a causeway crossing is one of the years most thrilling segments, there's equal amounts of quiet and contemplative elements to this new series addition that includes a sure to be divisive final act that continues to prove both Boyle and Garland are never content to take the easy routes.
Front and centre throughout Boyle's unapologetically unhinged big budget experiment are some notable performances with the proven commodities of Comer and Taylor-Johnson doing the type of work you'd expect with the small but significant role of Dr. Kelson that falls to Ralph Fiennes allowing the beloved screen veteran to once more flex his acting muscles with a scene-stealing turn that creates some of Later's most memorable moments.
What's perhaps most surprising about the film and the ensemble as a whole is how much weight of the film is put on William's Spike throughout with Later putting him in the thick of it from start to finish with the young performer impressing in a major way with his first lead role, launching what should be a noteworthy career in the industry should he continue to ply his trade.
Full of more zombie appendage's, archery carnage, Mortal Kombat like finishes, haunting reciting's of Rudyard Kipling poems and Power Ranger inspired zombie kill squads than one might expect, there's a lot going on within Later's runtime and not every idea and element feels fully thought out or explored but one can't accuse Boyle and Garland of taking the easy route with their high-profile return as far from cookie-cutter as you'll get from a Hollywood release this year.
Ending on what's likely to be one of the most talked about footnotes of the 2025 period, one suspects a lot more of the concepts and elements of Later will be delved into further with next January's Bone Temple, the second part to this planned trilogy that has started out with a wild and almost indescribable first entry.
Final Say -
28 Years Later is going to spark feelings of equal amounts of outrage and love from audiences around the globe with no one likely to be adequately prepared for just what type of film this long in the making follow-on has ended up being.
In an age where many known properties are accused of taking the easy option, Boyle and Garland have ensured they can't be placed into that overarching statement.
4 fiancée photos out of 5.
Without delving into spoiler territory, with Later's distributor Sony doing a fine job at keeping much of the films content and structure hidden before release with some carefully curated trailers and very late critic screenings, Later is easily going to become the most divisive of the series so far with general cinemagoers in particular likely to be both passionate fans and disappointed naysayers in equal measure upon viewing the final product.
Centred around what appears to be a relatively predictable set-up of a small family living on a remote island community years after the initial aftermath of the rage virus's ravenous destruction of England and its neighbours, the tale that Boyle and Garland weave around Aaron Taylor-Johnson's committed father Jamie, Jodie Comer's under duress mother/wife Isla and Alfie Williams as their young boy Spike who is coming of age in a world that demands he be older and wiser than his years, is a tale that's anything but a stereotypical one and it's something I would say in confidence when I claim that you've never seen a zombie film quite like Later.
Filmed largely via iPhone's , Boyle alongside frequent D. O. P collaborator Anthony Dod Mantle ensure that from a visual point of view also Later looks and feels different to anything we've consumed from a content aspect and when combined with an unapologetically weird undertone and story beats, there's an off-kilter nature to Later that will enthral some and annoy others with audiences being asked on more than one occasion to go along for the ride that Boyle and Garland have designed for us.
Managing to keep the same amount of energy and frenzied nature of the classic original entry and its fun if unsubstantial sequel, those seeking an endless barrage of zombie attacks and set pieces may find themselves underwhelmed by Later, as while they're to be found here, an early segment involving a causeway crossing is one of the years most thrilling segments, there's equal amounts of quiet and contemplative elements to this new series addition that includes a sure to be divisive final act that continues to prove both Boyle and Garland are never content to take the easy routes.
Front and centre throughout Boyle's unapologetically unhinged big budget experiment are some notable performances with the proven commodities of Comer and Taylor-Johnson doing the type of work you'd expect with the small but significant role of Dr. Kelson that falls to Ralph Fiennes allowing the beloved screen veteran to once more flex his acting muscles with a scene-stealing turn that creates some of Later's most memorable moments.
What's perhaps most surprising about the film and the ensemble as a whole is how much weight of the film is put on William's Spike throughout with Later putting him in the thick of it from start to finish with the young performer impressing in a major way with his first lead role, launching what should be a noteworthy career in the industry should he continue to ply his trade.
Full of more zombie appendage's, archery carnage, Mortal Kombat like finishes, haunting reciting's of Rudyard Kipling poems and Power Ranger inspired zombie kill squads than one might expect, there's a lot going on within Later's runtime and not every idea and element feels fully thought out or explored but one can't accuse Boyle and Garland of taking the easy route with their high-profile return as far from cookie-cutter as you'll get from a Hollywood release this year.
Ending on what's likely to be one of the most talked about footnotes of the 2025 period, one suspects a lot more of the concepts and elements of Later will be delved into further with next January's Bone Temple, the second part to this planned trilogy that has started out with a wild and almost indescribable first entry.
Final Say -
28 Years Later is going to spark feelings of equal amounts of outrage and love from audiences around the globe with no one likely to be adequately prepared for just what type of film this long in the making follow-on has ended up being.
In an age where many known properties are accused of taking the easy option, Boyle and Garland have ensured they can't be placed into that overarching statement.
4 fiancée photos out of 5.
The film that completely redefined the zombie genre without ever in fact being a zombie movie, Danny Boyle and Alex Garland's surprise 2002 hit that has gone on to spawn the decent if not exactly ground-breaking sequel 28 Weeks Later and the high profile 28 Years Later that is soon to git global screens is still a powerful and visceral watch all these years on from release.
An instantly iconic cinematic offering thanks to its early shots of a nearly barren infected ridden London and its swarms of rage induced victims that gave away zombie shuffling in favour of quick-paced chase downs, 28 Days Later overcame any potential budgetary constraints to open the doors to big-scale set pieces and ideas that centre around Cillian Murphy's Jim and his small cohort of survivor compatriots seeking out shelter from the world at war in the quiet English countryside.
Frenetically captured by D. O. P Anthony Dod Mantle, accompanied by a vigorous score from frequent Boyle collaborator John Murphy and expertly written by the always impressive Garland, 28 Days Later has the intimacy and rawness of a low-budget offering but at the same time offers up something much more, all of which will likely be explored in even deeper and grander ways in the soon to drop 28 Years Later.
At the time coming off the relatively disappointing reception of his 2000 Leonardo Di Caprio starring The Beach and struggling to prove he had what it takes to match the greatness of his breakout hit in the form of 1996 cult favourite Trainspotting, 28 Days Later arrived at the perfect time for Boyle who was in need of a boost to his career prospects and riding the highs of this horror offering saw Boyle six years later walk away with his Best Director award for his 2008 smash hit Slumdog Millionaire.
Watching Boyle's career defining hit all these years later is also fascinating in respects of how it launched now Oscar winning Hollywood legend Cillian Murphy into the mainstream.
Casting him after some notable works in his home country and some decently received TV affairs, Murphy's role as the working class Jim was a masterstroke from Boyle and even early in his career here Murphy carried a rare ability to be relatable and charismatic all at once and when surrounded by talents such as Naomie Harris, Christopher Eccleston and the always scene-stealing Brendan Gleeson, it makes 28 Days Later a notable example of early 2000 ensemble work of the highest order.
Boyle's offering maybe flawed and slightly less impactful in the years following its at the time wild concepts but 28 Days Later remains a quintessential piece of the modern day horror puzzle and a defining achievement in the zombie film space with one right to assume Boyle and Garland's next venture together is going to do much the same in the very near future.
Final Say -
A frenetic, fast-paced and ferocious zombie film that isn't, 28 Days Later marked a significant career milestone for all involved and will likely continue to appreciated by new and old fans alike with the incoming release of its long-gestating follow on.
4 unqualified chefs out of 5.
An instantly iconic cinematic offering thanks to its early shots of a nearly barren infected ridden London and its swarms of rage induced victims that gave away zombie shuffling in favour of quick-paced chase downs, 28 Days Later overcame any potential budgetary constraints to open the doors to big-scale set pieces and ideas that centre around Cillian Murphy's Jim and his small cohort of survivor compatriots seeking out shelter from the world at war in the quiet English countryside.
Frenetically captured by D. O. P Anthony Dod Mantle, accompanied by a vigorous score from frequent Boyle collaborator John Murphy and expertly written by the always impressive Garland, 28 Days Later has the intimacy and rawness of a low-budget offering but at the same time offers up something much more, all of which will likely be explored in even deeper and grander ways in the soon to drop 28 Years Later.
At the time coming off the relatively disappointing reception of his 2000 Leonardo Di Caprio starring The Beach and struggling to prove he had what it takes to match the greatness of his breakout hit in the form of 1996 cult favourite Trainspotting, 28 Days Later arrived at the perfect time for Boyle who was in need of a boost to his career prospects and riding the highs of this horror offering saw Boyle six years later walk away with his Best Director award for his 2008 smash hit Slumdog Millionaire.
Watching Boyle's career defining hit all these years later is also fascinating in respects of how it launched now Oscar winning Hollywood legend Cillian Murphy into the mainstream.
Casting him after some notable works in his home country and some decently received TV affairs, Murphy's role as the working class Jim was a masterstroke from Boyle and even early in his career here Murphy carried a rare ability to be relatable and charismatic all at once and when surrounded by talents such as Naomie Harris, Christopher Eccleston and the always scene-stealing Brendan Gleeson, it makes 28 Days Later a notable example of early 2000 ensemble work of the highest order.
Boyle's offering maybe flawed and slightly less impactful in the years following its at the time wild concepts but 28 Days Later remains a quintessential piece of the modern day horror puzzle and a defining achievement in the zombie film space with one right to assume Boyle and Garland's next venture together is going to do much the same in the very near future.
Final Say -
A frenetic, fast-paced and ferocious zombie film that isn't, 28 Days Later marked a significant career milestone for all involved and will likely continue to appreciated by new and old fans alike with the incoming release of its long-gestating follow on.
4 unqualified chefs out of 5.
Following on from his 2022 Predator offering Prey and arriving before his upcoming cinematic outing Predator: Badlands hits cinema screens later this year, director Dan Trachtenberg alongside co-director Joshua Wassung have taken the long-standing sci-fi/action staple into the unexpected territory of direct to streaming animated venture Killer of Killers.
An anthology of three stories that culminate together for the ultimate man vs Predator showdown, Killers allows Trachtenberg and Wassung to go wild with their imaginations and be non-phased by budgetary constraints as we venture back to the Viking era, feudal Japan, World War 2 and the Predators own home planet of Yautja Prime on a wild journey that remains sharp and fast-paced over its sub-90 minute running time.
Holding back little when it comes to the blood and gore factor and intense action beats that flowed through Trachtenberg's streaming hit Prey, Killers is arguably the most successful iteration of a Predator experience since the beloved Arnold Schwarzenegger starring original burst onto the scene in 1987 and it shows a clear respect and affiliation for the source material and lore from the two directors, with Trachtenberg clearly the perfect candidate to push the property forward in the current day climate.
You wouldn't say Killers is filled with revelatory story beats or new cannon material to push the Predator series forward in any deep and meaningful ways but if audiences are seeking an action extravaganza that allows its humans and non-humans equal chances to share the spotlight when it comes to the combative stakes, Killers is a resounding success, while at the same time proving that animation done right can be suited to any property that is willing to take a chance on it.
When it comes to the the three separate but interwoven segments it's hard to look past the epic The Bullet segment as the standout in the spectacle stake but both The Shield and The Sword both have their individual moments and whether you like predators taking it to wild-eyed Vikings, contemplative samurai's or brave fighter pilots, Killers has you covered and oozes cool/charisma throughout.
The perfect side-story/holdover until Badlands arrives and hopefully continues to build on the fine work Trachtenberg has produced so far when involved in the Predator space, Killers is a nice little 2025 surprise that should appease hardcore and casual fans alike.
Final Say -
Showing that there's life yet in the once floundering Predator brand name, Killer of Killers is far from ground-breaking but its further proof off the back of Prey that Dan Trachtenberg is the perfect overseer of the cinematic Predator universe.
3 1/2 frozen warriors out of 5.
An anthology of three stories that culminate together for the ultimate man vs Predator showdown, Killers allows Trachtenberg and Wassung to go wild with their imaginations and be non-phased by budgetary constraints as we venture back to the Viking era, feudal Japan, World War 2 and the Predators own home planet of Yautja Prime on a wild journey that remains sharp and fast-paced over its sub-90 minute running time.
Holding back little when it comes to the blood and gore factor and intense action beats that flowed through Trachtenberg's streaming hit Prey, Killers is arguably the most successful iteration of a Predator experience since the beloved Arnold Schwarzenegger starring original burst onto the scene in 1987 and it shows a clear respect and affiliation for the source material and lore from the two directors, with Trachtenberg clearly the perfect candidate to push the property forward in the current day climate.
You wouldn't say Killers is filled with revelatory story beats or new cannon material to push the Predator series forward in any deep and meaningful ways but if audiences are seeking an action extravaganza that allows its humans and non-humans equal chances to share the spotlight when it comes to the combative stakes, Killers is a resounding success, while at the same time proving that animation done right can be suited to any property that is willing to take a chance on it.
When it comes to the the three separate but interwoven segments it's hard to look past the epic The Bullet segment as the standout in the spectacle stake but both The Shield and The Sword both have their individual moments and whether you like predators taking it to wild-eyed Vikings, contemplative samurai's or brave fighter pilots, Killers has you covered and oozes cool/charisma throughout.
The perfect side-story/holdover until Badlands arrives and hopefully continues to build on the fine work Trachtenberg has produced so far when involved in the Predator space, Killers is a nice little 2025 surprise that should appease hardcore and casual fans alike.
Final Say -
Showing that there's life yet in the once floundering Predator brand name, Killer of Killers is far from ground-breaking but its further proof off the back of Prey that Dan Trachtenberg is the perfect overseer of the cinematic Predator universe.
3 1/2 frozen warriors out of 5.
A small-scale New Zealand production that managed to secure the not insignificant services of Oscar winning Australian acting icon Geoffrey Rush and screen legend John Lithgow, The Rule of Jenny Pen is a unique psychological horror that benefits greatly from the work of its co-leads but is let down by a wafer thin plot filled with Swiss cheese levels of holes and a sense it never culminates in a fashion befitting of its set-up.
Actor turned director James Ashcroft (who also co-writes here) starts things off in a promising enough way as watch Rush's long-serving judge Stefan Mortensen suffer a stroke while at work, leading him to a sad and depressive rest home that is being traumatised by John Lithgow's Dave Crealy and his hand puppet Jenny Pen, creating an eerie sense of dread and intrigue that Rush and Lithgow relish in, only to peter out in an increasingly far-fetched and repetitive fashion.
It's a premise that on paper may seem like something you'd find in a dark comedy offering or cult British TV show but there's nothing humorous going on here as Crealy's increasingly unhinged behaviour and Mortensen's intense battle to have his actions caught out ensure Jenny Pen is an unnerving experience but also a frequently frustrating one.
Built around a fairly out there premise that's played with an ever straight bat, there's an element of suspension of disbelief that needs to be accepted early into Ashcroft's offering but that's a requirement that can only take its audience so far as an inept bunch of staff, curiously dismissive character actions and hard to fathom decision making moments take us out of the experience as Jenny Pen struggles to keep its head above a rising water of unbelievable events and reactions.
With the tidal waves of disappointing moments coming thick and fast, there's no denying that Rush and Lithgow come out unscathed here with both actors delivering top-quality performances and their limited interactions together create some fantastically devious sparring matches, making one wish that the film around them was able to come together in the same fashion as it becomes more and more like a what might have been rather than a what is.
After a period of turbulence in his personal life and a career lull that has kept him to two acting roles in the past 6 years, it's particularly pleasing to see Rush back plying his trade and while his performance here won't be regarded up there with the best in amongst some top quality productions, it's a stern reminder of his talent that we hopefully get to see more of moving forward.
Final Say -
Initially inviting hopes of something great to come, The Rule of Jenny Pen gives way to an abundance of questionable story movements and repetitive happenings, leaving far too much of a weight on the shoulders of its game leading men.
2 incompetent staff members out of 5.
Actor turned director James Ashcroft (who also co-writes here) starts things off in a promising enough way as watch Rush's long-serving judge Stefan Mortensen suffer a stroke while at work, leading him to a sad and depressive rest home that is being traumatised by John Lithgow's Dave Crealy and his hand puppet Jenny Pen, creating an eerie sense of dread and intrigue that Rush and Lithgow relish in, only to peter out in an increasingly far-fetched and repetitive fashion.
It's a premise that on paper may seem like something you'd find in a dark comedy offering or cult British TV show but there's nothing humorous going on here as Crealy's increasingly unhinged behaviour and Mortensen's intense battle to have his actions caught out ensure Jenny Pen is an unnerving experience but also a frequently frustrating one.
Built around a fairly out there premise that's played with an ever straight bat, there's an element of suspension of disbelief that needs to be accepted early into Ashcroft's offering but that's a requirement that can only take its audience so far as an inept bunch of staff, curiously dismissive character actions and hard to fathom decision making moments take us out of the experience as Jenny Pen struggles to keep its head above a rising water of unbelievable events and reactions.
With the tidal waves of disappointing moments coming thick and fast, there's no denying that Rush and Lithgow come out unscathed here with both actors delivering top-quality performances and their limited interactions together create some fantastically devious sparring matches, making one wish that the film around them was able to come together in the same fashion as it becomes more and more like a what might have been rather than a what is.
After a period of turbulence in his personal life and a career lull that has kept him to two acting roles in the past 6 years, it's particularly pleasing to see Rush back plying his trade and while his performance here won't be regarded up there with the best in amongst some top quality productions, it's a stern reminder of his talent that we hopefully get to see more of moving forward.
Final Say -
Initially inviting hopes of something great to come, The Rule of Jenny Pen gives way to an abundance of questionable story movements and repetitive happenings, leaving far too much of a weight on the shoulders of its game leading men.
2 incompetent staff members out of 5.
The first cinematic side foray for the John Wick extended universe (lets just forget about ill fated TV spin-off The Continental), From the World of John Wick: Ballerina finds oft-derided director Len Wiseman and reshoot/uncredited overseer and previous Wick helmer Chad Stahelski embedding able-bodied star Ana de Armas into the ruthless world of assassins, hitman and dinner plates, culminating in a result that won't set the world on fire but is sure to please long-term series fans.
Recently receiving far better critical and audience receptions than many anticipated yet still underperforming in its opening week at the box office, showing a potential disinterest for John Wick fans to show up for anything that isn't centred around Keanu Reeves titular dog owner, Ballerina is an action event with little in the way of substance or long-standing takeaways but that's never been a strong component of any Wick based offering and if audiences want an adrenaline fuelled abundance of gun-toting, grenade throwing and flame throwing roasting, they've come to the right place.
Overcoming a relatively ho-hum opening section that makes you wonder how things will pan out, Ballerina quickly lets its wafer thin plot of de Armas's Eve heading out on a quest for personal vengeance and answers against the wishes of her Ruska Roma overseers take over, giving us and the film the perfect excuse for action beat after action, creating a relentless experience that won't win over new fans but one that manages to match its set pieces right up there with the top-class offerings that the four Reeves backed Wick films provided us with over the last decade.
Making little in the way of logical sense and featuring a genuine disinterest in any deep level of character depth or growth, Ballerina makes zero attempts at being anything it's not supposed to be but when de Armas is having so much fun fighting like a girl and taking down all those that stand in her way and talents like Gabriel Byrne, Norman Reedus and old series staples like Ian McShane, Angelica Huston and a fairly prominent Keanu Reeves join her for the old-school like action ride, it's hard not to find enjoyment from a feature that embraces what it is and runs with it.
Overall it's hard to say that Ballerina adds a whole lot to the grand scheme of the greater Wick picture but in an age where it's becoming harder and harder to find good quality throwaway genre films of this ilk, Ballerina justifies it's existence and makes a decent attempt at creating a reason why the Wick head honchos should feel more confident moving forward and not feeling the need to instil their bankable main character into future offerings or allowing them to be named outside of the titular character.
Even if it doesn't appear as though audiences are overly eager to pay up for Wick films that aren't based around their favourite anti-hero.
Final Say -
Far more successful than many would've predicted, From the World of John Wick: Ballerina proves that there is life outside of the series main player and that star Ana de Armas is a capable action centrepiece. Fast, frenetic and as frivolous as they come, this is Hollywood action at its popcorn munching best.
3 TV remotes out of 5.
Recently receiving far better critical and audience receptions than many anticipated yet still underperforming in its opening week at the box office, showing a potential disinterest for John Wick fans to show up for anything that isn't centred around Keanu Reeves titular dog owner, Ballerina is an action event with little in the way of substance or long-standing takeaways but that's never been a strong component of any Wick based offering and if audiences want an adrenaline fuelled abundance of gun-toting, grenade throwing and flame throwing roasting, they've come to the right place.
Overcoming a relatively ho-hum opening section that makes you wonder how things will pan out, Ballerina quickly lets its wafer thin plot of de Armas's Eve heading out on a quest for personal vengeance and answers against the wishes of her Ruska Roma overseers take over, giving us and the film the perfect excuse for action beat after action, creating a relentless experience that won't win over new fans but one that manages to match its set pieces right up there with the top-class offerings that the four Reeves backed Wick films provided us with over the last decade.
Making little in the way of logical sense and featuring a genuine disinterest in any deep level of character depth or growth, Ballerina makes zero attempts at being anything it's not supposed to be but when de Armas is having so much fun fighting like a girl and taking down all those that stand in her way and talents like Gabriel Byrne, Norman Reedus and old series staples like Ian McShane, Angelica Huston and a fairly prominent Keanu Reeves join her for the old-school like action ride, it's hard not to find enjoyment from a feature that embraces what it is and runs with it.
Overall it's hard to say that Ballerina adds a whole lot to the grand scheme of the greater Wick picture but in an age where it's becoming harder and harder to find good quality throwaway genre films of this ilk, Ballerina justifies it's existence and makes a decent attempt at creating a reason why the Wick head honchos should feel more confident moving forward and not feeling the need to instil their bankable main character into future offerings or allowing them to be named outside of the titular character.
Even if it doesn't appear as though audiences are overly eager to pay up for Wick films that aren't based around their favourite anti-hero.
Final Say -
Far more successful than many would've predicted, From the World of John Wick: Ballerina proves that there is life outside of the series main player and that star Ana de Armas is a capable action centrepiece. Fast, frenetic and as frivolous as they come, this is Hollywood action at its popcorn munching best.
3 TV remotes out of 5.