Rated PG-13 for terror, violence and bloody/disturbing images.
The Abbott family, father Lee (John Krasinski), mother Evelyn (Emily Blunt), and children Marcus (Noah Jupe) and Regan (Millicent Simmonds), lived a mostly peaceful existence in a world where blind alien monsters prey on humanity, killing anyone who makes the tiniest of noise. But after the aliens follow them home and Lee sacrifices himself to save the others, their isolated farm is no longer the safe haven it once was. Now, Evelyn, Regan, and Marcus are forced to move on and find help elsewhere. They make their way to an abandoned factory where they reunite with an old family friend named Emmett (Cillian Murphy). Knowing that their sanctuary is only temporary, Regan sets off on a quest to find help for her family. With Emmett’s help, the two will navigate the larger world, facing threats far more terrifying than the vicious monsters. 2018’s A Quiet Place wasn’t really a movie that called for a sequel. Despite ending on an abrupt cliffhanger, it was a good one-off horror film with no real potential to become a franchise. However, you can never underestimate the determination of Hollywood studios to mine as much money as possible out of their latest hits. At least they convinced John Krasinski, who directed the original as well as starred in it, to come back and make this one. And because of this, this long-awaited follow-up lives up to the heights of its predecessor. A Quiet Place: Part II is just as nerve-shredding and terrifying as the first film. In true sequel tradition, it takes everything that people loved about the first film and applies it to a much bigger canvas. We’re not on an isolated farm anymore. Now we’re exploring how other locations have been affected by the murderous creatures. Krasinski continues to show off how talented a director he is, crafting another thrilling experience that really gets you on the edge of your seats. He also shows that he has the potential to direct films outside of the horror genre. This film features more action sequences then the first, and he handles them very well, using his horror skills to ratchet up the tension of the action. Maybe my one criticism of this film has to do with this increase in action. The first film was a much more emotional experience with its focus on just the family. It’s one of the few horror films that actually made me cry. With an increase in the story’s scale, this second installment isn’t as emotional as its predecessor. I was hoping to cry as much as the first film, so I was slightly disappointed by this. But Krasinski’s expert directing and writing makes up for this. It really does feel like an organic continuation from the first film, starting with a flashback to when the invasion began before jumping forward to the exact moment the first one ended. At times it doesn’t really feel like a sequel, but the second half of a much longer movie. It also focuses more on expanding the mythology of the world rather than just replaying the previous story. By doing this, it gives itself a reason to exist other than just being a cash-grab sequel. The film also features more great performances from its cast. Here, deaf actress Millicent Simmonds has been upgraded to the lead role. That’s a lot to carry for someone who hasn’t had lots of experience in her career. But she manages to pull this off flawlessly, showing that she has lots of potential. I am very much looking forward to seeing what kinds of parts she plays in the future. But praise should also be given to Cillian Murphy, not just for his performance but also his character in general. Emmett is a great addition to the franchise, and its refreshing that the movie doesn’t spend the entire runtime questioning whether he can be trusted. He truly is an ally, one broken by the circumstances of what he’s been through. And Murphy really brings this character to life in what’s probably his best performance to date. A Quiet Place: Part II isn’t quite as good as its predecessor, but comes very close. It craves its own identity by offering a natural evolution of the overall narrative rather than just replaying familiar beats. Held together by John Krasinski’s directorial hand and pitch perfect performances from Millicent Simmonds and Cillian Murphy, this turns a surprisingly great horror film into a new franchise that could evolve into something truly special.
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Rated PG-13 for violent content, terror and some strong language.
Gerry Fenn (Jeffery Dean Morgan) is a journalist who was once on top of the world, until he let his fame go to his head and stumbled into obscurity. While attempting to find a noteworthy story in a small town, he bares witness to a deaf girl, Alice (Cricket Brown), regain her hearing, claiming it was the Virgin Mary that healed her. It’s a miracle that has the whole town a buzz, especially when she begins to perform impossible healings on others. Word spreads worldwide, and millions from all around flock to the town to witness this. Gerry sees this as his opportunity to climb back to the top, especially since Alice seems only interested in talking to him. But as he investigates further, Gerry and two Vatican priests (Cary Elwes and Diogo Morgado) begin to suspect something else is behind this. Are these miracles the work of the Virgin Mary, or of something much darker? Based on the 1983 novel Shrine by James Herbert, The Unholy isn’t the most original horror film to come out in recent years. It’s very content to rely on well-worn formulas without much reinvention. However, it’s been a really long time since we’ve had a genuine horror movie in theaters. The last one was last year’s Freaky, and that was more a comedy than a horror film. As a result, this film feels very refreshing and is kind of a return to form for theatrical horror experiences. It helps that the movie is genuinely terrifying most of the time. I’ve always felt that horror films with religious plots are scarier than most others. There’s something about juxtaposing these concepts with scares that works more often than not. Even 2015’s The Vatican Tapes, as mediocre as that film is, has its fair share of scary moments. A lot of this is due to the design of the film’s central demon. While the movie mostly relies on jump scares, the evil spirit dressed as the Virgin Mary that pops from them is one that will truly haunt you. It’s design and ability to remain consistently scary reminded me of The Conjuring Universe’s demonic nun character. It’s so creepy looking that it will always get you no matter how obvious the actually scares can be. The film is also held together by a capable cast. Jeffery Dean Morgan gives a good performance in the central role of Gerry Fenn. Even if his character has mostly selfish intentions throughout, his personal charm makes him a capable protagonist. Cricket Brown also does well in her roll as Alice. She is able to portray the naivety of her character and make her someone worth rooting for solely with what she doesn’t know about her supposed healer. However, the film does tend to slip at times and is far from a great movie. This is the first film directed by screenwriter Evan Spiliotopoulos (The Huntsman: Winter’s War and 2019’s Charlie’s Angels). His script and direction of the actors shows the usual signs of inexperience. There are strange lines of dialogue that don’t sound natural, often delivered with odd expressions or awkward chuckles. There’s also a sense that the film doesn’t take full advantage of its potential, especially when it hits the final act. It wouldn’t surprise me if the ending of the novel is different from this one. The ending goes into a typical direction where the heroes step up to stop the villain from winning. It turns the supernatural threat into more of a physical one, and loses a bit of its edge because of it. It’s also kind of disappointing, as the film’s stakes hint at a sort of biblical apocalypse if the demon succeeds. Without trying to spoil the ending, the endgame ends up being much smaller in scale than the setup implies. My point being is that the ending feels very conventional in execution, and it wouldn’t surprise me if the ending of the source material is something more subversive or contemplative. The Unholy fears to tread into more unconventional territory, running its story through the gears of a fairly familiar plot. However, it deserves points for not only being the first genuine horror film to come out in a while, but also one that is successful in sending chills up your spine on multiple occasions. It may not try much new, but it works with what it has and mostly succeeds in the end. Rated PG-13 for intense sequences of creature violence/destruction and brief language.
Now Playing In Theaters and Streaming on HBO Max Until April 30 Five years after Godzilla saved the Earth from the threat of King Ghidorah, his race of Titans live peacefully alongside humanity. But one night, Godzilla attacks a lab owned by global tech giant Apex Cybernetics. His motivations are unclear, and the world is left wondering if the giant monster is turning on us. Apex has a solution, but in order to finish this, they need the help of fellow Titan Kong. Along with scientist Ilene Andrews (Rebecca Hall), her deaf adopted daughter Jia (Kaylee Hottle) and discredited geologist Nathan Lind (Alexander Skarsgård), Kong will lead them to a forgotten land where they hope to find an untapped power source. But this mission will put Kong right into the path of the prowling Godzilla, and an ancient rivalry between the two will return with a vengeance. As they go head to head, Madison Russell (Millie Bobby Brown), daughter of head Monarch scientist Mark Russell (Kyle Chandler), suspects something may not be right. So, along with classmate Josh Valentine (Julian Dennison) and conspiracy podcaster Bernie Hayes (Brian Tyree Henry), she attempts to expose the truth about Godzilla’s actions, as the monsters’ battle begins to lay waste to cities around the world. After the tense, slow burn atmosphere of the first Godzilla from 2014, the satirical burn of 2017’s Kong: Skull Island, and the epic scale of 2019’s Godzilla: King of the Monsters, Warner Bros. MonsterVerse franchise has reached the point it’s been building to over the course of those first three movies. An all-out battle between two of the most iconic movie monsters of all time. Since that first film seven years ago, the MonsterVerse has shown us how to properly reinvent those old films for modern audiences. Sure, they’re not exactly the most artistic or thematically deep films ever made, but they get by on fully embracing the potential of watching giant monsters fighting each other. With fantastic effects in both the visual and sound departments, the MonsterVerse is arguably the gold standard for modern monster flicks. And same goes for Godzilla vs. Kong. The head-to-head battle is the epitome of how epic this franchise can be. The fights between the titular beasts are not only insanely huge, but also insanely creative. Director Adam Wingard takes full advantage of the characters’ potential to deliver exactly the what we would expect from a battle of this magnitude. It’s the visual effects that bring it all to life. This is probably the most vibrant entry in the franchise. Everything from the CG environments to the practical sets beam with colors and are gorgeous to look at. Also, the tech used in this film really feels like it embraces the Japanese origins of Godzilla. The weapons and vehicles, like many anime shows, are completely outlandish, but really awesome. Of course, the human characters are usually the weakest part. The people along for the ride are really little more than that. Just bystanders witnessing the events and trying little things to change them. They’re not really here to learn anything from their actions or teach the audience anything important. But a lack of development in the humans is usually overshadowed by the wide range of talented stars that portray them. One of the highlight performances is Millie Bobby Brown, who returns from King of the Monsters as Madison Russell. She doesn’t have as much involvement in the overall plot as the last film, but she plays her with more maturity and ingenuity than before. It may not add much to her character, but she continues to display the considerable talent that makes her one of the best young actresses working today. Much of the film is dedicated to newcomers Skarsgård, Hall, Henry, and others. They all turn in great performances, with the highlights being Skarsgård and Henry. Skarsgård makes his character very watchable thanks to his own personal charm, while Henry comes out as the scene stealer with his hilarious portrayal of a conspiracy theorist. Nearly every one of his one-liners land hard and add great comic relief to the grim situation he’s in. However, praise should really be given to newcomer Kaylee Hottle as Hall’s deaf daughter Jia. Her character acts as the film’s emotional center, as she is the only one who can communicate with Kong through sign language, and is one of Kong’s only true friends in a world that sees him as a freak. As her very first acting role, Hottle gives a committed and heartfelt performance, able to imbue it with all the emotions necessary, and is arguably the best performance of the film. Godzilla vs. Kong is a fantastic return for blockbuster cinema after almost a year of lackluster theater fair and pandemic-induced delays. This movie really needs to be experienced on a massive screen to get the full effect. You won’t have as much fun seeing it on your TV or phone on HBO Max. Delivering everything we would expect from these two iconic characters slugging it out, there’s no better movie to head back to the theater with than this one. Rated R for violence and some language.
Now Streaming on HBO Max Back in 2017, Warner Bros. and DC released Justice League, the fifth installment in their Marvel equivalent cinematic universe and their first Avengers-style team up movie. The film was due to be helmed by director Zack Snyder, but after various production issues and a personal tragedy of his, Snyder left the project. Not willing to push the film’s November release date back, the studio hired director Joss Whedon to complete the movie. Under Whedon’s control, the studio asked him to make it much more comedic in contrast to the dark and brooding films that Snyder created. The film released to very mixed reviews from critics, with the biggest complaints seemingly directed at Whedon’s additions. Many found the movie too comedic and a bit all over the place. So, many became curious about what Snyder’s original vision would be. And after years of demanding from fans, we finally have it on HBO Max. While the basic plot remains the same as the 2017 version, the way the film plays out is considerably different from before. It also boasts a longer runtime, some new subplots, and redone versions of CGI characters from before. It’s clear from the very first scene that this movie isn’t going to be the same one we’ve seen before. And truly, it isn’t, and it’s all the better for it. While I’ve always considered the 2017 version to be a surprisingly fun little slice of superhero cinema, there’s no denying that Zack Snyder’s Justice League is, by all definitions, a much better film that the original. Shockingly, while clocking in at just over four hours, it never once overstays its welcome. It flies right by without ever losing your attention, thanks to what it does differently. One of its major differences is its portrayal of its various characters. Heroes like Wonder Woman, Aquaman, and Superman aren’t that much different aside from a few additional backstory beats, but the way the movie plays out their scenes makes them feel like more well-rounded characters than in their previous iterations. We really get a sense of who they are and what their purposes are. While characters like The Flash, Batman, and Steppenwolf are very different people than before. They are given more time show off their respective backstories before the action begins. The Flash feels more like a developed person rather than just the comic relief, Batman seems genuinely affected and motivated by Superman’s sacrifice in Batman v Superman, and Steppenwolf actually has motivations as a villain rather than being driven only by the desire to conquer other worlds. But probably the character with the most differences is Cyborg. Much of his backstory was cut from the 2017 version, and he was left kind of a hollow shell of what he was supposed to be. Here, we get to see everything he’s been through that has defined who he is now. He is a much more compelling character as a result, and Ray Fisher nails his portrayal of the character in what is arguably the best performance of the film. The action scenes are also improved upon in this version. There’s a definite increase in violence during these scenes, as indicated by the film’s R rating. And it’s this that helps to increase the stakes. The improved characterizations also help as well. The villains feel like genuine threats, and we are able to root for our heroes and hope that they make it out alive, because there’s actually a chance that they won’t. There are moments, however, where this version slows down despite being mostly a breeze. Snyder’s signature slow motion shots do tend to drag the action along longer than it should. But the film is mostly brought down by its various scenes designed to setup future movies. While I commend Snyder for staying true to his vision, it seems pointless dedicating so much time to scenes that hint at future storylines that probably will never be expanded upon. Zack Snyder’s true vision of Justice League shows that the studio should have had more faith in his story. While I never support studios giving in to fan pressure (looking at you Disney with The Rise of Skywalker), every once in a while, we can get something truly great out of it. It improves on pretty much everything from the original version, and successfully restores the images of some of the most iconic superheroes of all time. Rated PG-13 for violence and language.
In the distant future, humanity has begun to settle colonies on an alien planet in another solar system. However, this new planet comes at a mysterious price. All men who enter its atmosphere are stricken with “Noise;” a phenomenon that puts all their thoughts on display for the world to see. It’s a condition that they have spent years trying to learn how to control. In the small community of Prentisstown, headed by David Prentiss (Mads Mikkelsen), a man who can fully control his Noise, young Todd Hewitt discovers the wreckage of a ship carrying scouts from the next wave of settlers. The sole survivor is Viola Eade (Daisy Ridley), who is shocked at the current state of Prentisstown, as all women have been killed off. Though she doesn’t appear to be a threat, David suspects ulterior motives. So, Todd decides it’s his duty to leave his small farm and help Viola reach a place where she can contact her superiors for help. Along the way, the two will come across various foes that seek to stop Viola from getting off the planet. They will discover secrets about the planet that will set in motion events that will change everything for this new civilization. Originally set to come out in 2019, Chaos Walking, based on the young adult novel The Knife of Never Letting Go by Patrick Ness, ended up going through loads of reshoots after it didn’t test well at early screenings. On the surface, this gives off the same red flags as last year’s Dolittle. A film that tested so poorly that it went through many reshoots that resulted in a disaster of an experience. However, despite all chances to fail as hard as that aforementioned film, Chaos Walking ends up still having enough fun moments to make for a moderately satisfying sci-fi action film. There are times when it feels cobbled together, especially in the third act which was the most tinkered with in post-production. It’s clear which parts were replaced and they aren’t exactly seamlessly woven into the film’s overall narrative. But there are certain aspects that help make up for a lack of script cohesion. A lot of it comes from its refreshing take on the young adult dystopian genre. Many usually act as metaphors for some teenage issue and usually have a lightheartedness amongst all the action. Here, the world is gritty and almost everything is played completely seriously. There’s also a bit of Western tinge within the action. Overall, it feels unique when compared to the multitude of similar films. The film is also aided by some of the performances of the cast. Tom Holland, though clearly much older than the character is in the book, fits the role well. He really captures the struggles a teenager would face in a world where your thoughts are always out in the open. Mads Mikkelsen should also be highlighted for his performance. His character may not have much depth, but he plays the role of the brooding, menacing villain in a refreshingly old-fashioned way. The same can’t be said for Daisy Ridley. While she does do her best, and overall gives a good performance, she doesn’t really fit her character. I don’t know what it is, but I just couldn’t buy her in the role. It also didn’t help that she and Holland don’t really strike a good chemistry. They never form a convincing bond and end up just seeming like two “it” people thrown on screen in an attempt to entice audiences. Chaos Walking is nothing groundbreaking, and clearly loses momentum in the rather underwhelming third act. It’s clear that Lionsgate didn’t have much faith in its success, and therefore didn’t have a problem releasing it while theaters are still compromised. However, even if not the most original of its kind, that doesn’t mean it’s not enjoyable. It has enough moments to make it a passable, if forgettable, time if you’re looking for something to see at the movies. Rated PG-13 for sequences of action and violence.
Now Playing in Theaters and Streaming on HBO Max During the throes of World War I, Diana Prince, aka Wonder Woman (Gal Gadot), left her Amazonian home in order to bring peace to the world of man. Alongside expert pilot Steve Trevor (Chris Pine), she managed to defeat the god of war and fulfill her purpose, even if it came at the cost of Trevor’s life. Now it’s 1984, and Diana is living a somewhat normal life as an archeologist working at the Smithsonian Institute in Washington D.C. She also patrols the streets of the city in her superhero alter ego, saving people in peril and stopping basic evildoers. Despite living a fairly successful life, she still mourns over Trevor’s death and hasn’t found love since. But everything changes when she and her likable yet overlooked co-worker Barbara Minerva (Kristen Wiig) uncover an ancient stone said to grant one’s greatest desire. Not knowing the truth about its power, they find their wishes granted, with Diana reunited with Trevor’s spirit in the body of another man. Barbara also gets her wish to make herself more powerful and confident, basically getting all of Diana’s powers. As Diana attempts to track down the origin of this power, she and Barbara are faced with a villainous force in struggling businessman Maxwell Lord (Pedro Pascal), who wants the power for his own selfish purposes. While the first Wonder Woman was a massive critical and commercial success, I wasn’t the biggest fan of it. My biggest issues with it being a very inconsistent tone and a poorly written script that relied too much on improved lines. Even though it was set during World War I, which was a unique setting for a modern superhero movie, it didn’t really do much to win me over. So you can imagine that my expectations for this one weren’t very high. And with the critical consensus being that this one was inferior to its predecessor, I was fully ready for a film that was even worse. However, against all of my preconceived notions, Wonder Woman 1984 was so much better than what I thought it would be. I went into it thinking pretty much what everyone was saying online. But at the risk of promoting an unpopular opinion, I have to declare that this movie is a major improvement over the first movie in every way. I will admit that, right at the beginning, there was more than enough to prove my expectations right. The opening act is rather clunky, beginning with an overextended flashback sequence with Diana as a child, before heading to 1984 with a montage that feels like an entirely new introduction. This is followed by a goofy and joke-filled look at Diana and Barbara’s lives where most one liners don’t really land. But once Trevor appears and the story begins to gain speed, you start to realize that this isn’t the same kind of movie as the last one. This direction focuses much more on characters over the typical superhero action. Everyone from Diana, to Barbara, to even Maxwell Lord are more three dimensional than the characters in the first one, where they were more like basic war movie clichés. This makes them more compelling to watch as the stakes continue to climb. It’s goofier and more colorful appearance also aids to creating a more balanced tone compared to the first one. It was distracting when several characters in the first movie kept cracking jokes in a very serious environment. Here, right off the bat, the film embraces the underlying comedy of the first and makes it a much more entertaining time. Even if some of the jokes don’t land, they feel well earned. The performances also seem more confident this time around, again aided by the characters not just being one dimensional stereotypes. Gal Gadot continues to show off that she’s perfectly cast as Diana, and even when she stumbles at times, she is able to nail many of the emotional moments during the latter half of the film. Kristen Wiig also continues to show her range as an actress here. She does delve into her typical brand of awkward comedy towards the beginning with Barbara Minerva, and starts off kind of shaky as a result. But when she starts to fully embrace her villain role as Cheeta, her performance is further proof that she has a lot more potential as a dramatic actress rather than a comedic one. I also appreciate the quality of the screenplay this time around. Like I said above, the first film seemed to rely too much on moments of improvised dialogue, especially the scene where Diana and Trevor are sailing away from her home. This film doesn’t have as much improv (at least not as much noticeable improv) and feels like a more cohesive story with better focus on the greater goals of the story. Wonder Woman 1984 plunges our titular heroine into a new era, and focuses much more on who she is as a person rather than the amazing things she can do as a superhero. This makes for a much more satisfying experience in the end, with a more balanced tone and a tighter script that feels better structured and less improved than the first film. This makes me excited to see where Diana’s next adventure will take her. Rated PG-13 for violence, disturbing images, thematic material and some language.
Following the Civil War, former Confederate soldier Jefferson Kidd (Tom Hanks) makes a living going from town to town reading the news to people for ten cents. He doesn’t make a lot doing it, but it gives him a sense of purpose. But one day, while on his way to his next stop, he comes across a young girl who was in the process of being transported before her guard was attacked and killed. This is Johanna (newcomer Helena Zengel), a girl who’s family was killed by Indians. She was taken in by them and raised in their ways. But now she has been taken from all that she’s known, and fallen into the hands of Kidd. With no other option, he decides to take her to her only surviving family in a small Texas town. Though they don’t speak the same language, and Johanna has no memory of her real family, they slowly start to bond during the journey in ways that will change their lives forever. News of the World comes to us from director Paul Greengrass. Throughout his career, he has been known for making gritty action films about real world issues (like the Jason Bourn series) and dramas about true incidents like terrorist attacks (United 93 and 22 July). While it can be very difficult to produce a film about such stories without seeming disrespectful, Greengrass has always managed to do it in a way that makes them feel important. So this film is quite different from his previous endeavors. It’s a much more light-hearted adventure story, and while it does have its darker moments, the story isn’t as depressing as some of his other ones. Turns out, this switching up makes for one of his best films, as he crafts a brilliant new spin on the Western genre that feels reminiscent of previous classics while also feeling very timely. It’s honestly quite surprising that this movie stuck to its theatrical release date, since everything around it is either getting delayed or sent to streaming. But it’s really thanks to this that the story feels more relevant than when they shot this last year. The news stories Kidd reads are things that were really going on at that time; told in a way that makes them parallel current events. But somehow, many of the events described feel more like moments that, last year, we could’ve never predicted would ever happen. This actually makes the movie more compelling, as Greengrass is trying to show that between now and then; some things have gotten better, some have gotten worse, and some haven’t changed at all. It’s a kind of hopeful depiction of things that seem utterly hopeless, like rising racial tensions following the war, the out-of-control hunting of buffalos, or an epidemic of meningitis (sound familiar). It’s really lucky that all this makes this movie more important than when it was first conceived. Aside from the script, Greengrass continues to show off his unique directing talents that make his movies so great. He has a documentary style form to his camera work, utilizing handheld shots from the biggest action scenes to the smallest dramatic moments. The way he uses it makes the audience feel like they’re part of the moment; inviting us into the world to feel what the characters do. It’s this style that makes films like United 93 and 22 July compelling without seeming exploitative. And it works here too; allowing us to get into the minds of Kidd and Johanna and understand what makes them who they are. The characters are also brought to life by a talented cast, led by a top tier Tom Hanks. It’s probably no surprise that he gives a fantastic performance, as he is one of the industry’s most talented actors. But there’s something about his performance here that stands out from his others. He doesn’t really feel like he’s just playing himself here, and for the most part I wasn’t thinking, “hey, it’s Tom Hanks in a cowboy hat.” He really feels like he becomes Jefferson Kidd. But I also have to give points to his co-star, Helena Zengel. Her performance as Johanna shows that, even at 12-years-old, she has a lot of potential. She perfectly captures the wide range of emotions in her character; from the bottled up rage towards Kidd for keeping her from the people she knows to the genuine curiosity she develops towards him and his way of life. She and Hanks form a heartwarming bond that makes them an irresistible pair. I also have to commend the film’s impressive, and at the same time subversive, depiction of the old west. I say this because while it’s set during this period, this isn’t a traditional western. There’s no lone gunman or sheriff looking to hunt down a ruthless outlaw, or anything like that. It’s a more accurate portrayal that focuses more on what really happened rather than the fantasy stories we’ve developed from it. And it does so with amazing production design and a musical score that all capture the trials and tribulations of the time. News of the World is a western for people looking for both a callback to a bygone genre, while also something different from what we’re normally given. Paul Greengrass uses his signature talents to bring the world to life, giving us a window to the era headlined by two outstanding leads. It’s awesome that Universal released it despite the risks of distributing a film in this climate, because something like this couldn’t have come at a better time. Rated PG-13 for sequences of creature action and violence throughout.
Captain Artemis (Milla Jovovich) and her team are on a mission to discover what happened to a fellow group of soldiers. Their only clue being a message that sounds like they were attacked by something; and when they arrive at their last known location, they are nowhere to be found. Their search is cut short when a massive storm quickly engulfs them and throws them off the road. When they emerge, they find themselves somewhere unfamiliar; a stretch of desert not on their maps. Turns out, that storm was actually a mystical gateway that transported them to another dimension. Soon the team are confronted by the gigantic and merciless creatures that rule over this new world; completely immune to their guns and cannons. If Artemis is going to get her team home, she’ll have to team up with a skilled Hunter (Tony Jaa) and learn his ways of killing the monsters in order to survive. Monster Hunter, based on the Capcom video game franchise of the same name, comes to us from the same people who created the film series adaptation of Resident Evil. It is helmed by writer/director Paul W.S. Anderson, who once again casts his wife Milla in a role that doesn’t actually come from the games. But as someone who finds guilty pleasure in their previous game adaptation, I was actually looking forward to this movie despite never having played the game. Unfortunately, this new attempt leaves something to be desired. And while there are still moments of fun to be had, Monster Hunter feels more hollow and tame when compared to Anderson’s Resident Evil series. It really suffers from the same franchise mentality that plagues most big budget action films, as the film seems more interested in setting up what comes next rather than what’s happening now. And while the Resident Evil movies did their fair share of sequel setups, each film at least had a mostly conclusive story before leaving us on a cliffhanger for the next one. Monster Hunter doesn’t accomplish this feeling; and often feels like a chunk taken out of a much larger film. We’re given very little time with Artemis and her team at the beginning before they’re thrown into the next world, and the movie ends right after an epic battle just as another one is about to begin. It’s clear that the studio put a little too much faith into Anderson’s vision. They seemed to fully believe that, with everything and everyone assembled, magic would strike again and they would have another big franchise on their hands. But because of this, they allowed him to lean much more heavily into his television-esque style, and the ending feels unsatisfying as a result. It feels like we’ve been cheated out of something better than what we got. It’s also not helped by the incredibly short yet slow story he’s crafted. He was never known for writing great stories or characters, and he made up for that with some usually great action scenes. Here, his script seems especially thin and low on action. There’s a whole sequence around 10 minutes long of Artemis just walking around the desert covered in wounds. It isn’t until far into the second half that the action kicks in, and not long after that does the movie end. There’s also a major tonal imbalance with the script. From what I know about the games, they have a decidedly goofy aesthetic against the fantastical monster hunting. You are able to have an anthropomorphic cat assistant in the game. For the movie, while Anderson includes things like humanoid cats, he mostly tries to work with the gritty aesthetic he brought to the Resident Evil films. It’s hard to tell what kind of tone he wanted to strike, and what he gives us doesn’t gel together well. There are some fun action sequences, usually when Artemis and the Hunter are facing off against a monster. There also aided by Jovovich’s lead performance. She does well in the role of Captain Artemis. It’s not a fantastic performance, but her personal charisma and ability to hold the screen during the action is one of the reasons why portions of the film are enjoyable. Monster Hunter tries to be a “so bad, it’s good” video game adaptation like some of Anderson’s other attempts, and he does still have his chops for good action. Unfortunately, he isn’t able to strike the same dumb fun feeling that he brought to his previous game adaptation. This film is far too focused on setting up potential future adventures to be the epic adventure it seems to think it is, and as a result, can’t cover up the shoddy filmmaking under the surface. Rated PG-13 for disturbing thematic content, some violence/terror and language.
Now Streaming on Hulu On an isolated farm in a small American town, Diane Sherman (Sarah Paulson) cares for her disabled daughter Chloe (Kiera Allen). Chloe suffers from numerous physical ailments as a result of being born prematurely. She is unable to walk and is bound to a wheelchair. Despite this, she is exceptionally smart and dreams of leaving her home and making a life for herself at college. But when she discovers a new kind of medication Diane has just added to her daily routine, she becomes curious as to what her intention is. She begins to dig deeper into her various conditions and begins to suspect that her life may not be what she thinks; despite her mother’s insistence that everything is fine. Chloe will have to find a way to the truth if she wants to escape with her life; even if that truth is more terrifying than she could ever imagine. Run, the second film from co-writer and director Aneesh Chaganty (2018’s Searching), was not released in theaters. It was originally supposed to, but was delayed like everything else and eventually was bought up by Hulu. Despite having to watch it on my laptop, which is always a disadvantage to the experience, this did not stop it from being one of the most intense, white-knuckle thrillers I’ve seen in years. Chaganty and co-writer Sev Ohanian have only made two movies and have already proven themselves of having an expert hand at cinematic tension. The former’s directorial style does an amazing job at making you feel uneasy from the very beginning, like there’s a lingering danger around every possible corner. And the duo’s script does an amazing job of keeping you in the dark and consistently inducing gasps at every plot twist, no matter what they may be. That’s really their biggest strength as filmmakers. They do an amazing job at keeping their stories unpredictable. Both this and Searching almost feel like games; encouraging the audience to come up with their own solutions until the truth finally comes out. I personally developed so many theories at how Searching would turn out, but when the final act kicked in, I was still incorrect. Same goes for this movie. And while the final twist was among the many I concocted during the runtime, it still left me in total shock. This leads into an extremely intense final act that had my in a complete panic as the story reached its ultimate climax. It’s very rare to find a thriller that can create this much anxiety in a viewer, but Chaganty and Ohanian have proven that the ability to create this feeling seemingly comes naturally to them. The tension is also backed up the the phenomenal performances of the two leads, specifically Sarah Paulson. Through the entire film, Paulson’s portrayal of the increasingly unhinged mother makes for a highly terrifying villain; in that it’s hard to pinpoint what side she truly lies on even when the truth is finally out in the open. Kiera Allen also deserves props as her portrayal of the disabled Chloe really makes you feel the imminent danger that is growing around her. Run was on my list of most anticipated films of this year, so I am so happy that Hulu rescued it from the pandemic-induced delay. It was completely worth the wait; and ranks as a great example at how to expertly craft a thriller for guaranteed hand shaped seat arm indentations. It’s an amazing suspense tale that thankfully will rank among the best films of this extremely barren year. No matter what they do next, Chaganty and Ohanian are definitely filmmakers to watch from now on. Rated PG-13 for violent content, some disturbing/bloody images, some strong language, thematic elements and suggestive material.
Now playing wherever theaters are open. Since October 2017, we’ve been anticipating the release of what was once the next standalone installment in 20th Century Fox’s X-Men universe, The New Mutants. The first trailer came out that month, and with it came the reveal of the horror elements the film would be playing with. It seemed like a logical next step in the superhero genre; and it was cool to see the format continue to experiment with other styles. But after the first trailer garnered a great deal of attention, the studio decided to pull the film from release in order to make it more terrifying. Specific details on this were, and have remained, sketchy, but it seemed like the studio was planning to completely redo the entire film. This led to a series of lengthy delays that prevented the film from coming out for the better part of two whole years. Now, the film has finally hit theaters, during the slow reopening from the pandemic and without any of the planned new material they talked about, That’s right, the movie is exactly what it was originally intended to be, which means everything we see was shot back in 2017. Now that we’ve seen what they created, their plans to add more horror into the film actually make sense. Because the film never truly feels like the horror film they promised. For much of the runtime, it feels like a strange mash-up of horror and superhero clichés without ever settling on one. Our main cast of mutants feel like the writers picked from a box of teen tropes and a box of horror tropes and formed their backstories off of those two traits. But even if the final product isn’t as genre subverting as it could have been, The New Mutants isn’t nearly as bad as the reviews make it out to be. In the end, the film is a competently made, perfectly watchable one-off entry in the now concluded X-Men franchise. It is easy to see where sequels to this film would have gone, since it was originally planned as the first in a new trilogy. Thankfully, this doesn’t hurt the film as much as it did for last year’s Dark Phoenix. This film, however, does have various flaws. The biggest ones pertain to the story, which takes way too long to really get going. The first half of the film is standard superhero exposition with loads of high school clichés. It becomes hard to enjoy what the filmmakers have made when they spend the whole first act trying to figure out what they want the film to be, and never really come to a final decision by the time to real stakes come into play. However, once the film finally makes it past all of this, it becomes rather entertaining. It was nice to have a superhero movie that focuses on smaller stakes. It relies more on characters rather than world-ending stakes, and that makes us care for the leads more. Even if they are mostly just cardboard cutouts in terms of personalities, the story’s focus on them means we know about what they want and why they want to survive, which means we can root for them. The cast all do their best with their respective roles. While Anya Taylor-Joy and Charlie Heaton do give decent performances, the others, namely Maisie Williams, are not as compelling. The best performance of the film is Alice Braga as Dr. Cecilia Reyes. Her performance bubbles with menace that makes her a really watchable villain. Even though everything else about the movie is mostly mediocre, Braga is truly exceptional. Surprisingly, the two year wait acts as both the film’s biggest advantage and weakness. Obviously, two years of delays with no reshoots means that the film won’t live up to people’s expectations. But because of the delays, the film we have was shot before what I call the 2017 Cultural Shift. Many things that happen or are said would never show up in a film made today, and as a result, it feels like a breath of fresh air. The New Mutants is far from the most original horror, superhero, of teen film ever made. It struggles to maintain a consistent tone and never really figures out what it really wants to be. However, as a film made back in 2017, it feels positively refreshing compared to the films made in today’s climate. So what if it isn’t the subversive genre-bender we thought it could be. That doesn’t stop from being a perfectly entertaining time at the movies (if you want to go to the movies right now). |