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The Menu (2022)
A commentary on human excess
In my day-to-day life, even without being wealthy or "financially comfortable," I can't help but think about the amount of garbage, waste, and space I take up. Sure, some of this is necessary, but most isn't.
This is what this movie is about. A famous head chef who's realized that his entire life's work has reached the point where the movie is set. He understands the folly of everyone he's ever served and culminates a lifetime of frustration, pain, and agony of service to others in a bizarre, arthouse menu for a group of willing participants. In a sense, he and all the other cooks in his restaurant know that everything they do is nothing but ultimately waste - which is an interesting commentary on performative art itself.
At first, I didn't know what to make of all the characters as the story went on. It was hard to tell whether I should take later scenes seriously, but this is best watched, not assuming anything and taking it in as it's happening. The movie makes you feel you're there and everything is "part of the experience."
As for the social commentary, whether you consider yourself poor, wealthy, or somewhere in between, I'd leave you to your own opinions. The idea of food as art is already strange, especially if you're going to eat it minutes later. It also makes you question the value of high-priced food and what allegory this serves to our society wanting that type of food as a service.
Wednesday (2022)
Could be perfect with better writing
The acting, soundtrack, imagery, dialogue, and characters are what you'd expect from a Tim Burton production. It's comforting, yet somehow strange, that Tim's style and tone are still consistent so many decades later. If you have enjoyed any of his work in the past 2-3 decades, you'll thoroughly enjoy this show, even if you must ignore the plot holes and repetitive storytelling techniques.
There aren't a lot of negatives I have to say about this show, but it feels obvious that Tim doesn't know how to do a TV show. The writing becomes thin as it drags and tries desperately to find cliffhangers and stretch the story to the next episode. The number of times someone goes in and out of the local jail and is almost expelled but then forgiven, or something "terrible" may or may not happen to whatever character gets ridiculous in the last few episodes.
I hope Tim continues to the second season and figures out how to write several unique episodes that organically tie together. Unfortunately, each episode just started feeling repetitive; the only thing keeping me engaged were the characters and their various arcs.
Beyond that, as many have already said, Jenna Ortega is Wednesday, Addams. It's also nice to see other Addams family members pop in and out of the show. It would be nice to have at least one episode in the Addams family house.
I look forward to a second season, ideally with a better story and plot.
Enola Holmes 2 (2022)
Top notch writing for a streaming movie
While this movie is pandering to a specific audience (young, impressionable women who enjoy mystery), I'm surprised at how good the writing is. But unfortunately, everything else does seem middling.
The dialogue, tone, fourth wall breaking by Enola, soundtrack, and pacing give off a made-for-tv vibe that doesn't match the quality of the writing and acting. I guess it's the difference between Robert Downey Jr.'s Sherlock series and this one. And I don't believe this "doesn't have the budget," as there are plenty of fights, explosions, and expensive sets you'd similarly expect in a decent blockbuster movie.
Some part of me wants Netflix to throw in more CGI and practical effects to elevate the action and fight scenes beyond borderline sketch comedy - it feels off. Something at that level of spectacle would warrant a theatrical release.
As for the characters, writing, and acting, it's as good as you can ask for such a premise. The writers know how hard it is to pull off a Sherlock Holmes spinoff with the focus not on Sherlock Holmes. So, you'll primarily be engaged by Enola (Milly Bobby is great as usual) and Henry Cavell's almost cartoonish portrayal of Sherlock as he's narratively pushed to the side until the third act.
I enjoyed my time with this movie, albeit wanting to skip the slower parts; the twists and (while toned down) most of the action and fight scenes were entertaining. The ending is even more satisfying once it's revealed that the story has elements of truth. Well done, Netflix.
The Lord of the Rings: The Rings of Power (2022)
The Show of Things About to Happen
I haven't read Tolkien's books outside of getting about halfway through the Hobbit, realizing it's meant for children, and putting it down. Although, I'm old enough to have watched the original Peter Jackson trilogy in theaters and can give my thoughts from that perspective.
In terms of the cinematics, if you enjoyed the visuals, action, acting, dialogue, soundtrack, and overall tone of Peter Jackson's trilogy of movies - you're getting more of the same here. If you've never watched those movies, this will be more PG-13 versus recent fantasy like House of the Dragons or The Witcher series.
But I'm still lost in all the lore, even having watched Peter's movie trilogy and his follow-up Hobbit trilogy. I can't help but think this series is too overwhelming for newcomers who only want to see dragons, orcs, wizards, and sword battles. Whenever a proper noun comes up (the name of a place, some ancestors, a long, lost race of people, the lineage of some royal family, some far-off mystical realm), it goes right over my head.
The action is also lacking, surprising since Amazon spent ridiculous amounts of money to produce this show. The show relies too heavily on cliffhangers to the point of annoyance. There are two or three battles, and they're more like minor skirmishes - nothing near the level of what you'd see in the movies. One of the primary reasons to watch the Lord of the Rings movies is for the wars and battle sequences. The hand-to-hand combat and battle scenes had never been seen on that scale before those movies.
Hardcore fans also roasted this show for not following the original lore and books. I can partially understand since this is an adaptation, but I wouldn't be surprised if I were even more disappointed after reading Tolkien's books. So, it's something to keep in mind.
I look forward to a second season (since Amazon has infinite production money). But unless future seasons completely blow me away, I may forget this show in a few years. I'll always remember the movies, though.
Hellraiser (2022)
From a newcomer's perspective
I haven't watched the previous Hellraiser movies, but at least ten of them exist. Unfortunately, they were mostly before my time, and the concept never interested me. I've also never read any of the books these movies are based on, only recently discovering that Clive Barker's "The Hellbound Heart" inspired the movie franchise. But critics and reviewers convinced me to watch this.
For those unfamiliar (I wouldn't blame you since much of this material stems from 1980's pop culture), the story centers around various characters stumbling upon a puzzle box which, through human sacrifice, summons demon-like, interdimensional beings called Cenobites who eventually grant the puzzle box holder a selection of supernatural powers.
So, it's different. I don't think this type of material is for everyone, but it does approach the horror genre from a nihilistic yet still philosophical perspective. There are undeniable elements of demons and Hell permeating the Cenobites, but it's never explicitly explained as such. I don't think this movie is necessarily about Satanism as much as body horror and broader concepts of the afterlife. But I can see this franchise easily fitting into a "humans versus demons from Hell" subgenre.
I wouldn't say I liked most of the human characters, especially the main character. I was waiting for the characters to die so I could see how creative the movie got with the body horror of the Cenobites. Throughout the film, it felt like I was waiting for a team of slasher villains to show up and do their work...you know, kill the unbearable protagonists so we can move on with the plot.
What I think this movie does well is it doesn't fall into too many of the horror or slasher film tropes we expect. Yes, there are some, like the helpless victim running away and tripping or the reckless main character doing precisely what the killers want. But by the movie's end, it raises fundamental questions like what we desire in life or what power means when we all end up dead anyway. I also thought it was clever how the movie treated the puzzle box as a powerful object with agency rather than the generic "McGuffin" it could have been.
I would say it's worth watching on a horror binge for Halloween. The visuals (although incredibly disturbing) are great, and it at least feels like the moviemakers took this one seriously. But I will warn you; the imagery and concepts will stay with you long after the movie ends. This is rated "R" for a reason.
Prey (2022)
Worth your time
Unless you just don't like the Predator franchise, there isn't much reason not to watch this. It's not as action heavy as the original, but the character, pacing, and what action there is will easily make up for it.
This movie is a love letter to the Predator franchise and the Comanche Indian Nation. Seeing the day-to-day lives of the Comanche was fascinating. You sometimes forget that mountain lions, bears, and wild wolves were eating us only a couple of hundred years ago. The gore doesn't only come from the fights with the Predator but also from surviving the wilderness of ancient America.
There is also this predator/prey logic that fills almost every scene. The Predator lands on Earth but doesn't immediately kill humans. Instead, you see the Predator trying to similarly dominate the wilderness alongside the Comanche until they finally clash. You feel the tension as the story progresses; both sides hunt larger and more dangerous prey until the third act.
The third act is the best I've seen in a movie this year. The movie's first half didn't feel slow because you could feel the rising tension leading to the finale. Without spoiling anything, the fight sequences with the Predator are amazing. It's brutal, bloody, gory, and savage. The Predator takes so many hits it's hard to tell when he'll finally fall. And to give a small detail of what the fights are like, this Predator kills a portion of his prey with his bare hands.
So, if you're a fan of action, Sci-Fi, the Predator franchise, or American history (honestly), I think you'll love this movie. But do not sleep on this.
Werewolf by Night (2022)
Classic monster story
We all know by now what a Marvel Cinematic property will deliver: good action, easter eggs, setups for future films (thankfully not here), exciting visuals, great characters, and great acting. However, what I like here is how simple they keep the plot. I thought it would bother me, but the runtime felt right, and I was relieved I didn't get backstories to several side characters who may or may not matter.
This film succeeds because it avoids Marvel's weaknesses. The villains are great and may or may not be who you expect, depending on your familiarity with the genre. The villains don't live long, but their deaths are satisfying. And, as mentioned previously, this is a standalone story and not set up for ten more movies. There isn't a mid or end-credits scene to bait you for next Halloween. I REALLY want Marvel to do more standalone stories like this. The easter egg they use (for diehard Marvel fans) also matters to the plot and isn't another pop culture reference to get the audience to cheer or laugh when they appear.
Some also say, "All Marvel movies are starting to look the same," but from the trailers, this is taking a different art direction, and it's refreshing. I don't know why it took Marvel this long to figure this out (or at least execute it).
This special is a 50-minute glimpse into what could be rather than riding along the action-packed, joke-filled, neon-colored CGI train of the current MCU. I'm not saying that's good or bad, but sometimes you need a palette cleanser to remind yourself why the MCU still has so much left to offer our Disney Plus Subscriptions.
Cyberpunk: Edgerunners (2022)
Very anime, very Cyberpunk, and very violent.
This show knows its target audience because it delivers everything you'd want and expect from such a show. Does it feel like you're in the same Night City that you're in a while playing the videogame of the same name? Yes. Are these endearing anime character archetypes well fleshed out through flashbacks and time jumps? Yes. Is there hyperviolent action, violence, and gore that doesn't hold back because the intended audience is primarily adults? Yes. Do all the neon, surrealistic, colorful, and neo-Noir visuals remind you of similar sci-fi films, and tv shows many of us have loved? Yes.
Hopefully, you get the idea. You pay for sugar and eat something a little sweeter than you asked for, but not so much that it ruins the taste. But, as someone who watches a decent amount of streaming shows and theatrical releases, I can see this outside of the fanbase bubble. I've also played through Cyberpunk 2077's main story, so I have some perspective.
I haven't played the original Cyberpunk boardgames and not an expert on the IP's lore, but I do question if this is what Mike Pondsmith (the creator of this Cyberpunk genre) had in mind. The show is sometimes a little too cartoonish, and I don't mean the visuals or characterizations but the tone, drama, and plot. It's hard to believe that Night City is a functioning city rather than an all-out warzone. Are there office workers and regular everyday pedestrians in this world? Do people feel safe driving around downtown without risking death from stray bullets at any moment? Are the local police, paid mercs, and gangsters fine operating in what comes off as the world's deadliest city?
If you take the show at face value, it's incredibly entertaining. But the more I think of myself trying to live everyday life in Night City, the more I question the overall logic of this world. The genre-bending between fantasy, sci-fi, and dystopian future isn't mixing as well as I'd thought. This is much closer to the "Blade Runner" franchise than any near future we'd be living in - violent anime stylings or not.
Last Night in Soho (2021)
A great movie with some mixed tones
This is an excellent thriller for a weekend watch. I can't help but think the strong points in this film shine bright but, unfortunately, so do the weak points.
The reason to see this movie was shown in the trailers. The story has a supernatural element, and the visuals are something I don't usually see in most movies. I think this horror genre can grow and we should get more thrillers, which also serve as poignant social commentary. The color palettes of reds and blues, special effects, seamlessly switching between 1960s to present-day London, and especially the horror and thriller elements are executed so well.
I'm also glad we're finally seeing a new generation of actors knock it out of the park. I couldn't detect a poor actor. And most of the characters are deep and interesting (I'll talk about the flawed characters in my negative points). It's just a nice feeling to go into a thriller or slasher film and quickly tell it's filled with younger actors that know what they're doing.
So yes, what I don't like. First, the implications on mental illness. You could argue there's a happy conclusion but considering what the main character goes through throughout the movie, the movie's last scene sweeps a lot under the rug. There are many assumptions about schizophrenia, psychopathy, suicide, and anxiety disorders that I can't help but think many audiences will feel insulted while watching this movie. Ellie is a great main character, but even I thought her "illusions" colliding with reality were a bit over-the-top. The fact that the movie's end forgives all of that for a happy conclusion feels like a copout. Ellie's intentions are good, but she needs professional help. And to my knowledge, crazy people don't secretly have superpowers anyway.
Secondly, the teenage drama in this movie is more than old hat. Do we need this because we assume teenagers are the only people filling theaters? It did take me back to remembering how much University was like High School, but this movie didn't need to remind me of that. Outside the main and a few side characters, everybody in this movie is a shallow, 2-dimensional, selfish, degraded human being, which isn't a good look for London. Ellie finds her classmates and coworkers so unbearable she initially needs to escape into this paranormal version of the 1960s. But I think there could have been a better plot device.
So yes, it's an enjoyable time, but fair warning for those watching this movie. It's not for everybody.
Doctor Strange in the Multiverse of Madness (2022)
The Marvel Movie Machine almost ruined this one
Do you ever feel like you're watching a movie, and it's just acting as a setup for several related TV shows and other films in the franchise? Unfortunately, this movie got dangerously close to becoming that. Thankfully, the story's heart (the relationship between America Chavez, Dr. Strange, and Christine Palmer) held it together.
The visuals are plentiful in this movie, including good pacing, action, and characters. Dr. Strange feels a little tired at this point (how many times has he appeared in the MCU up to this movie?), but his character isn't dull as much as what feels like more of the same. Thankfully, Sam Raimi adds some distinction with his proficiency in horror to not make this all an endless CGI-fest. If you've ever watched Evil Dead, you'll quickly see Sam's imprints on this movie, and they were the best scenes. I can only hope he continues directing MCU movies.
As for those sacred easter eggs, they felt meaningless. But because this is the MCU, I wouldn't be surprised if that one reference to that one character in that one frame is a setup for another Marvel TV show. I hope not because all the in-Universe references are getting a little out of hand. I understand that it's the "Multiverse of Madness," but not all the energy needs to go into more pop culture and comic book references that only a small fanatic audience would understand.
It's incredibly entertaining, but story and lore-wise seem like "another Marvel movie." I don't hate it, but I wish the movie had more impact on the overall MCU rather than being a stepping stone to more significant events. If you watched the "Loki" TV show, that series felt like it had more impact by its last episode than the ending of this movie. I guess we'll have to wait for the next Marvel movie in the next 2-3 months and see what happens.
Tenet (2020)
Great story, action and characters but lacks in editing and pacing
This is a spy thriller caught up with a criminal Russian oligarch (Kenneth Branagh) who uses time travel as a weapon to thwart his enemies. The protagonists (John Washington and Robert Pattinson) are secret agents attempting to catch this oligarch and apprehend the dangerous time travel tools he's using.
If you enjoyed the trailers, you're probably getting as much as you'd expect. It's a movie with great action, acting, special effects, story, and characters. And that story may not be for everyone, but it's pretty clever if you can wrap your head around it. I would argue the story is a little more compelling in "Inception" versus this movie, but Christopher Nolan fans (I think) will be happy with this one. This is worth watching at least once, and the complexity of the plot (and camera framing) will allow you to enjoy repeat viewings. The story itself is like watching a puzzle unfold in that several scenes move forward and backward simultaneously.
Now, for my personal opinion. I know Nolan is ambitious, but this is a little much for me. This feels like a 1,000-page novel (which would have been better paced and explained) crammed into a mainstream, 2-hour Hollywood movie. The editing is so fast paced that everything feels like it's fast-forwarding to get to the next plot point. This would have been better as a limited series or multi-part movie franchise. There are so many jump-cuts and setting changes that I can barely tell what's happening half the time.
The dialogue also doesn't help. Everyone speaks quickly, in a monotone voice, and sometimes with so much shorthand that they don't even sound human. I believe that secret agents might talk to each other this way, but it sounds ridiculous when "regular civilians" get involved in the story. It's forced exposition at twice the speed.
If you're a superfan of Nolan movies, spy thrillers, or even enjoy an action movie now and again, this is already your genre anyway. Because it's Nolan, this is better than your generic genre movie to begin with. But I think many audiences will be left confused both because of the complexity of the plot alongside all the rushed exposition. It's a good movie in its own right, but I can't help but feel that Nolan could do better.
Moon Knight (2022)
Intriguing, entertaining...empty?
I'll get the good out of the way first. I'm always afraid these Marvel TV shows will skimp on special effects, action, and spectacle, but this show is so creative in its plot twists, character arcs, dialogue, and relationships (not to mention fantastic camerawork) every minute is wildly entertaining. It was also more than a good idea to get Oscar Isaac involved because he can go in and out of his different personalities on a whim. Oscar is no lightweight; he'll make you cheer, cry, and laugh. He's easily the best part of this show. These Marvel TV shows are so good it makes me think a lot of the creative talent is being dumped into these shows, more so than recent MCU movies.
And what special effects this show uses you don't usually see (even in the entirety of the MCU). Whenever you see an Egyptian god, it's like seeing a Celestial or any other otherworldly figure. And the things Konshu does with his powers are way more incredible than whatever you'll see Oscar's Moon Knight do. Of course, Egyptian gods can warp time and reality - that's as much as I'll say.
Now, the bad. There's some buzz (even though we don't know for sure) that Oscar isn't returning, and there may not even be a second season, making this first season feel empty since the way it ends, it doesn't feel like it stands on its own. An after-credits scene tries to wrap things up, but there are too many unexplored plot threads.
The issue with this show is that it has too many twists and turns. Every time one question gets answered, it raises two more. Also, the intrigue of blurring fantasy with reality gets grading. It's risky having Oscar play a literal crazy person because it almost makes his story meaningless every time the story flirts with the idea that this is all in his head. So, what does this matter if it's just some guy wishing he was a superhero? That idea by itself defeats the purpose of the show.
So, while I enjoyed watching this show, I don't know how memorable it will be. With all the other Marvel TV shows, the first season feels complete and grounded, and you at least have some vague idea of what a second season would look like. But, if the story doesn't continue and address unanswered questions by the end of this season, what was the point? Either an abandoned show with an unsatisfying conclusion that could have all been in some guy's head or something much more.
The Unbearable Weight of Massive Talent (2022)
The right kind of meta
This movie is a self-conscious commentary on the idea of moviemaking, Hollywood stardom, pop culture fandom, internet culture, and mainstream movie tropes in a way that isn't insulting, campy, preachy, or non-sensical.
The movie is like "Being John Malkovich" but with no sci-fi elements. Even though Nicolas Cage portrays himself as an eccentric, neurotic man, it's an exaggerated version of the real person. And that's what I like; this movie treats the audience as people who have seen these kinds of films a hundred times, but the focus is more on the commentary and ruminations of the moviemaking process with several comedic scenes that had the whole theater laughing.
Pedro Pascal's character is a huge sensitive teddy bear constantly pining for Nic's affections. He drones on and on to Nic about his favorite movies, how he would like to make his own, etc. Two guys talking about movies was bizarrely the most realistic element of the story.
It is genuinely surreal because even though this is an examination of a character, portraying a person and actor we've grown up watching, put into an action-comedy, it not only works but seems plausible. Nicolas Cage is known in Hollywood as a strange guy. He consciously plays into that here (it's painfully exaggerated and hilarious). But at the same time, given his real-life anecdotes, the real Nicolas Cage going through these events doesn't seem so far-fetched. He's been trained in so many comedies, dramas, and action movies I genuinely wonder how much of the real Nic Cage is in this movie. The blurred lines between commentary on Hollywood pop culture versus the actual actor are fascinating. It's a masterpiece worth watching.
The Lighthouse (2019)
A bizarre artistic indulgence
This is a period piece with two lighthouse workers in the late 1800s on what seems like the American east coast. The entire movie is in a 4:3 aspect ratio (or something similar), in full black and white, with primarily two actors throughout the film. The dialogue is sometimes hard to understand but not so much that it ruins the movie. But your mileage may vary in understanding what these characters are saying.
If you can swallow that pill, there's more. Unfortunately, the two characters spend most of their time intoxicated later in the film, making their slurred speech and mindless ramblings harder to understand. And unless you're into late 1800s men's locker room banter, you'll probably not find much of the dialogue that funny or interesting.
The audio mixing and cinematography are fairly good. Both Willem Dafoe and Robert Pattinson give outstanding performances. But I can tell by the look on their faces they did not enjoy shooting these scenes. Both men look physically and emotionally drained throughout the whole film. They spend most of the film drenched in seawater and torrential rains, if not endlessly smoking and drinking with each other inside a small shack.
It's relatively slow-paced and quiet. A24 seems to like these kinds of movies. It's some recreation of a 1940s or 1950s film style, which I don't think most people are asking for. I at least appreciate the bold choice. It's different from most modern movies you'll watch.
This is a well-made movie with terrible writing, dialogue, and questionable artistic choices. They give Willem entertaining monologues, but his character is so unlikeable that I don't care. By the end, I was hoping for something redeeming at all but got nothing when the credits rolled. I want to say this movie is trying to communicate something more profound, but I don't feel like it even tries.
Everything Everywhere All at Once (2022)
As weird as mainstream film can get
It may be a bad idea to do a brief review of a movie this nuanced and deep, but I'll give it a shot.
This Sci-Fi Comedy takes you on a journey of a Chinese family in America, jumping between alternate realities and timelines. Ke Huy Quan's character calls upon Michelle Yeoh's character to save the multiverse by defeating a dimension-hopping being hunting her down and attempting to destroy all of reality. Michelle's character might defeat this being by jumping between parallel realities - becoming different versions of herself in different timelines. And that's just the setup.
The first thing you'll notice is that this movie is filled with lovable actors playing endearing characters. Michelle and James Hong are legends of the screen and effortlessly pull off their action, comedy, and dramatic sequences. Ke Huy (the Asian kid, now adult, from The Goonies and Indiana Jones and the Temple of Doom) oozes kindness and charm. Jamie Lee Curtis also brings her experience to this movie as her presence is always both ridiculous and intimidating throughout.
This is significant because these actors play at least 5 - 10 different characters in the movie, spanning every mainstream Hollywood genre. There were artistic liberties in some of these alternate dimensions Michelle goes into. I wish this fictional world had more rules so it isn't just "Anything can happen, so let's throw up whatever we want on the screen!". It's fun but also seemingly art for art's sake.
The real story is a family drama caught up in this dimension-hopping chaos. There is meaning in pondering what could have been if you had only made different choices earlier in life. This movie challenges you with accepting the choices you've made up to this point and enjoy your current life despite the mistakes you think you've made. Michelle's character is faced with this challenge multiple times, and it's truly a wonder to watch.
Enjoy the acting, the colorful visuals, the action, the comedy, and the philosophical and thought-provoking dialogue all at once. Or not. This isn't your all too familiar genre film. But I'll thoroughly enjoy watching all the awards this movie will inevitably get.
Sonic the Hedgehog 2 (2022)
Can it get better?
A little bit, yes. The story in the first movie was better, but the action, visuals, and game lore are MUCH better in this movie. The sequel addresses all the issues with the previous film, mostly adding more Sonic lore and characters, but the story isn't as tight. The pop-culture jokes are also grading but bearable.
I think they use Jim Carrey the best the movie can, but we all know Jim can push it further. I'm still waiting for Jim to get into that fat suit and go full crazy. He's mentioned that he wants the same. This version of Robotnik serves as a plot device and your 2-dimensional villain, but Jim's performance takes it to another level. If you love 1990s Jim Carrey, you'll love this Dr. Robotnik.
The Sonic characters are surprisingly faithful to the video games and other media (there are several Sonic cartoon series and comic books). There have been different interpretations of the characters, but this version of Sonic, Tails, and Knuckles feels like the 90s cartoon and Sonic Adventure games. The voice acting and character designs are on-point. The filmmakers took note and made the Sonic characters we've heard and seen from the earlier video games without going off the rails and taking artistic liberties.
So how can it get better? Take out all the human characters. I feel like they're there, so we don't all feel like we're watching one big, CGI, Saturday morning cartoon, but that's what modern Sonic is anyway. The studio doesn't think that that's bankable, and they're afraid to go entirely Sonic Universe. There are scenes involving humans (some with no Sonic characters), and it only slows the movie down and barely makes sense within the context of this movie.
But I came out of the movie knowing that this is about as good as a live-action Sonic movie we're going to get. But when it comes to franchise films, I have been wrong in the past. So, if there's a Sonic 3, I hope we leave Earth and figure out where all these CGI animals are coming from. And please keep the same writers from the first two movies; more recent Sonic games are infamous for poor writing.
Death on the Nile (2022)
Poor pacing and setup almost ruin a well-made movie
I know this is based on the novel by Agatha Christie, but the whole setup for this story is a tad ridiculous. The initial premise at least feels like two shotgun weddings gone awry by jealousy, betrayal, greed, unnecessary opulence, glitz, and glamor. We're supposed to believe that good-looking Simon Doyle (Armie Hammer) and equally good-looking Jacqueline (Emma Mackey), obsessed with each other and formally engaged, has Simon abruptly run away to marry Gal Gadot's wealthy Linnet Ridgeway instead...because he now loves her. This relationship has nothing to do with money. This all transpires within the first 30 minutes of the movie. Umm...okay. Did Agatha already predict drug-fueled trips through Vegas?
The movie doesn't shy away from the fact that we're watching rich people killing each other, and Hercule Poirot is caught in the middle. "Please, Hercule, find the real killer because you're the only plot device driving this movie! And you're the only reason any of the characters care that you're here!" It also doesn't help that it's obvious who the real killer is halfway through the film, and you're forced to watch the rest of the story predictably play out.
If you can somehow ignore all of that, the other aspects of the movie are quite good. It has a star-studded cast, interesting characters, and well-written dialogue, and Branagh's Hercule is as good as he was in the previous film. The shots and scenery are beautiful, as most of the film takes place in the twilight hours of Egypt's most scenic (and CGI) landscapes. There is a consistent tone of exaggerated romanticism, which plays well with how the character's emotions (except for Poirot) are all their downfall. This is a great movie to watch on a slow Sunday night or a long plane flight, but honestly, it may be worth renting and watching in your home theater, even if the movie's conclusion makes your eyes roll.
The Batman (2022)
The most comic book accurate movie I've seen.
And that's a statement knowing how many comic book movies many of us have seen in the past 15 - 20 years. This was just like reading Batman's "The Long Halloween" or a re-interpretation of that storyline. Cinematically, it takes significant inspirations from Se7en, but more recently has a tone like The Joker movie (also a surprise hit).
Some may be intimidated because the theatrical version is three hours long, and you don't want to sit in the theater for that long. I remember watching the Lord of the Rings movies years ago, and I don't have a problem with longer theatrical releases. If anything, this movie could have been longer. I'm hoping for a director's cut in the same manner as the Justice League Snydercut. The material here is surprisingly dense, and Matt Reeves does not waste your time in those three hours. I should watch this movie multiple times, but the writing is tight with little to no plot holes from my memory. It's amazing. So yes, this is an epic experience.
This movie is excellent because it has so many characters, and it takes time to develop and highlight those characters. I now understand the awful 90-minute cuts (sometimes less) most movies had to endure in past decades. I'm also shocked that it took this long for Batman to go full film noir. Bruce Wayne narrates parts of the film as a private detective trying to find a serial killer in Gotham City. It's painfully apparent that the better Batman stories are modern interpretations of old detective movies with AMAZING action.
Every action sequence oozes off the screen as it's expertly shot and executed. It's like the practical effects of the Dark Knight film from 2008. The crazy stunts, car chases, brutal, real-life combat; yes, this younger Batman takes hits and barely gets back up at times because he's physically and mentally battling against all the corruption of Gotham.
In terms of the acting and character portrayals, this surprised me the most. I wasn't expecting bad acting, but casting is essential for comic book movies. I'm glad to say the casting was done right, and I'm also convinced that films of this scale and caliber won't accept bad actors anymore (thankfully). If you understand Batman, you won't be disappointed.
Nightmare Alley (2021)
A slow burn but worth it.
I thought this may be a slower-paced movie from the previews and trailers and was right. They could have taken about 30 minutes out, but it doesn't make this movie boring or awful. On the contrary, it's worth watching if you make it to the end.
All the acting was great, but Cate Blanchett's character was surprising. She's charming, sly, and destructive in a way you don't usually see onscreen. Bradley Cooper plays the main character, and you can tell, from the first few minutes, that he has more ambition than he can manage. Rooney Mara's character is excellent as she brings the necessary normalcy to contrast against the other antagonistic and conniving people that fill this movie.
The first 40 minutes or so examine carnival life in the 1930s and 1940s America, and if you're not into something that specific, it may take some energy to get through it. The movie's last half reminded me more of the film noir formula some may be more used to. However, I liked the last half more as it introduces more subtle and complex characters for Bradley to act against.
The only issue I had, and I don't know if I felt this way with Guillermo's other movies, is that the story was very predictable. I don't think that the events in the movie matter as much as how they happen. There's this flashback of Bradley's character sitting in a burning house (it's the film's first shot) that the movie kept cutting back to. That's what watching this movie felt like - Bradley sitting in a house on fire and refusing to leave, just letting himself burn down with the house. Looking at the film that way, it's quite a sad story. But I won't spoil anything.
This movie will be revisited years from now as an introspection into how ambition and greed destroy everything and that nobody is immune to it. You'll see these characters lean further into that ambition and desire to see how far they can go before ultimately pulling out.
This movie is a well-made period piece, expertly shot, acted, and decently written. It's not my favorite Guillermo movie (that would be a tie between "The Shape of Water" and "Pan's Labyrinth"), but it's one of the better movies of 2021.
Spider-Man: No Way Home (2021)
A childhood dream come to life
Imagine taking every live-action version of Spiderman and putting it into one movie. And then throw in one or two Doctor Strange fight scenes. If any of that sounds remotely interesting to you, you'll enjoy watching this movie.
I'm not the biggest Spiderman fan, but after watching this, I get what the superfans are going on about. Like Batman, there's a lot of untapped potential here. I do feel we're getting as much out of this as we can at this point, but the Spiderverse is a thing that Hollywood is cashing in on. I'm surprised we got to this point in the live-action version of Spiderman without introducing Miles Morales and Spiderwoman in any of these movies (sorry, those characters are not in this movie).
As far as the story goes, it does get muddled with all the character introductions, fight scenes, and lighthearted comedy. It's escapism taking over, and all you can focus on are all the superheroes and villains interacting with each other. There's a MacGuffin, bad guys fighting good guys, and innocent characters getting caught in the crosshairs; it's not anything we haven't seen in most action movies.
So, the big question is, do you need to see the previous Spiderman films to appreciate this one? I would say no, but also, you'd understand this movie much more if you've seen all the previous live-action Spiderman movies. I think the MCU, in general, is introducing its fans to the concept of the multiverse, and this is an easy win to include in the whole cinematic motif. This won't be the last time we'll be seeing a Marvel superhero cross over with interdimensional superheroes and villains.
And yes, there are easter eggs into other Marvel movies and TV shows in this movie, if that gets you excited.
Arcane: League of Legends (2021)
A Perfect TV Show with a mediocre story
The production values on this show are out of this world. It's this feeling I got watching this and thinking to myself, "How much time, money, and work went into this show?" The animation is some of the best I've seen; the character designs and arcs are incredible. They clearly got some of the best voice actors to portray these characters. The soundtrack (unless you hate Imagine Dragons) perfectly sets the tone for the show, and the action is as good as it's going to get for animation. The animation quality is like "Into the Spiderverse" or Marvel's "What If" series. If you liked the animation there, you'd like it here.
So yes, the story. I'm baffled. The first 3-4 episodes are great because they're setting up exciting characters in a complex, imaginative world with nuanced and turbulent relationships, but that's kind of where the good qualities of this show stop and, admittedly, drag on. You'll keep watching because you may care about these characters and enjoy watching these action sequences, but, wow, is the story bland.
I'm not going to spoil anything, but it's rich people who live up in tall buildings constantly on the brink of war with poor people who live down below in the sewers. After the initial character setups, that's the entire season. You can argue that exciting things happen in-between, but it's just the show meandering between action sequences. By the end of the season, it feels more like fan service to the millions of League of Legends fans, more so than evolutionary or revolutionary TV.
I look forward to the second season (let's be honest, this show will keep going), but I am curious how they will push the plot forward since it feels like it went nowhere in this first season. It all feels like setup. I'm not the biggest League of Legends fan, so maybe fans understand the value of this more than I do.
The Matrix Resurrections (2021)
An above average soft reboot...err conclusion?
TLDR: The first Matrix movie was revolutionary; the sequels were okay, and you can skip this one unless you want to know what happens to these characters in the future.
Before this movie came out, I was conflicted about how good it might be. The fact that Hugo Weaving and Laurence Fishburne weren't returning bothered me. I wasn't sure how they would execute the same action with a much older Keanu and Carrie Anne-Moss. Even the visuals from the trailer were just so so. I hate to say I was right to be concerned.
I think what this movie does best is expand the lore and answer a handful of questions that hardcore fans might wonder. If you want to know what happened after all these years to Zion and the original cast from the trilogy, you'll get a few answers here. If the trailer for this movie hooked you (it was an admittedly excellent trailer), then you'll get all your answers as to how all of this is happening in the film, to begin with.
Beyond that, this is mildly entertaining. I'm surprised, considering Keanue successfully resurrects all his old characters in other recent movie releases. This suffers from the same problems from the original sequels: there's too much CGI, the story jumps around all over the place, and some character arcs are stretched out or unneeded. Some characters function as fan service but don't push the plot forward.
There's also a social commentary on our society but more so our relationship with modern storytelling and the business of Hollywood. It rings hollow and comes off as the executives and director complaining about the current state of moviemaking through thinly veiled character dialogue. That, plus the fact that they re-used so many shots from the trilogy, felt insulting to me; it felt less like nostalgia and more like lazy moviemaking.
I liked the world that has been built (or rebuilt) here but wished the story, characters, visuals, and action had more polish and less reliance on bizarre social commentary and nostalgia. I reluctantly want to see more. This movie at least proves that the world of the Matrix is still worth visiting in a TV or movie series. I'm just not excited to rewatch this one.
Ghostbusters: Afterlife (2021)
A surpringly good movie that relies too heavily on nostalgia
This is a great movie for fans of Ghostbusters and Harold Ramis (Egon Spengler). Beyond that, it's a surprisingly well executed and heartfelt story that seems oddly unlike the first two Ghostbusters films.
There are elements of Ghostbusters throughout: the soundtrack, special effects, relative pacing and yes, ghosts feel eerily similar to the first movie. The comedy, story and lore unfortunately didn't grab me as much. I understand that everything has to be modernized to feel realistic for today's audience but it feels split in the middle like two decent films, of two separate genres, oddly trying to mesh into one.
The first half of the film feels like a family drama with small elements of comedy and three budding romances tying together. I wouldn't go to a movie theater for that but Mckenna Grace, Paul Rudd and Logan Kim carry the first half. They're funny, interesting characters and Logan and Mckenna are shockingly good actors. I already knew what to expect from Paul Rudd.
The last half of the film is where it loses me. There are memorable, emotional moments but storywise; it felt like lazy writing to a "T". By the time you hit the third act you may not even understand what's going on unless you've seen the first movie and have a good memory of it. I can assume most have but still, younger audiences would be lost. I would recommend watching the first movie before this; it's basically required.
I think many people will be walking out of the movie explaining to their friends and family what all the various endings mean (there's an after-credits scene); otherwise, you'll just be confused at all the references, easter eggs and inside jokes. I could be wrong, maybe Ghostbusters is so ubiquitous that even younger audiences will get it. I hope that's the case.
Red Notice (2021)
A decent movie if you have nothing else to watch
I hate to say this but I've seen these three actors in much better movies. Some of you may be thinking that the whole time you're watching this movie. It's not awful, I think Gal, Dwayne and Ryan just set themselves up by being in many good movies, or at least massive blockbusters. That's the general expectation when any of them are the leading role in an action or comedy.
This movie is what you'd generally expect from most Netflix, action movies. It's in that odd place where it's a budget much bigger than a TV-movie but obviously much smaller than a Superhero or large franchise film. Many of the scenes, even the action sequences, are clearly shot on a soundstage in front of loads of green screen. All the side-characters are ridiculous caricatures or mindless goons (the kind that can't aim) for the three main leads to either manipulate or beat up. It's nothing we haven't seen in literally every action movie.
All the best scenes were in the trailers because of course they were. So, like always, going in blind will give you the best experience. There are so many call-backs to similar movies that Ryan breaks the fourth-wall and makes a pop culture reference to Indiana Jones and other movie tropes throughout...because this movie is filled with them. The soundtrack and background music sounds like royalty free music you'd pull from "generic action film".
There are elements that hold it together. If it isn't obvious, Ryan Reynolds, Dwayne Johnson and Gal Gadot is probably the reason most of us would bother watching this. They gave Ryan a surprisingly good amount of comedic lines; he's basically playing the kind of character you'd expect. Gal and Dwayne seamlessly pull off their action sequences. And I think there's enough eye candy for everyone; but I would argue the actors are better eye candy than the shoddy CGI.
The story isn't anything spectacular. You could probably do your laundry while watching and still follow along. This is good if you want to eat up 2-hours on a plane or long car ride.
Army of Thieves (2021)
A different kind of heist movie
This isn't a zombie movie, it's a movie with zombies in it, sometimes. There's maybe about 2-minutes worth of zombie footage. I would also argue that this is barely a heist movie; although, it probably has enough action to put it into that category.
So, if I had to put it in a genre, it's a safecracking movie with multiple love stories. That may sound odd or boring, but it was much more entertaining than I originally thought. Sebastian (or Deter) is a great character and carries this film. He's intelligent, odd, obsessed, funny and has an odd way of speaking. It kind of reminds me of listening to Yoda in Star Wars for the first time.
The movie really leans into the art of opening complex safes. A suprising amount of CGI is dedicated to looking inside each safe while it's being cracked open. There are heist elements of setting up the team, the exposition of getting into the banks and casinos, and the various twists throughout. I have to say though, it feels like all of those tropes play into the background and I think the screenplay and director knew that. It makes more sense to put more focus on safecracking and the main character (Sebastian) then explore a genre that most of us have seen several times at this point.
If you were looking for something like Point Break, Ocean's 11, The Italian Job or any number of bank-robbing movies, you'll be dissapointed. If you wanted a Zombie Apocalypse pre-quel to Army of the Dead, you'll similarly be dissapointed. If you want a movie about Deter, the safecracker in Army of the Dead, you'll probably enjoy this film. Does this mean other characters from Army of the Dead could get their own dedicated Netflix movies?
If you know what you're getting into, you may enjoy this film. I can understand why this may not be for everyone though.