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  • Weapons (2025)

    Weapons (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After the critical and commercial success of 2022’s Barbarian, writer/director Zach Cregger started working on a spec script. The year prior, Trevor Moore, who worked with Cregger on The Whitest Kids U’ Know, tragically passed away. To cope with the loss, Cregger wrote a screenplay about people facing similar emotions after an unexpected tragedy. The script entered a bidding war between Netflix, TriStar, and Universal until New Line Cinema won with $38 million. For his part, Cregger earned $10 million and got both final cut privileges and a guaranteed theatrical release. Despite the 2023 Hollywood labor disputes leading to actor dropouts, they assembled a cast and started shooting in 2024. Initially, the studio planned to release the film in January, but they rescheduled it following positive test screenings. So, three years after his breakout hit, Zach Cregger’s Weapons hit theaters in August 2025.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    One night in the town of Maybrook, seventeen children ran out of their homes at 2:17 am and vanished. A month later, the townspeople blame the kids’ teacher, Justine Gandy (Julia Garner), branding her a witch. Among them is Archer Graff (Josh Brolin), whose son is one of the missing children, and he’s desperately seeking answers. Also suspicious is that Alex Lilly (Cary Christopher) is the only student who didn’t disappear. It doesn’t help that Alex is very quiet and reserved, almost as if he’s trying to hide something. Local cop Paul Morgan (Alden Ehrenreich) tries to uncover the mystery but finds himself overwhelmed. Soon, more strange things start happening around town, including people randomly attacking each other or disappearing altogether. Where are the kids? Will they be found? Who or what is responsible? And what exactly is going on in Maybrook?

     

    Review

    Much like Barbarian, Weapons is a fantastic movie best enjoyed without knowing anything about it going in. If the plot synopsis sounds vague and scattered, it’s because I’m trying my best not to spoil the movie. I have to commend Warner Bros and New Line Cinema for not outright giving away what happens in the trailer. The film is structured in a nonlinear way, where we see how the events affect each of the leads. Not only is it an effective way to give each character their spotlight, but the way they connect is brilliant. Zach Cregger does a fantastic job planting little hints that provide enough information without spelling everything out. Additionally, he manages to infuse dark humor in a way that works in tandem with the horrific sequences. It’s a tricky balance, and not many can pull it off, but Cregger is one of the few who can.

    Everyone in the cast delivers a career-defining performance, with Julia Garner’s portrayal as the victimized teacher being the highlight. She gives a very real and human quality to her character as she tries to make sense of what happened. As always, Josh Brolin is fantastic as a father determined to get his son back at any cost. You get sucked in as he uses his skills to figure out the kids’ whereabouts and eventually side with Garner. Alden Ehrenreich from Solo also gives a layered performance as a cop with a darker side. Benedict Wong is memorable as the concerned principal trying to maintain the peace, and Cary Christopher shows tons of potential. Unfortunately, there are some performances that, while they’re fantastic, I can’t mention without going into spoilers. Suffice it to say, there isn’t one bad performance in the entire movie, and each actor should be commended.

    Also worth mentioning is the cinematography from Larkin Seiple, who also worked on Everything Everywhere All at Once. He manages to capture some truly creepy imagery through the use of shadows and low lighting. Adding to the unnerving feeling is the score by Cregger, Ryan Holladay, and Hays Holladay, which is hauntingly simplistic. In terms of cons, the nonlinear narrative might put off some audiences more accustomed to a typical narrative. The movie lasts slightly over two hours, but the pacing flows in a way that it doesn’t feel slow. Additionally, while the horror and humor blend well, some viewers might find the tone inconsistent based on their personal preferences. Regardless, this is one of the best horror movies I’ve seen in years, and I’m glad it’s financially successful. Overall, Weapons is another top-tier shocker from Zach Cregger with great acting, a solid story, and suspenseful scares.

     

    Buy Weapons from Amazon: https://amzn.to/43AxcEV.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Weapons (2025)

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  • The Toxic Avenger (2025)

    The Toxic Avenger (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]In 2010, news came that a “family-friendly” remake of The Toxic Avenger was in the works, much to fans’ dismay. There were even talks of Arnold Schwarzenegger starring, but he turned down the role for Terminator Genisys instead. Various directors were attached to the project, including Hot Tub Time Machine‘s Steve Pink and Sausage Party‘s Conrad Vernon. In 2018, Legendary Pictures bought the reboot rights and brought on Lloyd Kaufman and Michael Herz as producers. The studio hired director Macon Blair, fresh off of 2017’s I Don’t Feel at Home in This World Anymore. Filming took place around Bulgaria during the summer of 2021, with the film premiering at Fantastic Fest in 2023. Despite positive word-of-mouth, the filmmakers couldn’t find a distributor until Cineverse picked up the film in early 2025. Twenty-five years after the last sequel, The Toxic Avenger reboot hit theaters in August 2025.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Down-and-out janitor Winston (Peter Dinklage) struggles to make ends meet while caring for his stepson Wade (Jacob Tremblay). To make matters worse, he learns that he has a terminal brain disease, and his company’s insurance won’t cover it. Desperate, Winston meets with the CEO Bob Garbinger (Kevin Bacon) to beg for help, only to be turned away. He tries robbing them, but he runs into The Killer Nutz, a ruthless gang and band working with Bob. They shoot and dump him in toxic waste, which transforms him into a hideously deformed creature of superhuman strength. Now mutated, Winston makes a name for himself as he tears up terrorists and becomes a hero. News of his exploits reaches Bob, who sends The Killer Nutz and his brother, Fritz (Elijah Wood), to eliminate him. Now christened “The Toxic Avenger,” Winston teams up with J.J. Doherty (Taylour Paige) to take down Garbinger’s corruption.

     

    Review

    As a huge Troma fan and knowing about the reboot for years, I was skeptical going into this. Thankfully, I’m happy to say that Macon Blair’s reimagining is a worthy successor to Lloyd Kaufman’s seminal cult classic. Firstly, I should mention that this is a reboot, not a remake, although it does hit similar beats. For instance, Winston does wear a tutu before his transformation, and his first heroic act is stopping a fast-food robbery. I’m glad the filmmakers went in this direction, as doing a straightforward remake would’ve made this movie redundant. Instead, they went in the same direction as The Fly and The Blob remakes, creating something similar but different. You can watch the original and this film back-to-back and have two different viewing experiences, which I appreciate. Plus, there are tons of fun nods and background references to the original film for eagle-eyed viewers.

    When I first heard that Peter Dinklage was playing Toxie, I wasn’t sure how that would work. Granted, that’s mainly because Toxie has traditionally been an imposing figure, but I remembered that this is a different interpretation. While Mark Torgl played his janitor as goofy and hammy, Dinklage gives Winston a humanity and realness that’s compelling. Like the original, a different actor plays Toxie, specifically Luisa Guerreiro, but they do a good job blending them. Dinklage has fantastic chemistry with Tremblay as you see him struggle to be the dad he needs. As always, Kevin Bacon steals the show as the overzealous, corrupt businessman, hamming it up while remaining intimidating. Elijah Wood is wonderfully creepy as Fritz, playing a cross between Danny DeVito’s Penguin and Dwight Frye’s character from Frankenstein. Other highlights include Taylour Paige’s no-nonsense reporter, Julie Davis’s sycophantic assistant, and Jonny Coyne’s ruthless mobster.

    In true Troma fashion, many of the effects are practical, from the Toxie suit to the gore flung everywhere. While there is some CGI that creeps in, it’s kept to a minimum rather than dominating the film. You can tell that Macon Blair has a reverence for Troma with the plentiful gore, tasteless jokes, and anarchic energy. That said, though many of the jokes landed and got a good laugh, quite a few fell flat. It doesn’t help that this film runs 103 minutes long compared to the original’s 82 minutes, which feels unnecessary. So much of the film could’ve been cut, namely some dialogue-heavy scenes, and it wouldn’t have made a difference. Still, for a modern reimaging of a legendary cult film, it’s so wildly entertaining that you can forgive its shortcomings. Overall, The Toxic Avenger is a worthy successor that delivers what fans expect while respecting its predecessors.

     

    The Toxic Avenger is in theaters.

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    Where to watch The Toxic Avenger (2025)

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  • Ebola Syndrome (1996)

    Ebola Syndrome (1996)

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    In the late 1980s, the Hong Kong government introduced a new ratings system for movies due to public concerns. There were three categories: Category I for all ages, Category II for older audiences, and Category III for 18+. This new system saw dozens of exploitation films coming from Hong Kong, starting with 1988’s Men Behind the Sun. The 90s saw a surge of Category III films hit theaters, with some netting huge box office returns. 1993’s The Untold Story grossed over HK$15 million and won Best Actor at the Hong Kong Film Awards. Following its success, director Herman Yau got an offer from writer/producer Wong Jing to helm another grisly shocker. In 1995, an Ebola outbreak devastated the Democratic Republic of Congo, which Jing thought would make a compelling movie. After some rewrites from Yau, he and star Anthony Wong teamed up for 1996’s Ebola Syndrome.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    When his boss catches him with his wife, Kai San (Anthony Wong) kills his boss, his henchmen, and his wife. He flees Hong Kong and takes up residence in South Africa, where he lives for a decade. Kai now works at a Chinese restaurant where the owner and his wife constantly hassle him. The boss takes Kai to a Zulu tribe to buy some cheap meat, which is dealing with an Ebola outbreak. While out, Kai rapes a dying tribeswoman and ends up contracting Ebola, but he has a rare immunity. The owner’s wife contemplates killing Kai, which leads to Kai raping her and killing the owner, her, and her cousin. In addition, he chops up their bodies, makes them into burgers, and serves them to customers, inadvertently spreading the virus. As the police scramble to figure out what’s happening, Kai travels back to Hong Kong, unknowingly spreading Ebola.

     

    Review

    Ebola Syndrome is a wild ride of depravity and disgust, not suitable for the faint of heart. This movie is a nasty little affair that pushes the boundaries of good taste to an outrageous degree. When you think the filmmakers wouldn’t go there, not only do they go there, but they practically jump over it. The opening scene alone has our protagonist getting urinated on by the woman he was having an affair with. Director Herman Yau almost delights in how far he can go to challenge the audience’s sensibilities, which is admirable. What’s more shocking is the dark humor sprinkled in, like how Kai constantly accuses people of “busting his balls.” Admittedly, there are moments of real animal deaths that are inexcusable, even if it’s meant to be shocking. You could argue that these scenes add a sense of realism, but this is a movie, not real life.

    On a more positive note, what makes this movie work so well is Anthony Wong’s performance as the sadistic Kai. While most everyone is a scumbag, he’s the biggest scumbag of them all, raping and killing without a second thought. Much like Christian Bale’s performance in American Psycho, Wong brings a certain charisma that makes him fun to watch. Sure, the movie doesn’t present anything he does positively, but there’s a reckless abandon that makes him fascinating. In a way, his performance overshadows everyone else, not because the rest are bad, but because he’s so good. That said, the other actors do a fine job, the highlight being Tsui-Ling Wong as Lily, one of Kai’s victims. She’s one of the few good characters in the movie, and you want to see her survive. Unfortunately, given the nature of this film, we know she’s not going to have a happy ending.

    Given his experience as a cinematographer, it makes sense that Herman Yau’s direction is so fluid and stylish. As ugly as the story is, the film has a striking beauty that separates it from other splatter fare. Yau takes full advantage of his locations, from the African outback to the Hong Kong city streets. Granted, the film suffers from some pacing issues, especially towards the middle, during the police investigation. Even Kai’s repugnant behavior feels tiresome after a while, but that could be Yau trying to desensitize the audience. Still, for a roughly 90-minute movie, it’s a wild ride that throws out imagery you won’t soon forget. Obviously, a film like this won’t appeal to the average moviegoer, so I only recommend this for the strong-willed. Overall, Ebola Syndrome is a sick, twisted tale with an excellent lead performance, solid direction, and unforgettably gross moments.

     

    Buy Ebola Syndrome from Amazon: https://amzn.to/4n2oXJf.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Ebola Syndrome

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  • The Fantastic Four: First Steps (2025)

    The Fantastic Four: First Steps (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Even though 1994’s The Fantastic Four was never released, producer Bernd Eichinger managed to keep the rights for years. After brokering a deal with 20th Century Fox to produce, Eichinger finally got his big-budget superhero movie in 2005. Despite receiving mostly negative reviews, the film grossed over $330 million worldwide, so the studio moved ahead with a sequel. 2007’s Fantastic Four: Rise of the Silver Surfer earned slightly better reviews but made less money than its predecessor. Fox decided to reboot the series with 2015’s Fantastic Four, which was both a critical and commercial failure. Once Disney acquired Fox in 2019, the rights transferred back to Marvel, which immediately put a new film in production. Matt Shakman, who helmed the WandaVision miniseries in 2021, signed on to direct this latest adaptation. After years of development, The Fantastic Four: First Steps finally hit theaters in July 2025.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    In an alternate universe set in 1964, Earth is protected by The Fantastic Four, a superhero team endowed with extraordinary powers. There’s Reed Richards (Pedro Pascal), Sue Storm (Vanessa Kirby), Johnny Storm (Joseph Quinn), and Ben Grimm (Ebon Moss-Bachrach). With their celebrity status, the team has also made significant contributions to scientific advancements and helped promote global peace. Sadly, that peace is threatened with the arrival of The Silver Surfer (Julia Garner), who declares Earth’s destruction is imminent. The four follow her to figure out what they’re up against, and they meet her master, Galactus (Ralph Ineson). He’s chosen Earth as his next target for consumption, but will spare them if they surrender Sue’s unborn child. Despite the citizens’ pleas, the four stand firm in wanting to fight Galactus and not sacrifice a baby. Will they successfully save the world, or will Galactus devour the Earth?

     

    Review

    After years of mediocre to downright awful adaptations, we finally have a good Fantastic Four movie. While I admire the 1994 film, The Fantastic Four: First Steps is objectively better in almost every way. Oley Sassone’s version had tons of ambition but a lackluster budget, which doesn’t necessarily make for a bad movie. However, this new adaptation demonstrates that providing creatively talented individuals with the right resources can lead to something truly remarkable. The decision to set this film in an alternate 1960s universe was a genius idea that helps it stand out. You can tell from the production design, visual aesthetics, and score that 2001: A Space Odyssey was a huge influence. From the Baxter Building to the streets of New York City, the world feels lived-in and fully realized. It helps that the filmmakers employed as many practical effects and sets as possible.

    While I think he’s a great actor, I wasn’t sure if Pedro Pascal was the best choice for Reed Richards. That said, he delivers a strong performance as a conflicted man with the world’s weight on his shoulders. For as intelligent and confident as Reed is, he still struggles when things get tough, and you feel for him. Vanessa Kirby is a great Sue Storm, displaying a motherly quality that perfectly fits the character. It helps that she has fantastic chemistry with Pascal, and they complement each other well. Joseph Quinn is a solid Johnny Storm, still acting like a brash womanizer while also showing self-awareness. Although I admire Michael Chiklis’ portrayal of The Thing, Ebon Moss-Bachrach brings a great deal of humanity to the role. Julie Garner is striking as The Silver Surfer, and Ralph Ineson is downright terrifying as Galactus.

    Admittedly, there isn’t a ton of action, but that is strangely a positive rather than a negative. Rather than bogging down the movie with endless CG-filled fights, the focus is on developing the characters and story. You care about the Fantastic Four and are with them as they try to figure out how to stop Galactus. When the action kicks in, the movie succeeds at building tension and suspense that keeps you on edge. It also helps that, unlike other recent MCU movies, this one knows when to dial back on the humor. Granted, there are a few gags that go for too long or don’t land, but they’re few and far between. Even still, this film moves at a lean pace and doesn’t overstay its two-hour runtime, which is welcome. Overall, The Fantastic Four: First Steps will entertain both newcomers and MCU completionists alike.

     

    Buy The Fantastic Four: First Steps from Amazon: https://amzn.to/3K2FVJo.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch The Fantastic Four: First Steps (2025)

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  • The Fantastic Four (1994)

    The Fantastic Four (1994)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Created by writer Stan Lee and artist Jack Kirby, The Fantastic Four debuted in 1961 to almost immediate success. The series’ popularity ushered in the Marvel Age of Comics, introducing iconic characters such as Spider-Man, Thor, Daredevil, and more. In 1983, producer Bernd Eichinger negotiated with Stan Lee to acquire the film rights for The Fantastic Four. Columbia Pictures and Warner Bros. showed interest, but plans fell through due to budgetary concerns, so Eichinger looked elsewhere. With his option expiring, he turned to B-movie producer Roger Corman, who agreed to make the film for $1 million. Corman hired director Oley Sassone to helm the project, which featured a cast of relative unknowns, for a 21-day shoot. Despite the low budget and reason behind its making, the team put their all into this ambitious project. Sadly, The Fantastic Four never made its original 1994 release, but it survives thanks to bootlegs.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”60″ bar_bg_color=”#EDF000″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    College students Reed Richards (Alex Hyde-White) and Victor Von Doom (Joseph Culp) try to harness a passing comet named Colossus. Unfortunately, the experiment goes wrong, and Victor gets electrocuted and is presumed dead, leaving Reed guilt-ridden. Ten years later, Reed and his friend, Ben Grimm (Michael Bailey Smith), plan a space trip to find the comet. Along for the mission are siblings Sue Storm (Rebecca Staab) and Johnny Storm (Jay Underwood), but things go awry fast. They return with new abilities: Reed can stretch, Sue turns invisible, Johnny conjures fire, and Ben becomes a rock monster. A now-alive Victor, renamed Doctor Doom, captures the four and wants to absorb their powers for his gain. Thankfully, they escape but soon learn of Doom’s plan to destroy New York with a super laser. With their new powers, Reed, Sue, Johnny, and Ben must unite to save the world as The Fantastic Four!

     

    Review

    While I wouldn’t call this a good movie, there’s no reason why The Fantastic Four should never have been released. Sure, you can tell this had a fraction of the budget of typical superhero movies, but it has heart. The cast and crew made a genuine effort to create something special with very little, and they should be commended. The fact that garbage like It’s Pat, Freddy Got Fingered, and The Oogieloves got released but not this is unbelievable. I doubt this movie would’ve done well theatrically, but I could see this getting a direct-to-video release. Unfortunately, the only way to watch this is through bootleg VHS uploads online, which don’t do the film any justice. I’m not saying a cleaned-up, complete restoration would make this movie good, but it would be more watchable. If Manos: The Hands of Fate can get a Blu-ray, so can this.

    On top of looking spot-on, Alex Hyde-White makes for a likable Reed Richards, who’s both intelligent and sympathetic. Joseph Culp is fun as an over-the-top Doctor Doom, even though you can barely understand him through the mask. Jay Underwood’s wildly spastic performance can be slightly grating, but not enough to ruin the movie. Michael Bailey Smith and Rebecca Staab are decent, even if they’re not given much to do. Ian Trigger is kinda fun as a stand-in for The Mole Man, though he feels superfluous. Carl Ciarfalio makes for a good Thing, and the costume is decent considering the low budget. Oley Sassone’s direction is decent, making the most of the cheap sets and limited resources. Admittedly, the CG is dated, but it’s forgivable given the low budget and surprisingly better than some recent CG effects. All in all, they did their best.

    While you could attribute most of the film’s flaws to its low budget, some couldn’t be saved with more money. For one, the pacing is sluggish, moving at a glacial pace as they go from one subplot to another. Once the four characters receive their powers, the movie grinds to a halt as they’re locked up, waiting to escape. Additionally, some plot points are questionable, notably the pairing of Reed and Sue, given the significant age gap. When they first meet, she’s a kid fawning over him, but it’s only after ten years that they hook up. Plus, for a superhero movie, there’s minimal action until the climax, with the rest happening off-screen. Despite its flaws, the film works as a fun, kitschy comic book movie that’s earnest, lighthearted, and innocent. Overall, The Fantastic Four may not be perfect, but it deserves a second chance.

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  • Superman (2025)

    Superman (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]After Man of Steel became the ninth-highest-grossing film of 2013, Warner Bros. moved forward with its DC Extended Universe. Unfortunately, due to the troubled production of 2017’s Justice League, the studio started rethinking its plans. They approached James Gunn to helm a Superman movie, potentially, but he instead opted to make The Suicide Squad. Following the WarnerMedia/Discovery merger, the studio hired Gunn and producer Peter Safran to head the new DC Studios. Their first act would be a total restructuring of the DC cinematic universe, starting with a new, standalone Superman movie. After numerous auditions, they cast David Corenswet as Superman, Rachel Brosnahan as Lois Lane, and Nicholas Hoult as Lex Luthor. With a $225 million budget, filming lasted from February to July 2024, spanning locations in Norway, Atlanta, and Ohio. Originally titled Superman: Legacy, the film was released in theaters in 2025 as simply Superman.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”85″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Three years after his debut, Superman (David Corenswet) has garnered considerable support but also some derision. While many view him as a hero, others suspect he’s hiding something, including tech billionaire Lex Luthor (Nicholas Hoult). Along with Superman are fellow metahumans Green Lantern (Nathan Fillion), Hawkgirl (Isabela Merced), and Mr. Terrific (Edi Gathegi). Unfortunately, people quickly turn on Superman when information is brought to light suggesting he’s here to conquer Earth. Lois Lane (Rachael Brosnahan), ace reporter at The Daily Planet, works to uncover the truth despite the risks. As Superman attempts to clear his name, Luthor proceeds with his plans to stage an international war. Despite the odds, Superman’s influence has inspired people to stand up and fight for what’s right when facing danger. With help from The Justice Gang and some unexpected allies, Superman will fight for truth, justice, and the human way.

     

    Review

    After years of ups and downs regarding DC movies, Superman comes along and breathes new life into the franchise. Like with his Guardians of the Galaxy trilogy, James Gunn infuses his work with heart and humor, creating something special. His adaptation feels like a spiritual successor to what made Richard Donner’s 1978 original work. Rather than the grey and dreary mess Zach Snyder did, Gunn brings us a colorful and hopeful film. The movie features a vibrant color palette that isn’t overly saturated, and it feels inspiring without resorting to clichés. Sure, you get plenty of CGI action like in most modern superhero movies, but you still care about what’s happening. You’ve become so invested in these characters that you want them to win, not checking your watch every few seconds. Granted, some characters here are better than others, but the weaker ones don’t ruin the movie.

    While Henry Cavill was a solid Superman, David Corenswet feels more in line with the character’s essence. He genuinely wants to help people, despite what people say about him and the overly political world surrounding him. Like Christopher Reeve before him, Corenswet brings a level of charisma and humanity to make the character more relatable. Rachael Brosnahan, in addition to having fantastic chemistry with Corenswet, perfectly embodies Lois Lane as the no-nonsense reporter she is. As iconic as Gene Hackman was, I think Nicholas Hoult gives his Lex Luthor a run for his money. Hoult brings the same level of hubris as Hackman, but he’s also more ruthless and cold in his demeanor. Nathan Fillion and especially Edi Gathegi steal the show, and while Isabela Merced isn’t terrible, she feels underdeveloped. Also, despite his limited screen time, Wendell Pierce brings a genuine aura as Perry White.

    As much as I loved this movie, it’s not without its flaws that might deter some audiences. For one, while it would’ve been hard with a real dog, having Krypto as a fully CGI dog is distracting. Granted, he doesn’t take up too much screen time, but seeing this little CG dog jumping around is off-putting. Also, like some other James Gunn movies, this one suffers from dramatic moments being undercut by an ill-placed joke. While it’s not as bad as some other reviewers make it seem, it still creeps up from time to time. Plus, the overabundance of characters and subplots can feel overwhelming, but it also adds to the film’s scale. At slightly over two hours, some parts drag somewhat, but the pacing is solid and never feels sloppy. Overall, Superman is a fantastic standalone movie and a great start to a new universe.

     

    Buy Superman from Amazon: https://amzn.to/4jOXvON.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Superman (2025)

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  • The Return of the Living Dead (1985)

    The Return of the Living Dead (1985)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Following 1968’s Night of the Living Dead, writer/director George A. Romero and co-writer John A. Russo parted ways. While Romero made his sequel, 1978’s Dawn of the Dead, Russo still had rights to the Living Dead title. Russo adapted his ideas into a novel, which aspiring producer Tom Fox purchased the rights to adapt to film. Initially, Tobe Hooper came on board to direct, but due to financial struggles, he left to work on Lifeforce. In his place was co-writer Dan O’Bannon of Alien fame, who agreed to direct if he could rewrite the script. O’Bannon significantly altered the screenplay to avoid comparisons with Romero’s work, incorporating more humor, punk aesthetics, and intelligent zombies. With a $3-4 million budget, filming faced challenges, including the firing of effects artist William Munns and arguments with actors. Despite these issues, The Return of the Living Dead landed in theaters in August 1985.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”90″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Freddy (Thom Mathews) recently got a new job at the Uneeda Medical Supply Warehouse working with Frank (James Karen). Wanting to impress him, Frank shows Freddy military drums with corpses infected by toxic gas stored in the basement. Unfortunately, Frank accidentally cracks the tank, releasing the gas into the warehouse, which resurrects everything inside, including a cadaver. Frank calls their boss, Burt (Clu Gulager), for help, but they discover that destroying the brain won’t kill the undead. Burt decides to dismember the cadaver and have his friend, Ernie (Don Calfa), cremate the remains, inadvertently releasing the gas. Meanwhile, Freddy’s girlfriend, Tina (Beverly Randolph), and his friends party at the local cemetery when all hell breaks loose. To make matters worse, Frank and Freddy are slowly dying due to being infected by the gas. Will our heroes survive against the undead, or will things continue to worsen?

     

    Review

    The Return of the Living Dead stands as one of the best zombie movies of the 80s and all time. Sure, Romero’s Night of the Living Dead is the gold standard, but Return is on the same level. What helps this movie stand out is the addition of dark comedy and punk aesthetics mixed with the horror. Return is one of those rare horror comedies that strikes a balance of humor and horror without compromising the tone. Everyone in the cast plays the material straight, which makes the absurdity even funnier as things continue to worsen. The movie features political satire, as the canisters’ arrival results from a military mistake they tried to hide. This sentiment echoes elements from O’Bannon’s work on Alien, whose faceless corporation prioritized retrieving the Xenomorph over the crew. Thankfully, the message is woven into the story rather than taking center stage over it.

    Thom Mathews and James Karen are fantastic as Freddy and Frank, respectively, our hapless heroes doomed from the start. They do a great job showing how they’re slowly dying as the toxic gas takes over without going overboard. Clu Gulager is wonderfully dry as Bert, the no-nonsense boss who’s trying to make sense of the ever-worsening situation. Don Calfa is also memorable as the off-kilter mortician, Ernie, whose sense of reality continually slips as the film progresses. The punk cast, which includes Linnea Quigley, Mark Venturini, Miguel A. Núñez Jr., Jewel Shepard, and John Philbin, is fun. Each stands out in their unique way, whether it’s Venturini’s overly aggressive attitude, Quigley’s death fetishization, or Núñez’s emotional outbursts. Beverly Randolph is both adorable and hilariously out of place as the straightlaced Tina, and she gives it her all. In general, the actors are fantastic at taking this otherwise silly movie seriously.

    Like many great 80s horror films, the practical effects are a scene-stealer, showcasing why they will always be superior. The highlight is the iconic Tarman, played by Allan Trautman, whose gangly proportions and eerie movements make him instantly memorable. Another standout is the half-corpse created by Tony Gardner, who later worked on Army of Darkness, Freaked, and Hocus Pocus. For such a simple puppet, Gardner manages to bring it to life in a way that CGI cannot replicate. Also worth noting is William Stout’s excellent production design, from the cold industrial warehouse to the gothic cemetery scenery. The story’s bleak nature might deter some audiences, but that adds to the dark comedy. At roughly 90 minutes, the film maintains a brisk pace, never letting up, and remains enjoyable from start to finish. Overall, The Return of the Living Dead remains a hallmark of the zombie genre, even 40 years later.

     

    Buy The Return of the Living Dead from Amazon: https://amzn.to/44rJJvq.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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  • 28 Years Later (2025)

    28 Years Later (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]2002’s 28 Days Later, written by Alex Garland and directed by Danny Boyle, was both a critical and commercial success. On an $8 million budget, the film grossed over $82 million worldwide, in addition to winning numerous industry awards. Garland and Boyle were executive producers on 2007’s 28 Weeks Later, which was also critically and commercially successful. Over the years, Garland and Boyle discussed making a third film, but numerous delays put the project in development hell. It wasn’t until 2024, 17 years after the release of the second film, that a new installment entered production. Boyle’s longtime producing partner, Andrew Macdonald, bought the rights from Searchlight Pictures and sold them to Sony Pictures. With a $60 million budget, filming began in May around Northumberland, Yorkshire, and Cheddar Gorge before concluding in July. After premiering at Tyneside Cinema, 28 Years Later hit theaters worldwide in June 2025.

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    Synopsis

    Years after a viral outbreak infected most of continental Europe, the British Isles remain quarantined from the outside world. On the island of Lindisfarne, a community of survivors managed to stay alive by cautiously venturing onto the mainland. Amongst the survivors are Jamie (Aaron Taylor-Johnson), his ill wife, Isla (Jodie Comer), and their son, Spike (Alfie Williams). As part of a coming-of-age ritual, Jamie takes Spike into the mainland to kill his first infected, which goes sideways. Despite narrowly escaping several infected led by an Alpha, the village treats Spike like a hero, though he feels undeserving. Feeling disillusioned and wanting to prove himself, Spike sneaks out with his mother to find a doctor on the mainland. Along the way, they run into Erik (Edvin Ryding), a Swedish NATO soldier who reluctantly helps them before getting killed. Soon, Spike and Isla find Dr. Kelson (Ralph Fiennes), who agrees to help.

     

    Review

    Considering how long it took for this to come out, it’s surprising that 28 Years Later is pretty good. The film isn’t perfect, but for a sequel coming out nearly 20 years later, it’s a solid effort. Boyle and Garland managed to maintain the horror and heart that made the first film so influential. The duo also managed to find a child actor who stands head and shoulders above everyone else, which is shocking. That’s not to say the other actors are terrible, but newcomer Alfie Williams has a promising future ahead of him. He brings so much depth and emotion to the role that’s way beyond his years, and it’s incredible. Jodie Comer, who shone in 2021’s Free Guy, also delivers an excellent performance as Spike’s ill and mentally unstable mother. Aaron Taylor-Johnson is also effective as Spike’s well-meaning but flawed dad, struggling to keep the family together.

    To get into the aspects that bothered me, the biggest were some of the editing and directing choices made. During the first 15-20 minutes, old wartime footage and movie clips are thrown for seemingly no reason. I’m sure the filmmakers intended to draw parallels to World War II, but it comes across as random and sporadic. Additionally, there are these unusual slow-motion edits where an infected gets shot, the camera spins, and they fall. These moments feel like one of those early 2000s movies that tried to mimic the bullet-time scenes from The Matrix. Though these edits only occur in the first third, it makes you wonder if Danny Boyle still thinks it’s 2002. Lastly, without getting into spoilers, the ending comes completely out of left field and feels like a completely different movie. It doesn’t help that the ending only serves to set up the next installment.

    Some world-building elements aren’t fully explored and seem better in concept than in execution, such as the new infected types. In addition to the standard runners, there are also fat, slow-moving ones called “Slow-Lows,” and there’s the giant, super-evolved “Alphas.” Seeing these new types gives you more questions than answers, but the movie doesn’t explore how this evolution came about. Additionally, while the earlier films had political subtext that worked in tandem with the plot, this one is more overt. Even with its issues, this film still works as an exploration of whether humanity can survive in an apocalyptic setting. At slightly under two hours long, the movie has plenty of slow moments, but they never feel dragged out. While I’d say 28 Days Later is the stronger movie, this film is a worthy successor despite its conflicting tones. Overall, 28 Years Later is a solid apocalyptic thriller with heart.

     

    28 Years Later is in theaters.

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  • Friday the 13th Part VIII: Jason Takes Manhattan (1989)

    Friday the 13th Part VIII: Jason Takes Manhattan (1989)

    [et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]Against a $2.8 million budget, Friday the 13th Part VII: The New Blood grossed $19.17 million, making it a disappointment. Despite this, Paramount Pictures decided to move forward, offering the director’s chair to first-time director Rob Hedden. Hedden asked if he could take Jason out of Crystal Lake, which series producer Frank Mancuso Jr agreed to. He decided to have Jason terrorize New York City, which excited Paramount, but they had reservations due to budgetary limits. To address this, Hedden rewrote the script so that the first two-thirds occurred on a boat before moving to NYC. Filming took place in British Columbia, with Vancouver representing New York, although they spent two days shooting in Times Square. Despite Paramount’s reservations, the film still had a $5 million budget, the biggest of any entry thus far. Jason slashed theater screens in July 1989 with Friday the 13th Part VIII: Jason Takes Manhattan.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_circle_counter title=”Rating” number=”50″ bar_bg_color=”#E09900″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    To celebrate their graduation, the senior class of Lakeview High School set sail aboard the SS Lazarus for New York. Chaperoning the trip are teachers Dr. Charles McCulloch (Peter Mark Richman) and Colleen Van Deusen (Barbara Bingham). Against Charles’ wishes, Colleen brings along his niece, Rennie Wickham (Jensen Daggett), to help her conquer her aquaphobia. Unfortunately, a newly resurrected Jason Voorhees (Kane Hodder) stows away on the ship just as they take off. It’s not long until Jason starts picking off the students one by one using glass shards, a guitar, and strangulation. Jason’s rampage starts a fire, forcing Charles, Colleen, and Rennie, alongside Sean (Scott Reeves) and Julius (V.C. Dupree), to escape. They manage to reach New York City, only for Jason to catch up with them and give chase. With our heroes running for their lives and Jason on the loose, New York has a new problem.

     

    Review

    Just on concept alone, Friday the 13th Part VIII: Jason Takes Manhattan should’ve been good. Rob Hedden even envisioned scenes at Madison Square Garden, the Empire State Building, the Brooklyn Bridge, and more. Sadly, Paramount’s tight purse strings wouldn’t allow his vision to become real, hence why “New York” looks like Vancouver. Granted, that’s just one of many issues with the movie, but it’s one I can’t entirely blame on the director. To his credit, Hedden does agree that more scenes should’ve been in New York instead of on a ship. Additionally, for a first-time director, he executes some decent shots, such as a “decapi-cam” camera and low-angle shots. Plus, there are some humorous touches, such as Jason running into street punks and the ironic nature of the kills. Examples include stabbing a cokehead with broken glass, bludgeoning a rocker with a guitar, and punching a boxer’s head off.

    Though not the strongest of the series’ female leads, Jensen Daggett does a decent job here. While the frumpy clothes aren’t doing her any favors, she at least brings a strong and vulnerable performance. Peter Mark Richman makes for a compelling antagonist, committing reprehensible acts while believing he’s acting in his niece’s best interest. Once again, Kane Hodder delivers as Jason and proves why he’s the best actor to don the hockey mask. He gives the slasher an imposing presence that towers over everyone, and his heavy breathing makes him scarier. Sharlene Martin is fun as the preppy cokehead, but she isn’t as entertaining as Susan Jennifer Sullivan in Part VII. It’s cool to see Kelly Hu years before she appeared in X2: X-Men United and The Scorpion King. Unfortunately, the rest of the cast isn’t anything to write home about in terms of performances.

    There isn’t much else to discuss, as this movie doesn’t bring anything new to the table aside from its setting. Even then, it doesn’t fully deliver since the first hour takes place on a cruise ship before arriving in NYC. Even if the alley scenes are filmed in Canada, the filmmakers strive to depict them like they’re in New York. That said, seeing Jason stomping through Times Square and hassling street punks is a series highlight. Another noteworthy aspect is the music, both the score and songs like “The Darkest Side of the Night” by Metropolis. Fred Mollin’s score is on par with Harry Manfredini’s work, and the songs are fun to listen to. As easy as it is to call this the worst one, it’s clear that the filmmakers tried, which is commendable. Overall, Friday the 13th Part VIII: Jason Takes Manhattan is sadly a low point.

     

    Buy Friday the 13th Part VIII: Jason Takes Manhattan from Amazon: https://amzn.to/4kC3plE.

    Disclosure: The above link is an affiliate link, which means that, at no additional cost, I will earn a commission if you click through the link and make a purchase.

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    Where to watch Friday the 13th: Part VIII – Jason Takes Manhattan (1989)

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  • Ballerina (2025)

    Ballerina (2025)

    [et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.16″ global_colors_info=”{}”][et_pb_row column_structure=”2_3,1_3″ admin_label=”row” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”2_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]After seeing the trailer for John Wick: Chapter 2, Shay Hatten was inspired to pen an action-thriller spec script. Lionsgate purchased the screenplay in 2017 with the intent of making it a spin-off of the John Wick series. Additionally, the studio hired Hatten to co-write John Wick: Chapter 3 – Parabellum, incorporating some concepts from his spec script. For the director’s chair, Lionsgate hired Underworld helmer Len Wiseman in 2019, with producer Chad Stahelski aiding him. Ana de Armas signed on to play the title role in 2021, and Lionsgate officially announced the film in 2022. Principal photography started in November 2022 around Prague with Keanu Reeves, Ian McShane, Anjelica Huston, and Lance Reddick returning. Although scheduled for a June 2024 release, Lionsgate decided to add previously cut scenes, necessitating two additional weeks of filming. Despite these delays, Ballerina finally hit the big screen in June 2025.

    [/et_pb_text][/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_circle_counter title=”Rating” number=”80″ bar_bg_color=”#7CDA24″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][/et_pb_circle_counter][/et_pb_column][/et_pb_row][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    After witnessing her father’s murder, young Eve Macarro (Victoria Comte) gets taken in by the Director (Anjelica Huston) for training. Years later, Eve (Ana de Armas) has become an accomplished ballerina and assassin known as a Kikimora. Following several successful contracts, Eve asks the Director about the cult that killed her father to exact her revenge. Despite the Director’s warnings, Eve pursues the cult, seeking help from Winston (Ian McShane) at the New York Continental. He leads her to Daniel Pine (Norman Reedus), a cultist staying in Prague with his daughter, Ella (Ava McCarthy). It turns out Daniel left the cult to protect his daughter, but they find and shoot him before kidnapping Ella. Eve finally arrives in the cult’s hometown, Hallstatt, where their leader, The Chancellor (Gabriel Byrne), demands her death. Soon, the Director catches wind of her disobedience and hires John Wick (Keanu Reeves) to deal with her.

     

    Review

    Much like last year’s Furiosa: A Mad Max Saga, Ballerina feels unnecessary yet still entertaining in its own right. While I enjoyed my time watching this movie, it seems like Lionsgate made it as a quick cash grab. Granted, it’s not as poorly executed a cash grab as Disney’s live-action remakes, but it’s still noticeable. The fact that we’re getting a spin-off instead of a true sequel gives the impression that Lionsgate is desperate. However, considering they released Borderlands, The Crow, and Megalopolis last year, all of which bombed, this makes some sense. Still, I’m worried that a new wave of spin-offs might diminish the main series by proxy and lead to franchise fatigue. Regardless of what the future holds, Ballerina still serves as a standalone action movie with plenty to offer. While not as strong as the main John Wick series, this movie delivers the stylized action we’ve come to expect.

    Ana de Armas is easily the best part of the movie, delivering a stone-cold performance as Eve Macarro. She exudes confidence while showing a vulnerable side that goes against the “girl boss” stereotype of similar female-led action movies. Like Keanu Reeves, she effectively takes down bad guys but also takes a licking, making her badass moments more impactful. The big standout scene is when she roasts cultists with a flamethrower, eventually dueling with another flamethrower. Oscar nominee Catalina Sandino Moreno also stands out as Lena, a rival assassin working with the cult to eliminate Eve. Gabriel Byrne makes for a compelling villain, and Anjelica Huston delivers alongside Ian McShane and the late Lance Reddick. Sadly, Norman Reedus feels somewhat wasted in his minor role, amounting to nothing more than a plot element. Also, Keanu Reeves feels like a cameo shoehorned in to ensure audiences know this is a John Wick-adjacent movie. Still, the fight scene between him and de Armas is another highlight of the film.

    Considering he hadn’t directed a movie since the 2012 remake of Total Recall, Len Wiseman’s direction is surprisingly solid. Granted, it’s hard to tell how much of it was him, given the reports of Chad Stahelski massively reshooting scenes. However, according to more recent articles, Wiseman confirmed that there were no reshoots but rather additional scenes filmed. Regardless of that, the action sequences possess the signature fluidity and kinetic energy for which the series is known. Admittedly, some quick-cut editing and insufficient lighting make certain scenes hard to follow, but it’s not super distracting. Additionally, at only slightly over two hours long, the movie maintains a good pace and never feels padded. This movie is essential for John Wick fans, but casual viewers can also enjoy it as a standalone action film. Overall, Ballerina isn’t as strong as the main series, but it has plenty of good elements as well.

     

    Ballerina is in theaters.

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