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  • Civil War (2024)

    Civil War (2024)

    [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=”4.25.0″ _module_preset=”default” global_colors_info=”{}”]Writer-director Alex Garland made a name for himself by writing the scripts for Danny Boyle’s 28 Days Later and Sunshine. He also wrote and produced 2012’s Dredd, in which he became an uncredited co-director with Pete Travis. While working on that film, Garland reexamined an idea for a movie he had in his childhood about artificial intelligence. The idea grew into Garland’s official directorial debut, 2014’s Ex Machina, which was both a critical and commercial success. He followed this up with 2018’s Annihilation, which underperformed at the box office despite earning similar critical acclaim. His next film, 2022’s Men, didn’t fare well either commercially and wasn’t as highly praised as his first two outings. That same year, A24 announced that they’d be producing Garland’s next film, which would be their most expensive to date. After premiering at SXSW, Alex Garland’s Civil War opened in theaters in April 2024.

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    Synopsis

    America is in ruins as a new civil war has erupted, though The President (Nick Offerman) believes victory is assured. Meanwhile, renowned war photojournalist Lee Smith (Kirsten Dunst) is trekking to DC to interview The President. Accompanied by her colleague Joel (Wagner Moura) and mentor Sammy (Stephen McKinley Henderson), they set their sights on reaching Charlottesville. However, unbeknownst to Lee, Joel brings along a wannabe photojournalist named Jessie Cullen (Cailee Spaeny), who idolizes Lee. As the group journeys from New York to Charlottesville, they see how people are being affected by this war. Some actively stay out of it, others merely try to survive, and a few take advantage of the lawlessness. Along the way, Jessie learns what it truly means to be a photojournalist as Lee shows her the ropes. Will our heroes make the trip successfully, or will they be another casualty in this civil war?

     

    Review

    Given the political climate we’re living in, it was quite a risk for Lionsgate to release Civil War. The film doesn’t take a side one way or the other, but the conflict isn’t the central focus. Our focus is squarely on this group of journalists as they travel across a war-torn country to document what’s happening. It reminds me of World War Z (the book, not the movie), only without zombies and the conflict still happening. Like Max Brooks’ iconic book, this film explores what would happen if society crumbled and how people would respond. Some choose to ignore what’s happening, some run rampant and commit unspeakable acts, and others try to survive. Admittedly, the movie doesn’t explain what the war’s over or how the conflict started, but that’s not the point. While I don’t want to dissuade anyone from seeing this, you should know what you’re getting into.

    Kirsten Dunst does a great job playing a somewhat disgruntled photojournalist who’s almost lost hope. You feel that she’s seen a lot in her day and is numb to everything that’s going on around her. Conversely, you have Cailee Spaeny as the young, ambitious, wannabe photojournalist who wants to live up to her idol. While she’s certainly seen quite a bit, she isn’t as exposed to the horrors of war as Dunst’s character. By the end, she goes through quite a character arc and becomes as despondent and almost unfeeling as Dunst. Wagner Moura and Stephen McKinley Henderson help balance things out and provide some good back-and-forths with Dunst and Spaeny. Since we’re following these four the most, it helps that they’re engaging and likable enough that we don’t mind. Also, a special mention goes to Jesse Plemons, who steals the show during his short screen time.

    Like with his other movies, Alex Garland’s direction is solid, perfectly capturing a sense of chaos and dreariness. Whether it’s a long tracking shot or through the use of handheld cameras, he makes you feel like you’re there. Unlike many filmmakers who rely heavily on shaky cam, he uses it just enough to intensify the action. Also, the movie is violent but never gratuitous, which helps sell the point without going too far. Admittedly, the thought of California and Texas allying isn’t very realistic, which throws a wrench in the film’s credibility. Still, this film is a compelling cautionary tale of how easy it is for the US to fall into chaos. You may disagree with what’s shown, but it’s still thought-provoking and worth watching at least once. Overall, Civil War has some fantastic direction and excellent performances, but some might find its message divisive or controversial.

     

    Buy Civil War from Amazon: https://amzn.to/4f9FO98.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Abigail (2024)

    Abigail (2024)

    [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=”4.25.0″ _module_preset=”default” global_colors_info=”{}”]Radio Silence Productions got plenty of attention after 2019’s Ready or Not became a critical and commercial success. The directing duo of Matt Bettinelli-Olpin and Tyler Gillett helmed the fifth and sixth installments in the long-dormant Scream franchise. Both films received positive reviews and grossed over $100 million at the box office, cementing their place in horror history. In April 2023, they announced work on a new project with Universal Studios loosely based on 1936’s Dracula’s Daughter. Universal Studios clarified that they wanted each film to stand alone and give filmmakers more creative freedom. With a $28 million budget, filming started in Dublin in June before being suspended due to the SAG-AFTRA strike. Filming wrapped in December, but sadly, cast member Angus Cloud passed away in July from a drug overdose. After premiering at the Overlook Film Festival, the newly-retitled Abigail hit theaters in April 2024.

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    Synopsis

    Crime boss Lambert (Giancarlo Esposito) hires a group of six criminals to kidnap young ballerina Abigail (Alisha Weir). After kidnapping her, the group must wait in an old mansion while Lambert negotiates with the girl’s father. While the rest of the group keeps a lookout, group member Joey (Melissa Barrera) must be Abigail’s sole caretaker. As the night goes on, they get picked off one by one under mysterious circumstances, leading to internal struggles. On top of that, the mansion’s security system activates, trapping them inside with seemingly no way out. Soon, the group learns the truth – Abigail is a vampire, and the whole kidnapping was a trap. What started as a seemingly easy job becomes a fight for survival as the thieves fight off the young vampire. Before long, the group learns more than they bargained for as they try to fend off Abigail.

     

    Review

    I’m glad I never saw a trailer for Abigail because I was surprised by how good this movie was. This is one of the most fun, violent, and entertaining movies I’ve seen in quite some time. I wish I hadn’t known about the vampire twist, but I understand the movie needs to sell its gimmick. Admittedly, going in knowing that adds to the suspense as you’re left wondering when she’ll turn and attack them. It helps that Alisha Weir delivers a standout performance, going from scared and helpless to evil and conniving without fail. Everyone in the cast does a great job, and none of them feel secondary in the slightest. Melissa Barrera is tough and likable, Dan Stevens is wonderfully despicable, and Giancarlo Esposito shines in his few scenes. Kathryn Newton and Kevin Durand’s relationship is sweet, Will Catlett is strong, and the late Angus Cloud excels.

    Like their 2019 outing, Bettinelli-Olpin and Gillett deliver a bloody good time with tons of practical gore effects. By the movie’s end, not a single room in the mansion is left unstained by blood, and it’s great. The movie is so bloody that the directors had to apologize to the actors for how much blood they used. Thankfully, it never feels like the gore is there for the sake of being there, like so many other movies. The movie also reinvents the vampire lore by showing that specific weaknesses aren’t practical in this universe. The film introduces a ton of lore, but it never feels unnecessary or detracts from the rest of the story. Also, the movie takes some genuine twists and turns that I wasn’t expecting, and I was pleasantly surprised by them. It helps that the movie clocks in at slightly under two hours long.

    On the topic of this being a remake, this movie honestly doesn’t share much in common with Dracula’s Daughter. Not once is Dracula mentioned by name, nor is Abigail referred to as being The Count’s daughter. The only significant connection between the two is using the Swan Lake theme, which is a nice touch. If I can be honest, I’m struggling to find things to discuss with this movie without getting into spoilers. In a time where we’re inundated with sequels, remakes, and reboots, original movies like this are a rarity. The cast is excellent, the effects are gruesome, the direction is solid, and the pacing works. You’ll have a good time if you’re a horror fan who enjoys splatter and liked the directors’ previous work. Overall, Abigail is one of the most fun theater-going experiences I’ve had this year, and I highly recommend it.

     

    Buy Abigail from Amazon: https://amzn.to/48yffYO.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Monkey Man (2024)

    Monkey Man (2024)

    [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=”4.24.3″ _module_preset=”default” global_colors_info=”{}”]In 2018, Oscar-nominated actor Dev Patel announced he’d be making his directorial debut as suggested by previous collaborator Neill Blomkamp. In addition to directing, Patel would be starring and sharing writing credits with Paul Angunawela and John Collee. Patel originally wanted to film in India in 2020 but had to postpone due to COVID-19, ultimately settling for Indonesia. Filming wrapped in 2021, and Netflix later acquired the distribution rights but considered canceling the release due to political concerns. At some point, Jordan Peele watched the film and loved it so much that he came on as a producer. Through his company, Monkeypaw Productions, Peele convinced Universal to buy the movie from Netflix for under $10 million. The film premiered at South by Southwest in March 2024 and received critical praise, generating an early buzz. Less than a month later, Dev Patel’s Monkey Man opened worldwide in April 2024.

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    Synopsis

    The film follows a young man (Dev Patel) who witnessed his village burned and his mother killed as a child. Years later, he’s trying to make ends meet in an underground fighting ring as “The Monkey Man.” Along the way, he plots revenge on religious leader Baba Shakti (Makarand Deshpande) and police chief Rana Singh (Sikandar Kher). Shakti orchestrated the village’s destruction to acquire the land, and he hired Singh to lead the massacre. Through his underground connections, our hero gets a job from Singh’s cohort, Queenie Kapoor (Ashwini Kalsekar), naming himself “Bobby.” Unfortunately, Bobby flies too close to the sun and nearly dies, though to be saved by spiritualist Alpha (Vipin Sharma). With help from Alpha and his transgender commune, Bobby trains with a newfound sense of purpose and makes his return. Now more driven and determined than ever, Bobby seeks vengeance and justice for those wronged.

     

    Review

    For his directorial debut, Dev Patel excelled and then some with Monkey Man, and I anticipate his next outing. Unlike many contemporary action movies, Patel isn’t afraid to go for the jugular and presents brutal, unflinching violence. You feel all the hits that are dealt, and the violence gets progressively bloodier and bloodier as it goes on. Admittedly, the editing can get choppy during the action sequences due to tight zooms, quick cuts, and shaky camerawork. While the editing does get better later on, parts of the first act are nearly incomprehensible because of the editing. Also, after a frantic first act, the film grinds to a near halt in the second act. The second act has plenty of story and character development, but it feels like tonal whiplash. Don’t get me wrong, Patel did an excellent job on his first outing, but there’s room for improvement.

    In addition to doing a solid job directing, Patel delivers one of his best performances since The Green Knight. He does a great job playing the strong, silent type with a look of determination and focus on his face. Seeing how his revenge plan plays out is fascinating, and you feel for him when things start to go south for him. Though his screen time is limited, Sharlto Copley chews up all the scenery around him when he’s on screen. He steals every scene he’s in, and I wish Copley had been in the movie more. Another highlight is Sobhita Dhulipala as Sita, a sex worker whom Patel’s character forms a bond with. You feel the hurt and struggle she’s going through, and you get the sense that she’s lost faith in humanity. Sikandar Kher plays a great villain and even outshines Makarand Deshpande, who’s technically the real villain.

    The fight choreography is excellent, and every hit feels visceral and natural, probably because a lot of it was. Amongst all the violence and fight scenes, there’s also plenty of political and social commentary that isn’t particularly subtle. From the look of Mumbai poverty to the subjugation of trans people, it makes sense why Netflix might’ve had reservations. The fact that a major studio like Universal was willing to take on a project like this says a lot. What’s also refreshing is the film’s short runtime of under two hours, a rarity in Hollywood today. Even if the second act somewhat drags, it’s not enough to make the experience feel longer than it is. Despite its flaws, this is an incredible action thriller worth your time, and I’m excited to see Patel’s next outing. Overall, Monkey Man is rough around the edges but has something special going for it.

     

    Buy Monkey Man from Amazon: https://amzn.to/4fcKdZg.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Godzilla x Kong: The New Empire (2024)

    Godzilla x Kong: The New Empire (2024)

    [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=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]Godzilla vs. Kong was a massive success, grossing $470 million worldwide against a budget of around $155 – 200 million. It was the 8th highest-grossing film of 2021, HBO Max’s most successful launch title, and a hit with critics. Naturally, with that kind of success, a sequel would follow, formally announced in March 2022. Adam Wingard agreed to direct this follow-up, with much of the last film’s cast and crew also returning. With a budget of $135 million, principal photography started in July 2022 around the Gold Coast, Queensland. Filming wrapped in November in Australia, and a year’s worth of post-production followed, with Alessandro Ongaro supervising the visual effects. Meanwhile, Toho released Godzilla Minus One, a financial and critical hit that earned an Oscar for Best Visual Effects. After premiering at Grauman’s Chinese Theater, Godzilla x Kong: The New Empire premiered in March 2024.

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    Synopsis

    Since the last movie, Kong has made Hollow Earth his home while Godzilla defends Earth from various Titans. All is well until a Monarch research station detects an unknown signal, which triggers Jia (Kaylee Hottle) to have hallucinations. Sensing that something’s wrong, Jia’s adopted mother, Dr. Ilene Andrews (Rebecca Hall), recruits Bernie Hayes (Brian Tyree Henry) for help. Alongside Titan vet Trapper (Dan Stevens), they travel to Hollow Earth to find the signal’s source and discover what’s happening. Meanwhile, Godzilla is spotted attacking nuclear power plants and absorbing their energy, possibly preparing for something big. Back in Hollow Earth, Kong discovers a group of giant apes living deep underground led by the tyrannical Skar King. It turns out that the Skar King plans to invade the surface with his apes and an ice-breathing Titan, Shimo. Kong and Godzilla must team up to save the world once again!

     

    Review

    While I wouldn’t call this movie unique or groundbreaking, Godzilla x Kong: The New Empire is at least entertaining. Honestly, entertaining is all this movie had to be, and it more or less succeeds at providing pure popcorn entertainment. Sure, this film isn’t as good as Godzilla Minus One, but it was never going to be, and that’s fine. As the last movie demonstrates, Adam Wingard knows what his audience wants and delivers on it tenfold. Admittedly, G-fans may be disappointed that Godzilla doesn’t get as much screen time as Kong, who’s more-or-less the central focus. Besides teaming up for the climax, this might as well be Kong: The New Empire with special guest star Godzilla. Granted, there are a few standout Godzilla moments, mostly him battling other monsters and even napping in the Colosseum. Seeing them team up to fight different monsters is all worth it.

    Like many other Kaiju movies, the human characters aren’t as significant as the monsters, but they’re at least well-acted. Rebecca Hall is the film’s emotional core and does a great job playing a sympathetic lead. Her scenes with Kaylee Hottle as her adopted daughter are funny and heartwarming, which helps ground the film’s reality. Brian Tyree Henry returns as the comic relief, and while his humor is hit-or-miss, he isn’t overly annoying or obnoxious. Dan Stevens, who starred in Wingard’s 2014 thriller The Guest, is also fun as the brash and arrogant Trapper. Aside from them, there’s not much else to discuss with the human cast since they’re just background noise. Admittedly, the smaller human cast is a welcome change from Godzilla vs. Kong, which had too many human characters. It shows that, sometimes, less is more, especially regarding extra human characters.

    Before writing this review, I decided to see what other critics were saying, and I’m wondering what they were expecting. Many complain that the film doesn’t explore deeper meanings or the implications of these monsters’ existence. Like I said earlier, this film would never explore any deeper meanings, and that’s fine. Not every movie needs to be a profound contemplation on life’s meaning or what being a giant ape means. Sometimes, you need a big, ridiculous, fun popcorn movie to escape from reality for two hours. While filmmakers should strive for more than surface-level entertainment, there’s nothing wrong with making pure escapism. I’m not saying this movie is a masterpiece that will sweep the Oscars, but it’s a fun watch. Overall, Godzilla x Kong: The New Empire falters in some aspects, but it’s a fun way to kill two hours.

     

    Buy Godzilla x Kong: The New Empire from Amazon: https://amzn.to/40q9Wc0.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Godzilla x Kong: The New Empire (2024)

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  • Ghostbusters: Frozen Empire (2024)

    Ghostbusters: Frozen Empire (2024)

    [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=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]Despite a mixed reception, 2021’s Ghostbusters: Afterlife was a box office hit, grossing $204 million against a $75 million budget. Months after its release, Sony Pictures announced a sequel was in development with Jason Reitman returning to direct. However, towards the end of 2022, Reitman was replaced by director Gil Kenan, who previously helmed the Oscar-nominated Monster House. Under the title Firehouse, principal photography started in March 2023 in London, with some shots filmed in New York City. In addition to the primary cast from the previous film, several actors from the original films also reprised their roles. New cast members included Kumail Nanjiani, Patton Oswalt, James Acaster, and Emily Alyn Lind. Filming wrapped in June, and it was scheduled for a December release but was delayed due to the SAG-AFTRA strike. After premiering in New York City in early March 2024, Ghostbusters: Frozen Empire was released worldwide soon after.

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    Synopsis

    Following the previous film, the Spenglers and former science teacher Gary Grooberson (Paul Rudd) move into the Ghostbusters firehouse. Though successful, the family tells Phoebe (Mckenna Grace) she can’t continue busting ghosts, or they get shut down. Meanwhile, local Nadeem Razmaadi (Kumail Nanjiani) sells Dr. Ray Stantz (Dan Aykroyd) an orb that supposedly contains an ancient spirit. The team discovers that inside the orb is an ancient evil that was imprisoned after harnessing the death chill. Elsewhere, a depressed Phoebe inadvertently makes friends with a ghost girl named Melody (Emily Alyn Lind), who seeks absolution. While she appears innocent, Melody secretly works with the ancient evil, Garraka, to release him from the orb. Once freed, Garraka plans to engulf New York City and the world in a neverending winter of fear. Will our fearless paranormal investigators save the world, or will they become frozen with fear?

     

    Review

    Some may recall that the last Ghostbusters movie made my Best Films of 2021 list, and I stand by that. Naturally, I was excited for another sequel, though I had doubts after seeing the first few trailers. Having seen the movie, I can say that while this isn’t spectacular, Ghostbusters: Frozen Empire is a decent enough follow-up. The returning cast members still deliver solid performances, though some stand out more than others. Like in the last film, McKenna Grace is charming and likable, and her scenes with Dan Aykroyd are fun. The returning Ghostbusters are given more to do here, though some, like Bill Murray, are little more than glorified cameos. Another standout is Emily Alyn Lind as Melody, the ghost girl with a tragic backstory who becomes friends with Phoebe. Not only is she fabulous, but it’s a different look at ghosts that the series hasn’t explored before.

    Admittedly, this plays into one of the film’s most significant weaknesses: too many characters and insufficient story. So many characters and subplots are going on that the movie loses focus and feels like a jumbled mess. Sure, some of it is interesting, like Winston using his vast wealth to fund further Ghostbusters research, but it’s overwhelming. In all honesty, some characters, like Finn Wolfhard’s Trevor, could’ve been written out, and nothing would’ve changed. Also, the pacing is very uneven, with the first half being relatively dull and the second being more action-packed. While it does pick up in the second half, considering all the exposition dumped on you, it’s hard to care. It feels like Gil Kenan had a lot of ideas but no one to tell him when to pull back. Say what you will about Afterlife, but it at least felt like Jason Reitman had a singular vision.

    To spin this in a more positive direction, I will give this movie props for creating a new villain. Garraka is an intimidating and well-designed villain, and the lore surrounding him is fascinatingly eerie. I think that’s what frustrates me the most about this movie: it has several good ideas but no real focus. It doesn’t help there are more references to the older movies, though it’s not as egregious as critics have suggested. I’ve also seen critics complain that this had a more serious tone, which I wasn’t bothered by. Sure, it isn’t as funny or has many jokes, but remember that the original was shot like a horror film. Despite my issues, and while I wouldn’t say it’s on par with Afterlife, this is still a decent sequel. Much like Ghostbusters 2, Ghostbusters: Frozen Empire is a flawed but enjoyable experience overall.

     

    Buy Ghostbusters: Frozen Empire from Amazon: https://amzn.to/4ec3HMb.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • Cemetery Man (1994)

    Cemetery Man (1994)

    [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=”4.24.2″ _module_preset=”default” global_colors_info=”{}”]In 1986, Tiziano Sclavi’s horror comic series Dylan Dog was published by Sergio Bonelli Editore and became a huge success. The comics caught the attention of filmmaker Michele Soavi, and he expressed interest in making a film adaptation. While Sclavi had already sold the movie rights, he gave Soavi a manuscript for a novel to consider adapting. Soavi wasn’t entirely sold, but after producer Tilde Corsi and co-producer/writer Gianni Romoli revamped the script, Soavi signed on. For the lead role, they hired up-and-coming English actor Rupert Everett, who Sclavi based the look of Dylan Dog on. With a roughly $4 million budget, filming occurred in two Italian cemeteries in Carsoli and Guardea. Shooting lasted eleven weeks, and the production had many issues, but they persevered and finished the movie. Originally released in Italy as Dellamorte Dellamore in 1994, the film hit stateside in 1996 as Cemetery Man.

    [/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=”4.24.2″ _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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Francesco Dellamorte (Rupert Everett) is the caretaker of a cemetery where the dead rise seven days after their burial. With his mute assistant Gnaghi (François Hadji-Lazaro), he has to put these “returners” back in their graves. One day, Francesco meets a young widow (Anna Falchi) whose older husband recently passed and falls in love with her. They make love on top of her late husband’s grave, but he rises and bites her, presumably killing her. Francesco shoots her in the head when she gets up, but she comes back later as a returner. After killing her for good, Francesco slips into a fit of depression, culminating in a mass shooting spree. At the same time, Gnaghi falls for the mayor’s underage daughter, Valentina (Fabiana Formica), even after she’s a severed head. It’s a twisted tale of love and death, loss and life, friendship and existentialism.

     

    Review

    Unfortunately, there’s more to the plot that I can’t cover because to describe everything that happens would make this longer. So much wild stuff happens in Cemetery Man that spoiling any of it would be a disservice. Whether you love it or hate it, Michele Soavi’s twisted tale of love and death must be seen to be believed. Like many Italian horror films, this one is more concerned about style than making any logical sense. Speaking of, the film has a dark, gothic look that permeates throughout, with tons of fog and moody lighting. Even the daytime scenes in the cemetery have a strange presence, which offsets the intentionally dull city-bound scenes. While the film isn’t as gory as the works of Fulci and Argento, there are some pretty bloody effects. Italian effects legend Sergio Stivaletti did some of his best work here, especially the zombie designs.

    As the groundskeeper, Francesco Dellamore, Rupert Everett gives an appropriately dry and sardonic performance as a man bored of life. You get the sense that being surrounded by the dead for so long has taken its toll on him. It doesn’t help that his only friends are the primarily mute Gnaghi and a state worker who believes him. While her character isn’t given a name, the undeniably gorgeous Anna Falchi stands out as the young widow. When she returns as a returner, she somehow remains beautiful despite being covered in roots and leaves. She shows up later as two miscellaneous characters, which leads to theories that Francesco might be getting punished. Another standout is the late Mickey Knox as Marshall Straniero, who has some great back-and-forths with Everett. There are so many wild characters that add to the overall absurdity of the film.

    Like many of the best horror comedies, this one achieves that perfect balance of laughs and scares. For all the scenes of zombies rising to attack people, there are just as many darkly comedic moments. For example, when the mayor finds his daughter’s reanimated head, he’s more concerned about her wanting to marry Gnaghi. This sort of movie would fit right at home in either an arthouse or a grindhouse theater. There are plenty of moody, artistic touches for the more artsy crowd, with some sleaze added for exploitation fans. That said, your enjoyment of this movie largely depends on how much you’re willing to suspend your disbelief. So much is left unexplained, and not much makes sense, but you’ll enjoy the ride if you go with it. Overall, Cemetery Man is one of the most uniquely bizarre horror comedies ever and is a must-watch for genre fans.

     

    Buy Cemetery Man from Amazon: https://amzn.to/3NVL6sQ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Cemetery Man (1994)

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  • Ready Player One (2018)

    Ready Player One (2018)

    [et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.16″ _module_preset=”default” custom_margin=”||||false|false” global_colors_info=”{}”][et_pb_fullwidth_header title=”Special Review” subhead=”This review is a special request from Patreon supporter BodaciousCNO. If you’d like to support me on Patreon, click the button below.” text_orientation=”center” button_one_text=”Visit Patreon” button_one_url=”https://www.patreon.com/filmnerd” background_overlay_color=”#f96854″ _builder_version=”4.24.0″ _module_preset=”default” title_level=”h2″ background_color=”#f96854″ custom_button_one=”on” button_one_bg_color=”#052d49″ custom_margin=”||||false|false” custom_padding=”25px||25px||false|false” global_colors_info=”{}”][/et_pb_fullwidth_header][/et_pb_section][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=”4.24.0″ _module_preset=”default” global_colors_info=”{}”]In 2010, aspiring author Ernest Cline sold the rights to his first novel, Ready Player One, to Crown Publishing Group. Not long after, Warner Bros. bought the film rights before the book was published the following year. Cline wrote the original screenplay, Eric Eason and Zak Penn handled rewrites, and Steven Spielberg was hired to direct. After a lengthy casting process, principal photography commenced in June 2016, mainly in Birmingham and Warner Bros. Studios, Leavesden. Thanks to Spielberg’s reputation, many of the pop culture references featured in the book were brought into the movie. Filming wrapped in September 2016, and ILM, Digital Domain, and Territory Studio handled the visual effects and post-production. The film initially had a late 2017 release but was delayed to avoid competition from Star Wars: The Last Jedi. After premiering at South by Southwest, Ready Player One hit theaters in March 2018.

    [/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=”4.24.0″ _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=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    It is 2045, and people are escaping reality by entering a virtual reality program called The Oasis. Created by James Halliday (Mark Rylance) and Ogden Morrow (Simon Pegg), what started as a game quickly became a phenomenon. Unfortunately, Halliday passed away but left three keys hidden in The Oasis, leading to a golden Easter egg. Whoever found the keys and got the egg would win total control of The Oasis, but people lost interest. That is except for a few passionate egg hunters, aka “Gunters,” and rival tech CEO Nolan Sorrento (Ben Mendelsohn). One of these Gunters, Wade Watts (Tye Sheridan), finds the first key, which paints a massive target on his back. He soon finds himself in a rebellion led by fellow Gunter Samantha Cook (Olivia Cooke) to take down Sorrento. With control of The Oasis at stake, will our heroes succeed, or will Sorrento claim it for himself?

     

    Review

    Before going further, I will address that I haven’t read the book, so I don’t know how the movie compares. That said, Ready Player One has plenty going for it, and it’s easy to see why some people enjoy it. It’s got some exciting world-building, the characters are likable, and there’s a charm to seeing all these pop culture references. Unfortunately, once you strip all of that away, you’re left with a pretty bland story you’ve seen done before. The characters are all stock archetypes, the plot devolves into a “chosen one” narrative, and there’s nothing unique here. There’s nothing inherently wrong with using familiar stories and character types, so long as you make something different. Star Wars is a perfect example of taking tropes and ideas from other media to tell a unique story. Aside from the video game angle, this has nothing unique to offer.

    To get into some positive aspects, I thought the performances were generally strong despite lacking substantial material. Tye Sheridan makes for a decent, relatable, and sympathetic lead, especially as the film progresses. Though his scenes are brief, Mark Rylance has an innocent charm that makes him feel more human. Simon Pegg is enjoyable as always, and T.J. Miller is funny in his role as i-R0k. Also, while some of the visuals haven’t aged as well as others, there are some decent-looking digital effects. Alan Silvestri’s score fits the action well, though it sounds like his Back to the Future score. Steven Spielberg’s direction is on point, as always, though the film lacks some of his usual style. Oddly enough, the scene that felt the most like Spielberg was towards the end when Parzival meets Halliday. Sadly, that’s where most of my positives for this movie end.

    While the rest of the cast is decent, many are either forgettable or repeats of previous performances. The worst example is Ben Mendelsohn, a great actor, whose role is more or less the same as Rogue One. While most references are relegated to the background, it gets annoying when the movie blatantly tells you the reference. In particular, when they mentioned The Shining, Buckaroo Banzai, and Child’s Play, I wished I was watching those movies instead. This movie should not be two hours and twenty minutes long, especially with all the unnecessary padding. Sure, it has an action-packed climax, but I was waiting for everything to end by then. I wouldn’t call this one of Spielberg’s worst movies, but it’s a far cry from Jaws or Schindler’s List. Overall, Ready Player One has some surface-level enjoyment, but it won’t leave much of an impact.

     

    Buy Ready Player One from Amazon: https://amzn.to/3AniUMA.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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  • The Return of Godzilla (1984)

    The Return of Godzilla (1984)

    [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=”4.24.0″ _module_preset=”default” global_colors_info=”{}”]Despite Toho’s best efforts, Terror of Mechagodzilla failed to make its budget at the box office despite receiving decent reviews. Towards the end of the 70s, producer Tomoyuki Tanaka started working on a franchise reboot that harkened to the original. Tanaka recognized that the decision to make Godzilla more kid-friendly and heroic was a mistake and wanted to correct that. Ishiro Honda was approached to direct, but he declined, so in his place, his assistant Koji Hashimoto was hired. Teruyoshi Nakano, who directed the special effects for several of the previous Godzilla movies, was brought back for this installment. New World Pictures acquired the North American distribution rights, redubbing the film and adding new scenes with Raymond Burr. The Japanese version was released as Godzilla in late 1984, though it was also known as The Return of Godzilla. The American edit came out the following year as Godzilla 1985.

    [/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=”4.24.0″ _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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Off the coast of Daikoku Island, a fishing boat struggles against the tides when some giant monster emerges to attack. Days later, the ship is found by reporter Goro Maki (Ken Tanaka), who finds all the occupants dead except one. The lone survivor, Naoko Okumura (Yasuko Sawaguchi), claims that Godzilla attacked the boat, but the government keeps the story secret. Meanwhile, Maki visits Professor Hayashida (Yosuke Natsuki) to learn more about Godzilla and meets Naoko’s sister Hiroshi (Shin Takuma). However, the situation escalates after a Soviet sub is destroyed near Japan, so the government reveals Godzilla’s return. Soon enough, Godzilla starts laying waste to Tokyo, so the military sends out their newest weapon, the Super X. While Hayashida tries using a homing signal to lure Godzilla into a volcano, the Soviets launch a nuke toward Japan. Will Godzilla be defeated, or will Tokyo be obliterated?

     

    Review

    The Return of Godzilla was an attempt by Toho to make Godzilla scary again, and it succeeded. Throughout the movie, every scene has this gloomy, almost apocalyptic feel, even during the daytime. Koji Hashimoto does a great job at capturing this look and staging the destruction sequences once Godzilla shows up. The Godzilla suit designed by Teruyoshi Nakano is a vast improvement over the ones used in past movies. Towards the end of the Showa era, the suits looked like they were falling apart and too big to wear. The suit seems slimmer, has well-defined features, and resembles a modern version of the 1954 monster. Also, the miniature and model work and some fantastic explosions are impressive, making for some fantastic scenes of destruction. For a 40-year-old movie, the effects hold up surprisingly well, even if a bit outdated. Still, you can’t beat the classics.

    Some longtime fans might be disappointed that this doesn’t have the goofy charm of the late Showa era. I prefer this film’s darker, more serious tone, though some humor is sprinkled in if you prefer that. During Godzilla’s rampage, a bum wanders the city streets and comments on the destruction, providing the film’s comic relief. Supposedly, New World wanted to make the movie more of a comedy during their edits, but Raymond Burr objected. Considering the film’s darker tone, I’m unsure how you could’ve made this a comedy unless you tried hard. The Japanese cast all do a solid job, and the movie succeeds at making you care about the human characters. Some references to the Cold War further date the film, but it works in context, considering Godzilla represents nuclear destruction. It also seems like a natural progression from the original’s post-WWII setting.

    If I had any complaints, they’d be minor, as I feel this is one of the best entries. For as good as the effects are, a few close-up shots of Godzilla look a bit goofy. Side views look menacing, wildly when he roars, but he looks like The Cookie Monster from the front. Also, the pacing sometimes drags, especially in the more human-focused scenes, though it’s not enough to ruin the experience. While it’s disappointing that Godzilla doesn’t fight another monster, focusing solely on Godzilla was the right call. While I haven’t watched the Godzilla 1985 version, I can say that this is an excellent reintroduction to the character. Though the 1954 original is better, this is still a great starting point if you want to get into Godzilla. Overall, The Return of Godzilla succeeds at reminding audiences why Godzilla is the King of the Monsters!

     

    Buy The Return of Godzilla from Amazon: https://amzn.to/4hwmmoM.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch The Return of Godzilla (1984)

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  • Godzilla Minus One (2023)

    Godzilla Minus One (2023)

    [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=”4.23.4″ _module_preset=”default” global_colors_info=”{}”]While 2016’s Shin Godzilla was a critical and commercial hit, Toho could only release another Godzilla film after some years. This was due to their agreement with Legendary Pictures not to make a Godzilla film alongside them. Meanwhile, Toho set up an office to discuss plans for the Godzilla series and hired Takashi Yamazaki to direct. For a dream sequence, Yamazaki had previously incorporated Godzilla in his 2007 film Always: Sunset on Third Street 2. Many news outlets reported that the budget was $15 million, less than 10% of Godzilla vs. Kong’s $155-200 million budget. Yamazaki set the film in post-WWII Japan and took influence from Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack. The movie was shot in Honshu’s Kantō and Chūbu regions between March and June 2022, with effects by Shirogumi Inc. After its Japanese release in November, Godzilla Minus One hit American shores in December 2023.

    [/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=”95″ bar_bg_color=”#7CDA24″ _builder_version=”4.23.4″ _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=”4.27.2″ _module_preset=”default” global_colors_info=”{}”]

    Synopsis

    Towards the end of WWII, kamikaze pilot Kōichi Shikishima (Ryunosuke Kamiki) flees his duties by flying to Odo Island. That night, he witnesses the entire base of technicians get wiped out by a giant dinosaur the locals call “Godzilla.” He returns home to find that his parents are dead, and his house was destroyed in the bombings. Kōichi inadvertently takes in Noriko Ōishi (Minami Hamabe), a local whose parents also died, and orphaned child Akiko (Sae Nagatani). While he tries to move on and works as a minesweeper, the dinosaur from before is mutated by atomic bombs. Now bigger and more powerful than ever, Godzilla makes his way to Ginza and goes on a rampage. In his wake, thousands are killed, including Noriko, and Kōichi swears revenge as the country struggles to rebuild. Will our heroes rise to take on this new threat, or will Japan be obliterated once again?

     

    Review

    In a time where we’re inundated with multi-million-dollar blockbusters with mediocre effects, along comes Godzilla Minus One to rival them. It says a lot when an under $15 million movie has better effects than The Flash, which had $300 million. Granted, $15 million isn’t a low budget, but it might as well be compared to today’s movies. While I generally prefer practical effects over CGI, I can’t deny that the digital effects in this movie are jaw-dropping. Sure, there’s a charm to the tried-and-true guys in rubber suits technique, but I’ll admit it wouldn’t have worked here. This is a much more serious, heartfelt, and emotional film on par with the original 1954 Godzilla. This is less of a kaiju movie and more of a human-focused drama featuring a kaiju. If you go into this expecting something like Godzilla vs. Kong, you will be disappointed.

    As much as I enjoyed that movie, this trumps Adam Wingard’s monster mash-up and then some. While that film had so many characters and subplots, this one keeps it simple and focuses on one central character. It helps that the human storyline is captivating, and the characters are well-developed to the point where they feel real. You care about the guilt that Kōichi feels for seemingly betraying his country and letting so many people die. Additionally, Takashi Yamazaki does an excellent job of giving the film a somber, almost apocalyptic feel. Seeing the characters wander the ruined streets of Tokyo after the bombings and Godzilla’s rampage adds to the tone. Like the Ishirō Honda original, this one depicts Godzilla as a force of destruction that wreaks havoc without mercy. As incredible as it is watching Godzilla fire his atomic breath, you also dread what he will do.

    At the heart of the film is a story of redemption, recovery, and people coming together to overcome significant obstacles. You could take Godzilla out of the movie, and it would still work as a drama about post-war Japan. That said, this film also celebrates the 70-year legacy of Godzilla, even including snippets of Akira Ifukube’s original score. If I had any criticisms, I admit that the characters can come off a bit one-note and stereotypical. Also, the acting can seem overdramatic and overly emotional, but it fits the film’s tone. Honestly, there is so much about this movie that works that it’s hard to find anything worth criticizing. Even if you’ve never seen a Godzilla movie, you’ll get something out of this and maybe want to see more. Overall, Godzilla Minus One should be a wake-up call for Hollywood to improve and put more care into their movies.

     

    Buy Godzilla: Minus One from Amazon: https://amzn.to/3CbWSNh.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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    Where to watch Godzilla Minus One (2023)

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  • Wonka (2023)

    Wonka (2023)

    [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=”4.23.1″ _module_preset=”default” global_colors_info=”{}”]British author Roald Dahl’s novel Charlie and the Chocolate Factory was published in the US in 1964 to instant success. The book caught the attention of filmmaker Mel Stuart and producer David Wolper, who decided to adapt it to film. Released in 1971, Willy Wonka and the Chocolate Factory received critical acclaim but wasn’t a huge financial hit. Over time, the film found its audience through repeated television viewings and home video, becoming a beloved classic. In 2005, Tim Burton directed the remake Charlie and the Chocolate Factory, which stuck closer to the original novel. While the film remains divisive, it was a massive financial success, grossing $475 million worldwide on a $150 million budget. In 2016, Warner Bros. reacquired the rights to Willy Wonka and announced the development of a new prequel film. After years of production and marketing, Wonka premiered in October 2023 before its worldwide December release.

    [/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=”4.23.1″ _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=”4.27.2″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]

    Synopsis

    Since childhood, Willy Wonka (Timothée Chalamet) has dreamed of opening a chocolate shop at the Galeries Gourmet. Unfortunately, through a series of circumstances, he’s forced to work for the devious Mrs. Scrubitt (Olivia Colman). To try to pay off the overwhelming debt he owes, Wonka goes out to Galeries Gourmet to sell his chocolate. However, he’s stopped by rival chocolatiers Mr. Arthur Slugworth (Paterson Joseph), Mr. Prodnose (Matt Lucas), and Mr. Fickelgruber (Mathew Baynton). Known as The Chocolate Cartel, they control all candy production, bribing a priest (Rowan Atkinson) and the chief-of-police (Keegan-Michael Key). With help from other people forced into Mrs. Scrubitt’s servitude, Wonka vows to make his dreams a reality. Along the way, he contends with the police, Mrs. Scrubitt’s assistant, Bleacher (Tom Davis), and an Oompa Loompa (Hugh Grant). As Wonka’s mother told him, “Every good thing in this world started with a dream.”

     

    Review

    Like many people, I was immediately skeptical about this movie when I first heard about it. The original is such a timeless classic, and the 2005 version, while not great, stuck closer to the source material. It seemed pointless to revisit this material for a third time, let alone make a prequel to the original film. Thankfully, I’m happy that Wonka exceeded my expectations, living up to the 1971 classic while working on its merits. First off, Timothée Chalamet does a great job as the youthful Willy Wonka, whose unbreakable optimism is contagious. He gives the role a ton of charisma and wit that honors Gene Wilder without appearing as an imitation. You genuinely want to see him succeed and overcome the odds, even as things seem more dire. It helps that he has a solid singing voice, and the songs are incredibly catchy.

    The rest of the cast does a commendable job, mostly playing it up for laughs and mugging for the camera. The one exception is Calah Lane as the orphan girl, Noodle, who becomes fast friends with Wonka. She plays her part straight and works as an anchor for Chalamet’s unbridled positivity that keeps the film grounded. Hugh Grant also stands out as Lofty, an Oompa-Loompa pursuing Wonka and stealing his chocolate to compensate for his failures. The production design is on another level, with fantastic sets and elaborate effects, justifying the film’s $125 million budget. Paul King does a great job keeping the pacing moving without rushing or dragging things out. The movie breezes at barely two hours long and never feels bogged down by unnecessary filler scenes. It’s a fun experience that the whole family can enjoy and get something out of.

    If I had any complaints, I’d say that while the first two acts are solid, the third somewhat falls apart. The movie goes from a heartwarming journey of making one’s dreams come true to a heist film. Granted, it’s not enough to ruin the movie as it is overall enjoyable, but it is worth pointing out. Also, as whimsical as the film is, it’s not afraid to tackle some darker subject matter. It’s nothing challenging or life-altering but more than what you’d expect from a lighthearted family film. While I wouldn’t say it’s better than the Mel Stuart original, this makes for a good companion piece. But you’ll find something to enjoy whether you’ve seen the other two movies or haven’t heard of the source material. Overall, Wonka is an enjoyable, wholesome movie that reminds us to pursue our dreams and see the magic around us.

     

    Buy Wonka from Amazon: https://amzn.to/4fqQYpQ.

    Disclosure: The above link is an affiliate link, which means that, at zero cost to you, I will earn a commission if you click through the link and finalize a purchase.

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