Tag: Universal Pictures

WICKED: FOR GOOD – Review

So, here’s a riddle that could flummox a few filmgoers. When is a sequel technically not a sequel? Now, we’re not referring to a number following a title (GODFATHER II comes to mind), or an entry in a series (as with James Bond or even Sherlock Holmes). That’s when a new film is a conclusion, ending a big story that’s split in two, usually shot at the same time. Pierre Spengler and the Salkind family famously produced two 70s adaptations this way, with the Three Musketeers (allegedly some of its stars weren’t told the movie was going to be split) and the big budget Superman (replacing the director for the concluding flick). That method was revived with Peter Jackson’s Lord of the Rings and Hobbit films. And when the last Harry Potter book was too epic, it was spread over two (as was the big Avengers/Thanos battle). Now, we come to the case of a big Broadway stage musical hit (it’s still running there), that the producers felt was just too complex for one cinema experience (plus, they could perhaps double the box office). The “first act” was a huge smash at the end-of-the-year holidays in 2024 at the multiplex, so now they’re hoping that much of that massive audience will want to “return to Oz” in 2025 for WICKED: FOR GOOD. Grab your brooms and wands…


The fantasy fable begins just a few miles from the Emerald City as the Wizard’s workers and official guards crack the whip on some harnessed lumbering beasts (looking like a hybrid of the buffalo or yak) in order to finish the long, winding Yellow Brick Road. But those abused animals have an unlikely rescuer. Soaring down through the clouds is not a caped superhero, but a wicked witch, Elphaba (Cynthisa Erivo). She frees the creatures after a brief battle, then heads skyward. Meanwhile, the Emerald City and Munchkinland are littered with banners, posters, and leaflets warning the populace of this “green-skinned menace”. There, her old Shiz College roommate Glinda (Ariana Grande-Butera) is the spokesperson (a bright, calming face) for the Wizard (Jeff Goldblum), while Madame Morrible (Michelle Yeoh) is his crafty consort in the shadows. The duo convince Glinda that it would help unify the citizens if she announced her engagement to the newly appointed Captain of the Wizard’s Guards, Fiyero (Jonathon Bailey) at that day’s big city ceremony. This comes as a surprise to him, since he still secretly harbors feelings for the “enemy of Oz”. Later, Elphaba encounters several animals trying to leave Oz through a tunnel under the YBR that would lead them to a desert land far away from oppression. She tries to rally them, but the animals reject her when a certain timid feline explains that “El” cast a spell that made the monkeys sprout wings. From there she visits her estranged sister Nessarose (Marissa Bode)who has been appointed governor of Munchkinland after the death of their father. In her office, her former beau Boq (Ethan Slater) is now her servant and is prohibited from traveling, along with all the Munchkins. After enchanting Nessa’s shoes (really slippers), Elphaba is stunned when her sister snatches her book of magic, the Grimmerie, and tries to put a love spell on Boq. When this threatens his life, El uses her powers to avert a fatal tragedy, changing him forever. It’s then that she decides to return to Emerald City to strike a truce with the Wizard to free the animals. This also results in a happy reunion with her “Shiz sister”, but El soon learns of the Wiz’s sinister future plans. As she speeds away on her broom, Morrible hatches a deadly plot. She’ll use her weather manipulation magic to endanger Nessa and lure El to her doom. But what happens when an innocent from another world is thrown (lands, really) into the conflict o Oz?

While the focus of part one was “up for grabs” (and wasn’t Universal a bit wicked for hiding that “listing’ in the 2024 marketing), here it’s clearly Erivo as the often distraught but determined Elphaba. Sure, she’s an avenging rebel in many sequences, streaking out of the sun with more speed than any action hero from Marvel or DC, but there’s a real sadness hovering just under that pointy hat. Erivo’s haunted gaze informs us of her sacrifices, as she must endure the vilest of hateful propaganda in order to help all of Oz. That’s in addition to her musical mastery that’s matched by her best screen partner, Grande-Butera as the now “less-flighty” Glinda. She’s also torn by her faith in the Wizard and her still-present affection for her Shiz sister. We get fewer funny moments with her this round (only a couple of “hair-flips”), as the character becomes more, dare why say, introspective, even examining her privileged younger years. This time out, Bailey is more of a swashbuckler than a flamboyant song-and-dance dude as the now military-minded Fiyero. Ditto for the much darker, dramatic turn as the tormented Boq. His former sweetheart has also taken a turn to tyranny, and Bode as Nessarose conveys her conflict as she yearns for the better times with her sister and old beau. And is there a better devious duo than the quirky but still charming Goldblum and the slinky, sinister Yeoh (love her sneering at Glinda) as the Wizard and Morrible? Happily, Bronwyn James and Bowen Yang return as Glinda’s old classmates, Shenshen and Pfannee, who are now Oz PR staff while bringing some much-needed levity.

Finishing the fantasy is director Jon M. Chu (unlike Richard Donner on the 78 Superman), who keeps the story rolling along and even inserts an action thriller aesthetic recalling his time in the GI Joe franchise. But he really shines in crafting the incredible production numbers, either the soulful ballads by Elphaba and Glinda or the big brassy bits with nearly of the Emerald City, which is just as gorgeous and green as before. Yes, like the first half, the production design, costumes, and backdrops (all the colorful flora and fauna) are delicious eye candy (what a great fodder for a “making of” coffee table tome). The expert effects work add to the visual wonders, with CGI making us believe in the Oz animals (especially those “winkeys”), even helping to put a new spin (no doubt to appease MGM/WB) on that iconic OG quartet. And in order to fill out the story’s second act (on stage, act two is usually shorter) musical wiz Stephen Schwartz has created a couple of new tunes. They’re hummable, but the real highlight is the title number “For Good”. But really, the most sensational songs are in the part. Nothing here has the infectious bounce of “Popular”and “What is This Feeling?” or the soulful yearning of “The Wizard and I” (the “I want” number) or the soaring majesty of “Defying Gravity”, but they’re going for the action and drama which isn’t quite as fun as the “big set” and character intros of last year’s flick. Still, this is a big splashy spectacle which should delight fans and families (though the tots may need some help through scarier violent bits) who want to continue the epic fantastical fable that concludes (maybe) with WICKED: FOR GOOD.


3 Out of 4


WICKED: FOR GOOD is now playing in theatres everywhere

BLACK PHONE 2 – Review

Hey, Halloween’s just a couple of weeks away, Hollywood studios! So where’s the new spooky, scary flicks? Well, we’ll have to wait another week or so for the new version of Mary Shelley’s classic, so how about a sequel to one of the surprise horror hits from four years ago? And it’s from the classic “monster-maker”, Universal by way of the “ghouls” that dwell in the Blumhouse. Concerned about the number in its title? Perhaps knowing that they got “the band back together”, namely the cast along with the directors and co-writer, should erase your worries. What’s that ringing noise? Do you dare to pick up the receiver and answer the call of BLACK PHONE 2?


It all actually starts with a flashback set in the late 1950s. A teenager trudges through the snow to a desolate telephone booth, somewhere in a frigid forest clearing. After a very odd, even cryptic conversation, the story springs forward to 1982 Colorado. Just outside the high school, a young man is viciously pummeled by Finn Blake (Mason Thames). Luckily, his sister Gwen (Madeleine McGraw) pulls him off the lad. Despite being the young hero who ended the murderous reign of “the Grabber”, Finn is still challenged by bullies. But that’s not their only problem. Though papa Terence (Jeremy Davies) is finally sober, Finn is now the substance abuser, numbing his damaged psyche with bags of weed. Yet somehow he’s alert enough to stop Gwen from her dangerous sleepwalking excursions. Yes, she’s having visions again, this time of three boys murdered in the cold white woods. Could this be the spirit of their nemesis? Gwen’s dreams lead the duo to look into getting jobs at the Christian church “winter camp” called Alpine Lake. Luckily Gwen’s “wannabe BF” Ernesto (Miguel Mora) agrees to drive them there during a blizzard. At the camp’s front gate, they’re met by the horse “wrangler” Mustang (Arianna Rivas) and her father, the supervisor Armando (Demian Bichir). He tells them that other new workers called ahead and cancelled due to the fierce storm. But the trio can stay in the cabins until the roads are cleared. Gwen’s nightmares start up as things get even more weird for Finn. He answers the “out-of-order” payphone and speaks to the Grabber (Ethan Hawke) before seeing the horned, masked demon himself. Soon, Gwen’s visions give her a portal into the fiend’s deadly origins at the camp. Can the Blakes guide the campers in their mission to stop the Grabber and send him back to Hell?

Though he’s prominently featured in the marketing, the participation of Mr.Hawke raised some questions. Since the Grabber is usually masked up, or seen in various stages of gnarly wounded decay, Hawke is really delivering more of a vocal performance. It doesn’t help that the glimpses of him as the magician/balloon twister at the wheel of that old black van are that of a different actor (but then they’re part of Gwen’s visions). Mind you, Hawke delivers a threatening growl, but I recalled the rumors about the 1940s Mummy movies “starring” Lon Chaney, Jr. As for the other “originals”, the very busy Thames (this is the middle of his three 2025 flicks) makes a steadfast horror “hero” as the young man who is paying the mental “price” for his victory over evil. The memories (and grass) have dulled his eyes, but a return match seems to “jump start” his fighting spirit. That, and in protecting his adored lil’ sis’ played with equal parts sass and snark, with a touch of trembling vulnerability, by McGraw. She somehow can make most of her clunkier put-downs (this from a 15 year-old) work. Davies is also strong as a man struggling to rectify his past behavior and reconnect with the kids that will soon drift away from the nest. Mora also provides a good connection to the first flick, while scoring some chuckles as he pines for Gwen. The most compelling new character may be the grizzled Armando, played with a gravitas and protective charm by the always watchable Bichir ((love when he scolds Finn over his “goodie bag”).

Returning to the director’s chair is Scott Derrickson who co-wrote the new script with C. Robert Cargill, based on Joe Hill’s 2004 short story. I will give them kudos for not returning to that dingy basement (it does make a cameo) for a new rash of abductions and escape attempts. Though the first entries had supernatural elements, this one truly goes “all in” allowing for lots of creative effects, some CGI and many practical make-ups (even a bit of puppetry, I’m guessing). But once the Blakes get to their new setting, the story becomes fairly repetitive as Gwen drifts off to sleep in order to be menaced by the Grabber before Finn arrives just in time. And many set pieces are also derivative, as though we’re watching a late 80s Freddy Krueger knock-off set near the Overlook from THE SHINING (the red-coiled space heaters do give the cabin interiors a Hellish glow). The need for new scares and gross-out clutter up the big finale showdown as the “camper’s quest’ finally limps to a frozen finish. The fans have the original will probably enjoy seeing the “OG” cast, but for few new fans will want to jump in that icy glass booth for BLACK PHONE 2.

1.5 Out of 4

BLACK PHONE 2 is now playing in theaters everywhere

JURASSIC WORLD: REBIRTH – Review

Hard to believe that the big Summer holiday, the Fourth of July, is almost here (and it’s on a weekend, too). Well, if you can’t hit the road or hop on a plane, the local multiplex is your best option for a tropical getaway on a secluded island. Now there’s a slight problem with this dot in the ocean. While flies and mosquitoes can dampen the fun, the pests here are much, much bigger. And very aggressive. And hungry (perhaps even “hangry”). Yes, we’re back in the movie franchise established way back in 1993’s JURASSIC PARK. After two “trilogies”, Universal’s ready for a bright, shiny “reboot” with an all-new cast trying to survive in this familiar foliage. Films are always a bit of a gamble, so is “seven” the “lucky number” for JURASSIC WORLD: REBIRTH?

This entry starts with a flashback from 17 years ago, as a research team in big, clunky haz-mat-like suits is scurrying about their lab. Looks like they’re tinkering with the dinos (always a big “no-no”), and as is usually the case in these stories, things go terribly wrong. After a few title cards explaining that the dinos we saw out in the world (Europe, the States, etc.) are succombing to unfamiliar climate and viruses, and that the general public has grown weary with the beasts (how fickle), we’re in the “present day” (really five years after the last JW flick). An exec for the pharmaceutical giant ParkerGenix, Martin Krebs (Rupert Friend), is stuck in NYC traffic as a dying Brontosaurus is lost near the Hudson. Ah, but he’s soon joined by the woman he was rushing to meet, “covert operative” Zora Bennett (Scarlett Johansson). Kreb makes his pitch: he wants to enlist her “team” to make a secret trek to the “forbidden” island home (travel is banned there) of the last thriving dinosaurs and collect blood and tissue samples (the dying nearby creatures are not “workable”). The “extracts” will be the basis of a heart disease “wonder drug”. He does insist on an addition to her team (aside from himself). They swing by the soon-to-be-shuttered dinosaur museum to collect expert paleontologist Dr. Henry Loomis (Jonathan Bailey). Soon the trio zip down to a port in Ecuador to meet Zora’s team leader, Duncan Kinkaid (Mahershala Ali), who will take them in his high-tech boat to the home of “big lizards”, Ile Saint-Hubert. Along the way, they rescue a family whose sailboat was capsized by a school of aquatic dinosaurs. After a harrowing encounter just off the island’s coast, the family is separated from the “covert” team. As Krebs tries to grab a set of three samples (beasts based on the land, sea, and “air”), the family tries to make their way to a long-deserted village. But, when the mutated (circle back to the pre-title scene) dinosaurs go on the attack, the quest for science (and big “pharma-bucks”) becomes a desperate struggle to survive until a possible rescue. This is no relaxing “va-cay”…

After four years away from the MCU (the home of “never say never”) and a brief detour into the “Wes Anderson-verse”, Ms. Johansson is back in full action heroine “mode” as the “gun for hire” who secretly has a “heart of gold” (no surprise). She’s quick with a snarky quip, but can leap right into the chaos, kicking lots of scaly tail. Somewhat regulated to the “in distress” role is Bailey, a grizzled glass-wearing geek (a fantasy breathtaking “brainiac”), who tries to keep out of the “line of fire” while taking the time to gaze lovingly at the gentler behemouths (he did study under Dr. Alan Grant, y’know). And there’s an Oscar-winner (twice) getting in on the monster mash-ups. Ali is given a bit of a tragic backstory (broken family), but mainly he’s a modern update on the rascally sea captain who loves his boat nearly as much as a hefty cash commission. He makes a fine comic partner with Bailey. Since every party needs a “p##per”, this trip has the wonderfully “weasely” Kreb played with an unseen “twirling mustache” by the glowering Friend. Oh, let’s not leave out the “rescued” (not really “stowaways,” I suppose). Manuel Garcia-Rulfo is the concerned, though confused patriarch Rueben, who just wants some quality time with his daughters, college-aged Teresa (Luna Blaise) and adorable pre-teen “snacker” (loves that licorice) Isabella (Audrina Miranda), who is adorable even as she’s in constant peril. The dinos are enough of a handful, but Rueben has to also contend with Teresa’s slacker, goofball “bae” Xavier (David Iacono), who does wonders with the abrasive role.

They’re all told where to run (and what the “green tennis ball” represents, “monster-wise”) by a director who is no stranger to big studio “IP”, Gareth Edwards. After all, he made GODZILLA work for mainstream US moviegoers, and was behind the brightest light in the post-George Lucas space flicks, the superb prequel ROGUE ONE: A STAR WARS STORY. He does bring some fresh energy to the scenes of the beasties in full-attack mode, while still taking a moment to give a “shout-out” to earlier entries (mainly the 1993 OG). Unfortunately, he’s somehow hampered by the disjointed screenplay by (speaking of OG), the adapter of the first two films in the series, David Koepp (he worked on the first Spidey, too). The time in between attack never really holds our interest, despite giving a sad backstory to both Zora (she just lost her partner during a “gig”) and Duncan (who takes a moment to gaze sadly at a faded photo of his son), while Henry tries to convince them to do the “right thing” with the samples (who doubts them). The biggest problem with the story’s structure may be the inclusion of the shipwrecked family. They never really “mesh” with the “mission crew”, which may account for why they’re quickly separated from them after they crash land on the island. Perhaps it was thought that these “average” Joes and Josephines, without firepower, would be easier to put in jeopardy and appeal to moviegoers. The cutting back and forth gets somewhat irritating, much as a TV show would flip from the “A story” to the “B story”. Now it does lead to the big nighttime finale that brings everyone together for another explosive showdown with a new dino “big bad”, the mutant “Distortus rex”, whose look owes a lot to another franchise, mainly the Xenomorphs from ALIEN. Certainly the effects on the critters continue to impress, it’s great to listen to strains of the classic John Williams score, and the carnage hasn’t been toned down to be more “kid friendly”, though I found the relentless “product placement” extremely distracting (make sure the logo is readable on that dangerous floating wrapper). Fans of these flicks will enjoy the usual mayhem and “narrow escapes”, but many may wish for something less formulaic (though this is a big improvement over JWD) than the jungle “jump-scares” of JURASSIC WORLD: REBIRTH. Now keep your hands inside the boat…

2.5 Out of 4

JURASSIC WORLD: REBIRTH is now playing in theatres everywhere

M3GAN 2.0 – Review

If there’s one thing we’ve learned after more than a hundred years of horror movies, it’s this: you just can’t keep a good “monster” down. That’s certainly true of the “Golden Age” icons, whether it was Frankenstein’s monster or Count Dracula (even in the “Silver Age,” it was a given that Christopher Lee would be back for blood). It may be more certain now in the age of “spin-offs”, prequels, and countless sequel. Plus it also extends to those fiends without flesh, like Chucky of CHILD’S PLAY. And now there’s a “gender flip” on that. Back in 2023 the January film “doldrems”, when often the thriller “dregs” would be dumped into the hungry multiplex, a chiller with a satiric “bite” brought us a new horror “heroine”. Well, she’s baaack! Finally, leaping off the toy shelf and into our nightmares comes M3GAN 2.0.

This one begins far away from the sunny California suburbs of the original. In the Middle East a super secret agent is on a rescue mission, which goes sideways. She’s ignoring all the orders from the US command center, as we learn that the agent is a robot. The story then shifts to an update on the main characters from the first flick. Gemma (Allison Williams) is part of media crusade warning parents about the dangers to their kids in the online world. But she has her own tech company with her loyal staff Tess (Jen Van Epps) and Cole (Brian Jordan Alvarez). Gemma’s still the legal guardian to her niece Cady (Violet McGraw), who channels her trauma into her Aikido lessons. Oh, and Gemma’s in a thriving relationship with a former cyber-security expert, Christian (Aristotle Athari). But what she’s focused on right now is the powerful exo-skeleton they’re trying to sell to the tech billionaire mogul, Alton Appleton (Jemaine Clement). That day doesn’t go well, but the night is even worse, when Gemma and Cady are awakened by home intruders. They’re not burglars, but rather, agents of the FBI. Their commander (Timm Sharp) tells Gemma that they want information about M3gan, whose designs were the basis for their now missing rogue spy assassin Amelia (Ivana Sakhno). After the “guests” leave empty-handed, Gemma is startled when the old M3gan program announces her return via the big screen TV (and other devices). Soon it becomes obvious that the only way to stop Amelia’s path of destruction that leads to a sentient “doomsday” device from the 1980s, is for Gemma and her gang to team up with M3gan. But can the devilish doll ever be trusted despite all the “fail-safe” software that Gemma installs? Will Cady be put in danger once more as they’re drawn into a vast conspiracy that could end the planet? These toys aren’t playin’ around!

Yes, the “old gang” is back together again. And their comic timing is just as sharp two years later. The leader of “the pack” is probably Williams, as the frazzled, but full of steely determination, Gemma. She’s still the protective “mama bear” even as she’s rattling off endless bits of “techno-jargon” while making us root for her as she is often needed to be the “voice of reason” or a real “wet blanket”. Her family “jewel’ is the nearly teenaged McGraw as the sassy and very “pro-active” ( a certain martial arts movie star is her “role model”) Cady. Epps and Jordan are quite the effective loyal but bumbling comedy team as “sidekicks” Tess and Cole. The big comedy MVP might just be Clement as the arrogant, abusive snob Alton, who could perhaps be a satiric riff on a real-life odd uber “tech-bro”. We’re just waiting and yearning for his sneer to be “deleted’ ASAP. Other comic standouts are Sharp as the gung-ho mucho macho spy chef and Athari as the too, too sensitive and empathetic nurturing BF Christian. As for the “big baddie”, Sakhno is the face of pure banal evil, with big expressive but vacant “peepers” as Amelia, the Terminator packaged as a waif-like supermodel. And though she’s a mix of stunt folks, puppetry, and CGi, special kudos should go to M3gan’s main body double Amie Donald and the supplier of her snarky quips, vocalist Jenna Davis.

And this veteran cast is guided by OG director Gerald Johnstone, who also collaborated on the script with Akela Cooper (who created the characters with James Wan). They’ve decided to opt for a completely different tone with this outing, skirting around much of the first one’s horror “vibe” and making a scathing parody of cyber “chaos” and firing lots of parody “salvos’ at the modern action “high concept” blockbusters. While some of the set pieces and sequences take on THE MATRIX, Johnstone and company have some fun with the worlds (and imitators) of JOHN WICK and James Bond (I’m surprised the big secret villain HQ wasn’t inside a dormant volcano). Like ALIENS, it takes on new targets, though the hardcore fans will enjoy a riff on the “meme-fodder” murder-dance of M3gan and her aggressive, snarky “attitude”, guaranteeing that she’ll be a popular costume for the next Halloween and beyond. The doll doesn’t get all the best gags as the evil ‘mastermind’ has a casual “sing song” delivery as he tries to be a “Michael Scott” style cool, friendly boss. Now, as with most of the “straight” action-thrillers it piles on the endings along with the henchmen bodies literally exhausting us with “overkill”. But it’s easy to forgive its over-indulgences when we get a truly uproarious song scene and a “bizarro” AI convention. Sure, the MISSION: IMPOSSIBLE epics need a good drubbing and this demonic doll can certainly dish out the “burns” and cyber “side eye”. If you can handle sharp satire and even sharper weaponry, then you may want to “click”on the upgrade that is M3GAN 2.0. Powering down…


3 out of 4

M3GAN 2.0 is now playing in theatres everywhere

HOW TO TRAIN YOUR DRAGON (2025) – Review

Mason Thames (right) as Hiccup with his Night Fury dragon, Toothless, in Universal Pictures’ live-action How to Train Your Dragon, written and directed by Dean DeBlois.

Some may find it hard to believe, but most critics try to go into a film with no “pre-conceived” notions and expectations. Well, that noble goal is often tested. That was my feeling as I prepared to see yet another “live-action” adaptation of a beloved classic animated feature film. Yes, “another” as this is the third such project to be released this year. Ah, but this does set itself apart from the other 2025 films. The previous two, from March and May, were both from the “Mouse House”, as Disney returned to their “OG” animated icon SNOW WHITE and followed it with a more recent, but adored, property, LILO & STITCH. The latter is still packing the multiplex, while the other…just started streaming on Disney+. Now, this weekend’s release isn’t from them, it’s from a big rival of nearly thirty years, Dreamworks Animation, their very first “re-imagining”. Additionally, it’s helmed by one of the co-directors of the original film, who has brought back one of the voice actors. So do these “upstarts” concoct a “magic movie formula” when they take us back to the world of HOW TO TRAIN YOUR DRAGON? Let’s saddle up those scaly “beasties” once more…


In the opening moments. we’re taken back to that land of “long ago”, the island of Berk. Explaining their current “infestation” is the teenage son of the Viking warrior ruler, weapons apprentice Hiccup (Mason Thames). It’s nighttime and they’re under siege by a fierce flying squad of fire-breathing dragons who carry off the livestock. The adults, led by Hiccup’s burly papa Stoick (Gerard Butler), try to stop the swarm with little success. Hiccup is eager to join, but is held back by Stoick’s best pal, the “single-limbed”, having lost an arm and a leg, Gobber (Nick Frost). But Hiccup sneaks out with a device he has invented, a spring-loaded “bolas-launcher”, which he fires at what he thinks is the most savage and deadly dragon, the rarely-seen “Night Fury”. He’s not sure, but it appears something went down in the forest just over the hill. But Stoick will hear none of it as he whisks him back to their home. The next day, Hiccup ventures into the woods and finds the dragon, tied up in the bolas. Unable to strike a fatal blow with his knife, Hiccup frees him, dubbing him “Toothless”. However, he can’t fly away as part of his tail has broken off. Meanwhile, Gobber convinces Stoick to allow Hiccup to be part of his “dragon-fighting” classes. After much pleading, Hiccup agrees and joins a group of trainees., comprised of cocky, brash Snotlout (Gabrielle Howeell), excited “dragon expert/savant” Fishlegs (Julian Dennisen), bickering twins Ruffnut (Bronwyn James) and Tuffnut (Harry Trevaldwyn) and Hiccup’s “secert crush” the gifted fighter Astrid (Nico Parker), who wants to rule Berk someday. Hiccup flounders at class as he continues to visit Toothless, somehow forming a bond, and eventually fashioning a new “tail-piece” that allows the dragon to fly once more…with Hiccup as his rider/pilot. But can he keep his forbidden “friendship” a secret from his class and especially his father? Could this be the start of a new “era” or ignite a bigger war as Hiccup discovers the real agenda of the dragons?

I don’t wish to disparage the original voice cast, but these young, fairly unknown actors really help bring new energy to the familiar property, allowing it to soar to new heights. First, there are the two young, eventually, romantic leads. Thames, so good in BLACK PHONE, gives Hiccup an extra layer of vulnerability while still being a sweet klutz. With his superb body language and facial expressions, he conveys the hero’s journey of the lad, who somehow finds his humanity by helping his sworn enemy. Parker, who was in the disastrous DUMBO remake, strikes the right balance between tough and tender, as the determined and ambitious “no-nonsense” warrior princess (sans crown). She puts up a hard barrier to Hiccup, but Parker, through her gradually relaxed manner, slowly dissolves away. Perhaps the biggest surprise here is the spirited, bombastic work by the story’s “OG”, Butler, who has really grown into the role of bellowing and often clueless papa Stoick. He brings an electric charge to every scene, reminding us that his considerable gifts have been squandered on far too many mediocre action scripts. He’s great with Thames and hilarious with the very funny Frost as the mentor/coach, whose big heart almost makes up for the missing limbs. Also achingly amusing are the terrific young actors who are his “pupils”. Howell is a swaggering, obnoxious hoot, while Dennison is an endearing charmer as the sweet, zaftig motor-mouth vault of dragon trivia. And anyone with siblings can relate to the constant rivalry and insults (tinged with a tiny bit of affection) of the twins, played with furious zest by James and Trevaldwyn.

Guiding this exceptional cast is the co-director of the original film, Dean Delbois, in his live-action narrative feature debut (he made the doc feature TEN in 2022), and he does a superb job of revisiting his earlier triumph. As many lovers of that will attest, he doesn’t veer far from the script adaptation of Cressida Cowell’s beloved book that he co-wrote with co-director Chris Sanders and Will Davies, which some may find fault with, although fans of the other two live-action redos from 2025 have thrown fits over omitted and added characters and subplots. However this coming of age tale is so strong, that it’s not needed since enough time has passed (15 years) to make this fresh for the children who saw the orignal in theatres (some of you may recall that in those prehistoric “pre-home video” days, Disney would send his animated classics out of the vault and back on to big screens at seven-year-intervals). Well, Deblois did add an excellent subplot about Snotlout’s strained relationship with his blasé pop Spitelout, played with a disinterested scowl by Peter Serafinowicz. And yes, the dragons are still CGI creations, though they have more detailed textures, especially Toothless, and have a more realistic tone resembling the recent Godzilla reboots rather than the bulging eyes and rubbery limbs similar to Mad Magazine’s series of “Horrifying Cliches” drawn by the great Paul Coker, Jr. Another big plus is the use of several practical sets (with some CGI “tweaks”, no doubt) in the village along with the imaginative costuming (imagine the fur and horn budget). Happily, John Powell also returns with thrilling variations on his familiar themes. Yes, it’s like picking up a treasured childhood tome off of the bookshelf that’s given a fresh spin by the talented cast of young actors paired with an invigorated vet. Oh, if all the remakes and “re-workings” were as entrancing and endearing as HOW TO TRAIN YOUR DRAGON…

3.5 Out of 4

HOW TO TRAIN YOUR DRAGON (2025) is now playing in theatres everywhere

DROP – Review

Ah, at the start of Spring what’s more romantic than a first date? Well, at least there’s the possibility of romance. Yes, that initial meeting is often the start of a cinema love story, or often a comedy (including lotsa’ ‘rom-coms”). But that’s not the case with this week’s new release from the folks at Blumhouse (that should give you a huge hint). In this flick, the jitters of a dinner with a new “potential” turns into outright terror when the evening’s intimate meal is “cyber-hijacked” by an evil manipulator. The couple at the center of this thriller barely make it to the appetizer before the “meet cute” gives way to suspense when some deadly messages begin to DROP.

This story actually starts with a scene full of violence and terror, though it’s unclear about its “placement” in the tale. Is it a “flash-forward” or “flashback”? That’s revealed soon as the film does a jump cut to the present, where a young widowed mother named Violet (Meghann Fahy) works as an online therapist. When the live streaming “video session” is complete, she begins to prepare for her big evening, her first real date since her spouse passed. Her adorable six-year-old son Toby (Jacob Robinson) helps her pick out an outfit, but that’s scrapped when Violet’s kid sister Jen (Violett Beane) arrives to babysit. Finally, her “ride service’ arrives to take Violet to Chicago’s “hot” new dining experience, a “sky high” rooftop restaurant named “Palate”. Her date’s a bit late, so Violet hangs out at the bar, meeting a nebbishy middle-aged man also on a blind date named Richard (Reed Diamond), Cara (Gabrielle Ryan), the friendly bartender, and the sleezy “piano man” Phil (Ed Weeks). Luckily, Violet can see what’s going on at home through a streaming app of her many security cameras. At last, her date arrives, a hunky photojouralist named Henry (Brandon Sklenar). Things are going well until Violet’s phone “blows up” with “airdropped” adamant demands that she “play a game”. Henry takes a look at her phone, but can’t locate who is sending the “drops” (it has to be someone close by). After a few more “aggressive nudges” the unknown “player’, he (or she) shows her the live streaming feed inside her home. In a room away from Jen and Toby is a person dressed in black holding a gun. Then the “phone fiend” ups the “ante”. Do what he commands, tell nobody, or her sis and son will be executed. Violet’s date has turned into a tormenting “trap” as she must choose between aiding a murderer (yes, Henry’s the target) in order to save the lives of her family.

Much like most first-date flicks, everything rests with the casting of that dating duo. Both stars really support this unique concept, though most of its “weight” is shouldered by the talented Ms. Fahy. Honestly, I wasn’t familiar with her work on several popular cable and streaming TV shows, but she certainly makes her mark as a real movie star with her compelling take on the thriller genre heroine lead. Fahy has terrific comic timing and charming warm rapport with her on-screen son and sis (kudos to Ms. Beane, who’s full sweet sibling snark). The Violet character becomes anxious and more than a bit twitchy as she begins the long wait at the “foo-foo” eatery. This is followed by some sunny “patter” with Henry until the “game” kicks in. Fahy shows us, through her darting eyes and tight body language, that Violet is terrified, but is calling on every brain cell to find a way through this cyber “quicksand”. At every twist and turn, Fahy has the audience right with her. As Henry, the date, Sklenar doubles down on the rugged cowboy charm we saw in THIS ENDS WITH US (where he was really under-utilized), as he woos Violet with his self-depreciating humor, while trying to be sensitive to her history (naturally, they had chatted online). Then he is a tad thrown off by Violet’s dashing about while glued to her phone and offers to call off the Dinner (though we see his disappointment mixed in his bewildered eyes). The “bar mates’ are also very good, from the awkward Diamond, to the encouraging Ryan, and the “skeevy” smarm of Weeks (much as his role in the very-missed “The Mindy Project”). But the real supporting actor MVP may be the engaging, over-enthusiastic Jeffrey Self as the first-night waiter Matt, who seems more interested in stories about his Second City improv class than in selling the “specials”. Now there’s some superior comic relief.

This is directed by horror veteran Christopher Landon, who takes a break from the supernatural elements of his previous works (including the HAPPY DEATH DAY flicks) to give us a grittier modern tech ode to the high-concept “Hitchcock-ian” suspense drama. Part of the credit must be shared with the screenwriting team of Jillian Jacobs and Chris Roach, who deftly mixed rom-com cliches with whodunits, while making satiric jabs at snooty eateries (the hostess podium is at the end of an intestine-like tunnel). And though most of the action takes place on the dining floor, Landon makes lots of creative visual choices to illustrate Violet’s torment. The messages to her float above her head, and in one sequence, the walls of a bathroom stall become the security cam images of her home. Plus the action is sometimes slowed to crawl in order to prolong the tension, and make us ponder what our actions would be. It’s a pretty polished “nail-biter’ until the troublesome third act, as the story takes a brief turn into DIE HARD-style chaos and dives into several “home invader” tropes while really over-playing the “child-in-jeopardy” manipulation. Luckily, the film is shot superbly, with an unfamiliar view of the “Windy City” (could it actually be Louisiana or…Ireland) and has a taut score by Bear McCreary. You might consider this to be a modern tech-savvy take on the classic “B” pictures of yore, though few recent thrillers have as many interesting ideas and talented leads like DROP.

3 Out of 4

DROP is now playing in theatres everywhere

LOVE HURTS (2025) – Review

February has finally arrived, the month of romance with that big holiday for sweethearts almost “smack dab” in the middle. And naturally, the Hollywood studios are certainly ready to cater to the big occasion, perhaps making a trip to the cinema a fitting finale to an evening of bubbly, flowers, and swanky dinners. Now this year they’re not content to merely release a “swoony” romance or even a riotous “rom-com”. No, moviemakers are mixing things up with the two big releases this weekend. One adds elements of horror flicks and thrillers in HEART EYES. In another section of the multiplex is this “high-concept hybrid” which sprinkles in some “mushy stuff’ with a a fast and frenetic action crime thriller. And with all the roundhouse kicks and furious fists, it’s clear, and not an understatement, that LOVE HURTS.

The opening scene of the story takes us to suburban Milwaukee, where a lovely dark-haired woman exits a bus, whips out a big marker, and quickly vandalizes an ad on the bus stop bench. Getting the black ink embellishments is the image of the top salesman for Frontier Reality, Marvin Gable (Ke Huy Quan). Back at his own modest home, he whips up some Valentine’s cookies to dole out at an open house in a fairly new subdivision. He’s a bit annoyed by one of his defaced signs, but carries on, extolling the house to several possible buyers. A bit later he heads back to headquarters and checks in with his bored assistant Ashley (Lio Tipton). Ducking into his office, Marv is punched by someone in the shadows. When he comes to, Marvis is surprised to see an old “frenemy” the poetic knife-wielding assassin known as “The Raven” (Mustafa Shakir). Turns out that Marv was a former “enforcer” for a criminal gang run by his own brother, “Knuckles’ (Daniel Wu), who now believes that a former accountant named Rose, who embezzled several million dollars from him, is still alive. Since Marv was supposed to have eliminated her years ago, Raven wants Marv to reveal Rose’s hiding place. The surprised Marv gets the upper hand, dashes away to a model home, and is beset by two goons, Otis (Andre Eriksen) and King (Marshawn Lynch), sent by Knuckles’s new “right-hand man”, Merlo (Cam Gigandet). This new battle is soon halted by the arrival of the “lady in question”, the “back from the dead” Rose (Ariana DeBose). So, just why did Marv spare her life (the holiday is a big hint)? And can the duo, despite Marv’s “new persona” survive the henchman hordes dispatched by the enraged Knuckles? Could this be a new “Valentine’s Day massacre” for the 21st century?

In his first feature film outing (and first lead role) since his Oscar win for EVERYTHING EVERYWHERE ALL AT ONCE, Quan is a delirious delight as the sweet, “mild-mannered” realtor who transforms into a whirling dervish of destruction. His mix of expert comic timing and physical prowess. much as with Jackie Chan and even going back to the silent clowns, Chaplin, Keaton, and Lloyd, make his milquetoast Marv a most unlikely action hero. Quan somehow balances his furious fighting with a kind and gentle demeanor that earned him so many fans during that 2023 awards season. Speaking of trophies, the actress who handed him the gold (a year after she received her own), DeBose makes Rose an enigmatic but playful femme fatale, as she draws the audience to her, perhaps to ponder and solve the mystery of this “lady on the run”. Her ultimate pairing with Quan is worth the wait as DeBose becomes his guide and coach, inspiring Marv to be his “true self”. But it takes their combined skills to confront the revenge squads sent out by Knuckles played with a banal, casual cruelty by the unpredictable Wu. Tipton excels as the emotionally numb Ashley (a spin on Aubrey Plaza in TV’s “Parks and Recreations”), earning laughs and pathos when the brooding killer poet played with dark intensity by Shakir ignites a spark of passion buried deep within her. There’s also comic chaos generated by the other main baddies, Gigandet, Eriksen, and the rampaging “human bulldozer” King played with good humor by former pro footballer Lynch. But the biggest comic support can be found in the smaller supporting roles of the captured crooked “bean-counter” given lots of manic energy, though he’s mainly taped into a chair by the the superb Rhys Darby, and the simple, but warm-hearted “good ole’ boy” boss of Marv played by Quan’s GOONIES pal Sean Astin, a nice guy scooped up in this underworld war.

And speaking of firsts, this is the first directing job for stunt coordinator Jonathan Eusebio, Perhaps this cemented a “simpatico” bond with his leading man since Quan was himself a “fall guy” for many years. And this accounts for the very creative fight sequences, full of energy and great wit, as Marv tries to quickly assess the situation and use all manner of nearby household items for defense and attack (staplers can inflict pain and block lots of deadly blades). Eusebio has a good visual eye, especially in an early variation of the montage, as prospective clients change as Marv strolls from room to room in the model house. The location work is also tops with Manitoba subbing very well for Milwaukee. Plus he expertly guides the cast as the script goes from slapstick romp to deadly sibling showdown. The biggest problem may be with the abundance of stunt scenes as they feel like “plate-spinning” as the story nears the big reveals and the finale. Thankfully the filmmakers probably realized this since the flick clocks in under ninety minutes (no need for a BRUTALIST intermission). Action fans will get their needed “fix” without feeling as though they’ve taken too many rapid kicks to the noggin. As I mentioned earlier, the pairing of Quan and DeBose makes an inspired couple of pain-relievers to ease the sting and aches when LOVE HURTS.

2.5 Out of 4

LOVE HURTS is now playing in theatres everywhere

WOLF MAN – Review

Alright, now it’s feeling a bit more like January. I’m not referring to the frigid temps and formidable snowbanks. No, I’m talking about seasonal movie releases, since the first month of the new year is generally the time for horror flicks…of varying quality (often seen as a “dumping ground”). Mind you, for every M3GAN there are a couple of NIGHT SWIMs. Well, now one of the major studios (and a rising upstart production house) join forces to put a new spin on a ninety-year-old classic cinema creature. Yes, it’s the newest collaboration between Blumhouse and Universal (whose “fright fests” began a century ago). Oh, this is not an attempt to “jumpstart” their proposed “Dark Universe” concept (Dr. Frankenstein couldn’t revive it with any amount of lightning after that Tom Cruise reboot of THE MUMMY). They’ve tossed the idea of a shared continuity like the MCU in favor of stand-alone re-imaginings, as with the well-received 2020 take on THE INVISIBLE MAN. And so, they’ve tasked the same filmmaker to put the “bite” on moviegoers with a similarly named, but very different breed of WOLF MAN.

After a brief prologue concerning Native American legends of infected feral men, we’re taken to a desolate ranch/farm in Oregon. A survivalist single father takes his eight-year-old son on a hunting excursion in the deep woods near their home. Dad tries to get young Blake to focus and be aware of the dangers prior to them spotting a deer. When the duo separate, Blake gets the buck in his sights, he also sees something walking on two legs. Luckily his Pop returns, scoops him up, and the two scamper up a tree’s deer blind. Luckily the loud growling beast finishes the buck, then departs. Later that night, Blake listens in on his father speaking to a friend via the short-wave radio, saying that he’s sure he saw the “man-beast of the woods”. Thirty years later, Blake (Christopher Abbott) is living in a big city, San Francisco. He’s a stay-at-home dad (technically a writer in between gigs) tending to his adorable six-year-old daughter Ginger (Matilda Firth) while workaholic journalist wife Charlotte (Julia Garner) pursues her next “scoop”. During a tense dinner, Blake opens up a special delivery package that contains the deed to his father’s estate, along with a set of keys. It seems that his long-missing dad has finally been legally declared dead. Blake convinces Charlotte that a Summer extended trip to the old homestead in Oregon will be a great way for the trio to reconnect, as Ginger tends to bond more with him. They rent a big truck to empty the old place and eventually end up on a dirt road in the forest. Luckily an old childhood pal spots Blake and offers to ride along as a guide to his former home. With only a mile left, something on two legs appears in front of the vehicle, causing it to careen down a hill and onto a tree. Their guide tumbles out before a clawed hand smashes the window and cuts Blake’s arm. The trio finally scampers away to the old house, before their attacker catches up to them. But they’re far from safe as Charlotte realizes that Blake’s wound is having a strange effect on him. Soon mother and daughter will have to fight for their lives against the terror outside and the mysterious changes happening to Ginger’s adored daddy.

Headling what is basically an intimate “three character story”, Abbott in the title role evokes great empathy and pathos as Blake, who mixes the tragic persona of Lon Chaney, Jr.’s Larry Talbot from the 1940s fright flicks, with the struggles of a 21st century family man. As several commenters have pointed out, he shares the frustrations and gradual dark descent of Jack Torrance of THE SHINING (both are blocked writers), but Abbott conveys Blake’s rebellion against his own past, mainly the brutal demands of his loner father. He’s determined to be a warm loving papa, though his passion for protecting often recalls his own traumatic childhood. Plus Abbott shows us how Blake is working to repair the strains on his relationship with Charlotte, to patch the cracks in their marriage. This gives an added heartbreak to the ravages of his “sickness”. As the matriarch, Garner is the hyper-focused careerist (insisting she takes her work call at the “sacred” dinner table), but lets her emotional “walls” soften as Blake convinces her to adjust her priorities to repair their growing “rift”, though the wilderness trek may be a way for Blake to compensate for his home-based family role (rather than the more breadwinner out in the “world”). Firth is achingly sweet and adorable as the bouncy, precocious Ginger who may be the cliched “daddy’s girl”, though she is mature enough to process the often adult explanations provided by her parents. Yes, she’s often put in peril in order to “up” the suspense, but Firth makes Ginger more than the “rescue bait”. There are also a couple of dark sinister turns by Sam Jaegar as Blake’s off-kilter kin in the flashback, and Benedict Hardy as the creepy dead-eyed “watcher in the woods” who aids the family on their way to their possible doom.

In his return trip into “Univeral monster-land”, director Leigh Whannell puts another interesting modern spin on those late show “creature feature” tropes, thanks to the screenplay he co-wrote with his wife Corbett Tuck. Perhaps this accounts for the deep dive into the aspects of the family dynamic, while THE INVISIBLE MAN explored a dating break-up that goes beyond toxic. Mind you, Whannell heaps on the chills in the opening hunting sequence via his expert use of ominous noises (big kudos to the sound design team) and allowing us to peer through the rifle’s “site”. Then after the big time “jump” he’s putting us right inside a marriage that may be in its last gasps (plenty of those later). And though much of the action does take place in “the great outdoors”, Whannell makes the forest a bit claustrophobic as the tall trees become almost prison bars to keep the trio trapped. And that’s definitely the vibe in Blake’s creeky creepy family home, which seems “stuck in “pre-Y2K paranoia”. The filmmakers toss out the “werewolf” rules and legend early on because the beasts roam in daylight with a full moon having no effect. And the “transformation” here is more gradual, although claws and fangs extend, the whole “hirsute” cliches are somewhat turned on its “pointed” ear. And bravo for committing to practical make-up effects for the most part (a welcome new “trend” in last year’s films). However, some CGI is used with great creativity and skill when Whannell shifts around the camera giving us a POV through Blake’s degenerating diseased senses, making her family into glowing-eyed aliens. That terrific sound team returns to provide a sense of Blake’s enhanced hearing (a spider on the wall has an elephant’s tread), which makes speech garbled (ditto for his verbal attempts). There are some “jump scares”, happily kept to a minimum, and some squirmy gory moments (oh, that gnarly arm). In all this film is an interesting exploration of the man-into-beast campfire tales, mixed with family dramatics, though it’s diluted by an ending that feels drawn-out and flat, culminating in a final shot that’s quite anti-climatic compared to the tension of waiting for dawn to break. But it’s the strong lead performances that put the needed “bite” in WOLF MAN.

3 out of 4

WOLF MAN opens in theatres everywhere on Friday, January 17, 2025

DESPICABLE ME 4 – Review

As we approach the big extended (four days) holiday weekend the big Summer movie season dashes past its halfway point with a new entry in a fourteen-year-old film franchise. No big surprise, but this one is hoping to “ride the wave” generated by a sequel that caused an unexpected near-seismic tsunami at the box office, only a few weeks ago. Oh, did I mention that both flicks are animated? Yes, INSIDE OUT 2 exceeded all the financial forecasters to be the first billion-dollar movie of 2024. So, will “lightning strike” again, as this is the first installment of the series in seven years, not counting a couple of prequel spin-offs. Perhaps Gru and his gang, including lotsa’ manic Minions, can lure some families at the multiplex away from another visit in Riley’s noggin with DESPICABLE ME 4.

The story does start with the “DM’ himself, Gru (voice of Steve Carell) as he attends, with a trio of Minions, a class reunion at his old “alma mater”, Lycee Pas Bon. But he’s not there to “catch up’, rather he’s on a mission for the Anti-Villain League (ATL) to capture an old classmate and rival, Maxime Le Mal (Will Ferrell). When he receives a special award, Maxime reveals that he has harnessed the power of cockroaches, even fusing parts of them into his body, to make himself an unstoppable mastermind. This nearly derails Gru’s plans to arrest him until his backup ATL team arrives. Soon Gru is back home with his loving family: wife Lucy (Kristen Wiig), daughters Margo (Miranda Cosgrove), Edith (Dana Gaier), Agnes (Madison Skyy Polan), and baby son Gru Junior. But just as things are getting back to normal they get a surprise visit from the ATL director Silas Ramsbottom (Steve Coogan) who tells them that Maxime, with the help of his GF Valentina (Sofia Vergara) has busted out and is on his way for revenge. The family Gru is quickly whisked away to a new locale with new identities as part of a protection “program”. While all but three of the Minions are taken to the secret ATL lab, the family is sent to cozy suburban Mayflower. Gru tries to become friends with snooty neighbor Perry Prescott (Steven Colbert), which leads to his association with his pre-teen daughter Poppy (Joey King). She recognizes him as a former super-villain and threatens blackmail unless he aids her in a high-risk “heist”. Meanwhile, at the lab, five of the Minions are chosen for a special experiment to give them super powers (flying, strength, laser-ray eye, etc.) creating the Mega-Minions. All this as Maxime and Valentina track down their prey. Can Gru and his family triumph over their bug abilities and weapons or will Gru Jr. become Maxime’s new son?

The veteran voice cast reunites to bring plenty of star power to their now-familiar roles. Carell brings a lot of energy and his expert comic timing to Gru’s endearing accent (perhaps near Boris Badenov’s hometown). Wiig is the most prominent of the SNL vets as the perky affable Lucy with a “sing-song” TV sitcom housewife delivery. The other big “get” has a connection to her and to Carell with the introduction of the new “big baddie” Maxime voiced by SNL icon and that ANCHORMAN himself, Ferrell, who seems to be enjoying his over-the-top French accent. Vergara is a good bored, petulant vamp as Valentina. And Coogan has the right tone of cultured stuffiness as Silas. Oh, there are two more TV vets involved. Lariane Newman, an OG SNL founder, is the angry matron Melora while current SNL “mimic marvel” Chloe Fineman is the bubbly Southern belle next door, Patsy. Colbert is pure waspy privilege as her hubby Perry. King affects a nice snarky “mean girls” riff as their daughter Poppy. And kudos to the mix of new and veteran voices as the daughters.

The director’s chair is shared by Chris Renaud (the man behind so many Illumination flicks) and Patrick Delage (in his feature debut). Perhaps this team-up happened to somehow shoehorn the three (maybe more) plot elements into a coherent and cohesive film. And they don’t really get there as the plot will suddenly stop any momentum to “switch over” to “story B” (hey, we need some Minion slapstick) dividing our focus. Maybe another “pass” was needed on the script from Mike White ( a lauded live-action scribe) and one of the original DM writers, Ken Daurio. Another stumble is the lack of a really interesting villain in Maxime, whose “reason for revenge’ via a cutesy flashback, isn’t that engaging. Plus the script “falls back” on too many pop culture riffs and “shout outs” topped by a “burn” on the live-action superhero “tentpoles”. Yes, over-powered heroes causing havoc trying to help is as old as the concept (“Snafuperman” and “Stuporduck” shorts from the 40s and 50s). The scenic backdrops are very colorful and dynamic, but the character design is often derivative with almond-shaped heads, big “floopy” hair, and spindly legs that shouldn’t support the bulky torsos (and what’s with Maxime’s puffy “hotel carpet” coat). By the time the film lumbers along to its “city demolition” climax, we’re exhausted despite its 95-minute runtime. Hardcore fans of the series will be happy to have the old gang back complete with lots of Minions schtick as they spew gibberish while bouncing about, but after seeing the superb sequel from Pixar last month maybe the Gru family and friends (and fiends) should retire into cinema “witless protection” after squandering the comic talent ‘at the mike” in DESPICABLE ME 4.

2 Out of 4

DESPICABLE ME 4 is now playing in theatres everywhere

MONKEY MAN (2024) – Review

Since we’re now into the slow slide from Easter/Spring Break into the Summer cinema season, how about an MMA-style action thriller full of fights and daring escapes? Oh, you say we just had that in the remake of ROAD HOUSE just a couple of weeks ago. Well that flick, despite the director’s protests to the press, bypassed the multiplex and went right to a streaming service. And this new release almost went the same route until an Oscar-winning filmmaker saw it, bought it, and helped prep it for a wide theatrical debut. Oh, and speaking of debuts, this is the first feature directed by the star of a Best Picture Oscar winner over a dozen years ago. Yes, he was the lead in that, and he’s in the lead here as the mysterious avenger who is known as the MONKEY MAN. And no, he’s not another comics-based hero.

Rather, his moniker is based on mythology. In the flashback opening sequences, a young mother and her six or seven-year-old son enjoy the peaceful countryside as she tells him of the Indian animal deity Hanuman AKA the “monkey god”. Flash forward to now in an underground mixed martial arts “fight club” somewhere in bustling Mumbai. One of the brawlers is a lanky fellow wearing a rubber simian mask, along with a filthy tank top and sweatpants. Moments after being introduced by the preening ring MC “Tiger” (Sharlito Copley), the Monkey Man (Dev Patel) is pummeled by “King Cobra”. On his way to the locker room, he endures the taunts of a connected “hustler” named Alphonso (Pitobash). MM who also uses the name Bobby tolerates him since he’s part of his master plan to get a job at the exclusive VIP club where Alphonso works. His boss is a cruel mistress named, naturally, “Queenie” (Ashwini Kalsekar). With the aid of several “street people” Bobby gets her wallet, only to return it to her. Instead of a cash reward, Bobby asks for a job in the kitchen. With an assist from Alphonso (he bets on Monkey Man to take a “dive”), Bobby becomes a server in the ultra-exclusive top floor “playpen” where Queenie provides beauties trafficked from around the globe to international “high rollers”. At last, Bobby spots his reason for being there, his “target” a corrupt sadistic police captain named Rana (Sikandar Kher). Seeing him unleashes many painful childhood memories from Bobby’s time in that forest with his mother. Eventually, Bobby saves up to buy a gun, and then figures out a way to get it past the many security “checkpoints”. So does his revenge scenario play out as planned, or will Rana survive and exact his own vengeance?

Building upon the fighting skills he used six years ago in THE WEDDING GUEST, Patel proves more powerful than his tall, slender physique would suggest. In his bouts, we see, despite the mask, a man in a near-constant panic as he struggles in the opening matches. And that same emotion is echoed in the big high-rise throwdown when things go more than a bit “sideways”. That’s not to say that Patel’s often stoic Bobby is all furious fists and feet. His downturned eyes hint at the heavy weight of family tragedy that almost forms a dark cloud over him. He’s not full of 80s action star quips and snark, and barely makes any human connections. Luckily he does befriend one of the “menu women”, a haunted beauty named Sita played with gentle power by Sobhita Dhulipala. Well, Bobby also connects with a hungry “alley pup’, which brings some extra pathos. And the laughs are provided by a talented trio, Pitobash is a motor-mouthed wiseguy whose bravado distracts from his own tragic past. Kalsekar is a foul-mouthed mini-tornado of disdain and abuse (toward her “staff”). And Copley is the ultimate hammy, and quite swarmy, host as he plays to the crowds while insulting the real “talent”. They’re all an amusing counterpoint to the sneering Kher who makes Rana a great villain more than worthy of our hisses and boos.

Yes, as I alluded to earlier, Patel is making his feature film directing debut while also producing and contributing to the script. And what an ambitious undertaking as he’s in nearly every scene with most consisting of very intense fight choreography (and Patel did take his “lumps” via broken bones and even an eye infection). Aside from the stunts, he creates a great gritty atmosphere as we get “down and dirty” on those dusty streets where denizens scramble for space. One memorable image is Patel’s Bobby in the center of dozens of people “sardine-style” as they try to sleep under a nosy auto overpass. These scenes are in great contrast to the gorgeous flashbacks of a forest paradise (that waterfall). But soon we’re back on the move, as Patel often uses a POV angle to place us right in the mayhem as he ramps up a big pursuit that even takes a second to inject some satire (window jumps are tough). And sure, it’s in the JOHN WICK “wheelhouse” with one bit of dialogue referencing the series. Though this is unique as it hooks us with the fairy-tale legends and the political backdrops. Yes, there’s something of a lull between the two major action “set-pieces” in which we get more backstory and the obligatory “training montage”, but the wait is more than worth it as the finale is truly epic Patel is a terrific physical actor and shows us that he’s a filmmaker to watch (just like the flick’s “savior” Jordan Peele) with the fighting fable of MONKEY MAN.

3 out of 4

MONKEY MAN is now playing in theatres everywhere