Wake Up Dead Man

 

This review may contain spoilers!

Wake Up Dead Man is the third film in Rian Johnson's Knives Out franchise. In this feature, a small-town parish comes under scrutiny after a leading member of the church is killed on the premises.

Something I always find really sharp about Rian Johnson's Knives Out scripts is that they hold a really clear mirror up to current society. Knives Out spoke to the class system and the all-consuming power of greed for wealth. Glass Onion has some interesting observations about society during lockdown, and more significantly, the deification of billionaires. Wake Up Dead Man uses a small town parish setting to highlight something happening on a much larger scale. The people within this parish are quite vulnerable, insecure and easy to manipulate and are steered by a figure in power to look down on others and turn against certain ideas and values. I like that this movie wasn't inherently blaming religion for this (though it did note institutional churches had a heavy hand to play), but speaks more that powerful figures prey upon the vulnerable and turn them against others. It gets right to the heart of why we have people screaming the word 'woke' in Facebook comments or a sharper push in right-wing ideology that has taken on a new, meaner edge to those who don't share their views. It's a complex theme to navigate objectively, and I found this feature does a really great job of presenting its case in the first act. The lead of this film, being a priest, Father Jud, who has done wrong in his life but found redemption through faith, is a very inspired choice. He has a decent chemistry with Blanc that is rather refreshing and a moral centre that will actually have you rooting for him while also leaving you guessing.

I absolutely adore how Rian Johnson finds an aesthetic within these films; each one has its own art style, and none have felt unsteady. This feature is quite gothic in some ways, with harsh shadows and the cold stone edges of an older church facade. This is a feature that plays with lighting creatively, be it capturing a figure by candlelight to the intense red of the flashback scenes. The editing is really tight, often feeling orchestrated with care. I also loved the score, how sinister and intriguing it can be while completely getting comedically obliterated by the soundtrack. 'Shimbleshanks, the Railway Cat' from the musical Cats gets a deserved honourable mention.

Daniel Craig, who played Benoit Blanc, is such a pivotal and iconic performance in these films; I love how he dashes about across this feature like a hound after a bone. Glenn Close, who played Martha Delacroix, is an absolutely inspired bit of casting; there is a scene Close delivers right near the end of the film that is one of the best scenes in the film. Josh Brolin, who played Mons. Jefferson Wicks, is an absolutely despicable and cruel figure here; Brolin is having a phenomenal run in 2025, and Wicks is just another top-level performance. Andrew Scott, who played Lee Ross, is a relatively interesting parasite of a character; Scott finds the simpering demeanour needed to find his character's place under the boot of Wicks. Daryl McCormack, who played Cy Draven, is that toxic need for attention and validation personified; McCormack is a sincerely wicked player bent on greed and power by the end of the film. Jeffrey Wright, who played Bp. Langstrom, is quite a nice subversion of a church leader; Wright has a sharp tongue and a quick wit in this.

However, the best performance came from Josh O'Connor, who played Fr. Jud Duplenticy. This is our guiding central protagonist for the film, and I found it very hard not to like him. O'Connor has a very easy charisma that feels sincere. Jud is a character with a very strong moral compass; he can get downright black and white at times and pretty righteous in his beliefs. O'Connor plays this figure well against the wilting and unusual personalities of the parish. I also found the way he grows excited and barrels into the case work to be quite intoxicating; O'Connor and Craig are dynamite together onscreen. Yet, he's not just this excitable young figure; there's an absolutely gorgeous scene where he supports someone over the phone through prayer that I think anyone would find quite moving. O'Connor is also really playing to the confusing, whirling conflict that is going on here; his character is set up and disputed as the killer multiple times. This is a character who finds himself very lost, so it is almost a breath of fresh air watching him grow so centred at the end.

This is a Knives Out universe film where the mystery sometimes feels a bit too convoluted for its own good. There are fake outs, resurrections, hallucinations, framed killers and a mysterious history to the setting, all flitting in and out of the central plot. This actually doesn't make the mystery very confusing; the killer is frankly quite an obvious suspect. It does, however, make the plot feel quite scattered at times. Wake Up Dead Man sometimes moves in a direction and then zags sharply in a whole other direction in a way that doesn't feel well-considered. The script for this feels like it needed to be tightened down further; the pacing also comes across as very scattered. The first act holds some of the most interesting content, but is also very slow in its delivery. I also felt that the wider ensemble cast just didn't impact the story in the same way other Knives Out franchise films did. Some of these roles were actually very boring and had nothing to add to the story at all, really. I also didn't feel Benoit was used especially well this time. In Wake Up Dead Man, we hear a lot about what Benoit doesn't know and why a thing is impossible, almost to defy our expectations artificially. It's a strange problem for a whodunnit film, but Benoit's ineptitude is almost a fabrication. The latter themes around religion and the truth behind it are about as deep as a couple of uni bros doing a philosophy paper, having a debate. I understand there had to be some deeper commentary around religion due to the setting, but I don't think any interesting material was actually struck.

Mila Kunis, who played Chief Geraldine Scott, is one of the more jarring performances in this film; Kunis feels entirely wrong for the role and style of film she is in. Jeremy Renner, who played Dr. Nat Sharp, gives quite a bland return to the screen; Renner is present in this film, but he gives absolutely nothing to this character. Kerry Washington, who played Vera Draven, is a character who is weirdly pushed to the background a lot; Washington masters self-righteous anger but is limited in her ability to seize the screen for herself. Cailee Spaeny, who played Simone Vivane, isn't even really much of a character performance at all; Spaeny is barely here, and you could've put anyone in that wheelchair and got the same effect. Thomas Haden Church, who played Samson Holt, is a bit too mundane and lacking in presence here; Church doesn't connect well with the rest of the cast and seems mainly positioned in this to die. Annie Hamilton, who played Grace Wicks, is the weakest part of a nice looking flashback scene; Hamilton is just two-dimensional, raving psychosis.

While not quite as mind-blowing as previous entries, Wake Up Dead Man is still one of the better films to grace our screens this year. I would give Wake Up Dead Man a 7.5/10.

Eternity

 

This review may contain spoilers!

Eternity follows Joan, an elderly woman who recently died of cancer and finds herself in the afterlife with her recently deceased husband of 65 years, Larry. The only catch? Her first husband, Luke (who died in the Korean war), has spent 67 years waiting for her to spend the rest of their afterlife together...

I really loved the creativity within this feature; it just felt fun and playful at every turn. Eternity is a truly unconventional take on the romantic-comedy genre, presenting a love triangle between an elderly couple who have recently passed away, and the first husband who died 67 years ago is a very fresh concept. I was really intrigued by how the afterlife was going to be presented here. I was quite pulled in by the comedy and critique of a very commercial beyond; a vast hotel lobby filled with vendors trying to sell you a holiday plan that will be the rest of your life. This leads to some really fun visual gags, with characters walking past eternities that promise "an eternity without men" or a starter kit brochure package with all the worldly religious eternities there to choose from. But it's the relationships at the core of this that I quite enjoyed. Watching the dream of a relationship that could have been perfect versus one that was steady and challenged is fascinating. It became a real moment of thinking about what is love really? It's not this golden thing that never bears imperfection; love is weathered and steady and constant. Love is knowing your partner and doing what it takes to care for their happiness. That is a love worth eternity. I also enjoyed the sort of agency and fight paired with Joan's decision; it's a classic love story routine, but within that, she gets to learn about herself and the sort of love she wants to be a part of. This movie is unique and hilarious, and entirely unexpected.

This is a film with a clear sense of wit to it. I loved watching humour paired with the visual landscape of Eternity, from the skyline curtains to the sunset advertisements, right through to the staged memory scenes. I think this movie evokes the rich beauty and landscape of a drama while capitalising on the unlikely setting of a commercial-style afterlife. The editing for this is also really tight; it takes a real moment to consider how a gag will land and paces the scene accordingly. David Fleming does the music for this, and it will take you on this wonderfully unlikely journey; it's a quirky series of tracks with lingering moments of raw emotional connection in there to surprise you. The Dean Martin gag is a fun point in the soundtrack as well.

Elizabeth Olsen, who played Joan, is a nice central figure grappling with the core conflict of choice here; Olsen has these lingering scenes of memory where her character weighs up her life that felt pretty moving. Callum Turner, who played Luke, is a very suave gentleman type; I like that Turner showed the moments of frustration his character had built up over the life he had lost. Da'Vine Joy Randolph, who played Anna, does her level best to steal the show at every turn; this is a performer who is exceptional at comedy and has some of the best comedic delivery in the film. Barry Primus and Betty Buckley, who played Older Larry and Older Joan respectively, are the perfect performers to kickstart this movie off; I could have sat in that car with those two for another ten minutes.

However, the best performance came from Miles Teller, who played Larry. Larry is your everyday older fella; he grumbles and complains, but he's also got a good nature. It's a lot of fun watching Teller play to the older mannerisms of his character; he and Olsen have a lot of fun playing 70-80-year-olds who find themselves in 30-year-old bodies. I also liked that Teller's take on Larry is that he's a bit aloof, misses the mark and stumbles in his good intentions. Larry is a very sincere character who could do better, but he does okay. Teller and Olsen have a chemistry that feels lived in; it feels like it has lasted a long time and becomes familiar to us all. I loved watching Teller play the more self-sacrificing aspect of his character in that lead-up to the ending; it was a pretty genuine moment of good-natured love and a big sign of why Teller is such a charismatic performer.

Eternity is a comedy, ultimately, and with any comedy, there is often the potential of jokes falling flat. The supporting cast of this feature wasn't always the strongest players, which meant some of the material struggled to land or draw laughter. When Eternity strays from the core cast or this fascinating premise, it does struggle to pack a funny punch. I also felt there were several moments in which the film felt safe hiding within cliché. It would've been nice for the love triangle element to be a bit more daring in some scenes rather than doing some classic elements strongly.

John Early, who played Ryan, just plays his comedy a bit obviously; there are a lot of scenes that lose their motion because of how Early plays them. Olga Merediz, who played Karen, is a bit of a simple joke character; Merediz is a gruff figure and a tough one to pair against Olsen. Ryan Bell, who played Fenwick, is an odd side character with more time than you might expect; his disgruntled employee shtick feels a little lost in everything else going on.

This is the sort of free-for-all creativity that makes me fall in love with genres like romantic comedy. I would give Eternity an 8.5/10.

Zootopia 2

 

This review may contain spoilers!

Zootopia 2 is the sequel to Zootopia (2016) and continues the adventures of Judy Hopps and Nick Wilde. This unlikely crime-solving duo's partnership is tested when a snake's return to Zootopia upsets the entire city. It will take our heroes to crack the mystery of this case and to find out why those in charge of Zootopia want to keep him quiet.

Something that I really admire about both Zootopia films is that they have some really relevant messages to deliver to a modern audience. We can get delighted by the visual interpretations of what an animal city might look like, how everyday tasks have been developed to work for a sheep, giraffe or bison all living in the same block as one another. But within all this inventive worldbuilding, the film draws our eye to those foundational moments of thinking: how do different creatures living together actually make it work? We got to see prejudices between carnivores and herbivores challenged in Zootopia. This time, our story presents us with reptiles and the origins of the city itself. We are presented with a powerful narrative about an idea to bring all animals together in one place that was stolen by a greedy, rich mogul, who used the concept to push out an entire species from their home. It's a movie about colonisation and paying attention to those who have been removed from their home. I also think the film has a wonderful core story around Judy and Nick. This duo has their ability to stay together as a cohesive partnership really tested, and I liked watching them rise to the challenge for one another. There is a twist around the true antagonist for this film, which really impressed me and lifted the quality of the plot up quite a bit.

The animation here is really vibrant, toting a range of colours and character models that make no one panel alike from the others. This is a very action-heavy film, and the fast-paced style of animation doesn't compromise on clarity. There are also so many well-considered visual gags scattered throughout this feature. The score for Zootopia 2 is a real invitation for adventure, transporting the audience right into the thrill of a moment. I also loved the headliner song for the film, 'Zoo' by Shakira, which is definitely a worthy successor to 'Try Everything'.

Ginnifer Goodwin, who voiced Judy Hopps, is a solid protagonist as the duty-first hero we came to love the first time around; Goodwin really captures Judy's mission at all costs outlook nicely here. Jason Bateman, who voiced Nick Wilde, really gets to stand out and lead more in this one; Bateman's dry, casual wit is perfectly paired with this charismatic fox. Andy Samberg, who voiced Pawbert Lynxley, is a loveable dork for a lot of the film; Samberg also pulls off the big heel turn moment phenomenally. David Strathairn, who voiced Milton Lynxley, is an extremely cold-hearted antagonist; Strathairn has a real hard edge to his voice that makes for a good bad guy. Idris Elba, who voiced Chief Bogo, doesn't have as much to do this time around, but still plays his part well; the no-nonsense police captain bit still works well in Elba's hands. Patrick Warburton, who voiced Mayor Winddancer, is a nice gag at the actor turned political figure; Warburton leans in with an overly dramatic angle to great effect. Quinta Brunson, who voiced Dr Fuzzby, has a calming voice that suits her therapist character; this even tone contrasts nicely with the absurdity of the scene she's working within. Danny Trejo, who voiced Jesús, is quite the mysterious figure at first; Trejo also delivers quite a bit of important exposition in a way that really grabs your attention. Maurice LaMarche, who voiced Mr Big, is a Godfather parody gag that I absolutely adore; LaMarche hits all the right notes of this perfectly. Robert Irwin, who voiced Robert Furwin, is a nice, charismatic beat to end the film on; if you're going to go Australian celebrity for the koala, an Irwin feels remarkably fitting.

However, the best performance came from Ke Huy Quan, who voiced Gary De'Snake. This role is what this movie hinges on in a lot of ways. Gary might not have as many scenes as our two leads, but his very existence is what sets this movie into motion. However, his place as a kind, determined and empathetic creature is what makes you care for him immediately. There is no voice better for this than Quan's. This is a voice performance that captures gentleness and compassion; you truly believe in Gary's goodness from his first scene, and it helps guide the movie forward. Quan crafts a bright, optimistic spark at the heart of this story, which will win audiences of all ages.

I found that Zootopia 2 had a lot it wanted to achieve, be that the visual gags or the worldbuilding elements or quite simply the story itself. Yet, with so much ambition, the film never really seemed to drop anything; there was just a lot there. The pacing for Zootopia 2 could certainly have been sharper and less long in the tooth. There were many moments in which we didn't need to stay sitting within an environment, but could have just moved forward. I also felt that the way the partnership was tested and the greater message about how Zootopians viewed reptiles held a very similar place to story elements from the first feature. This did tend to work, but I hope the pattern of familiarity is challenged a bit if they keep going forward.

Fortune Feimster, who voiced Nibbles Maplestick, is without a doubt the most annoying addition to the main cast; Feimster's voice is painful and the vocal equivalent of easy-going slapstick. Shakira, who voiced Gazelle, sings 'Zoo' well but adds nothing as a character; the film goes out of its way to shoehorn her in this time around. Nate Torrence, who voiced Clawhauser, is a comedic bit role that probably didn't need to come back so predominantly; within a much bigger cast of characters, Clawhauser falls into the background. Bonnie Hunt and Don Lake, who voiced Bonnie Hopps and Stu Hopps respectively, don't serve their purpose so much in the sequel; the overly concerned parents gag falls flat. Leah Latham, who voiced Fru Fru, is an unfortunate consequence of having LaMarche back; Latham's voice is grating and kills the comedy of the scene. Jenny Slate, who voiced Bellwether, really didn't need to be carted back into the sequel; Slate feels quite overused here and entirely superfluous to the plot. 

Zootopia 2 is quite comfortably the best animated feature of 2025. I would give Zootopia 2 an 8.5/10

Wicked: For Good

 

This review may contain spoilers!

Wicked: For Good is the sequel to Wicked (2024) and an adaptation of the final act of the Broadway musical of the same name. This feature is set years after Elphaba spirited away with the Grimmerie, and she is still fighting for the rights of the animals of Oz. Glinda has become a voice and puppet of the Wizard and Morrible's propaganda machine. There is considerable discord in Oz, and tensions are poised to boil over...

The second act of Wicked delves deeper into the themes of this take on the world of Oz. One of the big ones is how Elphaba is a force for good and justice. Within the very opening minutes of the film, we see our protagonist witch comes to the defence of some of the animals of Oz. Elphaba has been ostracised from her homeland in her efforts to do the right thing, and it's a very isolating struggle. Yet, across the film, she strives to do the right thing by Oz, making efforts to see it change for the better. At the same time, it's interesting to see this take on the Wizard and his main supporter, Madame Morrible, and how they govern Oz. It is a world where those in charge maintain control thinly, through lies and turning people against one another. Watching Glinda be placed as a puppet for this purpose is interesting, and the effect it has on the friendship between Glinda and Elphaba is quite tragic as well. Watching this strong bond from the first film be tested and strained is what I found most compelling in this sequel. The culmination in our leading protagonists eventually having to diverge from one another as they sing 'For Good' is quite a decent emotional beat.

Jon M. Chu is a director whom I often enjoy; one key reason being that the man knows how to capture a vivid colour palette. This film can pop with colour in one scene, swirl with firelight in another and dance in the shadows at other times. Chu showcases the point of musical film adaptation and takes the show to a new visual frontier with confidence. The special effects we see don't feel misused (except for that de-aged Goldblum shot). I loved the flight sequences with Elphaba, Glinda's bubble and the CGI animal creatures. While I don't think this film held songs that will stay with me afterwards, they carried strong weight for the moments they were performed. I also loved 'For Good' as I previously mentioned, but 'No Good Deed' is an easy crowd favourite.

Cynthia Erivo, who played Elphaba, is an incredible lead who plays the struggle of a land against her well; Erivo is so righteous and hurt across For Good which is a darker edge that serves well. Jeff Goldblum, who played The Wonderful Wizard of Oz, is a bit more whimsical and comedic in this one; I think you get a good chance to see how he schemes and tries to manipulate others here. Michelle Yeoh, who played Madame Morrible, might struggle with the singing, but she dominates with her performance; Yeoh is a fearsome antagonist. Jonathan Bailey, who played Fiyero, is rather conflicted and brooding here; I enjoyed seeing Bailey choose to fight for his values over his status. Bowen Yang, who played Pfannee, clearly gets to adlib in his short time a bit more; Yang being allowed to flex his comedy makes an impact this time around.

However, the best performance came from Ariana Grande, who played Glinda. I feel like watching the Wicked films is like watching a surprising transformation when it comes to Grande. Already in the first film, I found she challenged my expectations quite a bit. But in the sequel, I would say she commands the screen for most of the feature. Here, Glinda plays to the crowd; she is a bright, charismatic force used to keep the Wizard in power. I often found myself impressed with the little breaks in the facade that Grande delivered, those vulnerable moments of regret Glinda carried with her. It has to be said that Grande and Erivo together are wonderful; the dynamic they share only serves to lift this movie up at every turn. I also loved the moments of heartbreak for Glinda, Grande plays Fiyero abandoning her and parting ways with Elphaba forever in such a tragic way. I found some serious satisfaction and elation at the ending. Grande's Glinda becomes a sort of symbol for hope and change for the better. This role has been phenomenal for Ariana Grande, and I don't think I could possibly underestimate her as an actress going forward.

This film never really stops feeling quite busy, and even downright scattered at times. In all honesty, a lot of the issues in the second act of the show are blown up larger than ever here. The way this story tries to dart around The Wizard of Oz and weave it all together actually serves to make the whole thing confusing. There are whole scenes that just don't really work because of this. Time jumps around in this movie quite a bit, between the two films and across this movie too. The result is a film that just doesn't always have pacing working for it. I really struggled with some of the major romance storylines in this feature; putting Elphaba, Glinda and Fiyero into a love triangle just infantilised the quality of the story. I also think the Boq, Nessarose and Glinda thing got a bit long in the tooth and is a subplot that struggles at the best of times.

The music as a whole works, as I mentioned previously, but the songs won't stay with you for long after the film, beyond a couple of major players. What I really couldn't stand were the two new original songs developed for this film. Both come off as quite out of place and only serve to push out the film longer than it needs to be.

Ethan Slater, who played Boq, is a performer who just feels like an afterthought; I didn't much care for Slater's transition into the Tin Man at all. Marissa Bode, who played Nessarose, really lets herself down in this sequel; Bode's role had no harder edge to it, which is the one thing that really feels lacking. Colman Domingo, who voiced The Cowardly Lion, isn't really a role we needed to serve time as a character; Domingo is entirely unimpressionable as the Lion. Bronwyn James, who played Shenshen, is still stuck in the background; the need for her to play entourage has been and gone by this point. Scarlett Spears, who played Young Galinda, just doesn't quite have the range to land an emotional beat yet; Spears' younger take is a pretty shallow take on our leading role.

It might not be as strong as the first film, but it is an ending that hits most of the right notes. I would give Wicked: For Good a 7.5/10.

The Running Man

 

This review may contain spoilers!

The Running Man is an adaptation of the Stephen King novel of the same name, set in a world where the only way to escape the slum is to win big on a corporate TV game show. When Ben Richards' daughter falls ill, he takes a payout and joins 'The Running Man' in a desperate bid to save her and fight for his family.

The big thing this film has peppered throughout that I quite enjoyed is how media is used by corporations, and how we consume it in this day and age. The idea of watching 'The Running Man' is a thrill for the audience, but it's a bit of a cheap illusion ultimately. As we learn across the feature, the runners are picked based on their character and the outcomes are often scripted. Even the self-recorded videos the Runners make are doctored using A.I. or deepfake technology, which is a commentary that doesn't seem so entirely sci-fi nor outlandish. At the start of the film, we watch our protagonist Ben and his infant daughter watch a show where a man answers trivia while running on a hamster wheel. He either gets the answer right and wins money or he dies, which is ultimately what happens. Ben tries to distract his daughter by pointing out the cute hamster mascot. I think that scene alone says a lot about media consumption and how it can be presented. There's even a brilliant Kardashians parody in this, which draws a line around vapid consumption of media and how easy it is to be drawn into a binge cycle of consuming what is presented before you digitally.

I find Edgar Wright to be an extremely dependable director when it comes to capturing his project visually. The Running Man can get a little ham-fisted with the story at times, but the presentation rarely feels this way. Shots throughout show the disparity of this dystopian world, the hard-edged difference between the haves and the have-nots. The soundtrack for this feature is excellent, with some very fitting and fun tracks from the likes of Tom Jones and The Rolling Stones.

Glen Powell, who played Ben Richards, is a pretty decent lead for this dystopian thriller; Powell's moments where he feels most human are where his character work really shines. Lee Pace, who played Evan McCone, is a good rival for Powell across this; Pace has a hulking presence and really lashes out nicely in the final act. Colman Domingo, who played Bobby T, is a charismatic host who works every scene for all its worth; Domingo really knows how to dress up and inflate certain moments. Michael Cera, who played Elton Perrakis, was an absolute delight in this; Cera brought forward a character with a lot of conviction and a strong sense of justice.

However, the best performance came from Josh Brolin, who played Dan Killian. Brolin is having such a good run with his acting performances this year, even if this isn't quite as big a swing as Weapons. Here we see Brolin as a conniving producer for the Network. A man who doesn't mind trading in lives if the propaganda machine keeps on churning. Killian is an arrogant man; he sees himself and his work as untouchable by those below him. You get a sense of power from Brolin across this; he enters every scene holding the cards and expecting to play those across from him. I also liked the way Brolin portrayed the more manipulative side of his character, posing as a decent guy with a word of advice that would never actually help anyone. That final shot, where Brolin is caught up in fear but also a bit of excitement at the prospect of this being a 'good finale', is one of the more nuanced and well-portrayed character beats of the film.

I spent a lot of this movie trying to understand if it believed in the message it was trying to sell. At its core, The Running Man is about how we consume media, how media is manipulated, and most significantly, it is about corporate control and social inequality. However, the latter part of this rarely feels authentic across the film. Let's take the protagonist, for instance, Ben Richards is presented to us as a bleeding heart very early on; he's an everyday schmuck and yet the guy rarely seems like he is struggling. He almost seems like an archetype of himself most of the film, a man who is angry at the way the world works quite blindly. There's a younger character introduced in the final act who is there for Richards to shout out and point at the disparity of the class gap between them. This movie is obvious at every turn, and it loudly shouts its theme in a very dense, blunt manner. The entire film builds up to the protagonist awkwardly being worked out of a near-death situation (we don't see how) and then being propped up as a martyr without ever truly earning it. This is a film that knows what it wants to deliver, but perhaps the creative team behind it doesn't understand how to do a good poor versus the elite narrative. This is a showy action film with some decent stunts, but when it tries to make a point, you find yourself wishing it would find some substance to those ideas. The film also moves too quickly throughout; we barely learn about Ben's home life before he throws it away for the show, there are several side characters who we barely come to understand before they're shuffled on, and the final act moves extremely awkwardly in terms of pacing. This is a film with oodles of potential, but it needed to really be done at a more even pace, with a more dynamic approach to the themes and characters.

The special effects across this are mostly explosion-laden bores, but the glaringly bad one is the plane and the crash at the end of the film. It's an eyesore that pushes us into a rather shaky conclusion. The score for the film is rarely very present, and it certainly doesn't uplift the feature in any way.

Jayme Lawson, who played Sheila Richards, is a long way from Sinners here; Lawson's pining wife role doesn't offer much agency. Katy O'Brian, who played Jenni Laughlin, just feels a bit rudderless in this; beyond partying up and oogling other women, there isn't much to O'Brian's character. Martin Herlihy, who played Tim Jansky, is a weak effort at early comedic relief; Herlihy is an obvious push for a laugh, and this falls on its face pretty soon. William H. Macy, who played Molie, is a bit tired as the paranoid old ally; Macy's character barely has time to connect with Powell's, so it's no surprise there's nothing genuine there. Angelo Gray and Daniel Ezra, who played Stacey and Bradley respectively, were some of the more annoying ally roles across this film; Ezra, in particular, had this online persona that did not support the film at all. Emilia Jones, who played Amelia Williams, was in the unfortunate position of playing a character who felt like an afterthought; she and Powell really struggled to define how they wanted to play across from one another.

In a world riddled with films about corporate control and societal injustice, this adaptation of The Running Man comes off as insincere. I would give The Running Man a 4.5/10.

Now You See Me: Now You Don't

 

This review may contain spoilers!

Now You See Me: Now You Don't is the third film in the Now You See Me series, and this time sees our magical Horsemen take on the mogul of an African diamond mine. All of our classic horsemen are back, with some copycat younger recruits in tow, looking to bring justice via an illusion and a trick.

Maybe I like the camp quality of the stage magic and illusions being woven into the plot. Or perhaps I'm a sucker for a heist movie. Whatever it may be, I really enjoy the Now You See Me movies; they have an easy charm to them that I find a lot of major blockbusters struggle to attain these days. A lot of this comes from the chemistry between the cast that emerges through their characters. This cast just bounces and quips off one another so effortlessly, they look like they are having fun with the film, which makes it so easy to have fun with the film as an audience member. Character dynamics being poked and prodded here, new interactions in any given scene made this a movie I found really easy to just sit back and journey with. The heist moments are always quite fun; there's a bit more of a simple twist in the final act that I appreciated. The third Now You See Me might be stuffed with characters, but I think it also chose to go back to basics, and for the most part, that worked for it.

The soundtrack for this movie is a bit more deliberate and has a pop twist that really leans into the performance element of the movie. I think Brian Tyler always shows up to a Now You See Me score; the music in this is dazzling, brimming with adventure and full of showmanship.

Woody Harrelson, who played Merritt McKinney, is one of the funniest performances in this easily; Harrelson's interrogation room scene with Pike is a real high point of the feature. Dave Franco, who played Jack Wilder, is effortlessly charismatic; he's the more outgoing Horseman and puts himself squarely in the face of risk. Isla Fisher, who played Henley Reeves, is a joy to have back; Fisher's character really shows off and gets back to the performance aspect of the magic. Justice Smith, who played Charlie, gives a surprisingly subversive performance; Smith usually plays a more reserved character who finds his strength in a story, and this film has fun twisting that expectation here. Dominic Sessa, who played Bosco, is a new brand of cocky magician that works well for the sequel; Sessa and Eisenberg were such good foils for one another. Morgan Freeman, who played Thaddeus Bradley, really evokes a sense of wonder and mystery in a manner that is classic to him; his death scene was a nice sombre beat to the film. Mark Ruffalo, who played Dylan Rhodes, has one CGI cameo, but it's a great touch; Ruffalo's earnest nature shines through and is as much a part of the magic as anything else. Lizzy Caplan, who played Lula May, steals the show entirely upon her surprise return; her brand of comedy works so well in these films, and she's an easy favourite.

However, the best performance came from Jesse Eisenberg, who played J. Daniel Atlas. These movies and, indeed, the very character of Atlas, feel extremely well-suited to Eisenberg. Atlas is an arrogant illusionist who can live up to his own boastful claims. Eisenberg commands a scene quite naturally and clearly enjoys playing to a crowd. I like that this character is hellbent on a mission, but still struggles with playing well with others. His moments of conflict across the cast are quite fun. I especially enjoyed the back and forth between him and newcomer, Sessa. Eisenberg's reaction to Thaddeus' death is a quiet emotional beat in this that lands quite well. Overall, Eisenberg plays a magician who can feel larger than life, and that suits this series very well.

Now You See Me: Now You Don't can't really escape what it is, the third film in a franchise. At this point, there's a bit of a formula, and it's all on show for us here. Our heroes unite, they find some initial success, then the antagonist starts winning, and then we get the big trick. It's exactly like the past two films. I guess you could apply some "if it ain't broke" thinking to all this, but I feel these movies need to do something fresh to keep themselves going. The dialogue is also a little clunkier, the jokes feel simple, and there is a staggering amount of exposition in the first half of this feature. I also really felt that the new antagonist, Veronika, really didn't live up to the bar set by Caine and Radcliffe. In fact, while the heist itself was fun, the actual initial motive behind the caper isn't a strong hook.

I'm really used to the Now You See Me movies being quite showy, even through the work of the camera. This is a missing element this time around. The camera work is here to frame the characters and steadily capture the scene, but nothing is exciting through the lens. I was likewise quite disappointed with how this movie had some poor cuts and rather average special effects that constantly descended into vanishing smoke bombs.

Ariana Greenblatt, who played June, has been in a lot of major blockbusters now, and it's starting to count against her; it's becoming increasingly clear her range is not so great. Rosamund Pike, who played Veronika Vanderberg, is a surprisingly dull antagonist; it feels like Pike's main motive for being in this film was to give a South African accent a go.

The Now You See Me series has always been a delight to me; that cast has more chemistry than they know what to do with. I would give Now You See Me: Now You Don't a 7.5/10.

Predator: Badlands

 

This review may contain spoilers!

Predator Badlands is the ninth film in the Predator franchise and follows the coming-of-age of the young Yautja known as Dek. After a personal betrayal, Dek ventures out to hunt the toughest kill in the universe, with some unlikely help along the way.

I wasn't really sure what to expect from this film, even while watching it. Everything about Badlands is about trying a new creative direction. I found the positioning of a Yautja as our protagonist instead of antagonist to be a bold, fun move. Dek is a character who adheres to the creed of his people. He hunts with honour and has an unwavering view of the way of the Yautja. Yet, Dek is a runt who forms sincere bonds with other characters in this movie - from his brother, Kwei, to the Weyland-Yutani Syth, Thia. The character growth here is simple but effective. Dek is a Yautja who learns that the most dangerous Predator is one who can hunt with a pack of his own. This film is a revenge journey and a hunt; our character is on a singular path throughout, and it is satisfying to watch him evolve as he also gains the revenge he seeks.

The way Predator: Badlands is certainly with the visual effects in mind, but it's also about presenting the audience with highly aesthetic action shots. This film is a violently entertaining outing, with many sequences stitched together with the 'cool' factor being the main driving force. I was blown away by the attention paid to the CGI in this; it's comfortably one of the nicer special effects films of the year. From the design of the Yautja, the Kalisk, right through to Elle Fanning's severed torso, these visual effects are really characteristic and distinctive. I found the score presented to be quite adrenaline-fuelled, a little primal in places, and the guttural moments raw and almost Yautja-like themselves.

Reuben de Jong, who played Father, brings an imposing physicality to this antagonist role; there is real venom here between himself and his onscreen son. Elle Fanning, who played Thia and Tessa, did a remarkable job in her dual android characters; Fanning brought delight as Thia while entirely dominating the film as her central antagonist character. Michael Homik, who played Kwei, has a nice onscreen chemistry with Schuster-Koloamatangi; the bond between brothers is well-captured and all the more heartbreaking for it.

However, the best performance came from Dimitrius Schuster-Koloamatangi, who played Dek. There is occasionally a motion capture performance that comes along that stands out from more conventional means of acting. We've seen this in movies like Lord of the Rings with Serkis, and again in Planet of the Apes with Serkis and Kebbell, and James Cameron obliterated the box office with a cast that did it in the Avatar franchise. The truth is that is exactly the playing field Schuster-Koloamatangi deserves to be in. He had the incredible physicality and guttural language of the Yautja embodied. But where this creature has been an imposing physical antagonist before, this performance breathed character into the Yautja in a way I haven't really seen before. Dek needed to be a character the audience could believe in and support for a couple of hours. Schuster-Koloamatangi achieved exactly this; I hope he gets to return and do it all again.

I think Badlands walks a weird line for the series; it's a moment of innovation that holds positives and negatives. The film as a whole skews more towards the world of Predator and Alien with a friendlier, modern blockbuster filter over it. There's not really any escape from the fact that it becomes a found family movie with an animal sidekick and a warm message about fighting together rather than apart. There is a lot of humour here, which lands far easier than Shane Black's The Predator, but still feels tonally jarring at times. Perhaps that's the main problem here: Badlands isn't like any other Predator. It loses some of its identity in trying to make the series open up to a wider audience. I also think the stakes were quite low throughout because the things that were in danger were all just special effects: aliens and robots. This made it tougher to form an emotional bond with these things as an audience.

Love it or hate it, you can't deny that Dan Trachtenberg is doing something genuinely creative with the Predator franchise right now. I would give Predator: Badlands a 7/10.