kjproulx
Reviews
A Minecraft Movie (2025)
Could Have Been Worse
Minecraft is a game that I haven't played one second of. So this was not something I went into having any knowledge about, and quite frankly, didn't look very good from the promotional material. Admittedly, I was pretty much turned off by the trailers, but something in me was far too curious about it. After viewing it, I have to say that all the hate towards it isn't really warranted, but it's also not very good. I have a feeling little kids will eat this movie up, as well as older kids/teenagers who grew up playing the game.
Steve (Jack Black) a struggling doorknob salesman, discovers the Orb of Dominance and the Earth Crystal, which transport him to a vibrant, cubic world. There, he builds a home for himself, but is imprisoned for decades in this world. Garrett, a failing video game store owner, finds Steve's old belongings, including the Orb and Crystal, which lead to a portal that takes him, siblings Henry (Sebastian Hansen) and Natalie (Emma Myers), and a woman named Dawn (Danielle Brooks) to this colourful world. Now pursued by and trying to take down Malgosha, this movie just becomes silly fun. You never feel any of the stakes, but I enjoyed the movie for what it was.
Jack Black delivers a few memorable lines that had me laughing, and the kids are charming enough, with Danielle Brooks turning in a solid performance, though I wish her role had more depth. However, the real standout for me was Jason Momoa. He brings his natural charisma to the role, blending his signature energy with a fun, family-friendly vibe that made the movie much more enjoyable. Additionally, Jennifer Coolidge's brief, quirky appearance is amusing but ultimately insignificant. Still, it adds to the film's weird charm. Ultimately, the cast is what held this otherwise messy story together for me.
Overall, A Minecraft Movie falls short. The story is overly simple and predictable, and the film's bizarre, silly nature often works against it. However, it manages to be somewhat enjoyable because the cast fully embraces the absurdity of the material. Director Jared Hess, known for films like Napoleon Dynamite and Nacho Libre, brings his signature offbeat style to the project, which, surprisingly, works for me here. While this is a movie I'll likely forget soon enough, it does have its moments. It's not worth seeing in theaters, but I didn't mind watching it.
Death of a Unicorn (2025)
Entertaining with Great Dialogue, but Messy
Weird and original concepts always intrigue me, and when I see the A24 logo, I'm instantly interested. They rarely steer me wrong, at least when it comes to unique and daring ideas. So, for those reasons alone, Death of a Unicorn was a must-watch for me. While the film absolutely delivered entertainment and originality, it didn't quite hit the satisfying heights I was hoping for. I had a great time with it, but a few elements kept it from being something I loved.
The story follows Elliot (Paul Rudd) and his daughter, Ridley (Jenna Ortega), as they travel to a secluded retreat hosted by Elliot's CEO, Odell (Richard E. Grant). Along the way, they hit what appears to be an actual unicorn. In disbelief, and unsure if it's even dead, they load it into their car and continue on. Naturally, chaos ensues at the retreat, leading to an increasingly bizarre and entertaining series of events. While the wild premise kept me engaged, the final couple of scenes left something to be desired. The ending, while not bad, felt predictable and played out in a way that made me roll my eyes, as it's a trope I've seen done countless times before.
One of the biggest highlights of the film for me was Will Poulter as Shepard, Odell's privileged yet oddly endearing son. His performance was one of his best yet, effortlessly blending entitlement, intelligence, and an offbeat sense of humour. He elevated every scene he was in, often stealing the spotlight. Credit also goes to writer-director Alex Scharfman, who makes an impressive feature debut. Having primarily worked as a producer before this, stepping into both writing and directing with such a bold concept is commendable. The dialogue is sharp, and the film's absurdity is handled with a clear creative vision.
That said, Death of a Unicorn does have some noticeable shortcomings. The CGI, in particular, is rough, making it obvious where the budget wasn't spent. While the practical effects are strong, the digital ones can look distractingly bad, breaking the immersion at times. Additionally, some moments of melodrama feel forced, clashing with the film's otherwise eccentric tone. Despite these flaws, the cast's chemistry, the inventive premise, and the film's sheer weirdness kept me entertained. If you're in the mood for something bizarre and comedic, I'd still recommend checking it out.
One of Them Days (2025)
A Solid Premise with Great Laughs
One of Them Days is a film that wasn't even on my radar until I happened to notice it playing in theatres a few weeks ago. It's a small comedy that hasn't gotten nearly the attention it deserves. What finally convinced me to check it out were the positive reviews, and I'm so glad I did. While the trailer didn't leave much of an impression on me, the humour works far better in the context of the film itself. In an era where great mainstream comedies seem few and far between, this one feels like a breath of fresh air. If you haven't seen it yet, I recommend giving it a chance.
The standout element of this film is the writing. Syreeta Singleton, known for her work on TV comedies like Insecure and Central Park, crafts a sharp and heartfelt story about two female roommates struggling to pay their rent and facing imminent eviction. The entire film unfolds over the course of a single day, as the pair scrambles to come up with the money to save their apartment. Singleton's background in sitcoms translates seamlessly to this feature, with perfectly timed situational comedy and well-placed moments of chaos.
Of course, the film wouldn't be nearly as effective without its two phenomenal leads. Keke Palmer is always a joy to watch, but the real surprise here is SZA, whose acting chops I hadn't seen before. Their chemistry is undeniable; they play off each other with such ease and authenticity that I completely bought into their portrayal of lifelong friends. Their back-and-forth banter is hilarious, but the film also takes the time to explore the emotional depth of their relationship, adding real heart to the story.
While One of Them Days isn't groundbreaking in terms of comedy or storytelling, its humour and emotional core make it something special. The balance between laugh-out-loud moments and genuine sentiment sets it apart from many other similar comedies. By the time the credits rolled, I was genuinely surprised at how much fun I had with this film. One of Them Days is currently playing in theatres and available on demand, and I think it's worth your time.
The Gorge (2025)
Great Storytelling and B-Movie Action
The Gorge is a film I knew I had to watch the moment I saw the initial trailer. The premise hooked me right away with its intriguing setup. Apple has been on a roll with their television shows as I have yet to see one I didn't enjoy, but their feature films have been more hit-or-miss. They've produced some fantastic movies and some forgettable ones, and after watching The Gorge, I can confidently say it falls somewhere in the middle. It's a thoroughly enjoyable ride with a lot to offer, even if it's not without its flaws.
The story kicks off with a simple but compelling premise. Levi (Miles Teller) and Drasa (Anya Taylor-Joy) are operatives stationed on opposite sides of a mysterious gorge, tasked with keeping watch without ever communicating. Naturally, they find ways to break that rule, and their forbidden connection leads them into a dangerous situation where survival becomes all that matters. Along the way, they start uncovering the gorge's many secrets. Teller and Taylor-Joy shine as the two leads, bringing a lot of charm and chemistry to their roles, which makes their dynamic one of the film's strongest elements.
One of the most surprising aspects of The Gorge is its tonal shift in the third act. What begins as a compelling, intrigue-filled drama takes a sharp turn into something that feels almost like a video game-inspired action movie. While this change isn't necessarily a bad thing, it did require some adjustment. The first half is filled with tension and emotional depth, while the second half leans into over-the-top action and spectacle. Both halves are entertaining in their own way, and while I personally preferred the more grounded start, the high-energy conclusion still offered plenty of thrills.
If there's one major downside to The Gorge, it's that its scale and visual ambition deserved a theatrical release. The sweeping landscapes and action-packed sequences would have been far more impactful on the big screen. Scott Derrickson's direction brings a solid balance of emotion and excitement, drawing strong performances from his leads and keeping the pacing tight. While the film's Apple TV+ exclusivity limits its visual impact, it's still well worth a watch. The Gorge is now streaming, and I recommend checking it out.
Captain America: Brave New World (2025)
An Enjoyable, Kind of Messy Film
Captain America: Brave New World was an intriguing experience for me. The Marvel Cinematic Universe has been going strong for 17 years, which is wild to think about. In that time, we've seen 35 films and 12 television shows, yet since Avengers: Endgame, the franchise has struggled with a clear direction. While I've enjoyed several of the recent projects, I have to admit that the overarching narrative still feels messy. Hopefully, the upcoming slate of films will bring more clarity, but for now, the MCU remains in a state of flux. Brave New World is Marvel's latest theatrical release, and while it has its share of issues, I ultimately found it enjoyable.
I've been a huge fan of Anthony Mackie's Falcon ever since his introduction in Captain America: The Winter Soldier, and when he was handed the shield at the end of Endgame, I was all for it. His Disney+ series, The Falcon and the Winter Soldier, explored his journey toward accepting the mantle of Captain America, making this film feel like the next natural step. Now, we see Sam Wilson fully embracing his role while navigating a complicated political landscape. The return of Thaddeus Ross, now portrayed by Harrison Ford, adds an interesting dynamic, especially with his new position as President. The film also revisits elements from The Incredible Hulk (2008), introducing revelations about Ross's past and a subplot involving his transformation into a Hulk. With the return of familiar villains and significant ties to previous MCU entries, the film attempts to weave together multiple storylines.
One of the most compelling aspects of the movie is the presence of Isaiah Bradley, a character introduced in The Falcon and the Winter Soldier. He plays a crucial role in setting the plot in motion, but I do worry that viewers unfamiliar with the show may not fully appreciate his significance. While I loved the deeper connections to past MCU stories, the film sometimes feels overcrowded with side characters and subplots. It's clear that Brave New World underwent multiple rewrites, and at times, it feels like too many creative voices were trying to shape the narrative. The pacing suffers from these competing elements, making the story feel uneven despite its strong core.
That said, there's a lot to like here. Sam Wilson continues to be a compelling lead, and Harrison Ford delivers a solid performance that elevates Ross's role in the MCU. The political thriller elements kept me engaged, and despite some mixed reactions, I personally enjoyed the action sequences. While Brave New World is undeniably messy, it's also an entertaining ride, especially for longtime Marvel fans. If you've been hesitant about the MCU's recent output, this film may not completely restore your faith, but it offers enough intrigue, strong performances, and ties to past stories to make it worth watching. I had a good time, and I'm excited to see where these characters go next.
Gladiator II (2024)
A Solid Follow-Up
Ridley Scott has been something of a hit-or-miss director for me over the last decade. Most of his recent efforts have been fairly average, with only a few great ones sprinkled in. The last of his films I truly loved was The Martian back in 2015. That said, Gladiator has always been a film I really enjoyed, so I was open to the idea of a sequel. After finally watching Gladiator II, I can admit I had a good time with it. While it's not spectacular or quite as strong as its predecessor, it's a solid follow-up that delivers enough to entertain.
The premise of Gladiator II centers on Lucius (Paul Mescal), who, after suffering a devastating loss in battle against Rome's new leaders, finds himself fighting for survival and the glory of Rome in the Colosseum. The story ties back to the original film, with connections and reveals that push the narrative in intriguing directions. While I won't spoil those for anyone unfamiliar, this added some depth to the plot for me. The film mirrors the structure of the first in many ways, but it's in the final act that it truly sets itself apart. I thoroughly enjoyed the journey this sequel took me on and found Mescal compelling in the lead role.
Denzel Washington's portrayal of Macrinus has sparked a mix of praise and criticism, but I fall firmly in the camp of loving it. Washington delivers a magnetic performance, chewing up the scenery in the most entertaining ways. However, not everything about the film worked for me. The second act felt less grounded and gritty compared to the original, with moments that looked artificial and sequences that dragged. Some battles seemed to exist solely for the sake of action, but the set pieces themselves lacked the inventiveness to keep them engaging.
Despite these flaws, I appreciated the story's beginning and ending, even if the journey in between felt uneven. One standout aspect was Harry Gregson-Williams' score, which consistently elevated the film's emotional beats. While Gladiator II isn't without its issues, it's an enjoyable experience overall. I wouldn't mind seeing a third installment to explore what lies ahead for Rome.
Nosferatu (2024)
Chilling and Atmospheric
The 2024 remake of Nosferatu was a fascinating experience for me. Despite my love for cinema, I never managed to see the original 1922 version, though I'm familiar with the story. As someone who is impressed with director Robert Eggers, I didn't feel the need to have seen the classic before diving into this remake. While films like The Lighthouse and The Northman didn't completely blow me away (I tend to appreciate the filmmaking and visuals of his works more than the films themselves), this Nosferatu might just be my favourite work from Eggers so far. The way he brings the story to life, set in the 1830s, is both hypnotic and terrifying, and the film does a fantastic job of blending old-fashioned gothic horror with modern sensibilities.
The plot follows Thomas Hutter (Nicholas Hoult), who travels to Transylvania to sell a manor to Count Orlok (Bill Skarsgård). Meanwhile, Hutter's wife, Ellen (Lily-Rose Depp), remains at home, troubled by unsettling visions. Orlok, who has a haunting history with Ellen from her childhood, returns with sinister intentions. The atmosphere of the film is where it truly shines, thanks to the work of cinematographer Jarin Blaschke. The visuals, along with Robin Carolan's eerie score, engross the viewer in a sense of dread. Eggers' style is always meticulously crafted, and is on full display here, with the film feeling both timeless and modern at the same time. Every frame pulls you deeper into the haunting world of Orlok and his terrifying hold over Ellen.
Nicholas Hoult and Lily-Rose Depp both deliver incredible performances, with Depp's portrayal of Ellen being a standout. I was genuinely surprised by how powerful her performance was, as this was my first exposure to her work. I wasn't sure what to expect, but she elevated the film. The chemistry between her and Hoult works well, but it's really Depp's nuanced portrayal that anchors the emotional core of the movie. Skarsgård's Orlok, meanwhile, is every bit as unsettling as you'd expect, adding an extra layer of menace to the character. The film's acting, coupled with the masterful direction, makes it an immersive experience.
While Nosferatu completely captivated me in most areas, I do think the film's final moments might push things a little too far. There are certain moments and insinuations throughout the film that I feel could've been toned down, as they border on excessive. However, these are minor nitpicks in an otherwise fantastic film. Overall, Nosferatu is one of the standout films of 2024, and for fans of Eggers' horror talents, it's a must-watch. It's now playing in theatres and if you know what to expect from a Robert Eggers film, I highly recommend it.
Y2K (2024)
A Lot of Wasted Potential
I'm a massive fan of Kyle Mooney. During his time on Saturday Night Live, I thought he was one of the best actors on the show. His quirky, offbeat humour always stood out, and I was thrilled when he switched gears and directed Brigsby Bear in 2017, a film that quickly became one of my favourites of the year. However, I can't say I feel the same about his latest directorial outing, Y2K. While the premise had potential and Mooney's unique voice is evident, the execution left me underwhelmed and, frankly, a bit disappointed.
Y2K follows two high schoolers, Eli (Jaeden Martell) and Danny (Julian Dennison), as they crash a New Year's Eve party that spirals into chaos when the Y2K bug triggers a violent apocalypse. The film leans into the paranoia of the late 1990s, when people truly believed that the year 2000 would bring catastrophic technological failures. In this film though, the imagined disaster is taken to an extreme, with brutal and gory results. While the premise offers a lot of creative possibilities, the film struggles to maintain a consistent tone. It veers wildly from a lighthearted coming-of-age story to an over-the-top slasher flick, but the transitions between these tones feel jarring and uneven.
One of the biggest issues is the lack of emotional weight. At its core, the story revolves around Eli and his love for Laura (Rachel Zegler), as they try to survive the chaos together. Yet, the characters seem unfazed by the increasingly horrifying events around them. Traumatizing moments are glossed over, and the characters move on far too quickly, robbing the story of any real stakes. The pacing also exacerbates this issue, with the film rushing through plot points and never giving its creative premise the breathing room it needs to develop fully. As a result, what could have been a fun and engaging concept feels shallow and underexplored.
On a technical level, the film also falls short. The editing feels choppy, and the direction lacks the focus and polish that made Brigsby Bear so charming. The narrative structure is flimsy, relying heavily on subplots to carry it forward, as the central storyline is underdeveloped. While there are a few jokes that landed and made me laugh, most of the humour felt forced or fell flat, which is frustrating given Mooney's talent for comedy. I had high hopes for Y2K, and while I still admire Kyle Mooney as both an actor and a filmmaker, this one missed the mark for me.
A Real Pain (2024)
A Slice-of-Life Flick that I Really Enjoyed
Jesse Eisenberg has never been my favourite actor, but he has appeared in several films I deeply admire. Since The Social Network hit theatres over a decade ago, I've been intrigued to see what he does next. When he made his directorial debut with When You Finish Saving the World, I found myself unimpressed and admittedly a bit bored. However, with his sophomore effort, A Real Pain, Eisenberg truly surprised me. Not only does it surpass his first film in terms of storytelling, but it's also one of the standout films of 2024. Let's dive into why this film left such an impression.
The story centers on two cousins who travel to Poland following the death of their grandmother. In an effort to reconnect with their roots, they join a tour group that takes them to significant landmarks and concentration camps, providing a poignant backdrop for the film. As members of the Jewish community, this trip serves as an emotional journey of rediscovery and self-reflection. Eisenberg delivers a solid performance, but it's Kieran Culkin who truly shines. While Eisenberg has proven himself as a capable director of actors, Culkin's growth as an actor over the years is unmistakable. His nuanced performance anchors the film, elevating it to another level. I'm genuinely excited to see what Eisenberg directs next, especially given the strong performances he's able to elicit from his cast.
The core of the plot revolves around the emotional turmoil of Culkin's character, who is struggling with a lack of direction in his life. This trip is intended to clear his mind and reconnect with his cousin, whom he hasn't seen in years, which becomes a complicated mix of joy and sadness. Eisenberg's script delves deep into this inner conflict, and Culkin's ability to take these words and make them his own is a testament to his evolving craft. He makes the film what it is, infusing it with both vulnerability and authenticity.
A Real Pain is a simple film, but its heart is in the right place. The performances are exceptional, and while the film's resolution might not satisfy everyone's expectations, I found its emotion deeply moving. My only critique is that I wished for a bit more depth in the storyline, which is why I can't quite give it a perfect score. However, aside from that, I have very little to fault. This is a well-crafted indie film that packs a punch, and I thoroughly enjoyed the experience. Many are already calling it one of their favourites of the year, and I can understand why.
Ultimately, the biggest takeaway from this film is Kieran Culkin's performance. A Real Pain is still playing in select theatres and is available on-demand, and I highly recommend giving it a watch. It's a quietly powerful film that deserves a wider audience.
Heretic (2024)
Tension-Filled and Creepy
Horror films have experienced a resurgence in the past decade, drawing both renewed interest and a surge of new releases. While the genre has never truly disappeared, the recent wave has allowed for a greater variety of original ideas to be explored. Heretic is one of the standout entries in this wave, offering a disturbingly captivating experience that, in my opinion, is worth the price of admission for its sheer unsettling atmosphere alone.
At its core, the premise of Heretic is refreshingly simple: two young missionaries, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East), venture into the home of a man who will challenge their faith in ways they never anticipated. Hugh Grant delivers a chilling performance as Mr. Reed, a master manipulator who presents himself as a man with his own twisted interpretation of religion. As he draws the two women deeper into his web, he expertly twists their beliefs and decisions, creating an atmosphere of creeping dread that lingers long after the credits roll. The sharp dialogue and stellar performances from the cast kept me hooked throughout, with each revelation adding a new layer to the tension.
The directing duo of Scott Beck and Bryan Woods have truly proven their chops with Heretic. Having only previously seen their sci-fi film 65 (which I enjoyed), I didn't anticipate the level of skill on display here. The film's confined setting in a single house, places immense pressure on the actors to carry the story, and Beck and Woods navigate this challenge brilliantly. The performances are nothing short of impressive, with Hugh Grant delivering one of the most compelling performances of his career. His monologues are hypnotic, drawing the audience into his disturbing plan with chilling precision.
What makes Heretic truly exceptional is how it sustains tension almost entirely within a single location. The dynamic camerawork by Chung-hoon Chung also elevates the experience, delivering some seamless shots that left me genuinely impressed. One particularly memorable sequence transitions from a miniature model with such fluidity that I couldn't help but exclaim "Hell yeah" in admiration. The craftsmanship throughout the film is exemplary. Heretic still delivers a strikingly strong and memorable experience. With its gripping performances, expertly crafted tension, and standout directing, I highly recommend it.
Wicked: Part I (2024)
An Absolutely Fantastic Musical
The Broadway musical Wicked is a production I've yet to experience live, though I've heard nothing but glowing praise for it. As a fan of The Wizard of Oz, I was excited to see it adapted for the big screen. However, I must admit, the trailers didn't quite spark the excitement I anticipated; they seemed a little overproduced and overly zany. But after finally watching it, I'm thrilled to say I couldn't have been more wrong. Wicked captivated me from start to finish, fully deserving of its acclaim, and it's easily one of my favorite films of 2024.
The story follows Elphaba (Cynthia Erivo) and Galinda (Ariana Grande), two unlikely friends at Shiz University in the magical land of Oz. Set before the events of The Wizard of Oz, Elphaba, with her striking green skin, is shunned and ridiculed by everyone. She dreams of meeting the wizard, but her aspirations are clouded by the prejudice she faces. While a few see her for who she truly is, they are far outnumbered. The drama that unfolds at school, and where Elphaba's journey leads, moved me to tears. Erivo and Grande are nothing short of sensational in their roles, their performances truly touching my heart and evoking powerful emotions.
The film is packed with unforgettable musical numbers, and although I haven't seen the stage version, I found myself mesmerized by every one of them. I can only imagine how much more incredible they must be in person. Grande and Erivo in particular deliver their songs with such passion and power that I was left with goosebumps. I was especially blown away by Cynthia Erivo's vocal prowess, which I didn't fully appreciate until this film. The final number, which closes out this first part of the two-part film, left me breathless, with my heart racing and tears in my eyes. In terms of musicals, this is easily one of the best I've seen in years.
Visually, Wicked is a feast for the eyes. Aside from a few CGI animals, the production design is absolutely breathtaking. The sets feel real and tangible, with intricate detail that brings the world of Oz to life in a way that feels immersive and authentic. Director John M. Chu has truly outdone himself here and I think this is his finest work yet. While I loved In the Heights and Crazy Rich Asians, Wicked transcends them in every way. From the powerhouse performances to the meticulous visual techniques, it is a technical marvel.
I really have nothing negative to say about this film. Bravo to the entire cast and crew for creating something so special. Wicked is now playing in theaters, and I wholeheartedly recommend it.
Carry-On (2024)
A Really Solid Holiday Thriller
Movies like Die Hard will always hold a special place in my heart. While countless films have tried to replicate its magic, few have managed to capture the same thrill and excitement. Enter Netflix's latest 2024 release, Carry-On is a film that, while not quite on the same legendary level as Die Hard, comes surprisingly close to filling that void. It's a well-crafted holiday thriller that delivered exactly what I hoped for, and it's already earned a spot on my rewatch list.
Set against the backdrop of Christmas Eve, Carry-On stars Taron Egerton as Ethan, a young TSA agent who becomes the pawn in a high-stakes game of cat and mouse. When a mysterious stranger (Jason Bateman) hands him an earpiece, Ethan is thrust into a nerve-wracking situation. He's being blackmailed to smuggle a package onto a flight by a potential terrorist. With his family, friends, and co-workers at risk, Ethan must navigate a relentless, high-pressure scenario that had me glued to the screen from start to finish.
Egerton once again proves why he's one of the most versatile actors of his generation. From his charismatic turn in the Kingsman series to his heartfelt performance in Eddie the Eagle, he consistently delivers, and his portrayal of Ethan is no exception. Jason Bateman, known for his comedic brilliance in my opinion, continues to impress as a dramatic actor, bringing an intensity to his role that perfectly complements Egerton's grounded performance. Their chemistry creats a dynamic that elevates the entire film.
What makes Carry-On stand out is its pacing, sharp editing, and an atmospheric score that ties it all together. The movie manages to pay homage to classics like Die Hard 2 without feeling like a mere imitation. A few well-placed twists kept me on edge, and the infectious energy of the story carried me through every tense moment.
I didn't expect a film with such a familiar premise to leave such a lasting impression, but Carry-On delivered in every way that mattered. It's one of Netflix's most enjoyable releases in recent memory, and I can't wait to revisit it. If you're in the mood for a gripping holiday thriller, this one should definitely be on your radar.
Conclave (2024)
A Series of Riveting Conversations
Conclave is a film I initially didn't expect to find captivating, but I'm so glad I gave it a chance. Edward Berger, whose work on the All Quiet on the Western Front remake I greatly admired, delivers another masterclass in storytelling and filmmaking. While this film is far more subdued than All Quiet on the Western Front, Berger's skill as a filmmaker is just as evident. The premise is simple, as we follow the Pope's passing, the Cardinals gather for a 72-hour vote to elect a new Pope. However, the process becomes a tense exploration of secrets within the Church as Cardinal Lawrence (Ralph Fiennes) uncovers troubling truths about the previous Pope.
Ralph Fiennes is extraordinary in the lead role, fully deserving of the recent awards buzz surrounding his performance. The supporting cast is equally remarkable, with standouts from John Lithgow, Stanley Tucci, and Lucian Msamati, all of whom bring depth and nuance to their roles. The interactions between these characters elevate the film, creating an atmosphere of suspense. What impressed me most, however, was the screenplay by Peter Straughan. With a very mixed career (in my opinion), Straughan delivers his best work yet with dialogue so compelling it kept me riveted from start to finish.
This is essentially a film of conversations, but it's executed with such precision and intensity that it feels gripping. The screenplay brilliantly balances themes of power, morality, and faith, making every scene feel significant. One particular reveal in the story added another layer of depth that impressed me even more. The film's ability to maintain its momentum and tension without relying on traditional action or visual spectacle speaks volumes about its craftsmanship.
Conclave has earned a spot on my list of favourite films of 2024. It's a beautifully made drama that I can't recommend highly enough, especially for anyone intrigued by its premise. Even if the subject matter isn't your usual fare, the exceptional performances, intelligent writing, and masterful direction make it an experience well worth your time.
Moana 2 (2024)
Enjoyable, but Lacking the Magic of the First
The original Moana was a film that surprised me. I thought it was great. It was brimming with heart, humour, and unforgettable songs by Lin-Manuel Miranda. The performances, especially from Dwayne Johnson as Maui and Auli i Cravalho as Moana, brought the characters to life in a way that felt fresh. Naturally, I was eager to see how a sequel would expand on the magic of the first movie. However, Moana 2, while enjoyable, doesn't quite recapture the same magic that made the original such a standout to me.
One of the biggest differences is in the music. With Miranda not returning to compose the songs, the sequel lacks the same level of musical brilliance. The new songs are decent and serviceable, but they don't have the catchy, emotionally resonant quality that made tracks like "How Far I'll Go" unforgettable. While the tunes in Moana 2 are pleasant, they fail to leave a lasting impression, making the musical aspect of the film feel less integral to the overall experience.
The story, too, feels like a weaker reflection of the original. Without delving into spoilers, the plot revisits themes and beats that feel overly familiar, which might leave fans unsatisfied. That said, the ending provides a heartfelt resolution that ties everything together in a satisfying way. Despite losing momentum in the middle, the final act does a great job of recapturing the story's emotional core, leaving me curious about what future adventures could look like.
Visually, Moana 2 is a feast for the eyes. The animation remains top-tier, with solid visuals of the ocean, lush islands, and intricate details that make the world feel vibrant and alive. While the sequel doesn't quite reach the heights of the original in terms of story or music, it's still an enjoyable watch. For fans of the first film, it's worth checking out, even if it doesn't fully live up to its predecessor.
Emilia Pérez (2024)
A Great Story that Didn't Need to be a Musical
I'm a fan of musicals, especially when they're done well, but there are times when the musical elements in a film feel disconnected from the story. Emilia Pérez is currently streaming on Netflix, and since its debut at several film festivals, it has garnered a lot of attention. While I think the story itself is fantastic, I feel the film suffers from its choice to be a musical. The film tackles a very serious and often intense subject matter, where characters can be in real danger, so when they suddenly break out into song, the tone shift can be jarring. Although I believe Emilia Pérez deserves to be seen for its strong narrative, I fear that the musical elements might pull some viewers out of the experience or cause them to lose interest.
The plot centers around Rita Moro Castro (Zoe Saldana), a struggling lawyer hired by a powerful drug cartel leader to assist with a dangerous and illegal procedure. The leader, who is unhappy in their own skin, wishes to transition into a woman, leading to a complex web of family drama and illegal activities. The story unfolds in a compelling way, with constant twists that keep the audience engaged throughout. Despite the intriguing narrative, the decision to make the film a musical didn't quite work for me. The songs, while catchy, often felt out of place given the intensity of the themes and the stakes at play.
This story is one that certainly deserves to be told, and the performances from the entire cast are remarkable. Zoe Saldana delivers a gripping performance as the lead, and the supporting cast is equally strong. The cinematography is also top-notch, with visually stunning shots that complement the film's dramatic atmosphere. Jacques Audiard's direction and screenplay add depth to the characters and the plot, making the film more immersive. His work on films like You Were Never Really Here made me confident in the quality of the dialogue, and once again, he does not disappoint.
Emilia Pérez is a well-crafted film with a strong story, great performances, and impressive technical execution. However, had it been told without the musical elements, I might have connected with it even more. While the musical numbers are enjoyable in their own right, they occasionally clash with the gravity of the narrative. Still, I would absolutely recommend this film to anyone interested in compelling stories, well-executed direction, and an engaging cast. It's a film that stands out in many ways, and despite my reservations about the musical aspect, it's worth seeing.
Venom: The Last Dance (2024)
More of the Same Enjoyable Silliness
The Venom films have never been held in high regard critically, but I found some silly enjoyment with the first one. I also feel like I'm in the minority among fans when I say that I prefer the second film (Let There Be Carnage) over the first. Being a huge Spider-Man fan may also be the reason I forgive some of the flaws in these movies, but I don't care, I have no shame in saying I have found enjoyment with this movies. Well, they have now closed out this trilogy of movies with Venom: The Last Dance, and while it's nothing special, just like the other two, I once again enjoyed myself and I may even think this is the best of the three instalments.
After the events of Venom: Let There Be Carnage, Eddie Brock/Venom (Tom Hardy) find themselves in a situation that may lead to the end as they know it. Out of nowhere, the symbiote god known as Knull needs to retrieve a codex that formed when Venom bonded with Eddie to save his life in a previous instalment. Because of this, Knull sends out symbiote creatures to retrieve it for him. Thus setting in motion the plot that Venom needs to remain suppressed by I stay alive. On top of that, government operatives are hunting them and a very nice hippy family forms a friendship with them along the way. Venom: The Last Dance is admittedly all over the place, but I had a good time.
I really do enjoy watching Tom Hardy play this role and I believe he's outdone himself here in terms of creating an emotional send off. It's a silly movie with a silly story, featuring silly characters, so with that in mind, I thought it was emotionally satisfying. Still, the overall plot is absolutely rushed and some of the dialogue is shaky, making for a movie that's not quite as good as the characters in it. Rhys Ifans as the father of the family they bump into was easily the highlight of the movie for me, being obsessed with Area 51, which is where the entire climax of the film takes place. There's also a side plot that takes Eddie to Las Vegas and I just had a smile on my face the whole time. The humour in this movie won't be for everyone, but I laughed quite a bit.
Look, Venom: The Last Dance is what it is. If you're looking for a bunch of Spider-Man connections or something to tie it into the Marvel Cinematic Universe, you will be disappointed. Aside from that, if you like the first two Venom movies, I can say that you'll probably enjoy this one as well. I truly believe the humour, action, and silliness that I enjoyed in the previous movies is at an all time high here, so I think I liked it more because of that. Take this review with a grain of salt though, because I was just looking for some silly fun and that's exactly what I got. These aren't high quality films that I rewatch again and again, but they're solid, fun, one time watches in my opinion. Venom: The Last Dance is now in theatres and I recommend it if you were already interested and know what to expect.
The Wild Robot (2024)
Familiar but Beautiful
This is a film that's been on my radar for a while. From the very moment they began marketing The Wild Robot, it seemed a little too familiar, but still looked well-crafted, so I was going to check it out no matter what. Upon hearing how good people have been thinking it is, I quickly moved it to the top of my list and I'm glad that I did. Not only is this one of the best animated films of the year, but with how predictable the story is, it still got me emotionally. I'm very impressed with this one and here's why I recommend it.
The Wild Robot follows Roz (Lupita Nyong'o), a robotic organism that is programmed with a directive. That directive is inconsequential though when a disaster happens that leaves an unhatched Duckling without a mother. Making it its new directive to take care of this Duckling, Roz becomes a little more human and learns to care about not just this duck as it grows up, but other animals in this forest as well, becoming a mother-figure to many. It's told in a way that's very kid-friendly, but this is absolutely a movie for adults. The themes of parenting and having to deal with what your kids think of you was just beautiful. I cried multiple times during this one.
The voice cast is all terrific and the animation is different from most studio productions, which I appreciated. The Wild Robot felt like a piece of art, made for kids. The score even had me welling up at times, so bravo to composer Chris Bowers. I also didn't realize until after viewing the film that Chris Sanders was the writer. From How to Train Your Dragon to The Lion King, this man has written some of the best animated films of all time, so it comes as no surprise that this effort is also fantastic. Even with a similar story to films like The Iron Giant or E. T., I still felt moved.
In conclusion, The Wild Robot is a film that deserves all of the praise it has been receiving. It does everything a great animated film should do. It has humour and messages for children, but also for adults. It doesn't care that it has a story that's been told many times before because it puts its own spin on it. This is one I can absolutely watch multiple times and not get sick of. People have been putting it on the list of best animated movies of all time, and I'm not quite sure if I'm there yet, but I absolutely can see why. This is an incredibly effective film from beginning to end and I can't recommend it enough.
Saturday Night (2024)
AN Energetic, Funny, Fun Time
As someone who grew up with Saturday Night Live (SNL) on in the background most Saturday nights, thanks to my parents, it's no surprise I've developed a deep affection for the show. Over the years, the format and talent involved just kept improving. While I'm part of the era with names like Seth Meyers, Jimmy Fallon, and Tina Fey, I've always looked back on classic episodes with fondness. There are sketches from decades past that I still revisit because they're just that iconic. Naturally, all of this made me curious about the film Saturday Night, now in theaters. And if you're a fan of the show, particularly those old enough to have experienced the original cast in the 1970s, here's why you should definitely check this one out.
Most people see Saturday Night Live as a lighthearted, easy watch, a way to get a few laughs late at night. But what many don't realize is how chaotic and stressful it was to actually get the show on air, especially in the early days. The film dives into the behind-the-scenes madness leading up to the premiere episode on October 11th, 1975. Ninety minutes before going live, the set was still unfinished, people were being fired, mistakes were being made left and right. It was a whirlwind of confusion and stress, and the film places you right in the middle of it. From the moment you're thrown onto the set, there's an undeniable energy as everyone scrambles to get things ready. It's a thrilling ride without a single dull moment.
Directed by Jason Reitman, Saturday Night feels like his best work since 2009's Up in the Air. His direction injects the film with a kinetic, almost frantic energy, perfectly capturing the chaos of a live production on the verge of collapse. The cast delivers outstanding performances, each of them embracing the high-octane tone Reitman clearly set. Dylan O'Brien nails his portrayal of Dan Aykroyd, Cory Michael Smith captures the essence of Chevy Chase, and Nicholas Braun impressively balances two distinct characters throughout the film. However, the standout by far is Gabriel LaBelle as Lorne Michaels, the mastermind behind it all. LaBelle, who was solid in Spielberg's The Fabelmans, truly shines here, delivering a breakout performance that anchors the entire film. His portrayal of Michaels is captivating, he shoulders the film almost entirely, with only a few scenes where he's not the focal point.
Now, while Saturday Night excels in capturing the essence of its characters and infusing humour to keep audiences laughing, it does have one notable flaw: it stretches the believability of how all of this could have unfolded in just 90 minutes. Though the film isn't meant to showcase sketches from SNL itself, I couldn't help but feel that the story ends a bit abruptly. I expected the conclusion, but still, it felt like a few more beats could've been hit before the credits rolled. That feeling of "is that it?" holds the film back slightly for me.
In the end, Saturday Night isn't a masterpiece, but it's an energetic, fun film that captures the frantic spirit of creating live television. It made me laugh a lot, and the energy was infectious. Despite its imperfections, I had a great time watching it.
Megalopolis (2024)
Quite the Experience (Not Good or Bad)
Megalopolis is one of the most intriguing cinematic experiences I've encountered in a long time. Directed by the legendary Francis Ford Coppola, whose masterpieces include The Godfather and Apocalypse Now, this film is the culmination of a passion project he wrote decades ago. After facing years of funding challenges, Coppola even sold his vineyard to bring his vision to life. The result is a film that left me perplexed, making it a film I'm grateful to have seen on the big screen.
At its heart, the story follows Cesar Catalina (Adam Driver), a visionary architect locked in a rivalry with Major Cicero (Giancarlo Esposito). Cesar's complicated relationships, particularly with Julia Cicero (Nathalie Emmanuel), the Mayor's daughter, further intensify this conflict. The plot thickens as Cesar develops a groundbreaking material called Megalon, envisioning a utopia while the Mayor is content with the way the city currently is, aiming only to build a casino. As Julia becomes pregnant with Cesar's child, the stakes rise, intertwining with several other subplots that occasionally veer the narrative off course.
The film's most frustrating aspect is its endless amount of compelling ideas that, with a bit of refinement and external input, could have elevated it to brilliance. Megalopolis embodies the essence of a great filmmaker, perhaps in his later years, embracing creative freedom, even when the execution feels too much like how he probably wanted it 30 years ago. While the CGI may not always hit the mark, I admired the visual style Coppola aimed for, immersing viewers in a strikingly imaginative world that, unfortunately, doesn't always align with the story itself. The supporting cast, led by a dynamic performance from Shia LaBeouf in one of his most unhinged roles, alongside some wild choices made by Aubrey Plaza and a captivating Lawrence Fishburne as the narrator, all deliver enjoyable performances, despite the script's shortcomings.
The film ventures into the abstract, showcasing some trippy and unique imagery. However, even as someone who appreciates the avant-garde, I often felt that Coppola's vision didn't fully translate to the audience. Ultimately, my experience with Megalopolis was a whirlwind of emotions, I was impressed, bewildered, intrigued, and thoroughly entertained by all the chaos. While the overarching message may have gone right over my head, I can't recommend this film enough to fans of Coppola; it's a mesmerizing journey that simply must be seen to be believed. Megalopolis may not be a success, but it certainly offers a wild ride that I genuinely enjoyed, leaving me with the question: Why does it exist?
My Old Ass (2024)
Funny and Emotionally Impactful
My Old Ass presents a nice blend of humour and heartfelt emotion through the journey of Elliott and her friends as they venture into the woods for a mushroom-fueled adventure. The film takes an unexpected turn when Elliott encounters a future version of herself, portrayed very well by Aubrey Plaza, whose brief but impactful presence leaves a lasting impression. This encounter becomes the core of the narrative, as it explores themes of self-reflection, family bonds, and the importance of companionship. The dialogue gleams with wit and authenticity, which is also enhanced by Megan Park's direction, making each moment feel genuine and relatable.
One of the standout aspects of the film is its profound message about cherishing the present. That, combined with Elliott's carefree youth and her future self's reflections, emphasizes that time is never on our side. This theme resonates deeply, reminding viewers to embrace love and connection while they can. The film's exploration of life's unpredictability is highlighted by the idea that the past cannot be altered, which adds layers to its comedic moments, transforming them into powerful reminders of what truly matters.
Maisy Stella's performance as Elliott is nothing short of remarkable, making her a breakout talent to watch. She effortlessly captures the nuances of youth, balancing humour with vulnerability as she navigates the complexities of her friendships and future self. The chemistry among the cast elevates the film, bringing authenticity to their shared experiences. The lush backdrop of Muskoka, Ontario, adds an intimate touch, making the setting feel like a character in its own right, further enhancing the film's emotional depth.
Overall, My Old Ass transcends typical coming-of-age narratives, leaving audiences both laughing and teary-eyed. It strikes a perfect balance between humour and heartfelt moments, steering clear of clichés while delivering a great message about love and living in the moment. This film is a must-see and it's one I can see myself revisiting time and time again. I wholeheartedly recommend it to anyone looking for a film that resonates long after the credits roll.
Wolfs (2024)
A Solid, Fun Buddy Flick
Starring the duo of Brad Pitt and George Clooney, Wolfs offers a thrilling blend of humor and action that showcases the undeniable chemistry between these two well-known actors. Their performances are solid, bringing to life the intricacies of their characters as they navigate the murky waters of crime and cover-ups. As a longtime fan of both actors, it was a joy to see them bounce off each other once again, delivering witty banter and engaging dialogue that definitely entertained me. The film's premise is centered on a fixer entangled in a high-stakes mess, which serves as a backdrop for their talents, providing a rich canvas for both comedic and dramatic moments.
Director Jon Watts, known for his recent success with the Spider-Man franchise, brings a unique flair to Wolfs. His ability to balance action with humor shines through, and the film occasionally feels reminiscent of Shane Black's Kiss Kiss Bang Bang. While Watts manages to capture some of that cleverness, Wolfs sometimes falls short of reaching those comedic heights. Nevertheless, the action sequences are well-executed, and the pacing keeps viewers engaged, even if I found myself wishing for a bit more adrenaline-fueled excitement.
The plot, though intriguing, has a resolution that may leave some wanting more. The twist of having an unexpected counterpart in the fixer's journey adds layers to the story, but the ending feels somewhat rushed and could benefit from a more satisfying conclusion. If Wolfs doesn't receive a sequel, the narrative may feel incomplete, which is a shame given the strong groundwork laid for a trilogy, in my opinion. The story's potential for further development is undeniable, and I, for one, would eagerly welcome a follow-up to explore these characters further.
Available now on AppleTV+, Wolfs is a worthwhile watch for fans of buddy comedies and action films. Despite its minor flaws, it delivers plenty of laughs and engaging moments, making it a fun addition to any movie night. With standout performances, clever dialogue, and solid direction, I had a good time watching this film. If you're looking for an entertaining experience, I recommend giving Wolfs a shot. You may just find yourself hoping for that sequel as well!
Beetlejuice Beetlejuice (2024)
A Decent Legacy Sequel
As someone who grew up watching the original Beetlejuice, I fondly remember its quirky charm and dark humour. Michael Keaton's portrayal of the eccentric character was a masterclass in comedic performance, blending outrageous antics with an unexpected layer of depth and emotion. Tim Burton's unique vision brought a world filled with imaginative designs and a playful yet haunting atmosphere to life. With that nostalgia in mind, I approached Beetlejuice Beetlejuice with high hopes, eager to see how the sequel would pay homage to its predecessor.
In this follow-up, Burton attempts to bring back the spirit of the original, but the film feels somewhat disjointed at times. While it boasts the same whimsical visuals and a lot of colorful characters, the narrative often veers off into chaotic territory. The plot revolves around a new group of characters who stumble upon Beetlejuice's antics, but their journey lacks the emotional core that made the first film more impactful. The humor, while still present, doesn't feel as funny and it's slightly forced and uneven, leaning too heavily on the absurdity without the clever wit of the original.
Michael Keaton returns to his iconic role, and it's clear that he still has a flair for the ridiculous. However, the character feels more like a caricature than the multifaceted trickster we once loved. The film is filled with bizarre set pieces and eccentric dialogue that sometimes feel like a frantic attempt to recapture the magic, but it often misses the mark. The heartwarming moments that grounded the original are still present here, but there are weird choices with how certain characters have died, that made it hard to pay attention during the dramatic moments.
In conclusion, Beetlejuice Beetlejuice is an ambitious attempt to revive a beloved classic, yet it struggles to find its footing. While it showcases Burton's signature visual style and Keaton's charisma leaping off the screen once again, the film ultimately lacks the cohesion and emotional resonance of its predecessor. For fans of the original, it's a trip down memory lane, but it may leave you longing for the charm and heart that made Beetlejuice a favourite of mine.
Deadpool & Wolverine (2024)
A Very Solid Multiversal Time
The Deadpool films have always been very enjoyable to me. They've never been endlessly rewatchable, simply due to the crass humour from start to finish, but that's just because I don't want to get tired of them. The first two films found a way to make me smile, but I never felt the need to keep revisiting those same jokes. This time around, we're in a whole new era. Since Disney purchased 20th Century Fox, we've known they were going to let this R-rated franchise continue, but in what way? Well, Deadpool & Wolverine has now hit theatres and I must admit, I once again had a solid time and it is probably the most fun I've had with any of these movies, even though the overall film itself fits right in line with the first two, quality-wise. This is a consistently entertaining franchise of 4/5 star films. Here's why I enjoyed this one, but also why I have a few concerns for those who don't follow every Marvel project.
Without getting into too many details, the basic premise of Deadpool & Wolverine begins with Deadpool being pulled into the TVA, where he learns that his world is dying and there's nothing he can do about it. Realizing that Wolverine/Logan passing away is the reason for this, he makes it his mission to hop through dimensions to find another version of that character to help him save his world and the only people he cares about. This leads them to a wasteland where characters and things from the past have all been forgotten. From there, chaos ensues, surprises will please many audience members, and the story becomes more emotionally driven than expected.
Again without giving anything away, there are a lot of cameos in this film and I enjoyed every single one of them, whether they were used for a cheap pop or a meaningful reason for being there. The use of a certain character had me in tears and another had me laughing hysterically, so I had a great time with the cameo aspects. The story is also effective enough that it held my attention, but the true core of this film comes down to Deadpool and Wolverine. Hugh Jackman and Ryan Reynolds have clearly dreamt of doing a movie like this together and it shows. Their chemistry is electric and this is definitely a side we haven't seen from Jackman yet as this character. They made this a great experience.
There are also needle drops every few minutes, but most of them worked in the context of the scenes. Shawn Levy has directed many films in the past, but never anything like this, so it was nice to see he was capable of content like this. What else can I say about this one? Well, the action is great (like all of the Deadpool films), the cast is fantastic, the humour works 90% of the time, the surprises are a plenty, and the third act actually reeled back from what I thought would be happening. I have to admit that people may have set their expectations a little high as to who and how many characters might appear, but in general, I have no complaints there; However, there are concerns I have for certain audience members.
They make it easy enough to follow everything, but some appearances and stories carry over from shows and pieces from other films that, if you haven't seen everything, may make you scratch your head. I know there will be elements lost on some people, but at least the whole point of the movie is just about Deadpool and Wolverine. It's far from perfect and a few aspects (which would spoil your enjoyment if I said them here) are very easy to nitpick, but I have to be honest and say I had a really good time. I can't wait to see more. Deadpool & Wolverine is now playing in theatres.
Twisters (2024)
A Blast from Start to FInish
Growing up, Twister was a film that my family watched over and over again, but I've shockingly only seen it a couple of times from beginning to end. It's a fun popcorn flick but I never had much more enjoyment than that from it. For that reason, I was eagerly awaiting the revamp, Twisters, simply because I figured they could improve upon the original. Well, I believe they accomplished just that and then some. Twisters is the best time I've had at the movies in a while. If you're a natural disaster film fan, here's why you shouldn't miss this one on the big screen.
Taking place in the modern day, Twisters has no real connection to the original film, as the cast is all fresh and the references are also barely noticeable if you're not a previous fan. So, if you haven't seen the first, you can absolutely see this one on its own. The story begins years after a tragic event that Kate (Daisy Edgar-Jones) is still reeling from. Her old friend Javi (Anthony Ramos) gives her a visit to recruit her once again to his new team of tornado chasers. While very scared and hesitant, she agrees. Along the way, a rival group of tornado chasers, led by Tyler (Glen Powell), catches her eye and she realizes that she may not be working for the right team. This causes a stir between groups, as her knowledge is very valuable. This makes for some nice drama and her backstory is also well fleshed out. This movie had far more heart than I was expecting it to.
Now, a movie like this is really all about showcasing some massive set pieces and tornado sequences and I'm more than pleased with what they were able to accomplish in that regard. The CGI is top-notch and the use of a lot of practical effects and sets just made me smile. This is a crew that wanted to make everything feel as authentic as possible and I was genuinely loving the fact that it very rarely felt farfetched, like the original did. Sure, there are some crazy concepts floated throughout the film that probably wouldn't work in reality, but if you let that get to you, natural disaster movies probably don't work for you anyway. Props to everyone involved in the technical aspects.
The direction by Lee Isaac Chung is superb as well, and I have to give a huge round of applause to him because after working on some smaller films, he got awards buzz for a little film called Minari (which is really good), but I never once saw the potential of a big blockbuster like this. I can't wait to see what his talents bring to us next. Look, Twisters is a movie that is meant to entertain, thrill, and have a collection of likeable characters to get behind. In that aspect, it succeeds in spades and it's overall story is far better than the original, so I really have to scrape the bottom of the barrel if I wanted to complain about something here. There are eye-rolling moments for sure, but if that's all that bothered me, this one is a huge win. If you want to have a blast at the movies, I highly recommend Twisters.
Beverly Hills Cop: Axel F (2024)
A Solid Late Sequel
Beverly Hills Cop is a great action comedy from the 1980s, but its sequels didn't exactly work for me. I was excited to hear about them making a sequel so many years later, bringing back the whole cast from the first film, but I also worried that it would be in line with the quality of the previous sequels. While I certainly have my issues with Beverly Hills Cop: Axel F, it's easily the best sequel. From some excellent action to some great one-liners, this is a sequel that captures the essence of the first film but never reaches the same heights. Now streaming on Netflix, here are my thoughts.
Taking place many years after the third instalment, the film picks up with Axel Foley (Eddie Murphy) as he is still the same (aged) cop that he was before, still patrolling in Detroit. After receiving a call that his daughter is involved in a shady court case, he travels back to Beverly Hills. The plot then thickens and crooked cops, a couple twists, and familiar faces all begin to elevate the film. I will say though that it does suffer from pacing issues. The last 20 minutes are what fans of these films are waiting for and I believe it delivers on that promise, it's just that it took a little too long to get there.
For being a very simplistic story, the father-daughter relationship (even though it's good) plays out too slowly and becomes focused on far too much. Joseph Gordon-Levitt as Detective Bobby Abbott was a nice addition to the film and I enjoyed the chemistry and banter between him and Foley, but I do wish that Judge Reinhold's Billy Rosewood had more screen time with him. As I said, this film is just a build-up to some great fan service moments that all work, but it didn't quite last long enough for me. I believe some quicker editing and a few beats removed here and there would've made for a snappier watch. Still, it's almost like they make you wait for the goods you want, which is fine since it all worked for me.
All in all, I went into this late sequel hoping for some fun action, Eddie Murphy to be having a good time again in the role, and a nice mixture of comedy and drama, which was what the original film balanced well, and I got just that. It's done in a streamlined and safe way, but it was still entertaining nonetheless. I feel as though audiences will have a good time with this one, especially if they liked previous instalments. I do wish this one played in theatres, given its large budget and solid action sequences, but Netflix just continues to do what they do. Beverly Hills Cop: Axel F was unnecessary, but welcome at the same time. I'd say check it out.