Category Archives: Action

10.24.26
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Wildwood

Shooting a feature-length stop-motion animated film (a process taking several years, hundreds of thousands of individual photographs, hundreds of puppet designs, and thousands of 3D-printed faces) is already a breathtaking technical feat. But with Wildwood, it’s almost impossible to wrap your head around the sheer labor, time, and relentless passion evident in every single frame. A majestic experience like no other, Wildwood pushes the boundaries of the medium and tests just how dark animated storytelling can get, all while capturing the pure, vulnerable wonder of a child navigating the frightening ways of the world beyond her familiar home.

The voice cast is stacked and completely stellar, led by Peyton Elizabeth Lee, who is devoted and determined as young Prue and will go to all lengths to save her brother. Her empathy is what changes the woods she enters as much as they change her. Carey Mulligan is brilliant as Alexandra, written with such intricate layers that you understand her fragility even as her choices turn destructive. Mahershala Ali is another standout, while Jacob Tremblay gets many of the film’s funniest and sharpest lines. The rest of the ensemble, including Awkwafina, Maya Erskine, Charlie Day, Angela Bassett, and Richard E. Grant, each serve a distinct purpose in populating this world.

It’s mind-blowing just how much skill and craft it took to breathe so much life into these characters. There is something truly miraculous in how it all comes together, making us completely forget the sheer length of time it took to build frame by frame. It’s also very violent and shows the harshness of grief and war, but its reflection of loss and familial drive also makes the film incredibly poetic. It may one day have the same artistic impact that Spirited Away had on a generation of storytellers and viewers, transporting us to another world to help us make sense of our own as we grow up. Even if you thought Laika’s previous films like Coraline and Kubo and the Two Strings were extraordinary, prepare yourself: you’ll already be floored by the storytelling and visual achievements here by the first few minutes.

10.21.26
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Clayface

After actor Matt Hagen is disfigured by a notorious mob boss, he volunteers for a new experiment to restore his face in an attempt to save his reputation, only to realize the procedure is much more than he bargained for.

Clayface finds its footing early with a storyline that offers a unique hook within the superhero genre (a problematic, disgraced Hollywood actor), though it eventually slips into the familiar science jargon typical of movies about ordinary guys accidentally transforming into superpowered beings. What ultimately saves the film is its immense, uninhibited gore, which delivers plenty of fun as it evolves from a standard DC villain origin into extreme body horror. While Tom Rhys Harries is well-cast in the titular role, it’s Naomi Ackie and Max Minghella who provide the most compelling work in the cast, with Minghella particularly standing out as a Gotham City police officer.

The writing occasionally stumbles into weak dialogue traps and could have used tighter execution, and certain scenes feel aesthetically underwhelming. Even so, the over-the-top action and body horror offer plenty of entertainment, even if you can see every predictable step of where the film is headed. Whether or not you’ll enjoy Clayface is fully dependent on how much you’re able to embrace its innate ridiculousness, and if you’ve got a stomach for mutilations; though if you’ve seen The Substance, you’ve already been through much of this film’s story beats.

09.13.26
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The Uprising

In the story that inspired Robin Hood, a farmer leads a rebellion against King Richard II’s tyranny that will determine their fates and freedom.

This film presents some interesting moral and historical ideas, though Paul Greengrass aims for something that always looks epic without always maintaining a strong pace. Andrew Garfield leads the cast very strongly here, which includes great actors such as Thomasin McKenzie, Jamie Bell, and Katherine Waterson, and a special standout being Woody Norman as the king. The action, sets, and costumes are all put together quite well, even if the director’s shaky/documentary-like camerawork that’s occasionally woven in with more grand, cinematic shots, doesn’t always fit. The movie’s runtime also tends to drag in the latter half, which takes out much of the film’s energy, even if the ending itself is quite memorable. Still, the movie thinks it’s far more shocking than it is, and it’s a serviceable film about the cycle of violence and corruption in monarchy, without ever rising above the pack of similar films like Braveheart or The King.

08.14.26
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The End of Oak Street

Anne Hathaway and Ewan McGregor star as an ordinary family in the early 1980s, who suddenly find their neighborhood mysteriously transported into the prehistoric age and must fight for survival against insurmountable odds… and terrifying dinosaurs roaming their street, literally.

What this sci-fi thriller excels in is slowly revealing to you the abnormal and taking its time to show you the cosmic circumstances in their full scope. Anne Hathaway is amazing here, and the VFX team did an outstanding job bringing the creatures to life and making them feel like they’re in the frame with our actors. It’s truly refreshing to see such polished and immersive CGI in a film like this. Though it takes until the inciting incident to really get invested in the main family, their arc ends up working, particularly their push and pull between helping others and preserving themselves. All the action is thrilling, and every single character reaction feels fitting and realistic to how people would act in such situations, without feeling exaggerated. It’s nice that a film finally cracked how to utilize dinosaurs creatively in the world of the uber-famous Jurassic Park franchise, with a dark helplessness and lots of brutal suspense, and Michael Giacchino’s score is up there with his strongest in recent years, along with The Batman, Society of the Snow, and The Fantastic Four: First Steps.

07.30.26
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Spider-Man: Brand New Day

Four years after the events of Spider-Man: No Way Home, Peter Parker has been forgotten by the world and has isolated himself as he fights crime full-time as Spider-Man. His past and future converge as he investigates a new threat and undergoes a potentially dangerous evolution.

Spider-Man: Brand New Day is very much a continuation of the web-slinger’s MCU arc, while marking a new chapter and direction for the hero. Peter’s sacrifice leaves lasting consequences of guilt and grief for him as he enters a humble era in his life where he’s become a private detective of sorts and a city-wide hero. This sleuth side of Spidey is very fun to see, as are the changes and solitude he’s put himself through since losing everything. That said, though we’re out of the high school era of the character and in a far more emotionally heavy arc, the movie still has plenty of humor to offer. Jon Bernthal’s inclusion as the Punisher fits seamlessly into Spider-Man’s MCU tone, especially thanks to the fun dynamic he and Tom Holland form onscreen. Zendaya continues to prove herself to be one of the most outstanding performers in these films, as MJ has evolved significantly. It’s also a delight to see Tramell Tillman and Liza Colón-Zayas here, who are perfectly cast and deliver so much presence and intrigue.

The conflict itself takes many unexpected directions, and even if it treads familiar ground, all of it feels emotionally true and fleshed out. The stunt choreography is also one of the film’s most glowing stars, with expertly crafted action scenes and some of the coolest across all four of the films. It feels like the conclusive nature of No Way Home is still honored here, as Destin Daniel Cretton sets out to rewrite the DNA of the Tom Holland Spidey saga, but all the heart we felt from his portrayal of the character before, as well as his bonds with Zendaya and Jacob Batalon’s characters, are all there, too. That former film is still honored with the fresh direction here, but what feels strongest in Brand New Day is that we’ve seen the character truly mature over his multi-film cinematic journey, and while all that comic and film fans hold dear about one of cinema’s most beloved heroes is front and center, there are also plenty of surprises for fans and casual moviegoers alike.

07.18.26
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The Odyssey

It’s never a surprise when a Christopher Nolan film proves to be the most epic theater experience of the year. But what constantly continues to impress is his ability to transport us on journeys that feel so much bigger than our own lives, even though they look so much like our own world. Majestic, nail-biting, and outright spellbinding, The Odyssey turns one of the great mythological stories into one of the greatest cinematic journeys ever told. Homer’s epic proves the perfect battleground for Nolan’s love of telling stories out of linear order, and the movement of different storylines and events across time is thrilling to follow and creates an even more powerful experience than if we were to have discovered the story in sequence. Nolan also assembles a massive ensemble cast led by Matt Damon, who leads with a loyalty mixed with a dangerous hubris Odysseus has, who desires to “defy the gods”. Tom Holland gives possibly his best performance yet as Odysseus’ son Telemachus, though Anne Hathaway steals the show in that corner of the story as Penelope. Robert Pattinson and Jon Bernthal are also excellently cast, and Elliot Page is also a special standout, no matter how minor his role is. The many big players who also leave a huge impression include Himesh Patel, John Leguizamo, Lupita Nyong’o, Samantha Morton, and Charlize Theron.

The most incredible effect The Odyssey has is making everything feel real, thanks to Nolan’s disdain for CGI, while we also don’t have the same sweeping extreme wides we’re used to in almost all his other films, at least not the same amount. We’re immersed in the sets that are right in front of our eyes and often look visionary. The action is so thrilling it’ll have you leaning forward into your seat, while maintaining that brutality and harshness that never make the fighting look outright entertaining the way they might in other action epics. Part of what makes the magic so breathtaking is Ludwig Göransson’s score. It’s exhilarating, overwhelming, and grandiose in new ways every scene. Hoyte van Hoytema’s cinematography allows everything to feel real, even though the imagery stems from mythology, and Jennifer Lame’s editing is expertly meticulous. Despite its long runtime, the film moves at a fast pace, and every second matters. Everything we love about Nolan is here: the epic scale, the practical sets, the jumps in time, but the film is so much greater than the sum of its parts. It’s a once-in-a-lifetime adventure that delivers in beauty and scope, demanding to be seen on the world’s largest movie screens, then unpacked, before going back to watch it again, and again, and again.

06.27.26
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Supergirl

Kara Zor-El, one of the last remaining Kryptonians, reluctantly joins a young girl’s quest for revenge across the galaxy against a powerful adversary.

Milly Alcock is cast well in the titular role, but unfortunately, the material she works with consistently fails to make the character stick with us. Nobody from the supporting cast really resonates, with an awful villain and a dull ally Kara makes along the way, and Jason Momoa’s casting is a bit weird considering the recency of his stint as DC’s Aquaman, even if the performance is fun. 

The movie chooses to go for the most tried and true aspects of the recent slew of superhero action movies, let alone those set in space. None of the world building sticks out in a look that feels too digital and uninspired, while the story we’re given is generic and frankly even empty. Supergirl is introduced to us as a young adult who travels the galaxy binge drinking and spits in the face of virtue. However, the film’s energy doesn’t match her chaotic spirit, instead going for a very black and white “good vs evil” story. The movie ultimately focuses this reckless, hard-drinking drifter with genuine emotional baggage, a unique character, into a very conventional hero’s journey. A few moments of music use feel inspired, as do the very interesting flashbacks to Kara’s origin, which maybe should’ve been placed earlier in the runtime. However, Supergirl has ultimately the same action sci-fi feel we’ve seen so many times before, with a very lackluster visual look and missing of the rebellious tone for the character who needed a far more anarchic and emotional anthem.

05.23.26
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Star Wars: The Mandalorian and Grogu

In the age of the New Republic hunting down the remnants of the fallen Empire after the events of Return of the Jedi, Mandalorian Din Djarin and his adopted son Grogu embark on an exciting new Star Wars adventure.

The Mandalorian’s big-screen debut isn’t his most dramatic or revealing, but honestly, it’s refreshing that the stakes are changed up from “fate of the galaxy” level to focused more on crime syndicates and bounty hunters. The Neo-Imperial and Mandalore stories from the series aren’t revisited or touched on much, but that’s honestly a breath of fresh air to see Mando go in a new direction this time. The visuals are splendid, as always with Star Wars, and the action is expertly choreographed. Grogu is absolutely adorable and everything he does is a standout here, and Ludwig Goransson’s excellent score elevates the whole movie.

Jeremy Allen White also stands out in a motion capture role, playing Rotta the Hutt, who’s far gentler than any of the other Hutts we’ve met in Star Wars lore. Sigourney Weaver is no stranger to space action, and is yet again a delightful badass who gives much heart and authority to her character of Ward.

The Mandalorian and Grogu might not end up changing the game for the franchise, but it’s got just enough fun visuals and action, as well as the touching father-son dynamic at its center, to be worth a watch for action/sci-fi/fantasy fans and those who are invested in the galaxy far, far away.

04.05.26
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Ready or Not 2: Here I Come

Moments after surviving an attempted Satanic ritualistic sacrificial game of Hide and Seek by her in-laws, Grace is pulled into a greater, global stakes world of survival by a game she hadn’t realized she’d triggered, only this time, her sister is in danger too.

Though not as funny, shockingly original, and nail-biting as the first, this is a worthy sequel that boasts the same level of insane violence thanks to Matt Bettinelli-Olpin and Tyler Gillett’s direction. Samara Weaving gave one of the most iconic horror “final girl” performances in the original film and continues here to solidify herself as one of the generation’s most outstanding scream queens. Her commitment to the role and the sheer terror Grace is unrivaled, though she’s been toughened by her prior experience with this madness.

What this film leaves to be desired that the first film nailed is the hilarious ensemble cast of antagonists, while here, only Shawn Hatosy and Sarah Michelle Gellar really stand out as the central villains, twin siblings whose dynamic twists and turns as the runtime progresses. Hatosy’s performance in particular is impressive and interesting to watch in every scene he’s in, while Kathryn Newton is great as Grace’s sister Faith, though the backstory between them is a bit haphazard and thrown in just for the sake of having some sort of conflict between them that needs to be resolved. Still, it’s thanks to the energy that the directors and writers provide to offers more than enough entertainment and satisfying irreverence and macabre, with an expansion and execution that makes this one of the more inherently earned sequels of the last few years.

02.20.26
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Crime 101

An expert theif, his rival, a police detective, and a disillusioned insurance broker all cross paths in LA leading up to a major job being planned by the former.

Crime 101 assembles a cast and plays to all their strengths while allowing its slow pace to breathe without an overabundance of massive action scenes, though when they come, they’re rather tense. Chris Hemsworth is fun in the leading role and refreshingly understated, but its the players around him who really shine here. Halle Berry is given her strongest role in years as a character attempting to take charge of her own life, while Mark Ruffalo is great as a detective on Hemsworth’s tail. Monica Barbaro also stands out as one of the film’s most interesting characters, while Barry Keoghan is always captivating and unpredictable.

The movie takes the time to flesh out its characters, even if it takes a bit of time to get invested into the conflict. Simple dialogue scenes shared between Hemsworth and Barbaro or Ruffalo and Berry are just as important to the story as the stakes and cat-and-mouse element of the lead character trying to get away with his crimes. It never quite challenges any expectations it sets, but the film’s patience rewards its audience, many of whom will enjoy the ride if they’re already fans of the action/crime thriller genres.