04.05.25
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A Minecraft Movie

A Minecraft Movie may prove a treat for younger audiences and fans of the beloved game. It’s got charm, thanks to its main stars, particularly Jack Black. He gleefully gives his playful and extravagant energy to Steve, even throwing in his musical comedy talents. Jason Momoa entertains but his dialogue threatens to miss almost as much as it’ll make you laugh. Danielle Brooks is splendid as a very unexpected companion on this journey, and gives the runtime lots of heart. Emma Myers does a solid job playing an unlikely heroic character, whose storyline with her brother avoids some cliches while falling head first into others.

Though this is a Minecraft movie first, director Jared Hess’ love for misfits and outcasts is written all over the film. What brings the film down is the aesthetic, that fails to get you to suspend your disbelief strongly enough to overlook the unconvincing green screen and weirdly uncanny CGI of some of the Minecraft characters/species. The live-action parts carry the film well if you ignore some of the backdrops, but sometimes you’ll wish that the scenes inside the Overworld were completely animated. It also doesn’t help that the idea of an unlikely team of social outsiders from the real world trying to navigate a fantastical world they’ve been suddenly pulled into is nothing new. Even the Jumanji films, also starring Black, had much more to offer the formula.

Still, the film has just enough charm to delight children and families, embracing the essence of the game with a positive message about creativity. And Black proves that he’ll continue to entertain generations of viewers with his ability to let loose. It’s a film that embraces exactly what it is, even if when you think about the film or look too long at the visual details, the building blocks starts to fall apart.

04.05.25
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Snow White (2025)

Some remakes get a chance to breathe new life into their stories and worlds, while others, like Disney’s new Snow White, feel like a film from 90 years ago was frozen in carbonate for decades and then unnecessarily turned into a different medium. In this case, Snow White feels like 30% that, while the other 70% feels like sprinkles of modern flare that feels out of place. Oscar winners Benj Pasek and Justin Paul add songs that feel to derivative and cliche, hitting all the same “Welcome to our lovely kingdom”, “I want a better life”, “Look how evil I am”, and “Maybe we’re attracted to each other” beats that are in nearly every other musical. In some instances, the songs even sound too much like the duo’s Dear Evan Hansen soundtrack.

Rachel Zegler tries her best to entertain in a sweet but one-dimensional role elevated by her charisma and strong singing voice. However, all the other elements around her distract, including the unconvincing and at times hideous CGI of the animals, surroundings, and let’s not even talk about those dwarves, who seem almost nightmarish. But a painfully glaring weak link is the miscasting of Gal Gadot as the Evil Queen. Her line delivery feels unnatural, and the character just gets more irritating as the film goes along.

Most sadly, Snow White is inconsistent and deeply hollow as a film. It has almost no charm that feels organic, and can’t decide between elements that feel nostalgic or new, like the very modern-sounding soundtrack. Nothing of importance is ever quite explained or given meaning to, things just happen because the point that we’ve gotten in the story needs that thing to happen. For younger children, being unconditionally kind is an important message, but even Disney has delivered this theme in a way that’s so much more tangible and heartfelt; take even their live-action 2015 Cinderella remake for example. This remake doesn’t expand on or reinvigorate its source material, simply morphs it into weird images that look colorful but never have any real sense of life.

03.29.25
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The Alto Knights

Two of New York City’s most notorious organized crime bosses vie for control of the city’s streets. Once best friends, petty jealousies and a series of betrayals set them on a deadly collision course.

Robert De Niro playing an infamous mobster is nothing new. But De Niro playing TWO mobsters? Throw in legendary director Barry Levinson of Bugsy, Rain Man, and Good Morning, Vietnam, now that’s something worth writing home about, right? Unfortunately, The Alto Knights is anything but; a film with maybe some potential on set that was completely butchered in the editing room. De Niro’s dual performance is supposed to fascinate the audience but instead distracts. Frank Costello and Vito Genovese are not presented in the film as being two sides of the same coin, as were the mobster twin brothers Kray, played by Tom Hardy in Legend. In this film, the two mobsters are depicted as not just of different families and mannerisms but of different ages, experiences, and motivations. When De Niro finally shares the screen with himself, it’s impossible to buy these disparities as the script depicts them, rather we buy them more like equals under different heaps of makeup, which was not the intention. As Costello, De Niro is giving something between a less soulful version of his turn in The Irishman, a less extravagant version of his turn in The Untouchables, and a less funny version of his turn in Analyze This. He’s interesting as Genovese, but casting another actor to oppose him would’ve worked better to show that one of these gangsters is actually much more frightening than the other.

The film recycles tired tropes of past popular mob films, and as I’ve alluded to here, many of them already star the great De Niro. Though some scenes are at least mediocre in their execution, the editing is horrendous and makes some scenes unwatchable. The film insists on blasting through most scenes like a documentary montage rather than letting scenes breathe and feel like a thrilling drama. The constant narration and barrages of exposition are condescending to its audience of a normally intelligent genre, but insists on feeding us information we could’ve learned through context clues within scenes. The poor dialogue can’t be salvaged by lacking performances from Debra Messing and Cosmo Jarvis, the latter of whose promising transformation never quite gets to shine. Moreover, there never feels like an escalation of tension or events when there feels like we should be building towards something, rather a lack of setup that also leads to a lack of reward. The Alto Knights starts on a bad foot, and never even hints at a chance to redeem itself. Even De Niro and crime film fans need not waste their time, in theaters or at home.

03.15.25
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Novocaine

In this increasingly over-the-top action comedy, Nathan Caine is an assistant bank manager who takes manners into his own hands when the girl of his dreams is kidnapped by armed criminals. To make matters both more and less helpful, Nathan has a rare condition where he can’t feel pain at all.

Novocaine takes full advantage of its smart concept, upping the ante in humor, gore, and excitement throughout its runtime. However, it stars off genuinely charming and emotionally effective in its beginning, making Nathan’s arc, and the audience’s investment, pay off. Jack Quaid gives the film its heart, and though the trope of an unskilled, unqualified everyman suddenly thrusted into a deadly action-packed situation has been done to death, the journey feels completely fleshed out and earned here. Quaid has tons of fun leading into the ridiculous and often accidental badassery of his protagonist. Amber Midthunder also gives the film plenty of heart and proves her versatility, and Jacob Batalon is hilarious. Betty Gabriel is also strong as a cop on Nathan’s tail, and even the villains, in all their cheesiness, gives some fun to be appreciated in their performances.

As Novocaine continues to push the limits of the term “over-the-top”, it occasionally stumbles in its story’s believability, but the suspense of disbelief when it comes to the gory action scenes never detracts, just further entertains and may even have your jaw on the floor. The more audacious it becomes, the more pleasing the journey with Novocaine gets. But balancing out the gore and nonsense is a sense of heart with its romance and friendship at its core, with Quaid’s charisma at its center that we can never quite get enough of.

03.13.25
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Black Bag

Intelligence agent George Woodhouse is enlisted in investigating his wife, agent Kathryn Woodhouse, for treason, uncovering a web of secrets and deception.

Steven Soderbergh’s cleverest film in years, Black Bag boasts an entertaining cast, an exciting aesthetic, and a story that’s inviting though occasionally overwhelmingly complicated. Michael Fassbender and Cate Blanchett have great chemistry together as a couple with a complex love. Fassbender’s character in particular has an interesting manner to him, and every decision reveals more about the lengths he’s willing to go to. Marisa Abela, Tom Burke, Naomie Harris, and Rege-Jean Page all round out a great ensemble cast, each of whom has unique and intriguing characteristics and flaws.

Soderbergh has tested the limits of filmmaking with a number of his films recently. Though he takes a more traditional approach here, the writing and aesthetic still feel large and thoughtful, with the pace flying by and the turns the story takes becoming more and more exciting. With perfectly cast characters and a smart story, Black Bag definitely ranks high for the director’s more recent efforts.

03.11.25
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Mickey 17

Mickey is an Expendable on a expedition to the space colony Niflheim — meaning a new copy of him is printed out every time he dies, which is more often than others. Soon, trouble ensues as Mickey finds himself in a dangerous situation and a fight to survive.

Bong Joon-ho’s likely largest production in sheer scale isn’t subtle in its themes, whether of human nature, fascism, or the arrogant abuse of technology, but it’s still clever, vibrant, and so full of heart, more than enough so to serve as an absolute blast of a film. The look and feel of the sci-fi settings feels original and Pattinson’s delivery of the titular character is likable. Mickey 17 is an insecure man/clone who’s somewhat at peace with the bleakness of his situation, but is fun to follow along and has the sudden urge to stay alive and fight for what’s right. He also has great chemistry with himself as Mickey 18, who’s only a few hours older than 17 but almost the polar opposite — hardened and occasionally ruthless. Naomi Ackie gives the film its soul; she’s so lively and wonderful as Nasha, who elevates Mickey as much as she’s on her own meaningful journey. Steven Yeun also shines as a sleazy and unrealiable but multi-dimensional frenemy of Mickey’s. The parallels between Mark Ruffalo’s character and certain powerful men in our reality aren’t hard to decipher, but he and Toni Collette entertain, even when their performances occasionally threaten to fall into caricature.

Mickey 17‘s magic is finding the humor and gentleness within the darkness. Mickey always sees his situation with a sense of irony, but Bong also finds care and soul within side characters who usually would feel disposable in other films. He never loses sight of the absurdity at hand but keeps elevating the stakes and with it, his signature expert eye. The film packs charm, exceptional world-building, irreverence, and characters we love, not despite but especially for their messiest parts.

02.17.25
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Bridget Jones: Mad About the Boy

Renee Zellweger’s iconic British protagonist has become something of a cinematic treasure across four films now. But her films haven’t made us just laugh along at her missteps, but watch her develop, and even come of age, you could say. This final film has a somewhat more bittersweet tone, though, as Bridget’s lover, Mark Darcy, is no longer in the picture. Four years after his loss, she is finally ready to move on and find love again. The film maturely tackles coming to terms with grief, finding joy again while coexisting with the memory of those who have passed on. But it’s also still irreverent, charming, and romantic. It tackles some of the basics that the first film gave a go at, but Zellweger not only shows Bridget’s goofy side, but her struggles with being a single mother of two, and the absence of her husband.

Joining the mix are Chiwetel Ejiofor and Leo Woodall, who both charm in different ways, but Ejiofor in particular has great chemistry with Zellweger. Though it does retread familiar rom-com territory, or that of comedies about parents raising children, and it’s not the sharpest or smartest of the franchise over Bridget Jones’s Baby, it still offers a good time and a heartwarming conclusion to a lovable, messy delight of a character.

02.13.25
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Captain America: Brave New World

Sam Wilson has fully accepted and embodied the role of Captain America in a post-Blip world, but comes into conflict with President Thaddeus “Thunderbolt” Ross after an international incident that unveils a deadly conspiracy.

The latest Marvel Studios film, which tries its very best to pay tribute to political conspiracy thrillers such as In the Line of Fire and The Pelican Brief, occasionally entertains but ends up retreading too much familiar ground and feeling too flat. Though it’s great to see Mackie donning the titular suit and in the leading role on the big screen, his character isn’t given real meaningful impact besides what he already went through before and represents for others. Harrison Ford brings a deeper gravitas to Ross than we did in William Hurt’s portrayal of the character, but other characters leave much to be desired, particularly those played by Shira Haas, Giancarlo Esposito, and Tim Blake Nelson. The antagonist has an intriguing backstory but hardly feels plausible in his strategies and dialogue. Though Danny Ramirez gives a fun performance, Carl Lumbly is the only one giving real soul to the film as the fascinating Isaiah Bradley.

The film stumbles in its attempts to show the political consequences of some of the past MCU films, which is interesting but doesn’t deliver anything powerful besides a cool action backdrop. The script as a whole starts off much better as it ends, but even then is mostly rehashing ideas from The Falcon and the Winter Soldier, such as dangerous super soldier villains and the political and national representations of Captain America. Even compared to that miniseries, this film has far less soul, wit, or intrigue, with a half-baked villain plot that doesn’t lead to much. It also feels somewhat implausible compared to the rules that past MCU projects have set, but sadly, the film ultimately feels empty because it’s devoid of real thematic weight. Any attempt at such felt lousy and recycled, particularly the third act, in which the CGI is distracting and the resolution is rather underwhelming. Attempts to set up what’s to come in the MCU feel forced, and though this may feel serviceable enough as a big action film, it’s underwhelming as a Captain America film (considering how stellar the action and themes were in the first three) and ultimately forgettable, which is not what a film with Sam Wilson as its protagonist should be.

02.09.25
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A Complete Unknown

Bob Dylan as a person has always seemed to be an enigma, as this film’s title hints. But his art has captured, moved, and inspired generations. A Complete Unknown isn’t as interested in cracking Bob’s code, rather portraying him as a complicated man searching to evolve through his music and art, while Timothee Chalamet, over the course of the film, becomes Dylan through his musical commitment and showing both his more grand and uglier sides. He channels Dylan’s layered voice beautifully, while also portraying him as a wild card, who was occasionally destructive towards others on his journey towards fully realizing himself.

Though the film will absolutely make you want to learn more about Dylan’s impact and accomplishments, it’ll definitely have you as eager to discover more about another folk singer as well: Joan Baez. Every time Monica Barbaro graces the screen in A Complete Unknown, she brings an enchantment and captivation in the role, with a singing voice so transfixing you wouldn’t believe she only first learned to sing to play Baez here. Edward Norton shines as the optimistic if fixated and unapologetic Pete Seeger, as does Elle Fanning as Dylan’s love interest Sylvie. James Mangold’s direction, including the shot-on-film look, the production value, and the musical scenes all demand a theatrical watch to experience the folk music being performed with such powerful sound design and aesthetic. Even as someone who was never quite pulled to the genre before, the film makes you feel the power of music in inspiring, changing, and moving others.

Though the first half is rather fantastic, the second half gets so caught up in the stunning musical sequences that the story does unnecessarily slow down, and though the ending is satisfying, there is a little more impact to be wished for. But it still succeeds due to its incredible look and the commitment of its actors, with Mangold yet again proving himself an expert storyteller and filmmaker. The film takes you throughout a moment in time, history, and culture, and makes a strong case for its resonance, and for the awards buzz for Chalamet’s remarkable work as the renowned musician.

02.08.25
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I’m Still Here

I’m Still Here takes place during the tightening grip of a military dictatorship in Brazil, 1971, focusing on a real family that suffered a horrific injustice at the hands of their corrupt government. However, Eunice Paiva emerged stronger than ever from the most unimaginable of tragedies and suffering — as a woman and a mother. Fernanda Torres gives a subtle ferocity to Paiva and the film: a ferocity to both her love and her agony. The film does too good of a job making you connect with the beautiful family of Eunice, Rubens and their children, before their reality is shaken forever. When the film takes this dark turn, you feel the anguish and horror with Eunice, and the impact of this part in the film never quite leaves you, even as the film continues throughout time in her life. Throughout this time afterwards, Eunice’s love preservers throughout grief, and she makes unthinkable choices, that make you think about their unexpected nature.

The film is a reflection of fascism throughout history and its deep-seated ripples on an individual, a family, and a society. The aesthetic evolves throughout the different tones of the film, and though it goes on for five minutes too long at the end, it hits hard with its devastating themes and moving story. It’s a deeply powerful and heart-wrenching film about loss, grief, and the barbarity of fascism made unforgettable by Torres’ leading performance and the difficult yet remarkable subject material.