Star Wars: The Rise of Skywalker

The final chapter of the legendary story that’s spanned generations, The Rise of Skywalker follows the Resistance taking a final stand against the First Order, as Rey, the last of the lightsaber-wielding Jedi, prepares to face off against the Supreme Leader Kylo Ren.

Star Wars: The Rise of Skywalker takes the challenge of concluding a culturally treasured story that’s spanned four decades head-on, yet sacrifices something important in the process. Part of Star Wars is taking you away from reality and over to a galaxy far, far away, and this film succeeds at making the eye-popping visuals stand out in every shot, especially if you watch it in 3D, as you should for every Star Wars movie considering the grand scale they have to offer. John Williams, one of the real MVPs of the franchise, has composed every film in this saga and once again stuns with his beautiful musical scores. The cast still has plenty of energy and heart, especially the trio of protagonists — Daisy Ridley’s Rey shows plenty of emotion and energy and it’s hard not to love her character as she embarks on the final chapter of her adventure, and John Boyega’s Finn, as well as Oscar Isaac’s Poe, are very lovable as the daring fighters who are eager to lead and defeat the First Order for the greater good of the galaxy. It’s difficult not to enjoy whenever the lovable Chewbacca, C3P0, or BB-8 are on-screen either. The late Carrie Fisher also appears as General Leia, and although her appearance is very small, it’s a welcome and bittersweet one. Also returning from the original trilogy are Mark Hamill and Billy Dee Williams as galactic legends Luke and Lando — if only they had a bit more to do on screen, though. Unfortunately, nobody really gets a meaningful arc this time except Rey, but even her arc gets muddled and confusing by a decision that harms the emotional weight of the previous two installments. Not even Adam Driver, who plays the main antagonist in Episodes VII and VIII, gets much to do. In the last film, Kylo Ren became the Supreme Leader of the First Order, but instead of utilizing that brilliant and original idea of having a young, conflicted boy become the head of the evil, tyrannical organization, he ends up answering to Palpatine for most of the film, and I’m not sure if Palpatine’s role in the film was even warranted. Finn’s a deserter of the First Order who’s become a sign of heroism and bravery for the Resistance, but that isn’t explored as an important character trait anymore — hell, he’s no longer a multi-dimensional character anymore, barely anyone is in this movie. Naomi Ackie is introduced as a new character named Jannah. Her character seems fantastic, yet they do absolutely nothing with her character other than make her stand next to Finn for the film’s entire second half, so unfortunately we’ll never know anything about her or if she was really as great of a character as she could’ve been.

The runtime is stuffed with so many ideas that either don’t make sense or are rushed past in the blink of an eye; it felt so rushed that it was almost like Disney mandated them to not make it a minute longer. The editing in The Force Awakens was so excellent it even received an Oscar nomination, but here the cuts are so fast and occasionally feel unnatural. In the other films, the action scenes feel nuanced but the ones here are so quick that it’s going to be hard to look at them as “scenes” for their filmmaking and purpose. In a movie with so much fighting, I ironically can’t remember a specific moment where the action is notably impressive, although it’s thankfully loud and colorful enough to be engaging, yet not resonant. In the predecessor The Last Jedi, I was shaking in suspense for a lot of the film, but unfortunately in The Rise of Skywalker, there isn’t really a moment where I had that same feeling. Maybe it’s because although there’s so much plot, the script never gives us a moment to breathe or just develop the characters emotionally. Without any emotional arcs being set up, we can’t be concerned about what’ll happen to them later in the film. There’s also a few iffy lines of dialogue that either felt like placeholders or sub-par ways to convey ideas that could’ve come off as stronger. The movie also has plenty of moments that allude to the previous films, such as A New Hope and The Empire Strikes Back, and these moments will work well because how much of an impact this saga has had throughout the audience’s lifetimes. Some moments will make you applaud and smile, and my theater experience with this film only reminds me how beautiful these Star Wars films bring people together, even after 42 years. However, by the end The Rise of Skywalker doesn’t feel like the natural continuation of the trilogy’s story, but rather like it’s trying to be the antithesis of The Last Jedi. Many of the powerful decisions Rian Johnson made in VIII feel undermined by what J.J. Abrams chooses to do in some scenes, and instead of going with the flow of the story, it feels like he disregarded the tone and value of the previous film, and even his own film The Force Awakens (I’m not even sure what the tone of this movie is, if I’m being honest). Abrams is a filmmaker I regard with lots of talent towards bringing a sense of wonder and imagination towards the screen, and it’s unfortunate because there so many moments of greatness throughout that are harmed by the light-speed runtime (which although, at 142 minutes, is longer than most other SW films, still feels incredibly rushed and overcrowded), and the director’s working against the story that he and Johnson established so well before. Although the actual ending of the film and the Skywalker Saga is nicely done, the final chapter of the journey there should’ve hit home as well. Regrettably though, it’s the least risky and exhilarating film of the bunch (although it’s arguably better than the prequels, which to me don’t capture the true meaning of Star Wars that well).

Star Wars: The Rise of Skywalker is the conclusion to one of the most beloved stories in the history of not only film, but also the art of fiction itself. Unfortunately, as an enormous fan myself, I found myself disappointed. the overabundance of ideas Abrams tries to fit into a crammed runtime (if you ask me, they should’ve taken a page out of Marvel’s book and made the movie 3 hours in order to give this saga the fitting send-off it deserved), and the choice to emphasize too much fan service over a sufficient amount of character/emotional payoff end up harming the story that was so beautifully constructed in the past outings of this trilogy. This feels like a great film that was cut in half and then made some frustrating last-minute decisions that don’t even impact the later events of the film, and the main characters’ arcs would’ve been much stronger without these decisions. While there were definitely some plot points I enjoyed and the vibrant visuals and world-building, as well as the film’s role in concluding the franchise, will excite most audiences and incite instances of applause, the lack of boldness and spirit makes this the least gripping and rewarding film in the sequel trilogy, despite the satisfying nostalgia that makes for an awesome theater experience when you’re watching it with other Star Wars-loving audience members.

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Ford v Ferrari

American car designer Carroll Shelby and driver Ken Miles must battle corporate interference, the laws of physics and their own personal demons to build a revolutionary race car for Ford and challenge Ferrari at the 24 Hours of Le Mans in 1966.

This film could have easily ended up being a disposable, formulaic biopic if it weren’t for the directing talents of James Mangold and the incredible pairing of Matt Damon and Christian Bale, two of the most multi-talented performers around. Their talent shines with every moment they’re on the screen, and it’s hard to imagine the film without them. Bale, especially, brings so much energy to his cocky, rebellious persona, which is converted into life breathed onto the screen and joy watching him perform. Although it may be underwhelming for those who still have his transformation in Vice fresh in their minds, it’s hard to criticize the show-stealing skills he brings to every role, including this one. The racing scenes are loud and exciting, pulling you to Le Mans ’66 with top-notch production design, costumes, cinematography, and sound design. The dialogue is witty and engaging, with great tastes of humor throughout but also moments of drive, passion, and endurance to the finish line, both mentally and literally. There’s also a good amount of grounded material for Bale’s role, and a little less for Damon’s though he does get his moments to shine, especially in the opening and final scenes. The movie’s 152 minutes but you don’t feel the length at all — however, I would’ve omitted maybe 5 or 10 minutes as one plot point basically repeated itself at one point in the film. The one more thing I wish we got is a little more stakes — if Ford doesn’t win this race, what do the characters lose? Does Ferrari have anything to lose either? We don’t see much of this perspective, which could’ve added a bit more tension to the race against time to build and race the greatest car in the world. It overall does follow the basic racing/biopic/sports film formula, yet its the performers and behind-the-screen craftsman that make the film stand out over similar films such as Ron Howard’s Rush, another great racing film from the decade. There’s also plenty of laugh-out-loud moments, like I said, as well as a few somber moments, all of which hit home and blend together strongly.

Usually sports biopics like these focus on nothing other than to pull in lots of audiences with mainstream tropes, but in the case of Ford v Ferrari, “crowd-pleaser” is actually a term I’d use to compliment it — it caters to the wide audiences with excitement and humor, yet never sacrifices intellect or humanity for the loudness and prestige. Sure, it’s familiar at times, but the two names on the poster should be enough to get you excited — and if that’s not enough to convince you, it’s got adrenaline, spirit, and soul — This is the kind of film that was made to bring people together.

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The Lion King (2019)

Disney has been dominating the decade with Marvel, Star Wars, animation (both Pixar and their titular studio), but their series that has divided people the most is their live-action remakes of animated classics. So people were most excited but also nervous when it came to the photoreal-but-actually-still-animated remake of their defining animated feature from the 20th century, The Lion King. First off, on a visual standpoint, this movie is an achievement. It follows the same reign of The Jungle Book in recreating iconic characters and setting to look as real as possible, and it really delivers. All the animals and sets look like an actual picture, even though not a single frame was actually there. It’s amazing to see how far visuals have gone these days, and Disney has been headliner these last few years in consistently breaking the boundaries of what can be done with a computer, whether it’s the amazing action in Avengers and Star Wars films or breathtaking animation in films like Toy Story and Incredibles — but the feats of the CGI completely pay off here in making the illusion unnoticable and making it feel like a more immersive journey. The film is perfectly casted with Donald Glover shining and making something of his own out of Simba’s role here, and it helps that he’s experienced in both acting and singing. Also huge standouts are Timon and Pumbaa, who are scene-stealing and Seth Rogen’s voice espeically fit for Pumbaa. Also worth pointing out is John Oliver who is hysterical as Zazu. However, for some characters, like Scar for example, it’s sometimes hard not to make comparisons to superior versions, like Jeremy Irons who was perfect in the 1994 version. Perhaps neither he nor James Earl Jones needed recasting (the latter of which was thankfully able to return as Mufasa). Speaking of roles from the original, Rafiki’s role was unfortuantely reduced this time around so he feels like less of a mentor to Simba and barely even has dialogue.

The musical numbers are still very fun, espeically the classic “Hakuna Matata”, and the “Lion Sleeps Tonight” gag is extended and made even funnier. The shame is that they shortened the Scar’s menacing anthem “Be Prepared” to be much slower but as a result feels more like a whispered spoken word poem than a song. The Lion King is stuck in a loophole in terms of delivering for fans because people want a remake to somehow reinvent the story but at the same time poeple get angry as soon as something major is changed. Unfortuantely, some of the changes made in this remake are for the worse, and other than that, a lot of sequences in the film or a shot-for-shot copy-paste of what we’ve already seen. A lot of the dialogue is the same as well, and I just wish they had added some more story to what we already know because the fact that we recognize every scene and line so well will eventually make things boring. On the bright side, it manages to retain some of the soul that reminds us why we love the original so much (themes like confronting your past or lines from Mufasa about the truth of being a wise king). The problem is that once these characters are animated to look photorealistic, they can no longer exaggerate emotions like the original iterations do — Scar is no longer a charismatic Shakespearean character, and every character just looks like an animal talking. This movie has incredible visual technology that deserves plenty of praise for Jon Favreau, maybe next time he could have used it to make original content rather than remaking known stories, or just added a little more that we haven’t seen before to do something new with the story.

The Lion King is a visual marvel and filled with nostaliga, but it’s greatest strength and weakness is that it’s almost exactly the same as the original. If the original Lion King was so perfect, why change anything? But why do we want to see the same movie over again? That’s the problem that this new remake finds itself in which is why despite being nice to look at, the script is beat for beat the same, which is why the only way this movie can really be appreciated is in 3D and on the biggest movie screen you can find. Does it offer much new? Not really, or even at all to be honest. But in terms of recommendation for the theaters I have to say go for the visuals and for the story which still stays strong, but the emotional expressions that came through the original versions of the characters (which didn’t need to feel photoreal and therefore could be exaggerated for animals) is exactly what will make the original Lion King forever superior.

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Yesterday

Jack Malik is a struggling singer-songwriter in a tiny English seaside town whose dreams of fame are rapidly fading, until a freak bus accident during a mysterious global blackout, after which Jack wakes up to discover that nobody except him can remember The Beatles. Soon Jack makes a life-altering decision that sends him to fame as he starts taking credit for the band’s forgotten songs.

Yesterday is a movie with a fantastically original premise, compared to the same recycled formulas in a lot of genres. Though it does sometimes get stuck in mediocre rom-com tropes, like a cheesy romance in the second act that doesn’t know where it’s going until the very end, this movie takes advantage of its genius idea and makes for a fun, humorous, and interesting two hours. Himesh Patel is not only fun and charming but also sings really well and was well-cast — he hasn’t been in much before but may soon make a name for himself after his starring role here — and also entertaining are Lily James as his best friend, and Ed Sheeran as himself — the singer who helps Jack skyrocket to stardom. However, one character I found to be annoying was his manager played by Kate McKinnon, whose comedic turns I usually enjoy on Saturday Night Live, but here her character was simply irritating and unlikable. It’s no surprise the music is so enjoyable — they chose the best band to make this movie about, and as a huge Beatles fan myself, it’s great to hear them all through the film, and luckily they cast a great actor who can sing as well. There’s also plenty of humorous moments I didn’t expect and the jokes almost always land. Like I said, the second half does lose a little bit of steam but once you see where it all ends up, you get to take in some of the themes the movie is going for. There’s also another sweet theme about how the most iconic of pop culture is what touches people’s hearts and should be kept alive. As one character says, “A world without the Beatles is a world infinitely worse.” So I have to applaud director Danny Boyle and writer Richard Curits for creating one of the most original films of the year that sometimes doesn’t avoid genre tropes but the fresh plotline makes for some truly great moments, and there’s also plenty of excellent musical moments as well. When everything that’s out has to do with killer toys, superheroes, and animated animals, why not try something new for a change and support this one-of-a-kind film I bet you won’t regret seeing in theaters.

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Men in Black: International

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In this Men in Black spin-off, new agent M arrives at the MIB London headquarters and teams up with senior agent H to find a mole in the organization and stop an alien being from destroying all life on Earth.

The Men in Black movies have been very unique and enjoyable in the past, with moments that many generations can remember or quote — so it’s a shame this new installment is just pretty standard. It’s a movie we’ve seen god knows how many times — two agents/cops have to get along and fight bad a guy, but turns out it’s not who it seems. One golden aspect of the MIB films is the main duo, agents J and K, so they really needed to nail that without Will Smith and Tommy Lee Jones around. Chris Hemsworth and Tessa Thompson are the saving grace of the film and play off each other well, like they have in the past as a lovable duo in Thor: Ragnarok and Avengers: Endgame. Thompson especially delivers a great performance as the rookie agent discovering a huge world of extraterrestrial friends and foes. Kumail Nanjiani is also clearly having fun voicing an alien named Pawny, because… well, he’s a pawn. Get it? But the thing about cast members like Hemsworth and Liam Neeson are that they basically play the same types of characters we’ve already seen them play — give Agent H a magical axe and I would’ve certainly thought he was Thor. Some of the exposition gets uninteresting and the villain does nothing for the film, and barely any of the humor lands, whatever does was already shown in the trailer. Also, this is an action movie, and while the action here will keep most viewers in their seats, that’s just about the best compliment I can give it. I found the action to be dull and boring and it feels too much like the other films — or any action film, in that matter — to be praised, but most viewers will find it not bad enough to at least sit down in front of. The visuals are sometimes serviceable but there are even moments when the green screen and set design seem too obvious and stand out in a bad way. There’s also a huge plot twist in the final act that, well, I saw coming before the movie even began. The final battle is the most boring part and the ending is also very silly. I don’t know if they’re planning on making more of these films, but they should get new writers and directors, and also the original titular duo, on board to make it better.

Men in Black: International hits all the familiar notes, and you won’t really remember it after watching it. It has an enjoyable cast and some moments the general audience will enjoy if you’re looking for a light-hearted action film, but if that doesn’t necessarily mean a good film in your books, then you should just give it a go.

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The Light Between Oceans

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After a lighthouse keeper and his wife living off the coast of Western Australia rescue a baby from an adrift rowboat, they must decide whether to keep her and raise her as their own or report her to the police. Derek Cianfrance has brought us something truly beautiful with The Light Between Oceans, a poignant, tear-jerking, well-acted piece of film that will impact you emotionally like no other movie this year. Michael Fassbender and Alicia Vikander are astonishing in the film’s lead roles. Fassbender conveys every little emotion his character feels without having to use words. I don’t know if his performance here can beat what he gave us in last year’s Steve Jobs, but this film is undoubtedly another great example of how incapable Fassbender is of delivering anything less than great. Vikander fabulously helps carry the film and delivers what is by far the greatest performance of the year. It was hard to imagine her out of character for a moment because of how impeccably and marvelously she portrayed her role. She brings so much emotional strength that it even becomes disturbing in a few scenes. I haven’t seen too many performances like her’s in recent years. Rachel Weisz is also emotionally exquisite in her strong supporting performance.

The Light Between Oceans doesn’t only bring the best out of its A-list actors. The cinematography is dazzling and the score from Alexandre Desplat is easily the best this year. Every shot in the film is captured so gorgeously and perfectly, and it’s all accompanied very well to Desplat’s marvelous soundtrack. The movie tries very hard to get you emotional and depressed, and thankfully it doesn’t miss. Some scenes in this film managed to break my heart and almost made me shed a few tears. There are parts that are very tough to watch, so I’d only recommend this film for teens and older, but every one of these scenes are boasted by the cast’s strong performances and nearly flawless directing. I’m so impressed by how Cianfrance was able to put all of this to film and capture it so powerfully. All of this is what ultimately makes The Light Between Oceans a modern cinematic achievement.

The Light Between Oceans is gorgeously shot, acted, and directed, and is easily one of the best and most depressing films I’ve seen in theaters this year. It slows down a tad in the final act, but there’s no doubt to say this is the first true Oscar contender of the year. I can’t understand what critics find to be so mediocre about this movie, and I’d highly recommend you go see it if you’re 14 or older.

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War Dogs

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War Dogs is based on the true story of two young men, David Packouz and Efraim Diveroli, who won a $300 million contract from the Pentagon to arm America’s allies in Afghanistan.

War Dogs is surprisingly one of the smartest and most entertaining movies of the year. With two excellent leading actors and superb writing, this movie is very hard not to enjoy. Jonah Hill and Miles Teller both kill it as two twenty-something-year-old arms dealers who became millionaires by forging their way to million-dollar deals and eventually, driving Porsche’s too. Hill is unforgettable, bringing so much fun and wit to his role, and Teller is filled with soul as Hill’s partner-in-crime, as well as the film’s narrator.

This movie is being sold as a comedy, and as much gut-busting humor that’s included in the film, I would look at it in a more broad way as a hybrid of The Big Short, The Wolf of Wall Street and Catch Me If You Can. I was especially reminded of Spielberg’s Catch Me If You Can because of the idea of young men making bad decisions, as well as an awful lot of money, with Hill and Teller’s roles resembling DiCaprio’s portrayal of con man Frank Abagnale, Jr. Although the characters in this film weren’t always in illegal business, but in both films the characters decide to cheat their way to the American dream. Even though this movie is from the director of the Hangover trilogy, don’t expect goofy and nonsensical humor, because War Dogs is a LOT more than that.

If you like watching movies about true stories that you wouldn’t believe actually happened at first, then this is the movie for you. The plot is heavily fictionalized but the overall story is true, and it was a story that was not just interesting to watch, but entertaining as hell to sit through. The movie is less than two hours long, but not a moment felt rushed. The script never provides a dull moment, and there are some scenes and lines that will be difficult for you to forget. Don’t expect much action from this film either, because that’s not what War Dogs is about. War Dogs is a dangerously true story, that’s more of a dramatic than a comedic or thrilling movie, and that may be hard to believe but also very hard to forget. Please give this one a watch in theaters if you want a remarkably awesome time at the movies.

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Pete’s Dragon (2016)

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A reimagining of Disney’s cherished family film, Pete’s Dragon is the adventure of an orphaned boy named Pete and his best friend Elliott, who just so happens to be a dragon.

Disney is continuing their surprising streak of great live-action remakes with Pete’s Dragon, which is based on the 1977 live-action classic, instead this time, the dragon is given a visual update with CGI instead of being hand-drawn. And once again, Disney succeeds at bringing a charming, family-friendly world of CGI to life. Although there isn’t as much visual weight and realism to the dragon as there was to the incredibly photo-realistic environment and characters in this year’s Jungle Book, there’s enough charm and fun to make it another solid and spirited Disney family flick. The is a splendid cast that helps carry the film that includes Bryce Dallas Howard, Wes Bentley, Karl Urban, and Robert Redford. Oakes Fegley, the child actor who plays Pete, does a remarkable job acting in front of his costars and sometimes in front of nothing (in the scenes in which his character must interact with Elliot). The majority of the film, however, didn’t require as much interaction with computer-generated surroundings as the leading child actors from The Jungle Book and The BFG, hence making Fegley’s performance less impressive and unique as the other actors and overall, I felt much more connected to the leads from the other two films. The standout of the cast is definitely Howard, who brings lots of life and energy to her character and delivers a notable performance from the film.

This movie may be a great time for families and especially younger kids, but that’s really the only target audience for the film. If you watch this film looking for a great story, you might not be satisfied. The story has lots of soul, but the film’s second half starts to slow down a little bit before entering familiar territory and following a formula used by too many family films.The story of a kid trying to protect an extraordinary being while the adults’ greed and fear prevents them from understanding the situation as well as the protagonist has already been used plenty of times. E.T. and How to Train Your Dragon are just a few examples of films that follow the exact same formula during most of their runtime. When the movie tried to get exciting during the final act, it was hard for me to care because of how cliched it mostly was. However, the film concludes with a great message about family and preserving your surroundings.

Although it does get too familiar at times, I can bet you Pete’s Dragon will be a great time if you go see it with your family, with lots of soul and great underlying messages, as well as outstanding cast members and writing. I wouldn’t recommend this if you’re looking for the best movie out there, but if you want to see a fun and touching family film, then Pete’s Dragon is unlikely to disappoint you.

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Jason Bourne

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Jason Bourne (Matt Damon), the CIA’s most dangerous former operative, is drawn out of hiding when old ally Nicky Parsons (Julia Stiles) finds him, to uncover more explosive truths about his past.

Jason Bourne reminds us that the series it belongs to is still one of the greatest action franchises out there, especially with Paul Greengrass in the director’s chair, and Damon in the spotlight. In 2012, we got The Bourne Legacy, which starred Jeremy Renner instead of Damon and failed critically because it didn’t feel much like a Bourne movie because of Damon’s absence and the lack of everything that distinguishes a Bourne movie from a regular action movie. In this film, Greengrass shows us that this series can still return to form after a mistake like that. Jason Bourne follows the formula set by the first three films, with lots of impressive shaky-cam action while Bourne is running from the CIA. However, it gets even more personal this time around, as he starts to uncover a final secret from his past. The story isn’t very new but as a huge fan of the series, I never lost interest thanks to the pacing and intense action. Damon is still fantastic as the titular character, even fourteen years after portraying the character for the first time. He never loses character both physically and emotionally, and it’s so much fun to watch him constantly kick ass in all four of these films. Tommy Lee Jones portrays a ruthless CIA director who’s as perfectly written and developed as Chris Cooper’s antagonist in the first film, while Alicia Vikander is superb as a CIA agent that, in a way, resembles Joan Allen’s Pam Landy from the previous movies. Although both characters feel familiar, they are most skillfully portrayed by two excellent casting choices for their roles. Vincent Cassel is also a great villainous newcomer to the series, with an interesting backstory and great writing to his character. It’s so impressive that even though the main characters are part of the franchise’s formula, each one of them was written so profoundly, and I loved the way they were developed and portrayed.

If you’re hoping to get some spectacular action sequences from this movie, then you won’t be let down because there is plenty of intense bone-crunching and heart-racing action that’s just as great as what Greengrass gave us in Supremacy and Ultimatum. There’s an epic motorcycle chase during a riot that glued my eyes to the screen, as well as an enormous car chase in Vegas that kept me on the very edge of my seat. The incredible use of practical stunt and shaky camera work definitely hold up. Cinematographer Barry Ackroyd is more reliant on shaky cam than Oliver Wood, who shot the original trilogy; Ackroyd has however proved to be a master at capturing exquisite action and scenery with his style in films like The Hurt Locker and Captain Phillips. Here, his style may feel overdone to some, but I believe the camerawork was done impeccably, especially during the action scenes. A lot of critics have sadly been disappointed by this movie, saying it doesn’t live up to the previous work of Damon’s Bourne pictures, but let me tell you that skipping this movie is not the right move for fans of action movies and especially of the saga. Jason Bourne gave me everything I wanted and even more. It’s strikingly written, phenomenally acted, and stunningly shot and directed. It’s definitely on par with the first three films, probably even better than Supremacy. The Bourne movies have truly raised the bar for action movies, and I haven’t seen many others like them. Jason Bourne is another fantastic example that did not disappoint, so please, despite what many critics have said, go see this movie with an open mind like I did, and who knows how much you may end up liking it?

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Suicide Squad

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In DC’s latest attempt to recover from the backlash received by this year’s Batman v Superman, A secret government agency recruits a group of imprisoned supervillains to execute dangerous black ops missions in exchange for clemency, which inevitably leads to chaos.

Suicide Squad was easily one of my most anticipated movies of the year, but I was also expecting so much from it, and unlike other films that unsurprisingly disappointed, I was almost certain I was going to get everything I wanted from this film. With great casting choices and an intriguing story, I didn’t think anything could go wrong. However, despite a few perks, Suicide Squad is ultimately a chaotic and poorly constructed supervillain extravaganza. This movie isn’t completely bad, as most of the action is tons of fun and the film’s cast is packed with awesome and entertaining performances. Will Smith leads the cast with great humor and writing, and Margot Robbie steals the movie with her insane and lively performance as Harley Quinn. Robbie always seems like she’s having so much fun in the role, as she’s always full of energy and she definitely lived up to what I expected from her. Joel Kinnaman, Jai Courtney, Viola Davis, and the rest of the cast are solid and mostly funny. I expected more, however, from Jared Leto. His take on the Joker is nowhere as memorable as Heath Ledger’s take on the psychotic villain in Nolan’s The Dark Knight, and his role is of little significance in the film. The DC universe just wastes this character in the film and I didn’t like his use in the film, although I liked Leto’s performance. Another thing I enjoyed about the movie was the amount of humor incorporated in the movie, and how much it delivered. Characters like Deadshot, Harley Quinn, Killer Croc, and Captain Boomerang were hilarious and delivered some great lines. I was impressed and overall satisfied by how much the movie made me laugh. The action mostly entertained me as well.

I was hoping Suicide Squad could help DC recover from Batman v Superman‘s terrible failure this year, however, I was wrong. Like its predecessor, the movie suffers from many continuity errors and plot holes. Many things happen that don’t make any sense later on, and although the movie tries hard, there is ultimately no emotional weight that got to me, and by the end, the story felt completely empty and pointless. The editing is too choppy and flashy, all the takes are transitioned through too quickly, and I could tell that too much was cut from the film. Not much is explained and regarded that I wish was addressed to have made more sense. A lot of the development for more minor characters was not there, so emotionally there was nothing this film gave me. Despite the backstories provided for more major characters like Deadshot and El Diablo, nothing hit me deep like other films of its genre, like Guardians of the Galaxy and other films in the Avengers saga. The film’s villain also did nothing for me, as the villain’s plot and presence were dull and effortless. The ending of the movie makes the plot and even the film itself feel so pointless and nothing seems to be in its place anymore. You may want to watch Suicide Squad for a few fun action sequences and good laughs, but don’t expect a redeeming summer blockbuster for DC, or anything close.

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