It (2017)

Matt Brunson started his review by saying, “In its original hardcover incarnation, Stephen King’s It ran 1,138 pages, second only to The Stand’s 1,153 pages in terms of finding the prolific author at his wordiest. Given that generous length, it’s not surprising that It (and The Stand, for that matter) found itself being fitted for a television miniseries slot rather than a motion picture release, resulting in a 192-minute two-parter on ABC back in 1990.” Of course, in this time where many popular books are broken into two or three movies (“The Hunger Games: Mockingjay – Part 1 & 2” and “The Hobbit” trilogy, for example), it’s not surprising to find a studio willing to allow King’s book a chance to have its story stretched across two films.

Brunson said, “In its original hardcover incarnation, Stephen King’s It ran 1,138 pages, second only to The Stand’s 1,153 pages in terms of finding the prolific author at his wordiest. Given that generous length, it’s not surprising that It (and The Stand, for that matter) found itself being fitted for a television miniseries slot rather than a motion picture release, resulting in a 192-minute two-parter on ABC back in 1990.” This is the right way to split the story, and what’s offered in this first part, released in 2017, is mostly good stuff.

Obviously, the main attraction is Pennywise the Dancing Clown, the evil being that’s kidnapping and killing the children of a small Maine town in 1989. Brunson noted, “Bill Skarsgård needs some help from the CGI gods to make his Pennywise as memorable as Tim Curry’s superb interpretation from the miniseries, but he nevertheless does a fine job of bringing this monster to life.”

The seven kids cast as the members of the self- rubbed Losers Club, reluctantly ready to fight Pennywise, are perfectly cast, with Sophia Lillis as Bev, Jack Dylan Grazer as Eddie, and Jeremy Ray Taylor as Ben particularly memorable (the other members include Jaeden Lieberher as Bill, Finn Wolfhard as Richie, Chosen Jacobs as Mike, and Wyatt Oleff as Stanley).

Brunson compared, “Indeed, the sequences in which the kids merely relate to one another are among the film’s strongest, stirring memories of the exquisite Stand By Me (another adaptation of a King property). These scenes never wear out their stay, which can’t be said of a couple of the extended horror set-pieces that verge on overkill.”

Interestingly, the 1990 miniseries was at its best when it focused on the adolescent protagonists – despite solid performances by Richard Thomas, John Ritter, and others, the adult parts weren’t quite as persuasive, ultimately halting by a completely disappointing finale. The 2017 “It” is a respectable addition to the King novel adaptation, but it will be the adults-only second part that similarly will make or break the overall attempt.

I can’t say this is bad as there are a lot of scares, fun ideas, decent enough characters, and, in many ways, it is better than the original. I do recommend this if you want to see a scary movie. However, there is one thing the original had, which was silly and awkward, but it kind of enjoyed it. From the awkward effects, the artificial acting, the odd writing, and Tim Curry giving it his all. It wasn’t scary, but it wasn’t an over-the-top, campy TV movie. This new one is trying to be a lot of things, and you can tell it’s just all over the place, which is why the original had personality. However, if you want to see it on Max, I do think you should because I did enjoy it.

Next week, I will talk about the second part in “Halloween Month 2025.”

From the World of John Wick: Ballerina

Today, while exercising, I finished watching, “From the World of John Wick: Ballerina,” which was theatrically released in June, but on Starz last month. How is this spin-off of the “John Wick” franchise?

Sean Means started his review by criticizing, “The main problem with the “John Wick” franchise is its mythology — a problem that started when the filmmakers decided it needed to have one. Why can’t we just have an anti-hero who shoots, stabs, slices and punches his way through hundreds of hired killers and leave it at that?”

Means continued, “That problem, the mythology, threatens to choke the life out of the first “John Wick” spinoff movie, “Ballerina” — but, thankfully, the mayhem is entertaining enough, in a movie that gets a fair share of mileage out of the charms of star Ana de Armas.”

The mythology here starts with a prologue. Ana de Armas’ character, Eve, is introduced as a little girl (Victoria Comte), living in a beachside mansion with her father, Javier (David Castañeda). Then assassins break into the house, at the request of a crime boss, The Chancellor, played by David Byrne, who wants to punish Javier for trying to escape his cult-like community. Javier fights off the villains but dies in the process, making Eve an orphan.

One person decides to take in Eve: Mr. Winston, played by Ian McShane, who fans of the franchise know as Wick’s protector and the manager of the New York branch of The Continental, the sinister chain of luxury hotels that is a safe place for criminals around the world. Winston offers young Eve his help, whenever she should ask.

Eve is enrolled in a training school for future murderers. She practices her ballet until her feet bleed, learns martial arts, weapons, and other deadly skills. The school’s leader, called The Director, played by Anjelica Huston, gives Eve her first contact – which is how she runs into some of the murderers associated with The Chancellor’s men.

(Means said, “For those paying attention to the details of the franchise, Huston’s presence sets this story within the timeline of the third “John Wick” movie, “Parabellum.” This means that Keanu Reeves’ Wick is still alive — he wasn’t looking to good by the end of the fourth movie — and available for an appearance here somewhere.”)

Eve wants to chase after The Chancellor’s men, but The Director won’t allow it. If someone from her army tried to kill The Chancellor’s men, the weak peace between both sides would be destroyed. However, Eve is determined, so she asks Winston for information – which sets up the last half of the movie.

Means noted, “Director Len Wiseman manages not to gum up the action too much — which means he’s improving from when he directed “Underworld” and the “Total Recall” remake. The real credit should go to the stunt team, a factor that has put the “Wick” movies ahead of the pack, and to de Armas, who throws herself into the fight scenes with an admirable recklessness.”

De Armas’ efforts make their mark in the movie’s extended climax, which is on a mountainside village where apparently every citizen – all the way to the local barista – has deadly abilities and is happy to show them. Means ended his review by saying, “If moviegoers have to endure some mythology to get to a scene with dueling flamethrowers, that’s a price I’m willing to pay.”

As a spin-off to the franchise, I think this movie is definitely worth checking out. If you have been a fan of the franchise up to this point, then you should see this on Starz when you have the chance. You will love this movie because it keeps the action engaging and the story is very good. Eve having the same abilities that John Wick has is just amazing. Check it out and have an edge-of-your-seat enjoyable time.

Thank you for joining in on this review tonight. Stay tuned tomorrow for the continuation of “Halloween Month 2025.”

S. Darko: A Donnie Darko Tale

Brian Orndorf started his review by crediting, “2001’s “Donnie Darko” was a bona fide movie-making miracle. An exceptional motion picture that smoothly communicated surreal imagery and brain-melting concepts of time travel, black holes, and personal demons, the apocalyptic “Donnie” suffered through an ill-timed release date (ushered into a handful of theaters soon after 9/11) and dreadful marketing (or the lack thereof), left to die like so many similar low-budget mindbenders. With the release of the DVD, “Donnie” became a titan, allowing the disaffected and the curious a chance to sit down and intimately dissect writer/director Richard Kelly’s labyrinthine cult smash.” “Donnie Darko” was elegant, invitingly shadowy, and confident all around. The last thing it needed was a weak Direct-to-Video sequel to ruin its heritage.

Escaping the mournful neglect of her parents in Virginia, Samantha Darko (Daveigh Chase) runs away on a cross-country road trip to Los Angeles with friend Corey (Briana Evigan) to fulfill her dream of professional dancing. When they have car troubles, the two pull into Conejo Springs, a small town filled with a community of bigots (including Jessie Spano from “Saved by the Bell,” Elizabeth Berkley, Matthew Davis, and John Hawkes) and young outsiders (Ed Westwick and Jackson Rathbone). Forced to interact with the locals, Corey immediately takes to the alcohol pastimes of the town, while Samantha, still mourning over the strange death of her brother, Donnie, seven years earlier, finds herself attracted to the difficulty of Iraq Jack, played by James Lafferty, a hurt Gulf War I vet who has learned through visions in her nightmares that the world will end on July 4, 1995.

Orndorf said, “There’s a fiery built-in animosity toward “S. Darko” that makes perfect sense to me. There are a million needless sequels out there acting as DVD tombstones in the video store graveyards, but the complex “Donnie Darko” is hardly an ideal candidate to build a franchise upon. Surely it’s no surprise to read that “S. Darko” is an egregiously rancid film on its own, and a complete travesty as an improbable second chapter of the “Darko” saga. It’s a spineless, careless, bizarrely unadventurous number two that would rather saddle up and rehash Kelly’s original screenplay over any clear-cut attempt to cook up some juicy oddities of its own. In essence, it’s “Donnie Darko” all over again, only instead of Jake Gyllenhaal’s pleasing performance of doe-eyed psychosis we’re stuck with Chase, who barely remains awake during her line readings.”

Orndorf continued, “Director Chris Fisher and screenwriter Nathan Atkins (who deserves nothing less than a spanking for his facepalm-inducing dialogue) are obviously under orders to reheat “Darko” iconography for another round of tangent universe tomfoolery as Corey and Samantha play a lukewarm game of dead/not dead with fate. With the reappearance of Frank the Bunny (a metallic mask employed here as Iraq Jack’s method of self-flagellation), more usage of the glowing tentacles that guide dreamers to their destiny, maneuvers with multiple Living Receiver perspectives, and a ticking clock in the form of an approaching Independence Day meteor shower, “S. Darko” is going to look and sound awfully familiar to die-hard fans who’ve studied “Donnie” with grad school precision. Fisher isn’t here to rock the boat with fresh ideas, making the sequel frustratingly timid with its unmotivated weirdness, believing familiarity will be the Wonka golden ticket to assured mass acceptance, not dramatic innovation.”

Orndorf went on, “While Chase acts as the only bridge between the two pictures (good to see Samantha still harbors feisty Sparkle Motion dreams), the character is given little impetus for her hallucinations, which only emerge because of her tainted Darko blood. She’s merely a conduit for Fisher to stage his take on unrelenting “Darko” bleakness and formidable angst, crusted with a few ‘90’s pop tunes and a young cast who act dumbfounded when requested to deliver any facial gesture than isn’t a pout (Westwick is especially vacant as the smoldering, cigarette-pack-rolled-up-in-sleeve small town Romeo). There’s no scintillating drive of otherworldly measure pinning Samantha down in the feature, she’s just a drab, disconnected pawn in a cluttered screenplay that’s eager to introduce puzzling subplots and metaphysical edges, but refuses to pay anything off, just to keep up with the first film’s elusiveness.”

Orndorf went on, “The difference between this feature’s ambiguity and Kelly’s back pocket mysteries is simple to explain: Kelly is talented. He invented his extravagant world of destiny and domestic concern and knew innately how to organize and a shoot it.” “S. Darko: A Donnie Darko Tale,” released in 2009, was made from money-loving producers who maybe never really understood what Kelly was doing, but they own the rights to the first film, hoping to distantly profit from an underdog cinematic event that could never be copied.

As you may have guessed, this sequel should never be seen. If you loved the first film, don’t see this one. You will regret ever watching it, especially with the way they screw around in the film. You will be constantly asking what they were thinking, and you’ll never know. Just avoid this one.

Next week, I will be looking at another remake, but one that is not so bad, in “Halloween Month 2025.”

Donnie Darko

Welcome everyone to this year’s “Halloween Month,” where I will only be reviewing movies on Fridays. Let’s get started with the 2001 cult classic, “Donnie Darko.”

There’s a lot of talent, both in front and behind the camera, in Richard Kelly’s visionary directorial debut. Emanuel Levy said in his review, “Defying easy categorization, the film is part sci-fi, part fantasy-horror, part drama, and part satire of life in a typical American burb circa 1988. A strong central turn by Jake Gyllenhaal is a major plus, not only in unifying the fractured narrative but also in providing an emotional hook for viewers’ engagement in what’s an admittedly demanding movie. An entrepreneurial company should release this unusually original indie that holds special appeal not so much for teenagers as for the twentysomething and thirtysomething crowds who’re willing to go down memory lane and revisit their tumultuous highschool days.”

The story is based on an apocalyptic saying – “the world is coming to an end” – personified in the film by Frank, a six-foot horror rabbit (James Duval) that can only be seen by Donnie, (Jake Gyllenhaal) a perfect, all-American teenager, who is very smart, bored wisdom, and vivid imagination. Levy said, “Like Jeffrey, the young protagonist of David Lynch’s Blue Velvet, Donnie is about to discover a macabre underworld of dark secrets lurking behind the veneer of placid suburbia where he lives with his parents (Holmes Osborne and Mary McDonnell) and two younger sisters (Maggie Gyllenhaal and Daveigh Chase).”

An interesting beginning shows the fall of a huge jet engine on the roof of Donnie’s house, where Donnie is told by Frank that he’s destined for a unique reason in his life. Offering only a few prophetic clues, Frank promises a future relationship and, indeed, begins to make calls on Donnie and haunt him not only at night but also during the day.

Much easier and more available is the principal, classic American coming-of-age story that includes all the genre’s usual suspects: Levy mentioned, “an open-minded English teacher (Drew Barrymore) whose liberal reading list is attacked by conservative and caricaturistic teachers, a wise physics teacher (Noah Wyle) through whom Donnie discovers that none of the bizarre incidents happens randomly, a colorful gallery of classmates, and so on.” Like most youth movies, there’s also romantic desire, here between Donnie and a new student named Gretchen, played by Jena Malone, who, like him, is an outsider with a family problem. High school scenes, a genuine catalogue of all the awkward rituals of passage, are often hilarious, and is the appearance of New Age guru Jim Cunningham, played by Patrick Swayze, who’s hired to heal the children’s self-esteem, but predictably turns out to be a fake and a pervert.

Levy pointed out, “Audiences at Sundance were confused by the narrative structure, and felt disoriented as a result of the rapid changes in tone, from the real to the surreal and from one time-frame to another. Part of the puzzlement derived from the fact that, unlike most school flicks, Donnie Darko is not just about getting laid. In its metaphysical concerns with the inner workings of the universe, and challenging notions about time-travel, the film aims higher than most pictures of its kind.”

Levy continued, “Indeed, while the film’s arduous scope and helmer’s imagination are commendable, the execution and ultimate result are not.” With all the admiration for the elaborate special effects, they’re often excessive, distractive attention from what’s already a complicated story line, and the different subplots don’t always add up to a clear whole. Even so, whatever faults critics may find with unfolding of the plot and its ending, there’s no doubt that beginner director Kelly (a USC grad) shows command of film’s technical properties (lensing and production design are accomplished) and is also wonderful with his huge ensemble. Levy ended his review by saying, “Holding the entire picture together is an enormously appealing performance by Gyllenhaal, whose physique and acting recall the young Tobey Maguire. The other roles are small but succinctly drawn, from Barrymore to McDonnell to Wyle to Katharine Ross, who plays Donnie’s shrink.”

This is a movie that has to be seen to be believed. It is a very good movie and I recommend everyone to see it. Yes, this is very much a confusing film that goes back and forth with things, but that’s what makes it so engaging. Very much like “Inception.” This is currently streaming on a lot of places (Tubi, Pluto TV, Roku, Amazon, Hulu, Disney+, Netflix, PLEX, Peacock, Philo, CW) so you have your options of where you want to watch it.

Next week, we will be looking at the superfluous sequel that is so bad in “Halloween Month 2025.”

Happy Gilmore

Take Adam Sandler, the silly “Saturday Night Live” comic, add “Dumb & Dumber” and any sports movies where the underdog wins in the end, and you’ve got the formula for “Happy Gilmore,” a 1996 slapstick comedy.

Edward Guthmann said in his review, “It may smell awful from a distance, especially if you have low tolerance for lowbrow humor, but up close this yarn about an unlikely golf star is fairly painless.” Sandler, who co-wrote the script with Tim Herlihy, plays the protagonist, a short-tempered hockey player who joins a golf tournament to save his grandma, played by Frances Bay, from eviction.

Guthmann described, “Obsessed with hockey, Happy's got a great arm and the right attitude -- his on-the-rink etiquette makes John McEnroe look sedate -- but he can't skate for beans.” When a one-armed hockey pro, played by the late Carl Weathers, meets him at a driving range one day, and sees him hit the ball 400 yards with no problem, he immediately gives him the “Kid, you’ve got potential” encouragement.

Happy’s unsure at best. He calls golf a “sissy” sport, an old man’s game requiring “goofy pants and a fat ***.” Guthmann says, “Once he learns how much scratch he can earn with his mighty driving arm, however, and puts that together with the $270,000 he needs to save grandma's house from foreclosure, he signs up for the Pro Golf Tour.”

This isn’t easy for him. Guthmann noted, “Golf's a gentleman's sport and Happy's got the grace and decorum of a headbanger at a Metallica concert -- a fact that draws a whole new wave of fans to the sport. When Happy misses a putt, he goes ballistic and pulverizes the green with his clubs.” When he plays a Pro-Am tournament with the late host of “The Price is Right,” Bob Barker, their fight becomes one giant mess.

Guthmann pointed out, “Sandler has a brash, funky charm and a gift for funny voices that he uses to good advantage here. His basic shtick -- goofball antics and a talent for cutting authority figures to shreds -- may be limited, but the preview audience that watched "Happy Gilmore" Tuesday night ate him up. Preteen boys, especially, should love this flick.”

Every protagonist needs an antagonist, and Happy finds his in Shooter McGavin (Christopher McDonald), a bad, arrogant golf player who’ll do anything to ruin Happy – even hiring a heckler (Joe Flaherty) to mess up his game, or trying to cheat Happy’s grandma out of her house.

You don’t have to be psychic to know who excels, or to figure out who gets the house and who scores with the attractive public relations woman, played by Julie Bowen, assigned to the golf tour. “Happy Gilmore” isn’t a challenge – just a lightweight clown that knows its audience and delivers the laughs.

I remember seeing the famous “Why don’t you go to your home, ball?” scene on TV years ago, but I didn’t know what movie it was. When I was taking Chemistry my junior year of high school, my classmate told me about this movie, and I remembered that part. I saw this years ago on Netflix, and I think this is one of Sandler’s best movies. Check it out on Netflix, if you haven’t, especially if you’re a Sandler fan. You will love this movie, I promise you.

I was surprised to hear that they were coming out with a sequel, because I didn’t think the movie needed a sequel. However, Netflix announced they were coming out with the sequel this year, and it was released in July.

The time of the legacy sequel is here. The love for nostalgia could be a little skeptical, but there have been some that have worked. Netflix decided to take the chance with “Happy Gilmore 2,” and director Kyle Newacheck manages to score a hole-in-one.

Happy Gilmore and his wife, Virginia, have everything. They have four sons (Maxwell Jacob Friedman, Ethan Cutkosky, Philip Fine Schneider, Conor Sherry) and a daughter, an endorsement from Trojan, and a happy life. However, when tragedy happens and Happy is left to take care for his family alone, things begin to go downhill. He starts drinking, his sons have to move out, and he leaves golf altogether. When his daughter, Vienna, played by Sandler’s real-life daughter, Sunny Sandler, is accepted into a dance school in Pars, he realizes that he needs to get himself out of this hole and find a way to help her achieve her dreams.

Frank Manatee, played by Benny Safdie, reaches out to Happy to be the face of a new extreme golf, but Happy declines, instead deciding to compete in a straight tournament. However, when average golfer Billy Jenkins, played by Haley Joel Osment, beats Happy, they find out that Frank and his new golf need to be removed.

Alise Chaffins said in her review, “I’ll say right now that if you enjoyed the 1996 film Happy Gilmore, then you are almost certainly going to enjoy Happy Gilmore 2. This sequel blends jokes and cameos from the original movie with enough new material to keep this from feeling like an entirely superfluous cash grab.” While there are some similarities between the two, Happy Gilmore has grown at least a little, and that makes this sequel a really enjoyable time for fans.

It's clear when you watch “Happy Gilmore 2” that everyone in it is enjoying themselves. Sandler wears his Timberlands again flawlessly. Christopher McDonald is hilarious once again as Shooter McGavin. Ben Stiller reprises his role as Hal and has completely new set of jokes for fans. Chaffins said, “I wish Bowen had been given more to do, but every scene she is in, she’s magical.”

This movie has a lot of the same style of humor that was in the original, which is to say that it’s really juvenile. However, where the original has some jokes that have aged poorly, the sequel acknowledges that and makes some changes for the better. Don’t worry, “Happy Gilmore 2” knows its audience and gives plenty of what you expect. There are some incredible jokes when Happy is hiding his drinking, the callbacks are very funny, and the final round of “super golf” is absolutely hilarious.

Revisiting movies from the 90s can be hit or miss. Chaffins ended her review by noting, “There is often a lot of entertainment found there, but there can also be some pretty cringey moments. Happy Gilmore 2 does an excellent job of recognizing and eliminating some of the humor that might not pass muster with a new audience, while at the same time giving new and old fans something to laugh at.”

I know this sequel is not as good as the first, but I still found myself enjoying it for the most part. If you haven’t seen the sequel yet, check it out on Netflix. You will love it, I promise you. For a surprising sequel, this did its job well. The first film wasn’t under the “Happy Madison Productions,” but the sequel was. Also, for those who are fans of Lavell Crawford, he plays the son of Chubbs in the sequel.

Thank you for joining in on “Happy Madison Month.” I know I started off with one of the worst comedies ever, but the other movies that starred Sandler, hopefully everyone checked them out. I hope everyone enjoyed this month and…. wait a minute. Next month is October. You know what that means! HALLOWEEN MONTH!!! Check in to see what spooky films I have in store for next month.

Click

A workaholic architect is given a universal remote that allows him to fast-forward and rewind to different parts of his life. Difficulties happen when the remote starts to go against what he wants.

Sam Toy said in his review, “Steve Coren and Mark O’keefe, the writers who brought us Bruce Almighty (and its forthcoming sequel, Evan Almighty), are certainly mining the, “You think you can do better?” vein for every last nugget. This time around, God is left out of the equation, and their central themes are plundered from a much-loved film classic (we won’t tell you which one, lest we give too much away). But when the initial shock at their boldness wears off, the conceit works a charm.”

Adam Sandler, who for years had been turning down the rough edges of his angry-young-man SNL comedy façade and being more mainstream tragedy into his characters – with different degrees of success – seems to have finally made him into a comfortable and reasonably consistent protagonist. Fresh off of “50 First Dates” and the more subtle “Spanglish” (don’t know why people can’t include “The Longest Yard”), he’s grown out of the slacker roles and into everyman area, which works for him well here as “Click,” released in 2006, changes from a broad comedy into something else. Toy said, “The silly, shouty Sandler is reined in a little too tightly in the not-quite-funny-enough first half, but the reasons for that restraint become clear when the film takes an emotional turn for the dramatic later on.”

The now familiar actors of the Sandler supporting roles – Henry Winkler, Julie Kavner, Sean Astin, and a thankfully brief cameo from Rob Schneider – are joined by some well-cast new people: Jennifer Coolidge, David Hasselhoff, and Christopher Walken (being no more Walken then he always has been), all of whom go for broke with the small roles they are given. However, we have to mention Kate Beckinsale as Michael’s long-suffering wife. She does a terrific job of making a possibly general role sincere and lively – Toy mentions, “and, it has to be said, looks amazing in a Native-American headdress.”

Toy criticized, “The Wedding Singer and Waterboy director Frank Coraci makes a good fist of the demanding, overfilled script: too many plot threads (a glimpse of Michael’s future in which he and his son are overweight feels, inevitably, flabby) begin to stall the story at a point where it should be moving swiftly to its conclusion.” However, thankfully, when that finale arrives, it’s an emotional enough moment to justify the wait.

Another nice Sandler comedy that works, thanks to some smart and genuinely moving ideas at the front. Toy ended his review by saying, “Still, amiable as it is, it could have been more streamlined. Less patient viewers will be wishing they could reach for the remote by the third act.”

Overall, I found this to be another nice Sandler film. It started out very funny, but it did get very emotional by the third act. I still think people will like this, as I did when I watched this while exercising. When we had a DVR, I recorded this film and saw it because, I believe, I saw commercials and trailers for this, that I liked the film. Check it out if you’re a Sandler fan, especially with a funny cameo from Terry Crews.

Next week, I will be finishing “Happy Madison Month” with another Sandler classic.

KPop Demon Hunters

Tonight, on Netflix, I saw “KPop Demon Hunters,” which was released in June. After hearing a lot of praise about this movie, I decided to check it out. How is this surprising animated film?

Following the path of a generation of demon hunters, female K-pop group HUNTR/X say they’ll bring their fans together through music and seal the Honmoon, a disguise protecting the living from the demon world. With the task almost complete, the group face their toughest obstacle yet: fighting a demon boyband.

Kelechi Ehenulo said in his review, “When Guillermo del Toro proudly professed that “animation is cinema” during the 2023 Oscars, it felt like a rallying call for the medium to be taken seriously. One major studio that is constantly testing the barriers of what the medium is capable of is Sony Pictures Animation: from the handmade-feeling family comedy The Mitchells Vs The Machines to the multiversal innovations of the Spider-Verse films.” Their newest film, “KPop Demon Hunters,” is another enjoyable, largely original film to their amazing list.

Ehenulo described, “It plays like a cross between Buffy The Vampire Slayer and Popstars: The Rival_s. We first meet the HUNTR/X ladies — Rumi (Arden Cho), Mira (May Hong) and Zoey (Ji-young Yoo) — diving out of a plane with Avengers-esque superhero coolness, slaying demons on their way to a concert.” That energized intro sets the tone for the film, which sees the group’s show (Takedown is their new hit single) with their fan-stealing, toe-tapping boyband competition the Saja Boys (Ahn Hyo-seop, Joel Kim Booster, Alan Lee, SungWon Cho, and Danny Chung), and fight their demon world leader, Gwi-Ma (Lee Byung-hun).

Whether you’re a K-Pop fan or not, just the watchability of this film all results in the high energy and fun it has with the concept. Ehenulo said, “Its breezy, zip-along pace perfectly complements its laugh-out-loud gags — from Zoey’s popcorn eyes whenever she sees the Saja Boys’ abs, to Mira turning up to the Met Gala in a sleeping bag. Its crowning glory, undeniably, is the music, which is nothing but a hit factory of instant bangers. Prepare to wear out the repeat button on your Spotify playlist.”

However, behind its catchy musical scenes and Honmoon mythologies is a humanizing story about generational burdens of shame and fear, and the inevitable accepting of your identity. Here, Rumi is the main focus, having to hide her part-demon secret away from her friends and fans due to being hated. The film does well to not pick the vulnerable emotions that help her, along with a on-and-off banter between her and Saja Boys member Jinu (Hyo-seop). Obviously, there are some elements of predictability, and its tendency to finish fast takes away some of the enjoyment a little. However, when the songs uplift and the animation surpasses, these minor flaws can be forgiven, for a film that deserves every amount of its global domination.

An animated film showing you “how it’s done” – as HUNTR/X would put it – this is an amazing musical film, enjoyment for every age. There might be a sequel, which would not be surprising.

I’m on board with everyone when I say that this is one of best animated films of this year. I know this isn’t a completely new story, as people might be able to predict what happens, but that doesn’t matter. The songs are catchy, the animation is phenomenal, the characters are relatable, and the story can be engaging and emotional. Check this out if you have a Netflix because I think everyone will enjoy this film a lot. I wouldn’t be surprised if people download this song off of their iTunes or Apple Music store.

Thank you for joining in on this review tonight. Stay tuned tomorrow for the continuation of “Happy Madison Month.”

Elio

Tonight, on Disney+, I saw the new Pixar movie, “Elio,” which came out theatrically in June but today on Disney+. How is this, seeing that this is new for Disney and not cashing in on something they did previously.

Marissa Hill started her review by admitting, “Elio, Pixar’s latest animated adventure, was an unexpected delight that soared beyond my initial expectations. As someone who’s seen animations swing from brilliant to forgettable, I approached this film with cautious optimism, expecting another hit-or-miss storyline. Yet, Elio not only met but surpassed my hopes, delivering a story I could watch repeatedly without losing its charm.” The film is about Elio Solis, a small boy who, after losing his parents, lives with his Aunt Olga, an Air Force major who wants to fly into space. Elio’s obsession with aliens takes him to a space misadventure when he's mistakenly taken on the Communiverse, an interplanetary hub where he’s thought as Earth’s ambassador. Hill described, “With its vibrant animation, reminiscent of a cosmic lava lamp, and heartfelt exploration of identity, belonging, and family, Elio captures the magic of childhood wonder in a way that resonates deeply.”

The story focuses on Elio, voiced by Yonas Kibreab, whose quirky personality and alien obsession make him immediately relatable. Living with his Aunt Olga, voiced by Zoe Saldaña, Elio struggles to fit in after his parents passed. Olga, who gave up her dreams of being an astronaut to raise him, has frustration with Elio, especially when he skips school to lie on the beach with a sign asking the aliens to take him. Hill said, “His passion for ham radios, a hobby I connected with from my own childhood, adds a unique layer to his character as he tries to contact extraterrestrial life. This personal touch made the film especially meaningful to me, evoking memories of tinkering with radios to explore the unknown.”

Elio’s struggles are heightened by bullying from other kids Bryce and Caleb, voiced by Dylan Gilmer and Jake Getman, who mess with his ham radio, injuring his eye and forcing him to wear an eye patch for two weeks. At Olga’s base, Elio sneaks into a meeting where Gunther Melmac, voiced by Brendan Hunt, gives evidence of alien responses to Voyager 1. Elio’s use of Melmac’s device to send a message causes a power outage, nearly getting Olga fired. Sent to a youth camp with Bryce and Caleb, Elio gets bullied more, causing him to run away, where he gets abducted by an alien space and taken to the Communiverse, a colorful interplanetary hub.

In the Communiverse, Elio is mistaken for Earth’s ambassador and must navigate a crisis with warlord Lord Grigon (Brad Garrett), whose son Glordon (Remy Edgerly) becomes Elio’s friend. After being imprisoned, Elio uses Glordon as leverage, leading to the creation of a clone to represent Earth. Back on Earth, Olga thinks Elio is a clone, and through a sequence of stuff, Elio and Olga make up, ending with Glordon being saved and resolving the issue with Lord Grigon, Elio learns he’s never alone, helped by Ambassador Questa’s (Jameela Jamil) guidance, and the quirky supercomputer OOOOO (Shirley Henderson).

The voice vast helps the film’s quality. Yonas Kibreab brings Elio to life with innocence and curiosity, perfectly getting his journey. Zoe Saldaña as Aunt Olga gives a strong, caring aura, capturing the emotional character. Remy Edgerly as Glordon adds a special alien likability, while Brad Garrett’s evil yet layered Lord Grigon adds depth to the conflict. Jameela Jamil as Ambassador Questa helps Elio with authority and kindness, and Shirley Henderson as OOOOO gives humor and heart in this space adventure. Ana de la Reguera as Turais, another alien ambassador, adds to the Communiverse’s diversity.

Hill credited, “I love the coloring scheme of this animation; it reminds me of my favorite colors in a lava lamp. The storyline is simple and sweet, which was nice. I feel like a lot of recent animations try to cater and pander to a certain audience, and this one did not feel that way, which was refreshing.” It has simple looks of culture, with Elio being Hispanic, clear with the details like him referring to his aunt as “Tia” and cultural food references.

In the end, “Elio” is a lovable animated film with simple yet sweet storyline that doesn’t feel like it’s targeting to a specific audience. Hill ended her review by saying, “Its subtle cultural references and vibrant animation make it a delightful watch, and the inclusion of ham radios struck a personal chord, evoking my own childhood fascination with the unknown. I can see myself returning to this cosmic delight again and again, as it offers a heartwarming exploration of identity, belonging, and the importance of family and friendship that resonates with both children and adults.”

This is not a completely innovative movie, as it does borrow some storylines that you can predict, but compared to the other stuff that Disney has put out this year, this is enjoyable. There are some references to other sci-fi properties out there that people could point out. It’s not one of the best movies Pixar has put out, but it’s still a good one to see and I think everyone will enjoy this, especially those who are fascinated with space. After “Coco,” this is the other Pixar movie to be about a Hispanic family, but it is not about the language or any of the culture, but then again, that was not the main focus. Check it out on Disney+ because I think everyone will enjoy this a lot.

Thank you for joining in on this review tonight. Stay tuned this Friday for the continuation of “Happy Madison Month.”

Smurfs (2025)

Last night, on Paramount+, I watched the new “Smurfs” movie, which was theatrically released back in July but on streaming in yesterday. Seeing how I had seen the previous “Smurfs” movies, I was curious to see how this one was, since the previous movies were not well received, and I didn’t grow up watching the cartoon since I was born after. Will this be the movie that everyone will love or will it be another one to add to the bad list?

Smurfs has been on of the most nostalgic memories of those famous blue forest creatures filled numerous childhood with fun and happiness. Ganesh Aaglave said in his review, “And that’s why I was excited about this reboot, especially after the addition of a global sensation, who serves as a voice actor and producer.”

Talking about the plot, Smurfs is about Rihanna’s (one of my favorite singers) Smurfette and James Corden’s No Name Smurf, who are trying to discover the latter’s trait or specialty, which could define him.

When Papa Smurf (John Goodman) gets kidnapped by Gargamel and his long-lost brother Razamel (JP Karliak), Smurfette, No Name and their team (Sandra Oh, Alex Winter, Maya Erskine, Xolo Maridueña, Hugo Miller, Chris Miller, Kurt Russell, impressionist Rachel Butera, Billie Lourd, Spencer X, Chris Prynoski, and singer Marshmello), along with Papa Smurf’s brother Ken (Nick Offerman), enter the human world to save him and make sure the magic book (Amy Sedaris) is safe with them.

In this journey, No Name finds out that he has something which makes him an extraordinary Smurf. But how will they save Papa Smurf from the evil wizards?

Aaglave said, “Well, while the story is simple with social messages, the narrative somehow hampers it because of its slow pace, as even a crisp runtime of 90 minutes looks stretched.” The musical moments are good but it doesn’t blend completely well with some scenes.

Aaglave admitted, “Smurfs has been special for me, and while it successfully takes me back to nostalgic days but falters in creating that kind of magical impact, which was expected.” Director Chris Miller hasn’t lived up to the expectations with this famous cartoon’s reboot.

Looking at the entire picture, “Smurfs” is a one-time watch if you go with no expectations or might want to take your child for an animated film on streaming.

Overall, I found this to be ok. Yes, I like the story of No Name trying to find out what type of a Smurf he is and the story of Smurfette, especially with no human characters in here, but I still don’t think it was a good idea for them to be dimension hopping into the real world, albeit it being short. There’s also Octavia Spencer, Nick Kroll, Hannah Waddingham, Natasha Lyonne, and a brief cameo from late-night show host Jimmy Kimmel. I don’t think it will hurt to see this movie, but if you’re a fan of the original cartoon, I don’t think you will like it. Check it out if you want, but I don’t I will watch this again. Then again, I’ve seen all the Smurfs movies once and never again, so I guess they’re all just for a one-time viewing.

Thank you for joining in on this review today. Stay tuned this Friday for the continuation of “Happy Madison Month.”

The Longest Yard

There have been a lot of testosterone fests in the movies, but few get to the nitty gritty of wanton comedic violence, pride, dignity, and male bonding as does the 1974 Burt Reynolds film, “The Longest Yard.” Complete with a car chase, this prison/sports comedy still hast he power to entertain and get those man veins pumping. Reynolds plays Paul “Wrecking” Crewe, a former professional quarterback down on his luck after a point-shaving scandal gets him kicked out of football.

Little more than a gigolo, he steals his woman’s (Anitra Ford) car, knocks her down, makes fun of the police, and ends up in the Citrus State Prison. The warden, Rudolph Hazen, played by Eddie Albert, is a football fan who wants his semi-pro team, the Guardsman, tow in the national title, with Crewe’s help. The coach, Captain Knauer, played by Ed Lauter, has other ideas however, and wants Crewe out of the way altogether.

When Crewe suggests to the warden that his team could sharpen up by playing an exhibition game, Hazen assigns him to assemble a team out of the prison inmates. Hazen, on a power trip, believes that he can demonstrate his power over the inmates by handing them a defeat on the football field. What he doesn’t count on, however, is the fact that the inmates look forward to nothing more than opening a can on the guards without fear of repercussions.

The centerpiece is the game itself, which is even more fun than the preparations. Reynolds excels as the slightly sycophantic smarty who has the task of turning a bunch of killers into a football team.

Michael Conrad is good as his sidekick, Nate Scarboro, another former pro. Eddie Albert is highly unlikeable as the mean-spirited warden. The rest of the cast is packed with veteran character actors and ex-football stars (such as Ray Nitschke), which makes nearly every character entertaining in one way or another.

Not to be missed in a very early part is Bernadette Peters, as the over-promiscuous Miss Toot, the Warden’s secretary with impossibly big hair.

I didn’t know about this film until a long time after seeing the remake. I think I saw this either from the library or online. For a film that was made in the 70s, it was good. If you’re a football fan, then I think you should see this. Check it out and enjoy, especially if you’re a fan of Burt Reynolds.

Now, on to the 2005 remake by Happy Madison Productions. Adam Sandler plays former MVP quarterback Paul Crewe, who lands himself in a Texas prison following a mishap with his girlfriend Lena’s (Courtney Cox) Bentley. Already on probation for shaving points in the NFL, he’s apparently tired of playing boy toy, so when Lena demands he join her for a party in progress, he locks her in the closet and steals her car, imploring a police chase and a multi-car crash.

A long hot but ride to Nowheresville sets up Paul’s new status as the target for hairy security guards/NFL fans who hate him for cheating. Turns out the political-career-minded warden, played by the late James Cromwell, sees his crime in another light, namely, that he’s the perfect man to get his steroid-enhanced guards’ inter-prison league team prepped to take the title. Paul resists, then relinquishes when threatened with hard and more time.

The plan: set up a prisoners’ team who will lose mightily to the guards, thereby securing the latter’s confidence – immediately become untenable, when Paul identifies with the inmates against the guards who include former NFL player Brian Bosworth (Stone Cold Steve Austin) and a QB (the always excellent William Fichtner).

He’s inspired to this in part by the guards’ harassment of him, and manages it by slamming one of those guards with a cafeteria try and does a week in the “hot box,” winning some cons’ admiration. These admirers include vintage coach Nate (Burt Reynolds) and manager Caretaker (Chris Rock) who walks around with a clipboard and jots down Paul’s decision.

Because the guards generally represent as Aryan blockheads, Caretaker’s blackness here helps to grant Paul access to black players (including Michael Irvin). Each member defined by a reductive trait:

·       Brucie (Nicholas Turturro) is demented

·       The Beast (K-1 Kickboxer Bob Sapp) is ferocious

·       Torres (Lobo Sebastain) glowers and smokes cigarettes

·       Cheeseburger Eddy (Terry Crews) eats what you think, and

·       Turley (Dalip Singh aka “The Great Khali”) is a hard-hitting giant whose every utterance is unnecessarily subtitled

The film spends too much time on the team’s practice antics (as well as their transvestite cheerleaders, fearing Tracy Morgan as Ms. Tucker) and growth-by-montages, by rousing speeches, by somber nods and wacky body slams. This despite some detours into old-school ASC territory, including a frightful bit where he must play adult films with the warden’s big-haired secretary, played by Cloris Leachman, and the warden’s political advisor, who looks and speaks look like Colonel Sanders.

In the context of Paul’s moral evolution, the Adam Sandler character’s signature laidbackness is something of a twist – he’s resolutely unriled, whether abused by guards, the warden, or his own teammates, which makes him a peculiar action-comedy hero.

I saw trailers for this film when it was coming out probably both in theaters and on TV. I didn’t get to see it until it was available for free on VOD. I thought it was very funny and I think that if you’re an Adam Sandler fan, you should see this. Check it out and have an enjoyable time laughing at this film. Especially with rapper Nelly, and other wrestlers Kevin Nash and Bill Goldberg in here.

Next week I will look at another Adam Sandler comedy that does have some good heart to it in “Happy Madison Month.”

The Master of Disguise

This month, and I do apologize if no one is looking forward to it, I will be looking at films that Happy Madison Production had released. Sorry to say that I’m going to start off with, quite possibly, the worst comedy every made, and one of the worst films I have ever seen, “The Master of Disguise,” released in 2002.

Roger Ebert started his review by saying, ““The Master of Disguise” pants and wheezes and hurls itself exhausted across the finish line after barely 65 minutes of movie, and then follows it with 15 minutes of end credits in an attempt to clock in as a feature film. We get outtakes, deleted scenes, flubbed lines and all the other versions of the Credit Cookie, which was once a cute idea but is getting to be a bore.”

The credits just keep going continuously. Ebert described, “The movie is like a party guest who thinks he is funny and is wrong. The end credits are like the same guest taking too long to leave. At one point they at last mercifully seemed to be over, and the projectionist even closed the curtains, but no:” Dana Carvey starts asking the viewers why we’re still watching the film. That is the worst question to ask after a movie like “The Master of Disguise.” I agree with Ebert when he said, “The movie is a desperate miscalculation.” Dana Carvey is given nothing to do that is funny, and then expects us to laugh because he acts so silly the whole time. However, acting funny is not funny. Acting in a situation that’s funny – that’s funny.

The plot: Carvey plays an Italian waiter named Pistachio Disguisey, who is unfamiliar with the First Law of Funny Names, which is that funny names in movies are rarely funny. Pistachio comes from a huge family of masters of disguise. His father, Frabbrizio, played by Josh Brolin’s father, James Brolin, having finished his career by successfully impersonating Bo Derek, retires and opens a New York restaurant. He doesn’t tell his son about the family talent, but then, he gets kidnapped by his old enemy Bowman (Brent Spiner), Pistachio is told the family secret by his grandfather (Harold Gould).

Grandfather also gives him a lesson in disguise-craft after locating Frabbrizio’s hidden workshop in the attic (a Disguisey’s workshop, we see, is known as a nest). Ebert noted, “There is now a scene representative of much of the movie, in which Pistachio puts on an inflatable suit, and it suddenly balloons so that he flies around the room and knocks over granddad.” That scene may seem funny to really little kids, like infants.

Carvey is from the vaudevillian time of impressionists, and during the film we see him as a human turtle, Al Pacino from “Scarface,” Robert Shaw from “Jaws,” a man in a cherry suit, a man with a cow pie for a face, George W. Bush, and many other disguises. In some cases, the disguises are handled by using a double and then using digital technology to make it appear as if the double’s face is a latex mask that can be removed. In other cases, such as Bush, he just imitates him.

The plot helpfully gives Pistachio with a girl named Jennifer, played by the beautiful Jennifer Esposito, who becomes his sidekick when searching for Frabbrizio, and they visit so many vast locations. Ebert said, “One of them is a secret headquarters where Bowman keeps his priceless trove of treasures, including the lunar landing module, which is used for one of those fight scenes where the hero dangles by one hand.” The movie’s director, Perry Andelin Blake, has been a production designer on 14 movies, including most of Adam Sandler’s, and, to be sure, “The Master of Disguise” has an excellent production design. It is less successful at disguising itself as a comedy.

I remember seeing commercials of this movie when it was being released. Then, I saw it was available to watch for free when searching On Demand when I was about 13 or 14, and I ended up watching it…twice. I don’t know what I was thinking, but I didn’t sit through the credits, thankfully. I remember finding this funny, but looking back now, this is one of the worst mistakes for a comedy ever. Nothing about it is funny. Especially with the ethnicities it offends, unapologetically. The impersonations were good for like a minute, but it just kept going. I like fart jokes, maybe because I have that kind of immaturity, but this film killed the fart joke. Never make the mistake of seeing this comedy garbage because it will make you feel like your IQ is dropping fast. You will regret you decided to watch this atrocious film. If you want any more proof, this film holds a 1% on Rotten Tomatoes. That should be enough for you to know never to watch this film.

What a relief. Now that we have gotten that horrendous comedy out of the way, stay tuned next week for the next review in “Happy Madison Month.”

Wall Street: Money Never Sleeps

Oliver Stone’s “Wall Street” was a wake-up call about the financial crisis the place was headed for. If only we listened. Or maybe we listened too well, and Gordon Gekko became the role model for a generation of dishonorable financial people who put hundreds of millions in their wallets while bankrupting their firms and brining the economy down. As “Wall Street: Money Never Sleeps,” released in 2010, starts, Gekko has been able, as Roger Ebert put it, “cool his heels for many of the intervening years in a federal prison, which is the film’s biggest fantasy; the thieves who plundered the financial system are still mostly in power, and congressional zealots resist efforts to regulate the system.”

Ebert continued, “That’s my point, however, and not Oliver Stone’s. At a time when we’ve seen several lacerating documentaries about the economic meltdown, and Michael Lewis’ The Big Short is on the best-seller lists, “Wall Street: Money Never Sleeps” isn’t nearly as merciless as I expected.” This is an entertaining story about ambition, romance, and greedy trading practices, but it looks more fascinated than angry. Is Stone suggesting this new reality has become surrounded, and we’re stuck with it?

Ebert noted, “In some ways, Gordon Gekko himself (Michael Douglas) serves as a moral center for the film. Out from behind bars, author of Is Greed Good? and lecturer to business students, he at first seems to be a standard repentant sinner.” Then he meets a young trader named Jake Moore, played by Shia LaBeouf, and finds himself reverting back to his old self. Jake wants to marry Gekko’s daughter, Winnie, played by Carey Mulligan, who hasn’t spoken to her father for years. Maybe Jacke can be the agent for their resolution. He sincerely loves Winnie, who is a liberal blogger. Jake himself is ambitious, already has his first million, wants more, but we see he has a good heart because he wants his firm to help alternative energy. Is this because he is environmentally friendly, or only likes it? Maybe a little of both.

Jake works for an old-line Wall Street house named Keller Zabel, led by his mentor and father figure Louis Zabel, played by Frank Langella. This firm is taken down by a crook named Bretton James, played by Josh Brolin, who is good at spreading rumors about its instability. Stone does not underline the irony that James’ firm, and every Wall Street firm, is equally standing on so much worthless debt. Ebert said, “In a tense boardroom confrontation, Zabel is forced to sell out for a pittance. The next morning, he rises, has his soft-boiled egg, and throws himself under a subway train. It is instructive that although tycoons hurled themselves from windows during the Crash of 1929, the new generation simply continued to collect their paychecks, and Gekko expresses a certain respect for Zabel.”

The death of his beloved mentor gives Jake a motive: He wants revenge on Bretton James, and suddenly everything starts to come together: How he can hurt James, enlist Gekko, look good to Winnie, gain self-respect, and maybe even make so much money along the way? It takes an hour to get everything together, but Stone does it confidently, and his casting choices are good. Then the story goes along as more melodrama than display.

Of course, Michael Douglas is reprising an iconic role, and it’s interesting to observe how Gordon Gekko has changed: just as smart, sly, still with tricks up his sleeve, older, a little wiser, strongly feeling his separation from his daughter. Shia LaBeouf, having previously been in Indiana Jones and, at the beginning of this film, with Louis Zabel, falls in place eagerly next to Gordon Gekko, but may find out not everyone in his path wants to be his helper.

Langella has little screen time as Zabel, but the character is important, and he is flawless in it. Ebert said, “To the degree you can say this about any big player on Wall Street, Zabel is more sinned against than sinning.” Finally, there’s Carey Mulligan as Gekko’s daughter, still blaming him for the death of her brother, still suspicious of the industry that made her father and now looks to be making Jake.

Ebert said, ““Wall Street: Money Never Sleeps” is six minutes shorter than it was when I saw it at Cannes and has a smoother conclusion. It is still, we might say, certainly long enough. But it’s a smart, glossy, beautifully photographed film that knows its way around the Street (Stone’s father was a stockbroker). I wish it had been angrier. I wish it had been outraged.” Maybe Stone’s feelings are correct, and American audiences aren’t ready for that. They haven’t had enough of Greed.

Charlie Sheen makes a brief cameo in this sequel. As a surprise sequel, I think this was good. Obviously, it may not be as good as the first, but it is still a good sequel that shows what Wall Street has become. If you liked the first one, then you can see the sequel on Hulu right now. Check it out and see for yourself.

Alright, we have come to the conclusion of “Michael Douglas Month.” I hope everyone enjoyed it and hopefully people have seen all of his movies. Stay tuned next month to see what I have in store for everyone.

Thunderbolts*

Tonight, on Disney+, I watched “Thunderbolts*,” which came out theatrically in May but today on Disney+. This apparently was the film that made people get back into the MCU again. Is it really deserving of all the praises it got when it came out?

Is it really possible, after 36 films, to do something new and interesting in the MCU?

How about a hilarious and action-packed look into depression, isolation, self-worth, mental health, and conquering the wounds that deeply cut our insides?

Matt Neal said in his review, “It's not totally new - at some point there will be punching and explosions - but the latest MCU team-up goes out of its way to do the unexpected, and not rely on the superhero subgenre's touchstones as much as its predecessors.”

The film is about an unlikely variety of heroes brought together for a mission that isn’t what it looks like. Something else that’s unexpected is Bob, played by Bill Pullman’s son, Lewis Pullman, a strange man they meet along the way.

Neal said, “It's not a new approach - the grab-bag roster of loser-heroes is basically Marvel-does-Suicide Squad or another take on the cosmic underdog team-up that was Guardians Of The Galaxy. The only difference here is the subtext. Thematically, this is about mental health and what we all have to do to get through the day, ignoring our darkness and shame along the way. It's not your standard superhero fare.”

It’s also a relief that the film does its best to avoid all the violence as much as it can, and still give us a relatable story with tension and drama. Neal said, “The narrative is so wonderfully entrenched in its character arcs and their excess baggage that even though the finale is wildly different to any other Marvel movie, it works.”

Neal continued, “For the hardcore Marvel-heads, this is a strong next chapter for some of the franchise's more interesting B characters.” The new Black Widow Yelena Belova, played by Florence Pugh, is the protagonist, and in top shape. She is the film’s main depressed person, but is helped by an equally torn one-time Captain America, John Walker, played by Kurt Russell and Goldie Hawn’s son, Wyatt Russell. Ghost (Hannah John-Kamen) is again given the short end of the stick and is a little more than her superpower, but Red Guardian (David Harbour) is a very welcome addition to the group.

Neal credited, “But the real stand-out is Bob (Pullman), who digs deep to give his character plenty of layers, bringing to life one of Marvel's most mercurial and mysterious yet maligned players in a fantastic way.” Credit to the script from Eric Pearson and Joanna Calo, who make everything work, but Pullman is perfectly cast in an unexpected role.

It goes without saying that so many people must have seen all of the MCU films up to this point, especially when looking at the box office numbers, but this film is the most inventive and interesting Marvel film in a while. This is one of the most thematically interesting films of the franchise, if not the most interesting. We also have Sebastian Stan back as Bucky Barnes and Julia Louis-Dreyfuss as Valentina Allegra de Fontaine.

Spoiler alert: there is a hilarious mid-credit scene with Red Guardian at the grocery store cereal aisle. The post-credits scene takes place 14 months later. The Thunderbolts are discussing the issues they’re having with Same Wilson while noticing the ongoing problem in outer space. They get interrupted when the Watchtower says of an arrival of an alien spacecraft that has a “4” on the side. That might have built-up to the “Fantastic Four” movie that came out earlier this month.

This is one of the entertaining MCU films we have had in a while. There are definitely the right comedic moments at the right time, especially considering this is a group of misfits, and everyone is not wrong when they say this is MCU’s version of “Suicide Squad.” On top of being entertaining, there is some relatable moments about depression and anxiety that will hit a lot of people. If you missed the chance to see this in the theaters, you should see this on Disney+. As the last film in Phase Five, they did a good job at ending that phase.

Thank you for joining in on this review tonight. Stay tuned this Friday for the conclusion of “Michael Douglas Month.”