Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip

In 2014, Disney produced an adaptation of the 1972 Judith Viorst book, Alexander and the Terrible, Horrible, No Good, Very Bad Day. Brian Orndorf said in his review, “It wasn’t a slavish replication of the literary treasure, but the production found ways to maintain the idea of the writing while bringing it into a new age of family entertainment.” The picture was a big-time fascinator, but a sequel was never announced. A decade later, Disney tries again with “Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip,” which is about a new family who must deal with all types of mishaps and torture while trying to get through a nice week of travel. While not as charming as the previous film, the 2025 film has its likability thanks to a brave cast and so much disasters, also looking at Mexican heritage to give the film its own personality.

Young Alexander (Thom Nemer) is fearful of his bad luck, believing he’s big trouble for everyone, including his older sister, Mia (Paulia Chavez). A road trip is planned for his family, as chef Frank (Jesse Garcia) attempts to hide his future unemployment, and mother Val (Eva Longoria), is in charge of the journey as a travel writer, getting access to the large Pathwinder XR RV for a drive to Mexico City, joined by her mom, Lidia (Rose Portillo). Her father, Gil (Cheech Marin, who doesn’t have enough screen time), stays behind to care for the family dog. Orndorf said, “Gearing up for a week of fun, Alexander struggles to find any enjoyment out of the journey after he unearths a cursed idol, believing his loved ones are doomed if they don’t return the “devil monkey” to the place where their ancestor initially stole it.” Instead of a safe drive south, the family faces accidents and misdirection, testing their time as they experience a Mexico they’ve never met before.

This sequel shows Alexander as a nervous kid aware that him being around causes problems all over. Orndorf said, “This includes his sibling, who backs the family car into a fire hydrant while interacting with her little brother, resulting in a smashed vehicle and phone privileges taken away from the teen, who’s eagerly waiting a “promposal” (awareness of this special time becomes a running gag). It’s enough to have the boy fear he’s filled with bad luck, but screenwriter Matt Lopez (2022’s “Father of the Bride” remake) goes full “Brady Bunch” with the situation, introducing a cursed idol that brings nothing but trouble for the family.” Some history of the statue is given, setting up personal connections and possible danger, and the object stays in play throughout the film, always finding ways to come into view, putting Alexander on edge as he tries to return it to its rightful owner.

The trip begins for the family, who drive in a luxury RV, ready to experience a Mexico they’ve never seen before, while driving to a luxury resort. Ideas on heritage are shown throughout the film, as Lidia has concerns the family isn’t connected with their people and past, even not speaking Spanish. Orndorf said, “However, this theme is periodically put on hold while director Marvin Lemus organizes slapstick sequences, as an innocent soda spill snowballs into an RV crash that destroys the massive vehicle. A beater replacement is inhabited by a skunk, forcing the clan to endure a gas station makeover. And a lack of phones inspires the use of a map, which tests Frank’s leadership skills as he decides to cross a river in the junker, and that doesn’t go well. Madcap antics are handled well in “Very Bad Road Trip,” presenting domino effect fun for viewers, capably performed by the excitable cast. “

Orndorf continued, ““Very Bad Road Trip” has a Disney to-do list to mind, and the writing gets a little bogged down while on the hunt for emotional substance, mostly found with family secrets that emerge during the disastrous journey, challenging trust.” Lopez gets a little distracted while trying to give the movie some weight. The picture is more focused as a comedy, managing nightmare scenes involving the idol’s influence, and there’s a trip to a local witch, played by Harvey Guillen, to help identify what type of evil the family is up against. “Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip” loses a bit of momentum as it tries to find an ending, but there’s enough entertainment in the trip to a final destination, giving audiences a great time with discombobulated characters handling survival challenges.

This movie was released on Disney+ in March. When I saw it, I thought it was a funny movie and I enjoyed it a lot. If you saw the first one, you should see this and judge based on your own opinion if you like it or not. You might also get educated on Mexican heritage while you are watching it. Check it out and see for yourself.

Tomorrow I will be looking at another “Star Wars” show in “Disney Month 2025.”

Snow White (2025)

There’s no secret that Disney is having an identity crisis that has gone down to their ability to update their beloved fairy tales into modern remakes. Director Marc Webb’s 2025 live-action “Snow White” remake (which came out in March), sadly, falls victim much like the previous remakes.

Lindsay Clarke said in her review, “Both the film and its protagonist are directionless and emotionless.” When the Evil Queen (Gal Gadot) takes away Snow White’s (Rachel Zegler) kingdom, the archetype Disney princess is sad. When the Evil Queen threatens Jonathan, played by Andrew Burnap, a young man stealing to help feeds his friends, Snow White is upset. Clarke admitted, “I know this because she looks sad and upset. She doesn't put up a fight and barely sheds a tear, which the movie assures audiences is fine, because her father gave her a necklace telling her to be brave.” Looks like this will be her character arc: bravery. When you look at it, that’s what this era of Disney Princess has to be, right?

Luckily for Snow White, her enemy is just as boring. Just like in the original 1937 film, Snow White angers the Evil Queen by being prettier than her. That’s a strange idea not to update, seeing how the princess is supposed to be loved for her courage, not her beauty. Clarke criticized, “Gal Gadot gives the Evil Queen a lacklustre performance, awkwardly delivered lines and half-hearted singing, overall looking like she doesn't want to be on set at all.”

Then there are the Seven Dwarves themselves (Jeremy Swift, Andrew Barth Feldman, Tituss Burgess, Martin Klebba, George Salazar, Jason Kravits, and Andy Grotelueschen), and Jonathan’s motley crew of thieves (George Appleby, Colin Michael Carmichael, Samuel Baxter, Jimmy Johnston, Dujonna Gift, Idriss Kargbo, and Jaih Betote) – which are the most entertaining parts of the movie. Their funny, sincere, and goofy appearances are a reminder that Snow White is supposed to be entertaining.

Clarke is right when she said, “Unfortunately though, the no-longer-titular Seven Dwarfs look creepy, and leave audiences wondering if there would have been a better, more inclusive way to include them. The film uses CGI for the creatures of the film, so animating the people of short stature in the same way — and not even doing a very good job of it — comes off as tone deaf.”

Clarke continued, “Snow White isn't a feast for the eyes — more like concept vomit without a notable colour scheme. The computer-generated flowers clash with the tones of grass. The sets look like they were made by people who never agreed on a look for the town. Snow White's token dress seems silly, overly bright, and out of date compared to the other, more drab costumes.”

The songs, a combination of new symphonies and the songs we grew up with, aren’t memorable, but they aren’t terrible either. Waiting on a Wish is catchy enough, and Princess Problems gives the film a charming song, but this is likely because the scene-stealing Andrew Burnap sings in it.

For everything, the climax is oddly enjoyable, paying off a lot of what was set up and giving justice to every character audiences will cheer for and, of course, Snow White herself. Clarke rebuttal, “But a rewarding finale to a subpar film only functions as a staunch reminder that Disney knows how to make good stories, but doesn't know how to make them for the right reasons.” Telling girls to be brave because that’s what every other studio says isn’t the same as actually wanting to make a brave female protagonist.

Clarke said “What could have been an important update to a beloved but aged story ends up being contrived nothingness.” “Snow White” is a fight of colors and ideas that would be quickly forgotten if not for how memorably strange most of the creative decisions were.

Sorry guys, but this is another lifeless remake. Why did they even think of remaking this classic? The dwarves looked completely ugly and there was nothing in this film that made it look watchable. The updates made were bad enough, especially since the new songs didn’t leave much of an impact. Don’t watch this. This isn’t one of the worst remakes, but it’s still a remake that is unwatchable and bad enough that you will instantly forget about it. Especially since this was a disaster at the box office. Just don’t bother seeing this on Disney+.

Tomorrow I will look at a sequel to a film that was released straight to Disney+, but it was still an entertaining one, in “Disney Month 2025.”

Mission: Impossible – The Final Reckoning

Today while exercising, I finished watching “Mission: Impossible – The Final Reckoning” on Paramount+, which was released theatrically in May but on Paramount+ at the beginning of the month. After waiting for months for this to be released, and seeing how this is another movie that is near three-hours long, how is the last chapter in the near-death spy saga that has lasted three decades?

Espionage has always been fascinating for audiences. Sarah Gopaul said in her review, “he clandestine operations, fantastic gadgets, perilous romances and inevitable confrontations truly offer something for everyone.” That’s one of the long list of reasons the James Bond and Jason Bourne franchises are still popular, taking audiences on high-risk missions where the world is repeatedly saved from near-death threats. In 1966, the Impossible Mission Force (IMF) was introduced in a popular television series that lasted seven seasons to fan and critical praise. Thirty years later, the secret agency would be released theatrically and still continue for almost another 30 years, now coming to the eight and final film, “Mission: Impossible – The Final Reckoning.”

Beginning shortly after the ending to the last film, Ethan Hunt, reprised by Tom Cruise, has been protecting the gold cruciform key from everyone, not trusting that any government or agency would destroy the major AI known as The Entity rather than try to connect its endless power. Now, with the development of a possible poison pill, it’s time to get the team, reprised by Simon Pegg, Ving Rhames, Hayley Atwell, and Pom Klementieff, back together so they can retrieve the source code from the bottom of the sea and stop The Entity before it destroys the world with its newly developed nuclear collection. Of course, The Entity has predicted their plans and has its own counterattack in place, while Ethan’s old enemy, Gabriel, reprised by Esai Morales, proves he is still a formidable opponent in this race for control.

Gopaul said, “It was obvious Mission: Impossible — Dead Reckoning Part One was setting up an epic conclusion in which the fate of the world would once again be decided by its tried-and-true protagonist and his ragtag team of skilled rejects. This film opens with a trip down memory lane, recounting the journey so far via flashbacks that span the major events of the franchise’s three decades, essentially forming a highlight reel of Ethan’s wins and losses. Bringing the team back together is a bit like an overdue family reunion, but with more blood and violence since there’s always unwelcome party crashers.” There’s also a strange meeting with the American president, played by Angela Bassett, who has some generous decisions to make in the short time.

Ethan built his IMF career on near death for so long, never giving up until he’s completed his mission. Similarly, Cruise has admitted he’s preformed his own stunts no matter how dangerous, often pushing the limits in this famous franchise. Gopaul said, “These hazardous manoeuvres became a Mission: Impossible staple, bidding audiences to come watch the actor’s latest feat of bravery or insanity. But this final installment may have finally gone a step too far in its display of ability vs. probability. Viewers will find it difficult not to laugh at the absurdity of at least one of Ethan’s impossible stunts (especially if you’ve recently seen either the dramatized or documentary versions of Last Breath), while the other spectacular act is equally ludicrous but more convincingly impressive.”

If this is really Ethan Hunt/Tom Cruise’s last mission, it is a satisfying conclusion to the franchise. It connects storylines going back to the first film, while wrapping up everything that was left by the last couple of missions. Gopaul said, “The many ticking clocks keep everyone on edge for most of the picture with some unavoidable heartbreak, and a lot of breath-holding as decisions and actions come down to the wire.” It’s touching since audiences have possibly developed a liking to the top-secret team of underdogs, but it’s also a fond farewell…or maybe a “see you again” since nothing ever ends in Hollywood.

If you have been a fan of the franchise up to now, then this one you have to see, if you missed the chance to see it in theaters. The one complaint I have, which was probably the same complaint with the last film, is the runtime. Especially with the underwater segment, which did feel like it dragged. However, you can watch it in pieces on Paramount+, like I did. You need to see this because it is a fitting conclusion and you will love this one a lot. I think this might be the best in the franchise. Check it out, and enjoy the epic conclusion.

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

Daredevil: Born Again

There are a lot of mirror images in “Daredevil: Born Again,” a 2025 reboot of the three-season show, which was on Netflix between 2015 and 2018. Mini Anthikad Chhibber said in her review, “The reflections serve as visual cues to the dual nature of the principals, who are the same, yet radically different from each other. One is a lawyer and a vigilante, the other is a crime boss who wants to run straight and has a visceral dislike for vigilantes.”

The first episode introduces the main characters in the drama while setting them on a collision course. Some time has passed since the events of season 3 of “Daredevil” and “Daredevil: Born Again” opens. A brutal tragedy with Bullseye (Wilson Bethel) finds the blind lawyer, Matt Murdock (Charlie Cox), giving up his vigilante part of him, Daredevil. A year later, Matt is busy with his law firm, which he runs with his new partner, Kirsten (Nikki M. James) and retired police officer, Cherry (Clark Johnson). He is dating Heather, played by Margarita Levieva, a famous writer and therapist.

The mob boss, Wilson Fisk, reprised by Vincent D’Onofrio, goes high in his law-abiding incarnation when he runs for and wins the mayoral elections in New York City. Sheila, played Zabryna Guevara, his campaign manager, prefers he go slow, but he wants to change things immediately. Buck (Arty Froushan) is Fisk’s 2IC and Daniel (Michael Gandolfini) believes completely in Fisk’s special version of Kool-Aid to the point that Fisk adopts him as his pupil.

Fisk’s wife, Vanessa, played by Ayelet Zurer, who was taking care of his criminal empire when he was away and grew it significantly, is unsure of how to feel at his return and his decision to walk the straight and narrow. Chhibber said, “Needing to provide a united front, the Fisks try therapy with Heather. New media in the form of BB (Genneya Walton) dogs the Mayor and sundry vigilantes’ footsteps.”

Despite both Murdock and Fisk are trying to leave their past lives behind, circumstances will not allow them to do so. Hector Ayala’s, played by Kamar de los Reyes, fate finds Murdock contemplating the justice system, while a new threat, a serial killer who calls himself the Muse and paints extraordinary graffiti using his victims’ blood, holds the city at rescue. Murdock and Fisk react to the threat in different ways – Fisk by setting up a task force of bad cops with unlimited authority, and Matt with Daredevil.

Chhibber said, “There was some move to Marvel-ise Daredevil, by making it lighter in tone, but following a creative overhaul during the 2024 Hollywood strikes, the darker, grittier tone was reincorporated with the return of Punisher (Jon Bernthal). The action is physical and you practically feel the thwacks and the burbling blood.” The production design incorporates the city of New York as a character. With Fisk returning, Murdock and others, including Karen (Deborah Ann Woll) and Foggy (Elden Henson) from the original series gives a feel of continuity, the introduction of new characters gives first-time viewers’ engagement.

Chhibber said, “D’Onofrio imbues his larger-than-life Fisk with ambition, and heartache in equal measure, especially in his dealings with Vanessa, while Cox finds the sweet spot between strength and vulnerability in Murdock.” “Daredevil: Born Again” gives a complete baggage with mystery, heartbreak, an evil murderer on the loose, thrills, a bank robbery where Yusuf Khan, reprised by Mohan Kapur, Kamala’s father from “Ms. Marvel” makes a cameo appearance, intense violence, and an almost Shakespearean character study.

If you have or have not seen the Netflix “Daredevil” series, you can still see this Disney+ series no problem. I think everyone should see this because this is one of the darker, edgier shows from the MCU. D’Onofrio’s performance as Fisk is amazing as always. He is really believable and threatening. As always, Daredevil is amazing and the action scenes, even though there are not that many, is great. The serious moments are engaging, and the show does not drag at any moment or feel slow. Check this out and be prepared for when the second season gets released.

Tomorrow I will be looking at another remake that is one of the worst decisions ever made by the company in “Disney Month 2025.”

Your Friendly Neighborhood Spider-Man

Peter Parker is back in a new Marvel animated series, “Your Friendly Neighborhood Spider-Man,” which was released on Disney+ at the beginning of the year.

The show follows Peter Parker, voiced by Hudson Thames, as he goes through teenage life and incredible new powers. It’s not easy being a teenager. If it’s not a problem with your home life, it’s a problem with your crush. Most of the times, it’s all of those, so imagine having superpowers in that category. It really sends someone on a whirlwind. “Your Friendly Neighborhood Spider-Man” explores these areas throughout the show, making Peter’s difficulties feel relatable and real.

The series nicely explores Peter Parker’s original by mixing the familiarity of the spider bite while adding a new introduction for audiences to how the spider is encountered. Britany Murphy said in her review, “I don’t want to reveal too much about the show’s events because the series is very much the type where you want to know as little as possible.” Be prepared for a lot of surprises that happen along the way, adding an element of scheming and excitement to the viewing experience. These surprises will keep you itching to see more, wanting to see what’s next.

One of the most amazing parts of “Your Friendly Neighborhood Spider-Man” is the relationships between the characters. The bond between Peter and Aunt Mary, voiced by Kari Wahlgren, is essential in the Spider-Man story, and it’s just as important in this series. Wahlgren’s portrayal of May is exceptional, displaying a warmth and care for Peter in every scene that will make you feel at ease, which is exactly what you’d expect from the beloved Aunt May character.

Along with that, Peter’s friends are perfect. Grace Song is the highlight as Peter’s classmate and friend, Nico Minoru. Not afraid of telling her best friend how she feels, Nico is Peter’s perfect companion, especially when he doubts himself. The series does a great job of developing her character, showing her growth and the evolution of her relationship with Peter. Peter also finds an unexpected friend in high school football player Lonnie Lincoln. Voiced by Eugene Byrd, Lonnie is popular at school and on the football field, but he deals with a lot in his personal life and keeps secrets from family (Matte Martinez), just like Peter. Finally, we have Harry Osborn, voiced by Zeno Robinson. A home-schooled genius, Harry is happy when he meets some new friends his age, and he is a perfect addition to the friend group – even if there is a little jealousy between him and Nico. However, it’s nothing a personal talk can’t fix.

In “Your Friendly Neighborhood Spider-Man,” Norman Osborn, voiced by Colman Domingo, is interested in how smart Peter sees. Osborn see parts of himself in Peter – a young, scientific genius on the edge of the next breakthrough. Murphy said, “Look, I could listen to Colman Domingo read random words and their meanings from the dictionary. He is no stranger to voice acting, having used his voice talents for Ruby Gillman, Teenage Kraken and BoJack Horseman (amongst others). With his commanding presence and calm, collected nature, Domingo is pitch-perfect as Osborn.”

Series creator and showrunner Jeff Trammell does an excellent job showing Peter and his friends’ pros and cons. Murphy credited, “Each character experiences struggles and tries to navigate them, but the series never feels overstuffed, a testament to Trammell’s excellent storytelling and vision. While the series perfectly pairs nostalgia and newness, the risks it takes throughout will have viewers on the edge of their seats. As previously mentioned, there are many surprises along the way, and watching the multiple webs weave as the story progresses made for some of my favourite moments from the Marvel Animation shows thus far.”

The animation in “Your Friendly Neighborhood Spider-Man” is a visual delight, bringing the pages of a comic book to life on the TV. Murphy credited, “The vibrant colours, dynamic action sequences, and attention to detail make it a must-see for animation enthusiasts. The animation, especially during the action sequences, is not just a treat, but a visual feast that will keep you engaged and excited.” Despite the style may not be for everyone, it works well with the story and adds some nostalgic comic book flicker that sets it apart from the other Marvel Animation series released so far.

Murphy said, “Coupling cool animation, fun action sequences, and great characters with a solid story, Your Friendly Neighborhood Spider-Man is an exciting animated adaptation everyone can enjoy.” Including a new look on the famous superhero, the series is an exciting new look to everything Peter Parker.

We have not seen an animated Spider-Man show in years and this is a great show. If you haven’t seen it, you should see this on Disney+. If you’re a Spider-Man fan and you have liked all the Spider-Man animated shows, then you should see this one. It is not one to be missed so check it out, I promise you will really get into this show. The second season is set to be released late next year and a third season is in development. I would be happy if this show lasted for a while because this has potential for lasting for a while. The animation, like with the Spider-Verse movies, is great, especially with the Spidey Senses, the web-slinging, action scenes, and all around is top notch. One of the best shows in the MCU.

Tomorrow we will be looking at a more serious MCU show in “Disney Month 2025.”

Skeleton Crew

You won’t find a lot of kids a long time ago in a galaxy far, far away. At least, not any that aren’t tortured by Anakin Skywalker, retrieved for a bounty, or forced to pod race to escape child slavery. However, Star Wars fans young and old have a new hope in “Skeleton Crew,” a 2024 weekly spin-off series from Disney+. Brooks Eisenbise said in her review, “Taking cues from recent nostalgia-fueled The Goonies (1985) knock-offs like Stranger Things and It (2017), this story provides a new angle on the Star Wars cinematic universe—one that puts childhood adventure front and center.”

Eisenbise continued, “While Jedi-fied Jude Law has been the centerpiece of this show’s promotional material, the tweenaged ensemble cast, headed by Ravi Cabot-Conyers as Jedi-obsessed Wim and Ryan Kiera Armstrong as tough-talking Fern, steal the show. Along with technophile KB (Kyriana Kratter) and worrywart Neel (Robert T. Smith), the group of unlikely comrades discover a mysterious door in the woods that transports them far beyond their celestial neighborhood and calls into question everything they thought they knew about their home planet and their galaxy.”

“Skeleton Crew” is one of the very few canonical offshoots set after what happened in “Star Wars: The Rise of Skywalker” and the fall of the First Order. Therefore, not only does this series put a unique focus on childhood in the Star Wars universe, but it also looks at a glimpse into the political and criminal underworld of its new intergalactic democracy. Experiences writers Christopher Ford, Jon Watts, and Myung Joh Wesner achieve this amazing world-building with refreshing finely, charm, and humor. Eisenbise said, “And this time, the punchlines aren’t (exclusively) delivered by a wisecracking android, a now well-worn Star Wars trope.”

Whether “Skeleton Crew” will fall into redundancy and superfluous exposition or be canceled before it gets to a satisfying conclusion – both unfortunate fates that have befallen recent Star Wars spin-off series – is anyone’s guess. However, whether you’re a longtime fan or completely new to “Star Wars,” it’s worth to keep watching.

I found myself enjoying this show a lot. I liked the story and the growth of the characters throughout the season. Fern and Wim really grow to get along when they are first trying to be in control, and Jude Law plays a two-faced guy so well. The planet that is consisted of pirates was just great, especially with an appearance by Steve Urkel from “Family Matters,” Jaleel White, in here. I have not seen him on TV in years, and to see him in here was just great. Maybe he did not want to be remembered for his role as Urkel, but if this is a sign of him making appearances again after letting the Urkel popularity die out, then I am happy. SM-33 is voiced by Nick Frost and he is funny in that role. Alia Shawkat from “Arrested Development” and former “The Daily Show,” John Hodgeman are also in here. See this on Disney+, you will love it. I think they are going to make more seasons to this, I will be happy.

Tomorrow we’ll be looking at a new animated Marvel Cinematic Universe show in “Disney Month 2025.”

What If...? Season 3

Matthew Simpson started his review by praising, “What If…?, the long-running Marvel comic book series, is one of the most fun titles in the company’s entire repertoire. Each issue places one of their characters in some new context, either by examining a different pivotal choice they could have made or by shifting them into another universe entirely.” The Disney+ adaptation from Marvel Animation, with the third season in 2024, continues this storytelling style with your favorite characters from the Marvel Cinematic Universe, giving multiverse issues with mixed – but mostly fun – results.

Simpson said, “As with the comics, each episode takes heroes we already know and places them in a new situation and, as in previous seasons, the characters are (mostly) voiced by the actors that play them in the live action movies and series, too.” That means when Captain America is there, it’s actually Anthony Mackie voicing him, and same with The Winter Soldier (Sebastian Stan), Red Guardian (David Harbour), Hulk (Mark Ruffalo), Binary (Teyonah Parris), Shang-Chi (Simu Liu), Moon Knight (Oscar Isaac), Nick Fury (Samuel L. Jackson), and even Agent Coulson (Clark Gregg). Each story is narrated and looked over by The Watcher, voiced by Jeffrey Wright, an all-seeing cosmic being.

Simpson said, “In the episodes Disney+ provided for review, we see a future team of Avengers fighting a kaiju version of The Hulk in giant robots that form together like Voltron or the Power Rangers’ Zords.” In another, we see Agatha Harkness (Kathryn Hahn) as she stars in a 1940s musical along with the Eternal Kingo (Kumail Nanjiani), all as a trick to cast a spell. In another episode, Red Guardian and The Winter Soldier go on a buddy journey and, in the third, newlyweds Howard the Duck (Seth Green) and Darcy (Kat Dennings) go on an intergalactic cruise and end up pursued by different bad guy groups from the first three phases.

Simpson noted, “As with previous seasons of the show–and with any anthology series–your milage with each episode may vary. In these particular episodes a connecting plot has yet to emerge, but this critic holds that as a good thing. These stories are at their most fun when they are a one-off, both self-contained and weird. In fact, if there is a complaint to be made about the show, it’s that it often doesn’t get weird enough, although episode four makes up for this a little bit by going completely overboard (in a good way).”

Another small complaint is that some of this season’s episodes may be a little unapproachable to the more casual fans of the franchise. One, particularly, has a prologue that is several minutes of Jeffrey Wright elaborating a whole new universe before anyone else even has a chance to speak, which is a lot when each episode is less than half-an-hour long. Still, for those in the audience who are fans of the MCU lore, this series may well end up tricking like it was made specifically for them, showing them versions of characters, they’ve wanted to see, in styles and tones they’ve wanted to see Marvel try.

Simpson said, “It’s hard to ignore that there is a real sense among audiences of both Marvel Fatigue and multiverse fatigue. While this series is not likely to fix the former for anyone, the series is exactly the kind of thing that makes multiversal storytelling so potentially fun.”

The end result here is that if you have liked “What If…?” up to now, you will definitely continue to do so. If you are a fan of the Marvel Cinematic Universe, nothing here will turn you away and you might even hope to see some of the versions of these characters again. If you’re not already a fan, this series may not be the best entry one, but luckily there’s something to love for all of us who are.

For the final season of “What If…?”, I think this is another good one. If you have been a fan of the series so far, check this one out on Disney+. You will love it, especially since this is an easy watch. Every episode falls under the half-hour mark, so you can watch this no problem at all. You got to love the different scenarios the characters are put into. Check it out and enjoy yourselves.

Tomorrow I will be looking at another “Star Wars” show in “Disney Month 2025.”

Mufasa: The Lion King

The latest “live-action” stain from Disney thrown into theaters in 2024, making a decent amount of money but nowhere near the unbelievable shocking amount that its 2019 predecessor did. “Mufasa: The Lion King,” released in 2024, is obviously a giant waste of time, a prequel that makes no sense with a framing device the torture people made, only elevated somewhat by the director, Barry Jenkins, who you may remember from “Moonlight.” Kyle Amato said in his review, “How he ended up in this mess, I’d rather not think about. There’s a great (depressing) Vulture piece about it if you want to wallow a bit.”

While Nala (Beyoncé) is busy giving birth, Simba (Donald Glover) leaves his daughter Kiara (Blue Ivy Carter) in the care of Timon (Billy Eichner) and Pumbaa (Seth Rogen), who are there to be annoying as Rafiki (John Gani) tells Kiara the story of how her grandfather Mufasa (Aaron Pierre) became king. We are told he was talking out of his rear end when he told Simba he came from a long tree of royalty, as this Mufasa is a stray who grew up with Taka, played by Kelvin Harrison Jr., the actual heir to the throne. Amato said, “Taka, here rendered a petulant incel, grows up to become Scar and kill his brother, before Simba knocks him off Pride Rock and his hyenas eat him. Circle of Life!”

Honestly, there is no point getting into this. Amato said, “This review mostly exists to register my continued disgust with the Disney machine, pumping out garbage like this while trapping talented -if clearly naive- directors in their cogs. Barry Jenkins could have been doing so much more than giving us lifeless close-ups of ugly lions doing nothing.” “Mufasa: The Lion King” was always going to look horrible, but Jenkins does at least try to get some nice shots in. Unfortunately, this film is about two hours too long. Amato said, “Somehow this movie even features the creation of Pride Rock, something I just assumed happened long before these dead lion puppets moved in. Guess not!”

Jenkins can only hope that this film goes the way of the other Disney live-action remakes and disappears from the collective consciousness, never to be seen again. Amato’s rebuttal, “Unless, of course, you are a Barry Jenkins completist and need to watch this for a full retrospective, a permanent humiliating stain on the filmography of one of our most promising American directors.”

Amato continued, “I had nowhere else to put this so let’s end here: a not insignificant part of the film’s first half focuses on Mufasa’s infatuation with his stepmom, a relationship that feels more romantic than the one with Simba’s eventual mother. Not sure why Rafiki needed to tell this to his granddaughter, but it’s more of a question for the screenwriters, I’d say.” If you ever do rewatch this, and you shouldn’t, you’ll feel the Oedipal Love right away. That is uncomfortable.

Like I have stated in practically every live-action Disney remake, this has to stop. However, the lions are more expressive this time around, and the look of the movie is beautiful, but who was really asking for a prequel to know of Mufasa’s origin. Who cared about that so much? Not anyone that I can think of, that’s for sure. We have Tiffany Boone, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Preston Nyman (replacing John Oliver), and Keith David in here as well. Don’t watch this on Disney+ because this is not good. Maybe there are people out there who love this movie, but I don’t recommend this at all. People might think this is ok, but I’m more in the category of this not worth seeing.

Tomorrow I will be doing my first TV miniseries review of the month in “Disney Month 2025.”

Descendants: The Rise of Red

It has been five years since “Descendants 3” and now the famous Disney Channel franchise is back with a new story and a new cast of characters in “Descendants: The Rise of Red,” released in 2024. Oddly enough, this is both a spin-off and a prequel mixed. The focus is on new characters Red (Kylie Cantrall), the daughter of “Alice in Wonderland’s” Queen of Hearts, and Chloe (Malia Baker), the daughter of Cinderella and Prince Charming. When the Queen of Hearts, played by singer Rita Ora, uses an invite to Auradon Prep for revenge, Red and Chloe time travel to the past to undo events that led her down her evil path.

“Descendants: The Rise of Red” had so much potential. You’ve got an incredible cast of characters. Cantrall and Baker have a great camaraderie as Red and Chloe. Kristen Maldonado credited in her review, “I was really impressed by Ora’s acting ability as the Queen of Hearts. This was a perfect role for her.” Brandy and Paolo Montalban even reprise their roles as Cinderella and Prince Charming from the 1997 “Cinderella” film, which is just everything. Dara Reneé was a real stand out in her first villainous role as Uliana, the baby sister of Ursula and aunt to Uma.

Maldonado admitted, “I really loved the music and how they infused a lot of hip hop and R&B into it. Some highlights were “Perfect Revenge,” “Red,” “What’s My Name (Red’s Version),” and “Shuffle of Love,” which I wish we got a full version of in the film. Although I will say there were a couple of spoken rap style lines that were a bit cringey.”

There is even a lot of nice attention to detail in the costumes when they time travel, like the heart on Red’s belt changing color when she goes back in time. Maldonado said, “But, outside of that, I wish the story was more layered. They had so much to work with, but went with a really rushed and simplistic plot.” The catalyst for a young Queen of Hearts, Bridget, played by Ruby Rose Turner, to becoming evil could’ve been much stronger. The way they set it up looked superficial. Having Uliana trick Ella, played by Morgan Dudley, into sharing in the Bridget prank would’ve added a shade that could’ve taken the story to the next level and would’ve explained why the Queen of Hearts hates her as an adult. Or, when we see Chloe getting Ella grounded, that could’ve been a substance for her missing Castlecoming which leads Bridget to feeling betrayed by her. That could lead to her losing her best friend and missing out on getting together with Prince Charming, which would lead to Chloe dealing with a “Back to the Future” situation in a sequel trying to save her family.

The major missed opportunity was just not showing Red and Chloe at Castlecoming trying to stop the prank. The dance was a huge plot line in the movie but was never shown. The lack of certain locations like that and the way the sets were built out made the story feel very contained and limited at times and the overused CGI that it started to feel cheesy. Maybe they will bring that up in the possible fifth film, but it makes this film feel incomplete. They needed to do a better job with the set up. There were also some plot holes that didn’t make sense. Maldonado asked, “Like if Merlin enchanted the magic cookbook so it wouldn’t fall into the wrong hands, wouldn’t Uliana and her crew still have been frozen on their own mission to stake out the book whether Chloe and Red showed up or not?” That way, they never would’ve been able to prank Bridget, which means it might not have been them that was the reason for her to become evil.

On Uliana’s team, they introduced young versions of Maleficent and Hades and other villain kids, but didn’t actually do anything with them. Longtime fans wanted to see more, especially since they have such a strong connection with the original trilogy. Maldonado said, “Instead, they gave bigger cameos to Jasmine and Aladdin, or Jaladdin as they preferred, that were random and cringey.”

The film ends happily, but very suddenly, ever after. Headmaster Uma, played by China Anne McClain, teases that Red and Chloe messed with the time travel and that it could have caused issues. Maldonado admitted, “I wish they teased a stronger cliffhanger. Instead, the voiceover line felt like an after thought to tease a potential next movie without actually having a plan set.”

In the end, “Descendants: The Rise of Red” is a mixed bag. There were great messages about what it means to be a good person, mother-daughter relationships, childhood trauma, and being your own person. Maldonado said, “I really enjoyed this cast and the music, but there were a lot of missed opportunities and holes in the story that tied back to the writing team. They played it too safe and simplistic when their audience is smart enough to keep up with a more detailed story. This is a franchise that is timeless and could go on forever with all the different characters in the Disney fairytale universe. I’d like to see more in this world, but with a stronger script.”

I will admit that I liked this film with the time travel aspect with changing a person from being evil to good, but I will say that I don’t know why they decided to make another “Descendants” film when the last one ended it off nicely. Maybe with how popular the franchise was, they wanted to make another one to milk in on the franchise, and that is a bad idea. Because this film, like I mentioned before, is a mixed bag. There are many good things about it, but it does make you wonder why they made another film. Check it out on Disney+ and see for yourself what you think of it.

Tomorrow I will look at a sequel to, quite possibly, my most hated live-action remake in “Disney Month 2025.”

Under Wraps 2

In 2022, the sequel, “Under Wraps 2,” was released. However, Harold and the gang have freedom to take the story in a new direction. Alex Zamm returns to direct, along with the main cast, this time working from a script by Josh A. Cagan.

The sequel starts a year later, with Marshall, Gilbert, and Amy being driven in Buzzy’s hearse to Amy’s hometown of Rockport, a Salem-like town that really loves Halloween. Amy is planning a scary party for her father’s (Claude Knowlton and Antonio Cayoone) Halloween wedding, but while they’re in town, they decide to visit Harold and his spouse, Rose, played by Sophia Hammons, who are on display in a nearby museum. They use the ancient amulet to bring the mummies alive to experience the nicer things (like room service and arcades), but they aren’t the only mummies in town.

Sobek, played by T.J. Storm, has been accidentally revived through a meatball falling out of his dinner sub. With museum worker Larry, played by Jordan Conley, hypnotized to carry out his evil mission, Sobek goes on a mission for revenge against his former best friend turned worst enemy, Harold, for stealing his former love.

Along with his safety and that of his friends (mummified or not), this time around Marshall has difficulty being the ignored one to Gilbert and Amy, who have become close while working for the school paper together. Alex DiVincenzo said in his review, “It’s also a pleasant surprise to see LGBTQ+ representation — in the form of a same-sex wedding — handled so matter-of-factly, especially after the recent manufactured outrage over Lightyear.”

DiVincenzo continued, “While Under Wraps is the more well-rounded movie, Under Wraps 2 admirably attempts to one-up the Halloween vibes with a huge festival in the holiday’s honor.” Along with an evil mummy as the villain other than a human also makes it more of a horror movie, even though Larry is always by Sobek’s side to help the scares with comedic relief. It’s nice to see Adam Wylie, who plays Gilbert in the 1997, make a cameo as well.

DiVincenzo ended his review by saying, “It’s unlikely that the new iteration of Under Wraps will have the same impact as the original — with smart devices and streaming services readily available in virtually every household, most kids have unfettered access to untold horrors at their fingertips — but both the remake and its sequel serve their purpose as fun Halloween treats.”

If you want to see this sequel, check it out on Disney+. Personally, I didn’t really see much of a problem, but I don’t think I will be going back to see this again. However, I think this is relatively harmless, so I don’t think it will hurt to see it. Watch it and judge for yourself.

Tomorrow I will be looking at a surprising sequel in “Disney Month 2025.”

Under Wraps (2021)

Premiering on October 25, 1997, “Under Wraps” was the initial Disney Channel Original Movie. Alex DiVincenzo said in his review, “The cornerstone of the network’s programming proved to be as close to appointment viewing as it got for ‘90s kids, along with the likes of ABC’s TGIF and Nickelodeon’s SNICK. Moreover, Under Wraps served as a gateway to horror for many millennials. Before the age of streaming, catching a mummy movie on the same channel where you watched Disney cartoons and Boy Meets World reruns could have been your first exposure to the macabre.”

Disney tried to recapture the effect with the 2021 “Under Wraps” remake. The original movie was successful, and holds up 28 years later, for a lot of reasons. Relatable kid protagonists, a great Halloween atmosphere, and a sense of humor that is meant for them. Director/co-writer Alex Zamm and co-writer William Robertson intelligently keep those elements for the new remake.

Actually, all the major bullets from the original film – written by Don Rhymer and directed by Greg Beeman – are still there in the remake. Though both films are harmless, the original had a little edge to it…as far as ‘90s made-for-TV kids movies go, anyway. DiVincenzo said, “The remake is sanitized to favor playful hijinks over perceived danger.”

12-year-olds Marshall (Malachi Barton) and Gilbert (Christian J. Simon) are best friends even though they are insanely against their views on horror movies. Marshall is a huge fan of them, while Gilbert is afraid of his own shadow. When they believe their scary neighbor, Kubot (Brent Stait), of stealing an ancient Egyptian mummy, the boys join with their new classmate, Amy (Sophia Hammons), to sneak into his house, accidentally bringing the mummy back to life with an amulet.

Like many of fiction’s best monster, the mummy – named Harold, in honor to Marshall’s hot sauce loving grandfather, played by Phil Wright – is not as scary as he looks. He’s just misunderstood. The kids secretly become friends with the lovable mummy, making a friendship similar to “The Monster Squad.” When learning that Harold only wants to be reunited with his spouse, they help him on his mission. However, it’s easier said than done, as Kubot and his men are right behind them, and they only have until the end of Halloween to return him to his sarcophagus or he’ll turn to dust.

DiVincenzo said, “Most of the tweaks to the material serve to contemporize it. The fish-out-of-water element is played up with Harold encountering modern amenities like an autonomous vacuum and Siri-esque technology.” The cast is also more diverse: Marshall is of Hispanic heritage, Gilbert and Marshall’s mother’s (Jordana Largy) boyfriend (Jaime M. Callica) are Black, Amy’s father is gay, and the horror monster expert the kids trust (Melanie Brook) is a young woman.

Along with the Mummy in his life, Marshall has the usual adolescent problems like having difficulty accepting his parents’ divorce and trouble with the school bully, played by Josh Zaharia. The three child actors are likable and have a natural bond. DiVincenzo said, “Stait, a veteran character actor, chews the scenery appropriately, while Wright utilizes his dance choreographer background to bring the mummy to life. The mummy makeup design by Joel Echallier (1922, Freaks) is standard but effective, featuring an off-set jaw.”

“Under Wraps” doesn’t give any major changes to defend its existence. DiVincenzo said, “It’s more like Disney dug up the film’s mummified remains and gave its sarcophagus a fresh coat of paint — and there’s nothing inherently wrong with that.”

I know this remake isn’t all that good, but if you put this on for your kids, I think they’ll enjoy it just fine. Check it out on Disney+ if you want and see for yourself.

Surprisingly, this remake had a sequel. Stay tuned tomorrow to see how that is in “Disney Month 2025.”

Ron's Gone Wrong

Linda Cook started her review by saying, “There’s a little bit of “Child’s Play” and a smidgen of “her” in “Ron’s Gone Wrong,” a 2021 movie with a theme similar to the other two but directed at kids.”

It’s a film by new animation studio Locksmith, a British company that was created in 2014. The look of this CGI movie isn’t exactly like one other, so it’s really fun to see. It takes a look at our “friendships” with high tech and anything robotic.

The movie starts with the Bubble headquarters and the announcement of “B*bots,” mobile friends for children who can share everything with their friends on the B*bot database.

Barney, voiced by Jack Dylan Grazer, is the only kid in school who doesn’t have a B*bot. that’s just one more attack for Barney, who is used to being ignored and bullied.

He finds peace in his loving home with his single dad (Ed Helms) and Bulgarian grandmother (Olivia Colman). Barney’s dad sells trinkets that don’t make much money for the household, so a B*bot is not something he can ask for.

Then Barney’s dad finds Ron, voiced by Zach Galifianakis, a B*bot that fell out of a truck. Cook said, “Ron, who looks a little like a more bubble-ish BB-8 isn’t … well, programmed right, as the title implies.” Actually, he’s more or less broken – not exactly the right birthday present for Barney, who wants to take him back to the factory.

To start, because Barney soon finds out that while Ron isn’t programmed right, that also means he has a few boundaries, which helps out when Barney’s bullies face him.

However, that also means Ron is prone to getting into, and creating, trouble at every moment.

Cook admitted, “I really enjoyed this movie. While it may not be an Oscar contender, the look of its colorful characters and environments is charming.”

Adults will enjoy the film and have a lot of fun with the jabs at high tech, and kids will enjoy the way Ron gets the best of just about everyone.

This is the type of fun family time kids and adults alike deserve.

I think everyone can check this out on Disney+. The way this film brings up how much we rely on technology and that we can’t live without our devices is relatable. Also, if someone doesn’t have the latest or newest tech, they are not in the clique of people who do. Everyone can see this movie and enjoy themselves to the fullest. Watch it and enjoy with how relatable of a film Disney made.

Tomorrow I will be looking at a remake in “Disney Month 2025.”

The Call of the Wild

Chris Sanders has made three good animated films in his career: “Lilo & Stitch” for Disney, “How to Train Your Dragon” and “The Croods” for DreamWorks. He came back to Disney to make his live-action debut in 2020, but that was a big mistake. With so much CGI, the film is mostly animated already. Also, the small handful of human actors and real locations are only there to underscore how poor the sets and effects look. Kip Mooney said in his review, “Every time I saw a shot of the Northern Lights or an underwater rescue – and there were many – I couldn’t help but be struck how much better it would look as a fully animated movie. (Better yet, a hand-drawn animated movie.)”

“The Call of the Wild” is tarted mainly at kids ages 4 to 10. It’s a very easy story, and if for some reason you can’t get it, Harrison Ford is here with narration that sounds more bored than the original cut of “Blade Runner.” The protagonist is Buck, a high-spirited, spoiled St. Bernard-Scotch Collie mix, who is only as big as the scene asks. In his early life of domestic paradise, he literally causes the walls of his owner’s house to shake. Later one, he doesn’t look any larger than a fully grown dog you would see in a park.

Buck is kidnapped and sold as a sled dog in Alaska, where he ruins the first few days of travel. He quickly shifts from being a lazy dog to a strong runner, and eventually overtakes the lead, because he apparently is nice to the other dogs. There’s an alright look of adventure here, but then the story suddenly freezes, as the mail route Buck led his masters (Omar Sy and Cara Lee) on close downs, and the team is sold to a greedy prospector (Dan Stevens), then almost immediately rescued by John (Harrison Ford). The two go out on a journey of their own, with Buck going further and further away from the comforts of home.

Mooney said, “The Call of the Wild corrects an issue many had with Disney’s remake of The Lion King: the animals are more expressive, but the animators over-corrected. Now the dogs don’t even react like normal dogs. Their actions are so exaggerated, I kept waiting for them to talk. Their cartoonish eyes make them feel less real, decreasing our connection with the animals.” Yes, the dogs look good. However, that’s not enough to carry an entire movie.

Even though the movie looks good, Harrison Ford some dramatic scenes, it does check enough off the list to the story that may be faithful, even though I never read the book, but we know the mistake that was made. This either had to be live-action with a real dog or completely animated. Also, the story had to be tougher. I think they were trying to be faithful to the story with what they had, and make the protagonists as expressive as they can. This just wasn’t done correctly. I don’t know if people can see this an enjoy it, but if you want to see it on Disney+, then go ahead. I know there is an audience for this out there. I just wasn’t one of them. Might I also add that I have never owned a dog.

Tomorrow we will look at an animated movie that I enjoyed in “Disney Month 2025.”

Heavyweights

Despite “Heavyweights” being a 1995 film, it’s a throwback to the early Disney live-action films that cruised on their ideas and were fine on giving lightweight entertainment and nothing more. James Plath said in his review, “This one begins like “Meatballs” and ends like a summer camp version of “9 to 5.””

It’s written by Judd Apatow and Steven Brill, produced by Apatow, and directed by Brill.

In “Heavyweights,” Ben Stiller plays a fitness instructor (and not just any, but he is completely fit). Here, he plays Tony Perkis, a physical fitness fanatic who turns a fun camp for fat boys run by a nice couple, played by Stiller’s real-life parents, Jerry Stiller and Anne Meara, into an intense weight-loss boot camp. His motivation? Plath mentioned, “He’s shooting footage of everything, hoping to use it in an informercial for a weight-loss method he thinks will make him ridiculously rich. So he replaces all the easy-going staffers with a bunch of neo-Nazis in black spandex—one of whom (Tom Hodges) actually speaks with an exaggerated German accent.”

Plath continued, “Stiller doesn’t just flex his way through the sequences—he climbs, he does flips, he does sit-ups and push-ups, he contorts, he runs, he leaps over tall buildings, and I’m sure he has some assistance from a stunt man. But he’s still in the best shape of his professional life—like Derek Zoolander on steroids, and with an attitude.”

What begins as a point-of-view narrative focusing on a first-time camper quickly becomes an ensemble film, with the boy taken in by the camp, the campers, and the idea that result when the owners announce they’ve been bought out and forced to retire. At some time one of the counselors, Pat Finley, played by Tom McGowan, breaks out as a second crucial point, with new nurse Leah Lail as his possible love interest, but it stays, really, one big ensemble. The campers include current SNL guy Kenan Thompson, David Goldman, Joseph Wayne Miller, Cody Burger, and Allen Covert.

After a fast set-up to make paradise before the fall, it feels like a two-act screenplay, with the first act like “Stripes” basic training for the boys, and the second act their revenge. However, that might be too strong of a word for a film like this, and Judd Apatow fans will be surprised at how relatively good the screenplay is, how lacking it is in foul language and bodily function humor. Plath said, “Still, I can’t imagine gross-out humor adding a whole lot. The premise is what it is, and it’s mildly entertaining and equally mildly humorous. As I said, the fun for most people will be to watch Stiller and a young Thompson work through it.”

Plath ended his review by saying, “Though the bonus features say “Heavyweights” has become a cult classic, I’m not sure how big that cult is. But I will say that if I were locked in a room and forced to watch one kids-at-camp film over and over again, I’d pick “Heavyweights” over “Meatballs” quicker than you can say “infomercial.” There are more laughs, and the characters are low-maintenance—the kind I’d like to have a beer with, when they grow up. I’m just surprised that Apatow couldn’t convince Disney to release this in two versions, theatrical and director’s cut, given all of the fun stuff that didn’t make the final print.”

I don’t think this movie is for everyone. Maybe if you had little kids, you could play this on Disney+ for them and just walk out of the room because I don’t think adults will get into this. I never went to camp as a kid, so I can’t say I can relate to the stuff kids did in the film. There is an audience for this film, but I wasn’t one of them. I can definitely say I didn’t enjoy this film, but that’s because I might not be the right age group for this film. There might be some funny moments, but those are few and far between. Everything else is just makes you want to turn to the person next to you and talk about something else while this film is playing. Like I said, you can put this on for your little kids and see what they think, but for everyone else, you can give this a safe pass.

Tomorrow I will be looking at a novel adaptation that I wasn’t really impressed with in “Disney Month 2025.”

Predator: Badlands

Tonight, I went to watch “Predator: Badlands,” which came out last month. After hearing a lot of praise for this movie, I was eager to see this. Seeing how this is the one year we got two “Predator” movies and one of them was really good, despite being released to streaming, how is this theatrically released one?

“Predator: Badlands” is the first Predator film to be rated PG-13 rather than R. That’s a surprise for the new sequel in a franchise that is about an alien species that does beating bodies and plasma cannons that regularly fill the screen with intestines. What’s more surprising is that “Predator: Badlands” is the first time a yautja (as the Predators are called) is a thinking and feeling protagonist.

Dek (Dimitrius Schuster-Koloamatangi) hasn’t just been exiled from his tribe, he’s been exiled by his father (Reuben de Jong) for his evident weakness. When Dek travels to the most dangerous planet in the galaxy to kill an indestructible beast, he’s not just doing so for pride. He’s doing it to show his father he’s good enough. Kyle Logan said in his review, “These aren’t complicated emotional stakes, but they’re far more than these movie monsters have been afforded before.”

Writer/Director Dan Trachtenberg (creative leader of the franchise and co-director of the animated anthology “Predator: Killer of Killers” earlier this year) adds to Dek’s emotional story with the introduction of Thia, played by Elle Fanning, a fast-talking and emotionally intelligent (so she can better utilize organic lifeforms) android left behind by her crew. Logan noted, “Fanning is essentially a more endearing, less annoying Donkey to Dek’s Shrek, as she’s there to teach him that friendship isn’t weakness.” This is a lesson that’s given some interesting thematic weight, as Dek initially only agrees to team up wit her because he justifies, she’s a tool to be used.

Logan said, “When Thia’s crew of other Weyland-Yutani (the corporation from the Alien franchise) androids returns for their bioproducts, the exploration of what becomes a web of exploitative relationships makes Badlands a better Alien movie than the last Alien movie we got. But more than anything, Badlands is a teen-friendly adventure movie in the vein of the original Star Wars and Pirates of the Caribbean trilogies.” This is filled with amazing combos of practical and digital effects, exciting action, beautifully shot outlooks, and equally heartfelt and humorous character subtleties. This may be unlike any other Predator movie, but it’s all the better for it.

I was tired from work, so I nodded off a few times, so I might have missed some of the first action and a little of the final action scenes. However, with the majority of it that I remember, this is a great entry in the franchise. This is told from the point of view of the Predator, which is something we have not seen before. The way Dek and Thia work off of one another is just amazing. As always, the Predator franchise never fails in the action scenes because they are all engaging. Finally, the way this film ends, it leaves you feeling like they are definitely going to work on a sequel. See this in the theaters if you haven’t because I don’t think it will be playing that must longer. You can’t miss the opportunity of seeing this film in the theater and getting the experience of it.

Thank you for joining in on this review tonight. Tomorrow I will be looking at another below average comedy in “Disney Month 2025.”