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Review by Daniel Lima  For forty years, Donnie Yen has been one of the brightest action movie stars, shining in period wuxia martial arts epics and especially in hard boiled contemporary crime thrillers. In recent years, he has parlayed that into making Hong Kong action films the likes of which rarely see the light of day post-handover. Though his latest directorial effort The Prosecutor does feel limited by the constraints imposed by mainland China, it is still an effective thriller that boasts all the impressive action you’d hope for. Yen plays a police officer who, frustrated by seeing his work stymied by ineffective prosecutors, decides to become one himself. His very first case involves a young man coerced into taking part of a drug smuggling ring, and as he strives to punish the true culprits, he finds himself up against powerful forces willing to exploit every loophole and blind spot in the glorious criminal justice system of the People’s Republic of China. Will these institutions prove themselves capable of withstanding these subversive elements? Can our heroic representative of CCP authority make right what went wrong? Might he get into a lot of big, intricate gunfights and brawls in order to do it? Let’s get it out of the way: the Hong Kong film industry is now the Chinese film industry, and that means paying lip service to the values that the Chinese Communist Party want reflected in the media they produce. That means the heroes must lack any flaws beyond “works too hard”, and the villains lack any redeeming qualities… or interesting qualities. Admitting that the courts are fallible can only go so far, with blame being laid not at the institution’s basic structure, but on nefarious, evil individuals outside of it. And people who use drugs? Utter filth, of course (sexual harassment accusations seem okay however, considering Bey Logan is credited as a post-production supervisor). Perhaps toeing the party line would be less aggravating if they were promoting land reform; here, it’s almost indistinguishable from mainstream Western copaganda like Law & Order.  There are plenty of action movies with disagreeable politics that at least express those in such a dynamic, snappy way that even the scenes without any fighting are engaging. The Prosecutor is not one of them. The film drags throughout its two-hour runtime, filling most of it with exposition and practically none with either character work or procedural detail. The case itself is hardly riveting in its own right, but actually caring about the people involved or getting into the details of how the modern Hong Kong legal system works might liven things up. The cast is decent, particularly the industry vets like Kent Cheng and Lau Kong, but they have little to work with in a story that moves like molasses. Unfortunately, this is one of those action movies where you’re only here for the fights.
Fortunately, the Donnie Yen Action Team is at this point a well-oiled machine; I don’t know that Kenji Tanagaki and Takahito Ôuchi could deliver a bad set piece if they wanted to. Donnie and his crew pioneered the use of mixed martial arts in action choreography decades ago with Flash Point, and the fights here switch between striking and grappling with characteristic fluidity. Each one feels wholly distinct in both setting and challenge: a high-octane police raid, a rooftop club standoff with dozens of foes, a showdown in the close confines of a metro train. Each scene tells a story of its own, incorporating the environment and a changing landscape to keep things from getting stale. While this may lack for the more fanciful flavor of Tanagaki’s work on Twilight of the Warriors or the Rurouni Kenshin films, there is a polish and scale to the action that grants the fisticuffs a weight that evades smaller productions. With that said, does this rank among the best of Yen’s oeuvre? Hardly. Time comes for us all, and a life spent undergoing tremendous amounts of physical punishment for the sake of our entertainment means Donnie isn’t quite as capable as he once was. Hard to begrudge him going a bit easier in his 60’s, and the choreography and camera work go a long way in making a legible, exciting action scene that allows his stunt and (what seems to be) digital doubles to take some of the burden. Even so, the use of far-off drone and crane shots, POV oners, off-camera beatdowns, and other ways to visually obscure the action — however artfully done — does create a degree of remove, a break in continuity and flow that creates a ceiling for how enjoyable the fighting is. That, and the fact there’s only four proper action scenes in the entire movie. In spite of all the obvious flaws of The Prosecutor, however, it still offers something that has become exceedingly rare: a big-budget martial arts action thriller made by a team that knows how to deliver solid martial arts action. This would hardly be the first of those that asks the audience to bear through some tedious, shallow drama, and given the alternative, I hope that this is not the last. The fact remains that even in it emaciated state, no one makes an action movie like Hong Kong. The Prosecutor arrives in theaters January 10. Rating: 3.5/5
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Review by Adam Donato  Hollywood has a poor history of how it treats women, especially as they get older. Pamela Anderson has gone from the star of Baywatch and Playboy magazine to animal rights activist and award nominee. The Last Showgirl is a tale about an aged dancer who is struggling with her long standing show cancelling and her estranged daughter reentering her life. A role that Pamela almost didn’t have because her agent immediately threw out the script. Luckily, the script got back to Pamela who took the role and subsequently fired her agent. This story gives her a unique opportunity to express herself and say something about a problem in Hollywood that many struggle with. Many probably wrote Pamela Anderson off as a talentless bimbo, but hopefully those people check out her performance here. Anderson is fantastic and the extent that she goes to show her vulnerability is admirable. The role is one that’s both tragic and likable. She’s so proactive as she tries to move forward and make things right. Her performance feels like the opposite of what Demi Moore was able to accomplish in The Substance. Now those are two entirely different movies that are trying to accomplish different things, but they both explore similar themes. While that film explores the subject at large, The Last Showgirl tells a more personal story that’s easier to sympathize with. All of these feelings are on the shoulders of Pamela’s performance as she is well deserving of all the acclaim she’s received.  The supporting cast is stellar all around. One of the biggest complaints of the film would be that it’s not longer to allow time to further flesh out some of these supporting characters. Dave Bautista and Jamie Lee Curtis in particular are nominee worthy. Curtis completely transforms here and it’s clear she was passionate about the project because she signed on the moment she found out Pamela Anderson was leading. Bautista is the most prestigious example of a professional wrestler turned actor. It’s excellent casting as both Curtis and Bautista can certainly draw from experience when it comes to performers who have been chewed up by the system when they pass their physical prime, but have succeeded despite it. Brenda Song and Kiernan Shipka also stand out in their supporting roles as fellow dancers.
It’s a good problem that The Last Showgirl leaves you wanting something more. The film is a very crushing representation of how our society uses women up and spots them out. Anderson’s honest portrayal of this character is deeply affecting and powerful. She’s well deserved of her opportunity to be back in the spotlight. The Last Showgirl will be in theaters on January 10. Rating: 4/5 WALLACE & GROMIT: VENGEANCE MOST FOWL -- Another Classic Adventure for the Iconic Animated Duo1/2/2025 Review by Camden Ferrell  Wallace & Gromit: Vengeance Most Fowl marks the return of the iconic animated duo in their second feature film ever. Almost 20 years after their last feature, these two lovable characters are back with director Nick Park at the helm once again, this time joined by co-director Merlin Crossingham. Even if this movie can’t live up to the heights of its previous entries, this is still a fun and classic adventure that audiences everywhere are going to love. As with most of their adventures, this movie follows Wallace as he creates an intelligent robotic garden gnome with capabilities to assist with a myriad of household tasks. However, things go awry when an old villain finds a way to use this technology for their own nefarious purposes. The narrative structure is classic for this duo, and it sees them fulfilling their respective niches as characters and makes for a simple and fun adventure. This is the first installment not to be written by Park even though he is credited for the story. Mark Burton’s script stands as one of the best of his career in animation, and it retains a lot of the signature Wallace & Gromit charm that makes their endeavors so endearing. It has great comedy, great action, and great heart which is nothing short of what’s expected of this franchise.  Despite voicing Wallace for the last decade and change, this is the first major installment to feature Ben Whitehead as the titular inventor. He does an amazing job carrying on the legacy of Peter Sallis who helped shape the character with his talented voice work.
One would be remiss if they didn’t commend the dying art of stop-motion animation on display, and as always, this franchise does a phenomenal job with its animation. It’s full of undeniable personality that elevates this film to be a brilliant piece of animated storytelling that will hopefully last for years to come. While there’s so much to love about this movie, I will concede that the one thing that feels odd about this entry is that it feels the slightest bit like a product of its time. One of the core features I love about this franchise is how timeless its stories feel, but I’m not sure if it’s the state of technology we currently live in, but I have hard time believing this will be as timeless as its predecessors. However, this is a minor gripe in a movie that does so much right. Wallace & Gromit: Vengeance Most Fowl is a glorious feature-length return for two animated icons. It may not be mind-blowing or world-ending, it delivers reliable enjoyment and jubilee as expected. It’s a heartfelt and hilarious journey that reminds us of how valuable the medium of stop-motion animation is, and one can only hope we get more of these characters sooner rather than later. Wallace & Gromit: Vengeance Most Fowl is streaming on Netflix January 3. Rating: 4/5 By Borja Izuzquiza  A title card solely featuring movies centered around boxing would more than likely go into the next day. Each of these would provide the typical jabs, uppercuts, and hooks with the hope that one of the moves will land a much-anticipated knockout. As it were, boxing movies ultimately rely on decisions to be determined a winner. The latest to climb into the quadrilateral, The Fire Inside, delivers a bout worthy of a unanimous decision. After having been the first woman to receive an Academy Award nomination for best cinematography on Mudbound, Rachel Morrison assumes new challenges by stepping into the director’s chair for the boxing film. The trailblazing narrative between her achievements and that of the film’s subject Claressa Shields (Ryan Destiny), run parallel, as both find success in typically male dominated worlds. For Shields, the challenges of “making it” in the sport of boxing where misogyny runs rampant not just within the sport, but also exist because of external expectations, is exacerbated by a difficult comeuppance in Flint, Michigan. With the tutelage of her coach and former boxer Jason Crutchfield (Brian Tyree Henry), Shields faces the whirlwind of obstacles stacked against her. Additionally, the commentary surrounding the role and expectation for women in sports is loud and resounding. Shields is expected to act nice, dress sexy, and take less money than her male counterparts for equally if not more substantial and successful work. Halfway through, Shields accomplishes what she believes is her ultimate purpose, expecting her fortunes and those of her family to change for the better. At first, the anticipated results do not materialize for Shields, leading her to reassess her position. With this introspection, the film uses these moments to tack on added layers concerning the meaning of success not just in life, but in sport where supposed greatness is measured and recognized by accolades and achievements. Therefore, this perspective makes The Fire Inside one of the few “sports” movies that offers views on the politics and purpose of sport as it relates to female participation.  Morrison’s vision for exploring Shield’s rise is clear. Visually, her cinematography background manifests as her experience undoubtedly influences the already unique work of cinematographer Rina Yang. Shields worldly experiences are exemplified in moments where the gritty Flint surroundings are juxtaposed with the bright and sprawling Beijing skyline. Furthermore, the grittiness is reflected in the boxing matches as well, as they avoid feeling excessively choreographed in favor of an in-your-face brutal approach.
In her direction, Morrison makes the most of Barry Jenkins’ tightly composed script to elevate Shield’s plight. The director adeptly grounds Shield’s experience throughout, helping the struggle resonate deeply. Ryan Destiny also delivers an exceptional portrayal of the athlete as she balances the unrelenting will of a boxer with a firm grasp of her destiny against the helplessness of a teenage girl when faced with the truths of her harsh reality back home. Destiny along with Henry also succeeds in developing a heartfelt and fiery relationship that borders on father/daughter dynamics to drive home the story’s emotional crux. Having found her voice as a cinematographer, Morrison exhibits an already expert directorial output even for a debut. As the bout nears its conclusion it becomes evident that the judge’s decision will ultimately be rendered unnecessary, as The Fire Inside delivers a total knockout. The Fire Inside is in theaters now. Rating: 4/5 Review by Camden Ferrell  Ever since his first feature, The Witch, came out in 2015, writer and director Robert Eggers has carved himself a definitive place in contemporary cinema. His fourth feature, Nosferatu, is his attempt to adapt and reimagine a cinematic classic. Even if it isn’t as strong as his previous works, this movie boasts performances and impressive craft that confirm that Eggers is a modern auteur through and through. Thomas is a man working in real estate when he finds himself tasked with working for enigmatic Count Orlok. Little does he know that his new client is a vampire obsessed with Ellen, Thomas’s wife who is suffering intense and concerning episodes of horror. This is a story that many are familiar with, but Eggers adds more narrative and character depth that makes this quite engaging. In my opinion, Eggers excels more as a director than a writer, and this is no exception. His script is well-written as always, but I find that there are moments where his style usually compensates for a script that might not be the most well-paced. His dialogue is strong as usual, but he continues to suffer from an extremely subtle and forgivable tendency to bloat his script.  It’s no surprise that he continues to get good performances from his actors, but the acting exceeded expectations. Hoult plays Thomas very well, serving as a frightened yet relatable audience surrogate. Bill Skarsgård delivers a transformative performance as Count Orlok that is extremely compelling without being too campy. However, the real star of the show is Lily-Rose Depp as Ellen. She surpassed all expectations with a haunted and extremely physically demanding performance that steals almost every scene she is in. It’s one of the best performances you’ll see this year, and it is a showcase for the potential she has as an actress.
It wouldn’t be a Robert Eggers movie without gorgeous visuals, and this movie delivers. He collaborates with cinematographer Jarin Blaschke yet again to capture this Gothic world with stunning brilliance. Grim but never dull, the visuals elevate the movie to overcome its few shortcomings. Fans of horror and vampires will absolutely love Nosferatu. General audiences might also find much to love about this movie as well. It’s creepy, well-acted, beautiful shot, and incredibly eerie. While it’s my least favorite of Eggers’ movies, it’s hard to deny it’s extremely well-made even if slightly bloated. Nosferatu is in theaters December 25. Rating: 4/5 By Borja Izuzquiza  After almost two hours, The Six Triple Eight concludes with an inspiring coda it wishes the rest of the movie could have lived up to. During these final 10 minutes, archival footage and interviews with the surviving members of the 6888 battalion help the movie reach its goal; shining a light on the remarkable story of 855 black women tasked with an impossible challenge during World War II. Morale for American soldiers was low in 1943. Over 17 million pieces of mail remained undelivered due to changing strategies, yet the importance of making sure these were delivered was essential to provide comfort during difficult times. As such, the six triple eight battalion, composed of black women are assigned the task of sorting and delivering the letters: all 17 million of them in three months. The enormity of the task was designed to have the battalion fail. Led by Major Adams (Kerry Washington) the soldiers had repeatedly asked to be assigned meaningful work in service of the war effort. Rampant racism and misogyny across the armed forces prevented them from doing so. Finally, the 6888 battalion were given the mail sorting task, but not without the challenges of discrimination.  Directed by Tyler Perry, The Six Triple Eight is a well-intentioned if not poorly executed effort. Perry begins his project with a less than enthralling battle scene and continues with a disjointed and uneven focus. The biopic beats are familiar even though the film’s subject merits its own distinct rhythm. Every element vies for generic supremacy over the next, while the accompanying score is saccharine in its intentions to be rousing. Odd lens choices are sporadically used for no obvious purpose as well, ultimately distracting from what are supposed to be meaningful moments. Furthermore, several characters are introduced to the mix filling in stereotypical roles, with most remaining underdeveloped.
Freeing herself from the inconspicuous blend, Lena Derricotte King (Ebony Obsidian) is an exception. Her storyline composes the films’ emotional arc, although the efforts to retrace these are also subpar. Undoubtedly King’s contributions are nothing short of heroic, yet as an example of Perry’s uneven vision, he decides to focus more on her personal struggles and motivations while employing problematic thematic elements to boot. Poor justice is afforded not only to Derricotte, but to the entire battalion, resulting in the belittling of an extraordinary accomplishment. Despite all its missteps, the film ultimately will fulfill its intended purpose. With heavy hitting names like Perry involved and with a streaming home on Netflix, viewers will undoubtedly tune in to The Six Triple Eight and learn about these overlooked and remarkable women. The 6888 battalion was tasked with an almost impossible feat, yet thanks to their unbreakable resolve, these women served their country despite their country not showing the same commitment to them. Ultimately, a good movie is bound to be made concerning their historical accomplishments; they deserve as much. The Six Triple Eight is streaming now on Netflix. Rating: 2/5 Review by Adam Donato  The musical biopic sub genre continues to thrive and will never go extinct. With so many coming out all the time, it’s imperative to make your film stand out. Better Man does nothing but stand out. The film is about a British pop star named Robbie Williams. Never heard of him? Neither have most Americans. The decision to portray Robbie Williams as a computer generated monkey man will definitely catch some people’s attention. There will be people who will only watch the movie because he’s a computer generated monkey. If that’s what it takes to expose people to the music and life of Robbie Williams, then whatever works. Unfortunately, the whole computer generated monkey man shtick doesn’t feel like an essential aspect of adapting this artist. It never fully connects in the narrative or about the person to justify the decision. Then it just feels reduced to relying on a gimmick. A fun gimmick, but a gimmick nonetheless. The narrative of the film is just like any other musical biopic complete with all of the cliches. It’s the type of story that Walk Hard: The Dewey Cox Story is parodying. The monkey man of it all is a welcome distraction from the mundanity. The quality of the computer animation looks very good too. They pulled it off, but some heavier moments are hard to take seriously when it’s happening to a monkey man.  The musical sequences are quite dazzling and absolutely nuts. Michael Gracey had previously directed The Greatest Showman, which was an absolute hit at the box office and the songs still persist on the radio to this day. It’s clear how much Gracey has improved as the musical numbers are so full of life. Two that distinctly stand out are when they’re dancing in the street and the concert fight. You don’t even need to previously be a fan of the artist to enjoy his music. The songs range from fun to soulful and are sure to be new additions to your playlist. The clips of the musical numbers have already been making the rounds on social media and hopefully attract more open minded people to give the film a chance.
Most musical biopics follow the same type of structure, but Better Man does everything it can to differentiate itself from the crowd. It should be encouraged when filmmakers take big swings, even when they don’t fully work out. Similarly to Gracey’s past work, the musical sequences serve better as music videos than part of a movie with a compelling narrative. Robbie Williams’s story may not be remembered, but his personality is sure to shine through. American audiences should give this artist a chance in theaters this holiday season. Better Man will is in select theaters on December 25 before going wide on January 17. Rating: 3/5 Review by Camden Ferrell  Pedro Almodóvar has cemented himself in film history with his illustrious catalogue of movies over the last few decades. However, this year marks his first foyer into English-language cinema. The Room Next Door, based on What Are You Going Through by Sigird Nunez, marks his first film in English and had its premiere at the 2024 Venice International Film Festival. While it doesn’t hold a candle to his better works, this movie still benefits from his dreamlike dialogue and great leading performances. Once close colleagues, Ingrid and Martha’s lives went in different directions. Many years later, they meet again as one of them deals with a unique end-of-life situation. From a plot standpoint, this is relatively simple for Almodóvar, which gives the dialogue and performances a chance to take center stage and truly flourish. The biggest variable with this movie is how Almodóvar’s writing would translate into English, and the results are more positive than not. While some moments feel disjointed and unnatural, it largely works. The dialogue is sharp and has a subtly ethereal and poetic quality that is evocative of his previous films. The only weakness is that there are moments throughout where the script feels like its stretched particularly thin which can often make the movie drag more than I’d like.  The clear standout of this film is its leading performances. Julianne Moore and Tilda Swinton lead the film as Ingrid and Martha, respectively. They have solid chemistry throughout and handle the complex subject matter with ease like the seasoned actors we’ve known them to be. Even when the script has its shortcomings, they make up for it more times than not.
It wouldn’t be an Almodóvar movie without some unique visual flair, and this movie is no exception, even if it’s less accomplished than most of his movies on a visual level, there is still some great production design and cinematography to give it his signature feel. Pair this with a great score and some truly emotional and poignant moments, and you get enjoyable, albeit minor work from the auteur. At the end of Almodóvar’s career, this movie will be noted for being his first English movie and not much else. While it has a lot of great qualities, it fails to live up to his best works. It’s good supplementary material to his career despite it being not particularly memorable or brilliant. It’ll satisfy his fans even if it’s a minor work by his standards. The Room Next Door is in theaters December 20. Rating: 3.5/5 Review by Adam Donato  2024 sees the release of a franchise film made with computer animation. A prequel that explains the origin of the relationship between the main leader and villain of the franchise. Of course, we’re talking about Transformers One. A film that was met with overwhelmingly positive reviews, but absolutely floundered at the box office. A few months later, a very similar film came out called Mufasa: The Lion King. A film that’s likely to make a billion dollars, despite middling reviews. The remake of The Lion King is the tenth highest grossing movie of all time. Only a couple of months ago, an unnecessary continuation of a billion dollar movie came out in the form of Joker: Folie a Deux. That audience is a lot more particular with the quality of the film than the parents that will be when choosing what movie to take the family to see in theaters on Christmas Day this year. Look at last month’s release of Moana 2. A sequel that is inferior in every way possible to the original, but is going to go on to be the highest grossing animated movie of all time. Mufasa: The Lion King stole Lin Manuel Miranda from the Moana sequel and recruited acclaimed filmmaker Barry Jenkins to helm the film. Is this influx of talent enough to overcome the clear conceptual problems with this prequel? Absolutely not. Barry Jenkins should go straight to jail. Do not pass go, but do collect a hefty paycheck. The hack claimed directing this project was not just a paycheck, but a week before release was quoted saying he doesn’t prefer this style of filmmaking and would like to return to smaller, more real projects. Great thing to say to get folks butts in seats this holiday season. Jenkins influence on the film is nonexistent. Mufasa: The Lion King could’ve just as easily been directed by Peyton Reed and most people wouldn’t notice the difference. The visual style of the film is still disgusting. There’s an effort to accentuate the facial expressions of the animals in the film compared to last time, but the problem remains the same. Making a musical with expressionless characters is a total contradiction. While competing holiday film Sonic the Hedgehog 3 has main characters defined by bright contemporary colors, Mufasa’s characters are different shades of gray and brown. Now Jenkins didn’t invent the style of the film as he was hired to continue the look of the franchise. Nobody should feel bad for Jenkins though. He knew the paycheck would come with baggage. Take away his Oscar and don’t give it back until he makes three more real movies that have actual artistic integrity.  Speaking of paychecks, Lin Manuel Miranda works more relentlessly than his popular stage character Hamilton. If he continues down this path, he may reach the same fate. The songs from Mufasa: The Lion King range from forgettable to laughable. Bye Bye is the most embarrassing moment of Mads Mikkelsen’s career. The villain song being so goofy totally contradicts everything else we see from his character as he’s a strictly serious force. The song from the trailer “I Always Wanted a Brother” starts out very catchy, but then the repeating of how the kids sing “brotha” gets funny quick. “We Go Together” does a lot of the heavy lifting with establishing the dynamic of the group, which overall feels rushed. Milele and Tell Me It’s You are both sweet, but don’t entirely hit home. Honestly, Moana 2 is looking much better after seeing Mufasa: The Lion King.
Similar narratives of the film have been executed more efficiently this year. Transformers One has multiple moments where the weight of the inherent betrayal hits hard. Mufasa fails to stick the landing on a relationship that is the soul of this movie. They played it safe and so there’s nothing to feel invested in. It all just feels cheap, rushed, and obligatory. The structure of the narrative is annoyingly intercut with scenes of Timon and Pumbaa making bad jokes as Rafiki tells the story to Kiara. The runtime is exactly two hours and what should feel like an epic narrative feels rushed. The Lion King 1 ½ being remade was an idea that was flirted with recently. Let Timon and Pumbaa shine there. Mufasa needs as much time as he can get. The film also relies heavily on references to the first movie. Remember this? This is how this character got this object! That type of lazy crap. There’s ingredients for a good movie in here, but the final product is not worth it. Disney opted not to take the criticism from the first movie and instead ran it back. The glaring faults of the film will be hidden by brand recognition and general inoffensiveness. Families will flock to Mufasa: The Lion King. The franchise will continue and paychecks will be cashed. The only hope is that these “artists” take their earned money and use it to make something new. Sonic the Hedgehog 3 opens in theaters on the exact same day. See that instead. Mufasa: The Lion King is in theaters on December 20. Rating: 1/5 Review by Jonathan Berk  It never fails that come December, movie nerds will debate whether Die Hard qualifies as a Christmas movie. Well, director Jaume Collet-Serra's Carry-On feels like a spiritual sequel to Die Hard and Die Hard 2, aiming to be the next holiday action-thriller that frequents screens during the season. While it doesn't quite reach the heights of its inspirations, Carry-On still delivers enough entertainment to be worth checking out. Taron Egerton stars as Ethan, a TSA agent working on Christmas Eve in Los Angeles. At a crossroads in his life, Ethan decides it’s time to get serious about his career — but those plans are derailed when a mysterious traveler (Jason Bateman) coerces him into letting a dangerous package through security. Bateman as a villain works surprisingly well. His trademark dry sarcasm and smart-ass charm translate seamlessly into the role of a mastermind antagonist. Bateman’s character exudes calm control, and his portrayal as the smartest man in the room feels utterly convincing. Egerton, meanwhile, demonstrates once again that he has all the makings of a compelling lead, despite somehow seeming to always be just out of the limelight. Known for his standout roles in Kingsman: The Secret Service, Rocketman, and Eddie the Eagle, Egerton brings innate charisma to Ethan. His American accent is solid, and he sells the cat-and-mouse dynamic with Bateman, making their verbal and mental sparring a highlight of the film.  A robust ensemble cast supports them. Danielle Deadwyler plays an LAPD officer who catches wind of the chaos unfolding at the airport. Her storyline intersects with Ethan’s early on and provides a much-needed reprieve from the airport setting. Deadwyler, who has dazzled in dramatic roles like Till and The Piano Lesson, shines in this more action-driven part, showcasing her versatility.
Sofia Carson plays Ethan’s girlfriend, a fellow airport worker whose encouragement sparks his desire to get his life on track. While her role is initially minor, Carson gets more screen time in the third act, and her chemistry with Egerton makes the relationship and journey between these lovebirds compelling. The supporting cast also features Dean Norris, Sinqua Walls, Logan Marshall-Green, Tonatiuh Elizarraraz, and Theo Rossi, all of whom contribute to the film’s tension-filled airport setting. The chaotic holiday travel atmosphere, mixed with Bateman’s high-stakes machinations, gives this movie its Die Hard 2 vibes, leaning into the airport as both battleground and nightmare fuel. While the performances and story are the film’s biggest draws, its visuals leave something to be desired. At times, the lighting and cinematography feel more akin to a straight-to-TV movie than a cinematic spectacle. The action sequences, while effective, often rely on digital effects that lack polish. The car “chase” scene in particular feels either overly reliant on CGI or distorted by lens choices, creating a focus-breaking distraction rather than an immersive experience. Despite these shortcomings, Carry-On offers enough thrills and holiday spirit to make it a worthwhile watch. Collet-Serra has had his share of hits (Orphan, The Shallows) and misses (Black Adam, Jungle Cruise), and while Carry-On may not be a masterpiece, it feels like a step back in the right direction. Fans of holiday action-thrillers or Taron Egerton’s work will likely enjoy the ride, even if the film doesn’t soar as high as its predecessors. While some may not feel that a Netflix holiday action-thriller doesn’t qualify, it worked for me. Carry-On arrives on Netflix on December 13. Rating: 3/5 |