Review by Adam Donato

If all the movie cares about is the big monster fights, then let's just focus on the big monster fights. Similarly to how Dune: Part Two demands to be seen in IMAX, that should be the relationship between Godzilla x Kong: The New Empire and higher formats like 4DX and D-BOX. Feeling the rumble of the seat whenever a monster approaches and getting flung around as the monsters share blows makes for a pretty fun ride. While the fights in Godzilla Vs. Kong were more memorable, Godzilla x Kong: The New Empire has fights with more regularity. Also, Godzilla fans, beware that this sequel is definitely more of a journey for Kong. His trek through the Hollow Earth with Mini Kong drives most of the narrative. The fights and monster lore have never been more ridiculous, and that feels like the only direction this franchise can take. If there's not going to be any human emotions to ground the story, then let's get as crazy as possible. 

At this point, Godzilla x Kong: The New Empire delivers exactly what audiences expect. The fights are badass and are sure to be replayed on YouTube. If you require more than just baseline monster fights, then steer clear. It's unfair for Godzilla x Kong: The New Empire to have the best Godzilla film since the original still fresh in the hearts of cinephiles. Turn your problem, throw your hands in the air, and enjoy the ride. 

Godzilla x Kong: The New Empire hits theaters on March 29.
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Rating: 3/5

Review by Sean Boelman

Colin Farrell's season of neo-noir True Detective was widely considered the weakest of the anthology series, but Farrell still has the juice to play an incredible noir detective. This is evidenced in Apple TV+'s new show Sugar, which is certainly flawed but works incredibly well thanks to its star and direction.

Sugar follows a private investigator (Farrell) tasked with investigating the disappearance of a legendary Hollywood mogul's granddaughter; of course, nothing is as it seems. It's a very loose neo-noir, with as much influence from films like Fear and Loathing in Las Vegas as it has from classic cinema, but it's strangely alluring, nevertheless.

The biggest holdback of Sugar is that its mystery, frankly, isn't interesting. The protagonist is investigating this disappearance, but we aren't given much reason to care about the discovery (or lack thereof). The more exciting aspect is the journey the detective goes on along the way and the unexpected conspiracy that unfolds the deeper he digs.

Yet, even though the central mystery of Sugar goes nowhere, the show moves along at a steady pace. This is probably at least partially thanks to the series's short length. Apart from the 50-minute premiere, the episodes range from 30 to 40 minutes, making the whole thing clocking in at under 5 hours. This is rare for a dramatic series, but it's incredibly brisk as a result.

The other thing missing from Sugar is a cast of compelling supporting characters. The antagonistic characters are never really menacing, and the sidekicks are developed in a way that makes sense to the last two episodes but feels off in the moment. The supporting cast is strong, with talented performers like Amy Ryan, Kirby, James Cromwell, and Dennis Boutsikaris, but none feel fully utilized.

That being said, Farrell has such an incredible presence as the eponymous investigator that the show manages to be riveting nonetheless. This feels like a role that Farrell was born to play — a slightly snarky detective recalling the balance of suaveness and harshness in the early noir hero. His delivery is perfectly brooding without feeling aloof. It's an incredibly inspired casting choice.

The other hero of Sugar is director Fernando Meirelles (City of God), who directs most of the eight episodes. Beyond nailing the neo-noir aesthetic, the show has some intriguing flourishes, such as incorporating clips from classic noir films. This creates an interesting juxtaposition with the ostensibly modern story we're watching.

Sugar isn't without its flaws, but it's a very compelling neo-noir, especially considering how refreshingly short most of its episodes are. It's strange and trippy, but if you're willing to meet it on its bizarre wavelength, you'll be entertained and enthralled by the atmosphere and Colin Farrell's exceptional performance.

Sugar streams on Apple TV+ beginning April 5 with two episodes, with new episodes streaming on subsequent Fridays. All eight episodes reviewed.

Rating: 3.5/5

Review by Camden Ferrell

Wicked Little Letters is the newest movie from director Thea Sharrock and marks the feature writing debut of Jonny Sweet. This movie had its premiere at the 2023 Toronto International Film Festival. Even if it doesn’t make the most of its extremely talented cast, this is a movie with enough enjoyable moments to overcome how quickly its novelty wears off.
 
The movie is based on a true story of a scandal that took place in a small town in 1920’s England. Edith is a devout Christian woman who lives with her parents and is horrified to receive numerous profanity-ridden letters that insult and belittle her. When this gets reported, it is first believed to be the work of her Irish immigrant neighbor Rose who is known for her foul mouth and crude behavior.  However, as time passes, more information is revealed about the letters that shock the entire community. This is a fun story that combines some crass shock humor and mystery and had the potential to make great use of its leading ladies.
 
The real appeal of this film’s script comes from its vulgar premise. However, these profane jokes and comments lose their charm and novelty quite quickly. Since it’s the premise of the movie, these particular moments persist throughout and suffer from diminishing returns quite notably. However, it does benefit from the subplot involving Gladys, a policewoman who is trying to get to the bottom of the whole ordeal. Additionally, there are some interesting character moments throughout that gives the movie a heart at its core.

By far and away, the best part of this movie is its performances. The material provided doesn’t get the most mileage out of their talents, but they are still wonderful to watch. Led by Olivia Colman and Jessie Buckley, they are both great character foils and play off each other well. Their comedic timing is entertaining, and they bring their trademark charm to their roles nicely. The supporting cast, consisting of Anjana Vasan and Timothy Spall among others, isn’t given nearly as much to work with, but they are decent with what they are given.
 
This movie doesn’t aim to tackle any thought-provoking social issues related to its premise, but it doesn’t need to. The director understands that this movie was never meant to incite conversation or profound discussion, and the movie operates under that umbrella of casual entertainment where it thrives best. It’s the kind of movie you can nonchalantly watch with family on a nice afternoon and get a few good laughs out of. It’s not particularly great as a movie, but it’s exactly what it needs to be.
 
Wicked Little Letters has some wit to go nicely with its large number of expletives. Viewers won’t be blown away by its humor, but everyone can still get a kick out of Buckley and Colman doing their respective thing on screen. Even if it could have been better, it’s still an enjoyable comedy, nonetheless.
 
Wicked Little Letters is in theaters March 29.
 
Rating: 3.5/5

Review by Jonathan Berk

​Director Morgan Neville knows how to shape the story of a documentary for maximum impact. Fans of Won't You Be My Neighbor? will remember the emotional impact felt by both the subject and the story's structure. STEVE! (martin): a documentary in 2 pieces brings a similar feeling of admiration and nostalgia for Steve Martin. The two parts of this documentary series could not be more different, as they reflect many aspects of Martin's life and story. 

The first part of the documentary feels very much like a Ken Burns PBS documentary. Tons of photos of Martin's life appear on screen accompanied by voice-over narration by Martin. The tone is often wistful and feels more like the inner monologue Martin has had with himself throughout his life, which we are now privy to. This section focuses on his life until 1980 and the struggles he initially had breaking into show business. Martin's story is impressive and feels both personal and distant in this presentation style as if we're merely observing things.

The second part of the documentary jumps to the modern day as Martin prepares breakfast for himself. This documentary uses a more traditional combination of fly-on-the-wall observation and interviews. The archival footage and photos aren't entirely gone, but now some cartoons of Martin are used to introduce a series of concepts Martin is bothered by. This section still focuses a bit on the career, but it's far more interested in the man behind it all. ​

The second film is far more unique than the first, but together, they reflect a lot of the complexity that is Martin. A magician, comedian, musician, actor, son, husband, father, and collector list just a few aspects of Martin explored in the two-part documentary. Several of these ideas add Martin Short into the film as the two prepare for a tour and promote their hit show Only Murders In the Building. Martin reflects on his life to this point throughout in ways that are again very personal yet distant. 

A significant theme that emerges in both documentaries is this sense of longing, loneliness, and love. These themes appear in the characters he portrays in his movies and his personal life. Some moments in the documentary begin to explore these ideas that seem to hit a wall. This appears intentional as a continued feeling that Martin is willing to share only so much. He is a celebrity and acknowledges and even appreciates the level of admiration he has received. Yet, he is a person and has boundaries in place that he clearly isn't willing to break. 

STEVE! (martin): a documentary in 2 pieces is a very compelling watch. Clocking in at just over 3 hours between the two episodes, it's full of love that is just infectious. Fans of Martin will likely walk away with a renewed passion for him and his work. People who may be less versed in his overall oeuvre may find themselves with the drive to explore his work. At the very least, you'll know more about another celebrity and their influence on culture. ​

STEVE! (martin): a documentary in 2 pieces will be on Apple TV+ on March 29.

Rating: 4/5

Review by Tatiana Miranda

Based on the best-selling novel of the same name, A Gentleman in Moscow is a unique look at post-Revolutionary Russia. The new Showtime limited series stars Ewan McGregor as Count Alexander Rostov, who is put under house arrest for life in the Metropol Hotel. While the story is primarily fiction, it is based on the real long-time tradition of house arrest in Russia and portrays the realities of life as a noble in Russia following the Bolshevik revolution, where most were either killed or lived a life of obscurity. 

The series begins in 1917, when Alexander is arrested and sentenced to life imprisonment in the Metropol Hotel. It showcases his life within the hotel until Stalin's death. Through flashbacks, Alexander's pre-revolution life is revealed as he grapples with the loss of his sister and his old friendship with revolutionary Mishka Mindich. While in the hotel, he grows close to nine-year-old Nina Kulikova, actress Anna Urbanova, and various hotel employees. ​

Although the story can be intensely dark, dealing with subjects such as Alexander's loneliness and despair while imprisoned and several key character deaths, it is also a heartwarming and hopeful story about found families and keeping hope even during the darkest of times. The series ends around 1953, allowing the audience to see Alexander grow and make a new life within the hotel and examine the developments of communist Russia. ​

Even though the series is only eight episodes long, it packs in a lot during the time period it shows and allows the audience to grow fond of Alexander and those he interacts with in the hotel. Ewan McGregor's performance stands out as he perfectly encapsulates a count who won't let his imprisonment get the best of him; instead, he routinely makes light of the situation and stands up for himself and his peers as best he can. Fehinti Balogun is also exceptional as Mishka, Alexander's old college friend and revolutionary, and his character adds depth to Alexander's past while also providing a different perspective to Alexander's on the benefits of the revolution. 

Other performances, such as Mary Elizabeth Winstead's portrayal of Alexander's love interest, Anna Urbanova, are lacking. Beyond her relationship with Alexander, she doesn't seem to have a lot of depth. However, they try to give her the storyline of a fading actress, similar to Margot Robbie's Nellie LaRoy in Babylon. In A Gentleman in Moscow, though, her storyline comes across as an afterthought rather than an intentional way to mirror the evolution of post-revolutionary Russia. 

While the series attempts to give characters depth through either pre- or post-revolution trauma, it feels surface-level and doesn't always last beyond the episode in which it occurs or is revealed. Overall, although A Gentleman in Moscow is an entertaining series with fascinating characters, it feels like just another limited series that doesn't attempt to break out of the cookie-cutter historical drama mold.

A Gentleman in Moscow premiers on Paramount+ on March 31. All eight episodes reviewed.​

Rating: 2.5/5