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Review by Jonathan Berk  The Penguin Lessons is a new film that, despite being set in the past, feels somehow extremely current. I found this movie to be a pleasant surprise for a multitude of reasons, namely because of Jeff Pope's incredible script, Steve Coogan's astounding performance ( which combines drama and comedy), and Peter Cattaneo's solid direction. Of course, the cute penguin and the fact that the story is inspired by true events help to make it quite compelling. This feels like one of those quiet films that may not work for everyone…but if it does, it’ll leave you gob smacked. Inspired by a true story, Tom (Coogan) moves to Argentina in 1976 to work as an English teacher at a private school. He is very content living life on the sidelines, doing just enough to stay afloat. However, Tom discovers he lives in a divided nation, and teaches a class of unteachable students. It’s not until he rescues a penguin from an oil-slicked beach against his better judgment that his life starts to change. Fans of Coogan will not be too surprised at his ability to nail this role. Tom exudes a dry sarcasm mixed with cynicism from the moment he first arrives in Argentina. He keeps most people at a distance, seemingly interested in nothing more than just skating by. An early scene shows him taking a nap on a bench when he is supposed to be coaching rugby. He overhears a conversation between the local fishmonger and Sofia (Alfonsina Carrocio), a school custodian, about the change in government. Sofia inquires whether her conversation disturbed his nap, but he pretends he heard nothing. It’s a keen insight into Tom's psychology. He is very much interested in people, and clearly has ideas about the way things should be — or at least the way things could be. However, he opts for the passive role in life. The way the story plays out in Pope’s script forces Tom to have to make some tough choices. Coogan not only can bring levity to many of the scenes but is capable of effectively delivering the emotionally powerful ones. He can maintain the facade of his outward persona while his eyes betray the true emotional turmoil boiling underneath. It’s a powerful performance inside a captivating story.  The supporting cast is also deserving of praise. Jonathan Pryce plays the school’s headmaster, who is a tough nut to crack — but eventually, he warms up as well. Björn Gustafsson plays a Finnish co-worker who is desperate for a friend and a shoulder to cry on, with no sense of personal space. Carrocio is great as Sofia, and her grandmother is played by Vivian El Jaber, who has incredible moments with Coogan. Several of the students give solid performances, with David Herrero being the standout. Despite all the solid performances from the human cast, there is a clear co-star that is undeniable…the penguin.
Technically, it was a couple of different penguins, but every moment that there is a penguin on screen is just wonderful. Coogan is able to bounce off the bird as if it were Rob Brydon during any of the moments from The Trip franchise. That’s not a shot at Brydon as much as it is a credit to both Coogan and the penguins. There is so much chemistry with this pair that it makes the movie a pure joy to watch. However, the penguin gets moments with other characters — and they all work. An unexpected element of this story is one that parallels with the Oscar-winning I’m Still Here, as the new government is making people disappear. It’s a plot point that greatly impacts Tom and his fear of getting involved. The fear of government retribution also creeps into the classroom, and what he is allowed to teach. The students at the school are mostly spoiled kids of wealthy Argentinians with various connections to the new regime. The idea of doing nothing while so many others' lives are being impacted is a major source of conflict for Tom and one that many may relate to right now. There is no denying that movies about teaching usually connect with me. Tom doesn’t start as a teacher that I would support. However, as the film went on, I found Tom to be a kindred spirit. The connection to the unexpected pet only felt all the more relevant for me, having just lost a dog of over 15 years and then immediately gaining a new puppy. I say all this to make sure it’s clear that this film felt like it was made for me at this specific moment. Your mileage may vary. Despite my predisposition to connect with this film, I still think it is quite exceptional. Pope’s scripts for Stan and Ollie and The Lost King worked for me as well. Coogan is usually a reason to give a film a chance if he has more than a few scenes. There is much at work to make The Penguin Lessons a standout; and yes, the penguin is also a metaphor. The Penguin Lessons will be in theaters on March 28. Rating: 5/5
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Review by Adam Donato  Magazine Dreams was acquired by Searchlight Pictures and was supposed to release at the end of 2023. Due to several unfortunate factors, mainly the assault allegations against star Jonathan Majors, the film was delayed and dropped by the studio. The film is now finally going to be seeing a wide release in 2025. This week, the Majors controversy reared its ugly head again quotes from Majors admitting to the assault allegations. It’s difficult to separate the art from the artist when the entire selling point of the film is the performance of Majors. If one is turned off by anything involving Majors, then that is totally understandable. Many filmmakers and artists worked hard on this film so the film does deserve to be judged by the contents within and not by external factors. Elijah Bynum is the writer and director of Magazine Dreams. This is his sophomore feature following Hot Summer Nights. Magazine Dreams is a character study about a bodybuilder that has high aspirations, but struggles with his mental health. The film heavily deals with themes about male loneliness as our protagonist is not excelling in his life as he thinks he should be. It’s very reminiscent of the Joker film as our protagonist is constantly being beat down by the society around him and turns to drastic measures to claim what he believes is his. The tone is very dark as the audience will be left feeling an utter sense of pity. It’s a familiar story, but told through the lens of a bodybuilder, which is an interesting sport to learn about here.  It’s ironic that this film was produced before the allegations against Majors came out because this performance feels like a response to this. Almost as if it's propaganda trying to rehabilitate Majors’s image as he is just a supremely driven individual who occasionally flies off the handle despite trying his absolute best to keep a lid on it. Majors is really good in the film. It’s very difficult to watch him try to remind himself constantly about how to properly operate, but inevitably lets his anger get the best of him. He has several freak out scenes that are just heartbreaking. The bodybuilding competition meltdown is a more obvious one, but the most impressive scene is when he confronts his former attacker in a diner. When he’s at his lowest is when he really shows his true colors and you really get to see his toxic outlook on himself and the world around him. Without spoiling anything, the film ends in a very ambiguous way as we are left to imagine how a person like this can continue on the path they’re on. Majors isn't doing anything crazy out of his comfort zone as this role feels like a more grounded version of the character he was playing in Creed III. Nonetheless, he still deserves credit as he carries out this movie on his “small” deltoids.
Magazine Dreams is sure to fly under the radar, which is unfortunate because a lot of artists came together to make a good movie. The timing is inconvenient, but if one can separate life from art, then there’s a lot of value to be found here. It’s tragic to watch this pathetic character fall farther down the hole he continues to dig for himself. While staying proactive is key, it’s important to maintain positive relationships and be kind to ourselves. Check out Magazine Dreams in theaters this week. Magazine Dreams will be in theaters on March 21. Rating: 4/5 Review by Daniel Lima  Jackie Chan is one of the most recognizable movie stars on the planet, perhaps the single most recognizable martial arts star. Kung Fu Rookie is a testament to his international appeal: an independently produced love letter to the man’s films, from the nation of Kazakhstan. That it is so indebted to his work creates a low ceiling for what this can achieve, but the studious attentiveness to what made his classic oeuvre so enchanting also gives this a high floor. By all appearances, this film is a passion project of star, producer and editor Timur Baktybayev. He plays a young man who moves from the countryside to Almaty, the largest city in the nation, in order to join the police force. Along the way, he reunites with his good-natured uncle, gets a love interest, runs afoul of a local gang of thugs, and gets into some wild fights. It’s practically impossible to talk about Kung Fu Rookie entirely on its own merits, as its constant references to Jackie Chan’s filmography — particularly his 1990’s films, when he really broke out on the international scene — seem to encourage those comparisons. The plot is a broad strokes rendition of Rumble in the Bronx; Baktybayev is clearly playing a take on Chan’s own screen persona, down to the wardrobe; all of the fights are pulled from his films, in setting and in choreography. Specific beats and gags from the action are present, and I am certain other bits outside the fight scenes simply went over my head. All of this is in good fun, but when the sole intent of art is to retread other art, there’s an enforced limit to how impressive it can be. Chan’s films existed at a particular time and place that allowed them to take the form they did. Hong Kong had a long history of action cinema, and productions were given ample time and budget to deliver set pieces; there was a large number of talented martial artists and stuntmen looking for work; Jackie Chan was an icon who people were willing to risk injury for. None of these things are true of a low budget independent film from Kazakhstan, and so it could never hope to achieve these heights.  In spite of this, Baktybayev and director Aman Ergaziyev work with what they have. Where much of Chan’s comedic work is big and broad, this film plays like a lowkey, low stakes romantic comedy: making breakfast with uncle, studying with the cute girl, helping the nice lady with her groceries. No performances stand out, but they are all charming, sweet, and easy to root for. The villains receive far less definition, but as with the films that inspired this, that’s less important than if they can be convincingly threatening in a fight. It certainly helps that this is leaner than most Hong Kong comedies, barely over an hour before credits. I can certainly think of plenty of small action films that could have benefited from such a streamlined narrative.
None of this is to say the set pieces are bad. While it’s clear that Baktybayev and the team he’s assembled don’t approach the level of on-screen athleticism of Jackie and his stunt team in their prime, they all clearly have at least some training (two of the villains are played by pro MMA fighters). It’s also clear from the blooper reel that ends the film, another Jackie staple that they were all willing to risk injury and take the time to nail their beats exactly; no surprise that the star himself chose to do the editing. The fights themselves, while necessarily pared down and simplified from what they reference, still follow the same principles that made them so electric: incorporating the environment into the action, constantly keeping the hero on the back foot and forcing to overcome incredible odds, peppering in comedy without dialing down the intensity of the movement. There’s even a handful of laudable original flourishes, the highlight being a fight on a merry-go-round. One can only imagine what could have been achieved if they were untethered to the source material. As derivative as Kung Fu Rookie may be, it is the best kind of loving homage. Beyond the appreciation for, and intimate understanding of, all that made Jackie Chan so special to so many, this is also clearly the work of someone who has internalized all of what they’ve learned. As I understand it, Kazakstan does not have a particularly robust film industry and that is a shame. The world could use some more of Timur Baktybayev. Kung Fu Rookie is now available on digital. Rating: 3.5/5 Review by Camden Ferrell  Jimmy Warden is a name you might be familiar with as he was the writer of Cocaine Bear, which became a bit of a cultural phenomenon and box office success in 2023 due to its absurd premise. Now, it seems he has earned himself a shot in the director’s chair with his newest movie Borderline, which he also wrote. He doesn’t break any new ground as far as horror stories about celebrity obsession go, but he does infuse his own brand of eccentricity and outlandish humor to mixed effects. Sofia is a pop superstar, and Duerson is a dangerous and delusional stalker who thinks they’re in love. When he breaks out of his mental institution in order to put on the wedding of his dreams, Sofia finds herself in an intense fight for survival with a man who is as unpredictable as he is passionate. Immediately, comparisons to Misery and other works may come to mind, but Warden definitely has a unique tone that he brings to help differentiate the story beneath its surface. Warden’s script is probably what I found weakest about this movie even though I would say it worked more than it didn’t. It feels incredibly conventional in its narrative, and while it has a few curveballs, it doesn’t feel daring or unpredictable enough for a film in this genre. On top of that, it gets very close to diving deeper into its cast of characters, but he always seems to pull back before anything substantial can emerge. It’s a short movie, and I think a few more minutes of character development could have done wonders for the final product.  One thing that I can say about the performances is that they are committed for better or worse. Samara Weaving is a reliable horror protagonist, and this movie is no different. She has natural charisma for this type of role even if it isn’t much different than what she’s done in other films. Ray Nicholson co-leads as Duerson, and he definitely gives maximum effort in his role. It teeters between caricature and genuine insanity in a way that is messy but ultimately quite interesting to see. It’s hard not to watch him and think of his dad, but it’s clear he’s trying to forge a unique and bold niche for himself in this film.
The aspect I was most impressed with was Duerson’s direction and the surprisingly gorgeous cinematography of Michael Alden Lloyd. There are multiple scenes, shots, sequences, etc. where these two artists work together to achieve their vision, which is quite captivating. It seems like there was love and care in the way they visually crafted this story, and it helps overcome to movie’s flaws occasionally. I think Warden’s direction in this movie proves that he has something special inside of him and that even if it’s not fully developed yet, he’s someone we should keep an eye on. Borderline may not be the best its genre has to offer, but there are inklings of brilliance shining throughout in various aspects. It may be occasionally inconsistent in tone, and it may also adhere to strongly to narrative convention, but this movie cannot be accused of being passionless. It’s very clear that everyone working on this truly gave it their all, and it’s a bit of a beautiful mess in that regard. Borderline is in theaters and on VOD March 14. Rating: 3/5 Review by Camden Ferrell  Steven Soderbergh is one of the most prolific American directors working today, and it’s no surprise considering how vast and frequent his output is. Black Bag is his second wide theatrical release of 2025 (even though we’re not even a quarter of the way through the year), and it’s yet another notch in his ever-growing belt of filmmaking prowess. This thriller film boasts a steady hand from Soderberg, strong and committed performances, and one of the best scripts of David Koepp’s illustrious career. George works for a high-profile intelligence agency, and he is tasked with finding a leak in the agency. The people in question are colleagues, friends, and even his wife Kathryn. What ensues is an intense and riveting story with twists, turns, betrayal, deception, and romance all twisted together. The plot itself isn’t anything new and borders on relatively basic narrative surrounding a McGuffin-y device that is being sought after by Russian agents. However, where this movie really shines is by diving deep into the interpersonal relationships and emotions that drive the cast of characters throughout the movie. Koepp has made a name for himself writing for some of the most iconic franchises in film history like Indiana Jones, Spider-Man, and Jurassic Park. One might look at his resume and assume his best years are behind him, but his two most recent efforts with Soderbergh prove that he is far from finished and has exciting ideas and characters to share with the world. This movie seamlessly blends espionage thrills with great character studies sprinkled throughout, and it makes the film much more engaging and gripping. In addition to the character development, Koepp has some undeniably witty and insightful dialogue that serves as the engine to this steadily powered train of a movie.  This movie’s ensemble is a definite highlight in a movie where so much already works. Michael Fassbender leads the film as George, and he brings a very calculated and smooth energy to his character. It’s such a steady and stoic performance that makes his brief moments of catharsis (even in the slightest sense) so much more tangible and impressive. Kathryn is played by Cate Blanchett who could probably have phoned it in and still been exquisite, but she definitely brings her A-game yet again. She plays well off Fassbender and is exactly what balances out their interesting dynamic. The rest of the ensemble is rounded out with players like Tom Burke, Marisa Abela, Regé-Jean Page, and Naomie Harris who are all equally impressive in their respective roles.
Soderbergh once again wears different hats as director, editor, and cinematographer, and it never feels like he’s spread thin. It’s a cleverly shot movie (although the aggressive washed-out lighting was hit-or-miss), and it’s such a meticulously blocked film in a way that feels distinct to his sensibilities. It’s not as innovative as his other movies, but he still makes it feel like something you haven’t seen before. Black Bag is a gripping film that breezes past you in an instant. It grabs you from the start and doesn’t loosen its grip until its final moments. It’s a raw glimpse into a group of deeply flawed and human individuals in the midst of a high-stakes situation. It’s also another stark reminder that this writer/director duo are still putting out some of their best work. Black Bag is in theaters March 14. Rating: 4.5/5 Review by Borja Izuzquiz  Flying Lotus has more than earned the title of visionary. Having Coltrane blood undeniably helps, yet Lotus has carved his own path from musician to filmmaker, offering his own brand of creations along the way. Sometimes, however, being a visionary is a two-edged sword. In the case of his latest directorial feature Ash, some of the worst tendencies of his creative genius shine through. Ash is filled with moments that want to defy convention. Every moment looks to warrant a reaction, whether it be repulsion, scares, or aural and visual confusion. Up for debate though is how much context it all adds. With most of the opening sequences building up to jump scares, the effect becomes old quick. The blistering sound design keeps most dialogue muted, while the visual palette sways between too few creative ideas and uninspired imagery. To say it is a disappointment is a massive understatement. From what has come to be expected from Flying Lotus, Ash curiously feels like a film that was reeled in from its bolder creative ideas. Its main character Rya (Eiza González) is the lone survivor of a space mission to planet Ash. After an introduction filled with gory clips, the film cuts to Rya lying on the floor, covered in bruises and blood. Something terrible has happened, yet Rya has a tough time remembering what has happened. Clues are afforded by bloody bodies and flashbacks Rya experiences as she investigates her surroundings. The film’s plot revolves around Rya piecing together what happened. Given that the results are already known via the gory remnants, Ash struggles to make any of it compelling. The action has already happened, making it a challenge to patiently wait for a not so surprising reveal while an obnoxiously loud soundtrack threatens to rupture eardrums. It isn’t until a mysterious visitor named Brion (Aaron Paul) arrives that something interesting looks like it may be stirring the pot. Even then, the results are lackluster.  As the film progresses, character choices become more confounding. Rya has little motivation for wanting to stay behind, even when Brion is the only way for her to leave the spaceship and survive. Yes, Ash does take time to establish the camaraderie between her and her fallen team, but when the outcome for wanting to find out what happened is death, the purveying feeling is that the film is making excuses to extend runtime and artificially create drama.
Despite this, positives can be found in some visual and storytelling choices, even if these are scarce. When practical effects are used, these prove to be effectively repulsive. Scenes involving planetary occurrences and creepy monsters exude a unique flair. The bulk of the film, however, occurs in dark confined spaces that don’t share the same artistic quality. Given that the film has already demonstrated an ability to unleash creatively, the reluctance to push the limits homogenously proves to be frustrating. As for the plot, the reverse murder mystery lacks the substance to merit interest. However, despite the story’s weak foundation, screenwriter Jonni Remmler does respect the characters enough to provide some context that moves the plot forward amid its repetitive nature, even though not enough time is spent with them. Ash implores viewers to experience it rather than watch it. But when much of the plot is revealed through exposition, and the psychedelic qualities it revels in fail to permeate throughout, the desired reactions are not earned. Instead, Ash becomes an uncomfortable and obnoxious watch without any true purpose. The long lineage of classic space horror gets momentarily interrupted here, as Lotus provides little reason to care about any of it. Ash is screening at SXSW 2025 in Austin, TX. Rating: 2/5 Review by Camden Ferrell  After the long and illustrious history of Looney Tunes, it’s quite surprising that they had previously never had a fully animated film released theatrically until this year. The Day the Earth Blew Up: A Looney Tunes Movie was released last year in order to meet 2024 awards eligibility criteria but is now getting a proper wide release in theaters across the country. This animated movie is a fun story full of enjoyable animation and visual gags even if it doesn’t feel particularly inventive or always worthy of a feature-length runtime. Porky Pig and Daffy Duck are in dire need of money to fix their roof to prevent their property from being condemned. On top of this, they find themselves faced with the threat of an alien invasion. What ensues are wacky hijinks that aim to revitalize these timeless characters while staying true to the charm that made them successes in the first place. As mentioned before, even though it sounds like a fun premise, it doesn’t feel like it’s one that needs to be fleshed out in a full-length movie. This film serves as the feature-film debut of writer/director Peter Browngardt who wrote this alongside Kevin Costello and Alex Kirwan. The script has some great moments of comedy sprinkled steadily throughout the film, but the narrative does feel like it can drag at times. One can celebrate its attempts at meta humor and its attempts at comedy aimed at a newer generation even if it doesn’t always land the way it wants to. The jokes can miss, but when they land, they land greatly.  One thing that I can completely commend is Eric Bauza’s voice performance as both Daffy Duck and Porky Pig. He brings so much life and energy to these characters, and his comedic timing and delivery truly elevate the funny moments in this film. Candi Milo also lends her voice very well as Petunia Pig.
When compared to previous Looney Tunes works, I can testify that this newest movie features some of the best animation the franchise has had to date. It feels very traditional while refreshingly innovative in its execution. Even when the script can feel a bit thin at times, the animation never fails to feel cinematic without losing the old-school charm the characters naturally bring. The Day the Earth Blew Up: A Looney Tunes Movie may be far from perfect, but it’s entirely adequate as an animated film based on beloved characters. I think that longtime fans and new viewers alike will find something to enjoy about this movie. Even if it has flaws and shortcomings, at the very least, it’s good for its fair share of laughs. And while I wouldn’t call this a movie that needs to be seen on the big screen, I will always advocate for that experience, and it’s not every day we get to see a true fully animated celebration of these characters in theaters. The Day the Earth Blew Up: A Looney Tunes Movie is in theaters March 14. Rating: 3/5 Review by Jonathan Berk  There was once a time when seeing Joe Russo and Anthony Russo’s names attached to a film would spark true excitement. Captain America: The Winter Soldier and Captain America: Civil War were two early favorite Marvel films, which serve as great examples of this. Then, they were given the keys to the two biggest Avenger films – Infinity War and Endgame – that were major box-office successes and fan favorites. However, since then, they've had two directorial failures in both Cherry and The Gray Man, with neither being well-received. While the brothers have no problems pulling talent into their projects, there does seem to be something missing in the execution. Their new film, The Electric State, has many familiar faces treading through even more familiar genre tropes that never truly spark. In an alternate '90s, the Sentre corporation's drone program led to human victory in a robot-versus-human war. Now, humans escape into a virtual world and live vicariously through drone robots. Michelle (Millie Bobby Brown), an orphaned teen, encounters a mysterious robot who claims to have information about her brother, whom she believed had died with their parents. They must venture into dangerous territory and seek help from a smuggler named Keats (Chris Pratt) and his robot ally, Herman (Anthony Mackie). Of course, the dangerous terrain is not their only enemy, as Ethan Skate (Stanley Tucci) and Colonel Bradburry (Giancarlo Esposito) each seek to stop them from finding what they seek. Rounding out this robust adventure setup is Woody Harrelson, who plays Mr. Peanut, the leader of the robot revolution. The plot is a bit convoluted, yet straightforward. A young girl believes she has lost everything that mattered to her, only to find out that there is a chance her brother is, in fact, alive. She also rejects the virtual reality that the rest of humanity escapes into, but she doesn’t hate robots like everyone else. Her family wasn’t killed by robots, as one might predict, but rather by a freak car accident. These "character traits" are ultimately tied to the film's theme about being connected and not becoming isolated by the virtual world—a clear allegory for our smartphone-centric world. While there is a big preachy monologue wedged in here to ensure that the audience gets the point, it doesn’t feel as authentic or insightful as it seems to think it is. To be fair, audiences probably aren’t coming to a film like this with the hope of finding a new philosophical paradigm that they can subscribe to. Instead, they are likely hoping to enjoy some laughs, be awed by action, and be enveloped by a unique science fiction landscape. Those elements are present this movie, but have been done better in several others. For example, The Hitchhiker’s Guide to the Galaxy would be a far better use of one’s time than checking out the latest Russo joint. Furthermore, Blade Runner, I, Robot, Real Steel, and even Chappie offer better takes on human and robot relationships. While there is always room for new interpretations of a topic or genre in film, The Electric State feels more like a patchwork quilt that only serves to remind the audience that potentially better things that would satisfy their cravings already exist.  Pratt is doing what Pratt does best. He is self-deprecating while also somewhat egotistical. He has sidekicks that he both talks trash about but also clearly cares for. Keats is essentially a Diet Star-Lord, and also serves as a reminder that you can get a better version of this character elsewhere. Mackie is doing a pretty great Kevin Hart impression, and works well as a sidekick here. It is a true voice performance as well, which earns him some extra points. Millie Bobby Brown is trying hard to break out of her Stranger Things typecasting, but never can quite escape her role as Eleven. She is, however, once again playing an angst-filled teen who has trust issues with the adults around her. Everyone is against her, and she is railing against the system. The performance isn’t bad, but the character’s motivations never feel fully understood. She loves her brother, who was shown in flashbacks to be a genius – but many of the elements around her actions don’t add up.
Harrelson, Esposito, Tucci, and Ke Huy Quan all deliver solid enough performances. They do kind of exactly what you expect these guys to do. Harrelson is the snarky elder who imparts wisdom in subtle barbs. Esposito is doing his stone-faced serious style rather than his scenery chewing, which he leaves for Tucci. Quan is playing on his nerdy typecasting as well—which is all fine, inside a mediocre script. Many other celebrities appear in this film, to varying degrees. Some provide the voices of robots, and others just show their faces on the TV screen of a drone. It’s clear the Russos have at least made friends with many Hollywood names, so they can get people on board for small parts. It’s worth mentioning that there are a few action sequences that are solid enough, and the visual effects are also better than some of the recent Marvel films. I liked the design of Herman and the robot that helps Michelle start her journey. It’s all fine…but nothing feels too impactful to make the film stand out. Ultimately, The Electric State is a little overwrought, and about thirty minutes too long. It may whet one’s appetite for a sci-fi action comedy, but it will likely only make you hunger for something better. The Electric State will be on Netflix on March 14. Rating: 2/5 Review by Jonathan Berk  The Western continues to exist in our storytelling for a multitude of reasons. It's the origins of our country. It's the fundamental story of good versus evil. Furthermore, there is something inherently compelling and undeniably cool about cowboys. Director Brian Skiba's new film, Guns of Redemption (2025), dabbles in the familiar tropes of the genre — but it ultimately feels similar to enduring a hungover friend attempting to recap the events of another drunken weekend. The details are there, but they aren't in the right order, and they don't really add up to anything riveting. A stranger, Luke (Casper Van Dien), offers his services as a carpenter to a small town and its church, led by Parson Dyer (Sean Astin). Luke is clearly haunted by his experiences in the war but is seeking redemption. His hope for a second chance is dashed when old enemies arrive in the town, and he feels the need to return to his violent past. When broken down into its simple parts, this story sounds quite familiar. The old gunslinger who is ready to find peace is forced to kill yet again. Shane (1953) is probably the best example of this story structure. That film is a master class that inspired the structure of Logan (2017). Unfortunately, the script leans heavily into melodrama, overcomplicating its premise. Most notably, Luke's background isn't just a mystery to the characters in the town, but also to the audience. We don't really know what motivates him, or that he is even seeking redemption. Without getting into spoilers — when we do finally find out what exactly he is seeking redemption from, the audience may find it hard to be wholly sympathetic towards him. However, if we are to root for a character to be redeemed, we must understand that there is, in fact, something to be redeemed for.  The story becomes more convoluted when Anna (Siena Bjornerud), and her younger sister, Charlotte (Kaitlyn Kemp), are introduced. They are being sold to the men of the village by the notorious former Union soldier General Bork (Jeff Fahey), who has gathered a reputation of traveling from village to village, providing vices for the citizens to blow all their money on. The girls are imprisoned for a debt, and are seeking any way to escape. Luke takes note, and sees them as his opportunity to prove himself redeemed. The performances of the cast are uneven, but Fahey kind of nails the villain role. He is most definitely the highlight of the film. He brings a cold, calculating quality that makes him feel quite dangerous, even when he is doing very little on screen. Van Dien is a familiar hero, but is often relegated to B-movies like this one. His square jaw goes a long way to make him a hero figure, but it ultimately feels a bit vanilla. Astin always delivers a solid performance; however, the accent he is aims for comes and goes a bit too frequently. The two sisters are fine, but the dialogue they're given doesn’t do much to help their case. Still…it's not really the performances that bring the movie down as much as it is the story. To have a successful western, we need to know who the good guys are, and who the bad guys are. If there is a character straddling the line, we need to understand that — and see why he is leaning one way more than the other. This film dances with that idea, but never truly nails it. Every time the stakes are elevated, it feels more like a joke than a general attempt at good storytelling. All one needs to do to see this point is to read the included synopsis for Guns of Redemption that says “he must strap on his gun before he bleeds to death or dies from the bullet lodged in his spine”. That spine bullet isn't just an old injury that is a reminder of his troubled past, but rather one from his first attempt at redemption that doesn't quite go his way. If that sounded a bit like a mess, then you'd be right. Guns of Redemption is on VOD on March 7. Rating: 1.5/5 DAREDEVIL: BORN AGAIN (Season 1) -- The Man Without Fear is Back, and It Feels Like He Never Left3/4/2025 Review by Camden Ferrell  Netflix’s Daredevil series aired its final episode in the Fall of 2018, and in 2025, Matt Murdock is back in a continuation of the hit series. While the previous series was always part of the official MCU canon, Daredevil: Born Again feels like the character’s unofficial welcome to this larger universe. Viewers who are concerned about a dip in quality after the long break and new streaming home, can relax peacefully. This follow-up series carries on the legacy of its predecessor quite effectively, delivering strong writing, great performances, and some pretty gripping action at times. This show follows Matt Murdock, one of comic industry’s most beloved lawyers turned superhero, and it picks up nicely from where we left off. Elsewhere, Kingpin (who has been having other MCU shenanigans as well) is pursuing his own political endeavors. Like always, these two men are on a collision course with each other while they deal with their own personal turmoil and new challenges, characters, and threats that come in their way. One thing to commend off the bat is that the show feels very new-viewer friendly. Whether it’s your first time watching the show, or if you just might have forgotten what happened before, this show is mostly forgiving. There are a handful of callbacks and some of the backstories are more fleshed out with prior knowledge, but the writers do a great job of making sure this new series stands on its own if need be. On the topic of writing, I’d argue that you would have a hard time believing this show had a 6-year break since its most recent season because the style of dialogue and storytelling feel very consistent. This should ease viewers who are worried this show would be a disaster.  Once again, this show is led by the talented and entertaining Charlie Cox. More and more, this feels like a role he was made for, and he continues to flex his acting and action chops as the Man Without Fear. Alongside him, Vincent D’Onofrio delivers another reliably menacing and nuanced portrayal of Wilson Fisk. While it’s not among their best performances as these characters, it’s still gripping to see them back in action together.
While the show is known for its legal elements (and this new series has plenty of that), people also tune in for its stylish action. This season delivers its fair share of heart-pumping action, full of blood and bone-breaking. I will say that the middle episodes aren’t nearly as gripping as the bookend episodes which deliver the most captivating action of the season, but this is a shortcoming that is made up for by good quality storytelling throughout. For those worried this show would go soft on Disney+, I think Episode 1 will put those concerns to rest quite quickly. Daredevil: Born Again delivers a solid first season that acknowledges its past while paving a sturdy future for itself. There are a handful of characters and cameos that people will be excited to see no matter how inconsequential it might seem in the grand scheme of things. It feels like the Netflix series never ended, and it has me excited for what’s in store next season. Daredevil: Born Again Season 1 begins streaming its first two episodes on Disney+ March 4 with episodes premiering subsequent Tuesdays. All episodes have been reviewed. Rating: 4/5 |