Review by Dan Skip Allen

Dreamworks has had its share of successful animated franchises, such as Shrek and the How to Train Your Dragon films. They seem to have a knack for turning a generic animated film into a beloved franchise by millions of people. The Bad Guys is their latest foray into the animated realm. Once again, Universal and Dreamworks hope they have a hit on their hands.

"The Bad Guys" consists of Mr. Wolf (Sam Rockwell), Ms. Tarantula (Awkwafina), Mr. Snake (Marc Maron), Mr. Shark (Craig Robinson), and Mr. Piranha (Anthony Ramos). Together, they are the world's best criminals. Even the best criminals get caught, though. To avoid going to prison, they agree to do one last con: to go straight. Under their mentor Professor Marmalade (Richard Ayoade), they try to fool the world into believing they are now good guys.

The Bad Guys is a fun adventure mystery that Universal/Dreamworks hopes to garner some popularity with the audience, which will, in turn, create word of mouth. There isn't a lot of children's fare in the theaters for parents to take their kids to other than Sonic the Hedgehog 2.
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One of the things I always look for in a great animated film is the particular style of animation used in the given film. Ever since I saw the trailer for The Bad Guys, I was drawn to the animation style the film uses. It's no Pixar or Disney animation, but it's solid and different from anything I've seen before. It's a little undone, making it work for these characters and this particular film. This film didn't need the best-looking animation to make it work.

Etan Cohen and Yoni Brenner's screenplay is based on books by Aaron Blabey. Director Pierre Perifel has worked in animation for a while now, having worked on Kung Fu Panda 2, Rise of the Guardians, and Bilby. This is only his second directional outing, though. His unique style lent itself to these characters and this story. I felt that he understood this world and how to make it work in the context of the story and characters.

All great animated films have a great voice overcast, and this one delivers, led by Sam Rockwell as Mr. Wolf. He leans in on the cool, tough-guy routine, but his team also trusts him as a leader. The others, including Marc Maron and Awkwafina, are all very good. They all have their parts to play in this fun adventure mystery thriller. A couple I haven't mentioned yet that are pretty good are Zazie Beetz as Diane Foxington, a sly yet sneaky fox with her own secrets, and Alex Borstein as Misty Luggins, the police chief. They round out a great cast of voiceover actors.

The Bad Guys has a sweetness and charm despite its unpolished look. The slight messiness of the animation lends itself to this story and film. The fact that these are bad guys trying to become good brings everything full circle from the animation to the story and everything in between. A great voiceover cast puts this film focusing on "The Bad Guys" in the category of good.

The Bad Guys hits theaters on April 22.

Rating: 3.5/5

Review by Camden Ferrell

​After his previous films, The Witch and The Lighthouse, Robert Eggers has become one of the most exciting directors working today. His newest film, The Northman, is undoubtedly his biggest and boldest movie in scope. This is another phenomenal film in the director’s blossoming career. This movie is epic, ambitious, violent, and gorgeous in both its visuals and execution.
 
Amleth is a Viking prince who is set on a journey of vengeance that spans over many years. After the murder of his father, we see the titular character embark on his quest to quench his thirst for revenge. This premise is nothing new, and it closely resembles that of Shakespeare’s Hamlet, but this is still a timeless story that can always be exciting when done properly.
 
From the start, it’s clear that Eggers hasn’t lost his touch for compelling characters and dialogue. He has always been so dedicated to creating a sense of verisimilitude, and he often achieves this through his rich and poetic dialogue. This movie is no different, and him, along with co-writer Sjón, are able to create interesting characters amongst the Viking-era backdrop.
 
The acting in this movie is fantastic from everyone involved. This is an extremely talented cast that is typically great in what they have done in the past. It features the likes of Ethan Hawke, Nicole Kidman, Willem Dafoe, Claes Bang, Anya Taylor-Joy, and Bjork. They are all great in their respective roles, but leading man, Alexander Skarsgård, commits himself completely to his role. It is equal parts brutal, carnal, and human, and the movie would not have worked without him.

From a visual standpoint, this movie is outstanding. The cinematography is dynamic and captivating, and it enhances the entire film, specifically the action sequences. The movie doesn’t rely on quick cuts and editing to amp up tension. Eggers is able to expertly use long takes to slowly raise the intensity of the film’s numerous battle sequences.
 
The movie is also executed extremely well. Unlike his previous films, this movie has many moving parts whether it be actors, flying objects, or animals. He is able to block and execute these scenes in a seamless way that feels natural and contributes to the consistent momentum throughout the film. There is a lot going on at any given moment, and a less experienced director might have made a muddled mess from these elements, but Eggers is confident in his execution.
 
If the movie can be faulted for anything, it’s that it might not be the most accessible movies. While I’d argue that it’s more forgiving than his previous films, some audiences might find themselves either bored or confused with the movie. In typical fashion, Eggers doesn’t make his films too straightforward, and he puts his faith in the audience’s ability to analyze and deduct his intentions. This might not be your average Viking story, but it’s one that will reward those with an open mind.
 
The Northman is bold, brutal, and bloody. It is relentless in showing the graphic extremes of human emotion throughout this revenge story. It features stunning visuals, a powerful cast, and a tried and tested story. Some might be overwhelmed in more ways than one by this movie, but it’s an ambitious story of epic proportions that is one of the best films of the year so far.
 
The Northman is in theaters April 22.
 
Rating: 4.5/5

Review by Sean Boelman

Nicolas Cage is arguably one of the most “no shits given” actors in Hollywood, with a filmography that has brought him both an Academy Award win and several Razzie nominations. The Unbearable Weight of Massive Talent is maybe his weirdest career choice yet, but it’s one that will pay off, a natural progression of the Cage-issance that fans will love and may even convert the uninitiated to the cult of Nic Cage.

In the movie, Cage plays himself as a struggling actor who is being turned down from the roles he wants, forcing him to take a gig appearing at a megafan’s birthday party, only to get recruited by the CIA when it is revealed that the fan is a drug kingpin. It’s an exaggerated, ridiculous story, but it’s fitting as a parody of what much of Cage’s output has been in recent years.

Although the meta aspects here are entertaining, those hoping that this would be something along the lines of Adaptation (or more accurately, Being John Malkovich) will be disappointed. In reality, this is a pretty standard studio comedy, albeit one of the funniest and smartest in recent memory.

There have been several showbiz industry satires that have explored these same theme — the fading relevance of a former movie star — much more effectively (the last two entries of Michael Winterbottom’s The Trip series come to mind), but the very heartfelt approach to Cage’s character makes this particularly endearing.

Many of the jokes in the script are exactly what one would expect from a heavily self-referential film about Nicolas Cage. There are a lot of jokes about Cage’s filmography, and Cage plays a hyperbolic version of his typically enigmatic self. And while the focus is on his comedic timing, which is excellent, there is also a lot of vulnerability in this role.

It’s a celebration of all of the great things that Cage has done in his career, but it would have been nice to see the movie also poke fun at some of the mistakes that he has made. There are some one-off jokes to some duds, like one Wicker Man joke that is pretty funny, but for this to have been a truly excellent self-parody, he would have needed to roast himself a bit harder. 

The biggest surprise of the film is how well Pedro Pascal holds his own against Cage. We already knew that Pascal was a great actor, but the fact that he can shine in a movie that is literally a tribute to its lead shows just how talented he is. Although the script (rightfully) gives the biggest laughs to Cage, Pascal gets more than a few moments that flex his comedic chops. His chemistry with Cage is also exceptional, and makes the movie even more effective.

The Unbearable Weight of Massive Talent may not go as all-in with the meta absurdity that people were likely hoping for, but it’s still one of the finest studio comedies yet in the new decade. It works because of Cage’s iconic ridiculousness, making it something that you absolutely have to see.

The Unbearable Weight of Massive Talent hits theaters on April 22.

​Rating: 4/5

Review by Camden Ferrell

Anyone who has stepped foot in a mall in the last few decades is undoubtedly familiar with the clothing store Abercrombie & Fitch. Experienced documentary filmmaker Alison Klayman explores the cultural impact of the brand over the years as well as its downfall in the film White Hot: The Rise & Fall of Abercrombie & Fitch. While this documentary provides an adequate snapshot of the climate during the brand’s reign, it only provides a surface level look into the different factors that led to the brand’s demise.
 
Despite being established over one hundred years ago, most people are familiar with A&F thanks to its rebranding in the late 80’s and early 90’s. They became a staple of shopping malls and quickly became a status symbol for teens and young adults everywhere. This documentary aims to tell the story of its rise to cultural prominence as well as its subsequent decline in popularity and success in more recent years. This is a really interesting premise due to how well known the brand is by its customers and even those who never stepped foot in one of its stores.
 
From the start, it’s clear that this documentary doesn’t have any ambition to explore too deeply into the history of the brand. It functions as a straightforward and often shallow look at the brand and its recent history. It’s a great jumping off point for novices to get a general idea of the brand and the controversy surrounding it, but it could have benefitted from a longer run time in order to adequately discuss and explore the cultural nuances of this story. 

​Even if it’s not as informative as it could have been, it’s hard to deny that it’s oddly nostalgic and entertaining. A&F might not be nearly as popular as it was in its prime, but viewers are sure to be engaged due to how iconic the brand was to many generations of teens. It definitely brings back some memories for people as they recall how it was impossible to avoid seeing the brand in their schools and in public.
 
The documentary doesn’t stray away from exploring the more controversial side of the company including the myriad of discriminatory lawsuits brought against them. It was refreshing to see many victims of the company given a platform to call out the incessant discrimination and racism within the company, and I wish they dedicated more time to them. While there are many factors that led to their downfall, I do believe that focusing on the victims of the company and its high-ranking members needs to be given serious consideration. The movie handles it respectfully, but I feel like it only managed to capture the tip of the iceberg in that regard.
 
White Hot: The Rise & Fall of Abercrombie & Fitch is not as comprehensive as one would hope, and it succeeds mostly due to the brand’s previous popularity and nostalgia. With a brief run time, the movie feels rushed, and it doesn’t seem like it was able to give the issues within the company its due diligence. However, many people might still be interested in this documentary in order to learn more about why this one unstoppable company has seemed to fade into the background.
 
White Hot: The Rise & Fall of Abercrombie & Fitch is streaming on Netflix April 19.
 
Rating: 3/5

Review by Camden Ferrell

One of the few things that audiences will largely agree on about Jane Schoenbrun’s newest film is that it is ambitious and one-of-a-kind. We’re All Going to the World’s Fair had its premiere at the 2021 Sundance Film Festival and has found its way around the world, playing numerous festivals since then. The multi-layered nature of the movie may not make it accessible to some audiences, but it’s a trippy and sometimes uneasy look at identity through the lens of internet culture.
 
Casey is a young girl in a small town, and she finds herself immersed in a role-playing game online. From here, we see her document her experience and journey with this phenomenon from the confines of her attic bedroom. This is a uniquely modern story that blends many facets of internet culture into a somewhat harrowing and ethereal experience.
 
Schoenbrun’s style is on full display from the first moment, and their aesthetic is distinct if nothing else. The execution of everything has dark undertones that are nuanced enough to make you feel uneasy without detracting from their overall intent. This is certainly an artistic vision that is not for everyone, but it’s bold and one of the most fearless displays of personal identity and dysphoria that we may have seen so far in contemporary cinema.
 
This movie relies heavily on its premise and underlying themes, but it’s a premise that is only as strong as its lead actress. Anna Cobb stuns in her feature film debut with a rather challenging role for a new actress. Thankfully, she seems to have adopted this role well and knows how to mesh with Schoenbrun’s aesthetic and direction. 

Aside from the narrative itself, the movie is also elevated by its interesting shot compositions and chronically online feeling. The fitting music of Alex G also works wonders throughout the movie in generating the desired atmosphere for the movie. It’s an unconventional aesthetic that I don’t think could work with other movies, but it’s one that seems essential for a movie like this.
 
Another great part of this movie is how Schoenbrun is able to emphatically convey their messages and feelings. Even to someone like me who has had wildly different experiences from the director, this movie gave me a lucid look into the unique perspective of them as a person and an artist.  Schoenbrun has proven themselves as a skilled storyteller who is able to impart their perspectives and feelings to an audience who would otherwise not be privy to this part of human identity.
 
Despite everything that is working in the movie’s favor, I do find that without context into its creator or intent, this movie might not be particularly accessible. It’s a nuanced project that rewards analysis, but it is also one that might rely a little too heavily on a specific perspective going into it.
 
We’re All Going to the World’s Fair rewards viewers who are willing to broaden their horizons and perspectives. It’s a wholly original act of cinematic dysphoria that will make you feel everything but bored. It’s hard to put into words why this movie is so hauntingly resonant, but it’s a great showcase for Schoenbrun as a creative voice that is worth keeping on your radar.
 
We’re All Going to the World’s Fair is in theaters April 15.

Rating: 4/5

Review by Adam Donato

Review by Sean Boelman

Wyrmwood: Road of the Dead was a lightning-in-a-bottle type of movie: a zombie flick with the right amount of camp to be fun, but also genuinely unsettling at the same time. Seven years later, audiences are returning to Kiah Roache-Turner’s wasteland in Wyrmwood: Apocalypse, but the results are ever so slightly disappointing.

The film follows a soldier who delivers survivors of an undead plague to a mad scientist as he decides to turn against his boss and fight for good with the help of a half-zombie/half-human hybrid and some old friends from the first movie. Granted, no one was going to accuse Road of the Dead of being the most logical zombie movie, but this one is even more exaggerated and nonsensical.

More often than not, sequels struggle to maintain their energy when they break up a team that was charming together in the first entry. Somehow, the opposite is true here, because the part of the first movie that worked so well was its chaotic energy cutting between storylines. Everything feels like it ties together a bit too nicely here for its own good.

There are also attempts here at deeper political commentary, and the film almost entirely falls flat in that regard. The first one was a goofy action-horror movie about zombies whose blood can be used as fuel. This one has a shallow, overdone commentary about the military and whether or not soldiers should be held accountable for the damage they cause.

The movie attempts to further develop the characters from the first film, but ends up doing the age-old metaphor of them fighting their inner demons by them fighting the literal monster that is trying to take over their body. And any attempt to do anything with the new bloods is weighed down by the apparent need to connect them to legacy characters that there isn’t a huge fanbase for in the first place.

The acting here is rough, but it wasn’t great in the first film either. It’s a B-movie so you can’t go in expecting anything less than hamminess. That said, the thing that is sorely missing here is comedic relief. The absence of Leon Burchill and Keith Agius is sorely felt here, and there’s no real equivalent to replace them.

Perhaps most disappointing is that the execution isn’t as strong. Some of the best things about the first movie were the practical effects that were absolutely gnarly, and the stuff here is much less memorable. There is also more noticeable CGI to be found in this film, and given the low budget, it is distractingly cheap. 

Wyrmwood: Apocalypse is still a fun enough time to be worth the rental fee, but it doesn’t recapture the success of its predecessor. Perhaps it would have been better off had the original just been left alone.

Wyrmwood: Apocalypse is now available on VOD.

​Rating: 3/5

Review by Sean Boelman

The first season of The Flight Attendant won over HBO Max subscribers with its perfectly entertaining blend of comedy and Hitchcockian suspense. And while it was initially envisioned as a miniseries, the show’s immense popularity caused the streamer to order a continuation, and the second installment takes the series in a very different direction.

Picking up months after the events of the first season, season two follows Cassie (Kaley Cuoco) as she has been recruited by the CIA to be a new asset only to find herself wrapped up in another conspiracy. While the first season was based on a novel by Chris Bohjalian, this season doesn’t have source material to go off of, but it doesn’t struggle to find its own way.

This season is certainly much more on the lighthearted side than its predecessor. It’s no longer a murder mystery that Cassie is trying to solve, but an international espionage conspiracy. While the stakes are fundamentally much higher, it doesn’t feel like it because the plot has turned into something at a much bigger, less personal scale.

Cassie’s struggle with alcoholism has now turned into her journey with sobriety, and while it still gives the character a relatable angle, it isn’t as developed as the analogous subplot in the first season. Her personal life as a whole is much less interesting in this season, even in regards to her friendship with Ani (Zosia Mamet).

Instead, we get more of an investment in Cassie’s former flight attendant coworker Megan (Rosie Perez) who is wrapped up in espionage of her own selling secrets to the North Koreans. It’s a much more generic story, yet the series seems content with hitting only the basic plot beats of the genre.

Cuoco yet again gives a fantastic performance here — arguably the best of her career — nailing the comedic timing of the script while bringing a lot of empathy to the character. Even more impressive this time around is that she plays multiple versions of herself, becoming a Byronic hero and filling the void left by Michiel Huisman’s character who was murdered in the first season.

This season also has the same aggressively energetic style as the first. It can get to be a bit excessive at times, but for the most part, it makes the whole thing a lot of fun. The only part of the show that gets to be exhausting is the gimmicky editing that is used to transition between scenes.

The Flight Attendant continues with a new season that takes the story in a different direction but maintains the energy and tone that made it such a hit. Even if the mystery isn’t quite as compelling, it’s still great to go on another adventure with these characters.

The Flight Attendant streams on HBO Max beginning April 21, with new episodes streaming subsequent Thursdays. Six out of eight episodes reviewed.

​Rating: 4/5

Review by Tatiana Miranda

Review by Dan Skip Allen