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Review by Daniel Lima  Ma Dong-seok has carved out a niche for himself in the media ecosystem of today. Or rather, he has caved in a niche using devastating haymakers. The hulking South Korean actor has proven to be one of the best wrecking ball leads of action cinema, able to swagger into any scene and take control with sheer force of charisma, even before he starts letting his fists do the talking. Holy Night: Demon Hunters seems like it should be fun, as if there’s one man who might be able to punch out physical embodiments of evil, it’s this one. Sadly, it doesn’t fully capitalize on its greatest assets. The film sees him leading a team of — wouldn’t you know it — demon hunters, who use their own supernatural abilities and knowledge to stave off the forces of darkness in a Seoul where demonic possession is on the rise. The case before them seems to be run-of-the-mill, a young woman who seems lost to a diabolic entity, but they find themselves against an adversary more powerful than they had imagined. Despite all the copious worldbuilding and flashbacks, this is neither an adaptation nor part of a series, though I imagine it’s intended to launch one. The cosmology borrows heavily from Catholicism — priests, exorcisms, Biblical demons — but also incorporates elements drawn from Korean folk traditions. Much is implied about the characters’ pasts and the structure of the supernatural world, though little of it is solidly defined. Given the amount of time spent on this, it leads to a world that feels rather slight and threadbare. It’s one thing for the nature of the threat being faced to be amorphous, quite another for who your protagonists actually are as people to be left up in the air. This follows the basic structure of Western exorcism stories, to its own detriment. You know the drill: team goes to investigate strange behavior of innocent girl, girl gets chained up as they attempt to thwart the possession, supernatural antics ensue. Perhaps old chestnuts like crawling on the wall, flinging furniture around the room, and speaking in tongues are novel in Korea, but it all feels rather perfunctory. The most interesting aspects of the horror are those that seem rooted in Korean tradition, but that makes up only a fraction of what is shown. It is immediately evident what path the film will take, and it doesn’t deviate from that.  Had the characters been fun to hang around, that wouldn’t be so much of an issue. Unfortunately, there are no real characters here, only archetypes: the possessed, the harried woman who wants her sister back to normal, the comic relief, the priest. So much time is spent on either the procedural elements or the lore that defining these people through how they interact with each other is an afterthought, and the brief moments that they do spend time together feel forced. No performance can truly shine with the lackluster material that they’re working with, but Ma remains a credible physical presence and can play the confident muscle man in his sleep.
One of the few swings that Holy Night takes is combining its very traditional narrative with a found footage aesthetic. A good portion of the possession and exorcism is captured via security cameras and the comic relief character who films the proceedings (and little else), and those deviations are the closest the film comes to being actually scary. Of course, found footage films use the visual language that fills everyday life in order to lend a sense of realism and immediacy to what is unreal. Marrying this approach to a regular film inherently blunts its power, and swapping between the two visual styles ends up feeling jarring. The saving grace of the movie is ultimately what would inevitably draw most people to it: Ma Dong-seok punching demons. There are only a handful of fight scenes, but there are few things more satisfying than watching Ma put his boxing background to good use. Every fight between him and diabolically empowered cultists sees him ducking and weaving and throwing body blows that send people flying through the air. It’s a testament to how perfectly he nails the choreography that for most of the film, I didn’t even realize his character had superpowers himself. I was willing to believe he could just do that. As fun as these are, they still amount to fights on an even plane, with enemies attacking Ma one by one, only for him to dispatch them with a single blow. Had there been an attempt to incorporate the environment more, to vary the kinds of demons he was up against, to make one fight feel different from the last, it would have been easy enough to overlook the lack of ingenuity in the rest of the film. At the very least, there could have simply been more of them, as the action is far more effective than the horror. Holy Night: Demon Hunters is not an auspicious start to a media franchise. Had it either focused more on the folk horror elements than generic Christian-themed exorcism shenanigans, or leaned into Ma Dong-seok’s abilities and took more care with the action, this could have been something special. The haymakers go a long way in making this worth a watch for some, but if sequels come from this, they will hopefully double down on the best aspects. Holy Night: Demon Hunters is in theaters May 2. Rating: 2.5/5
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THUNDERBOLTS* -- An Emotionally Resonant and Action-Packed Debut for the MCU's Newest Team4/29/2025 Review by Camden Ferrell  As fans eagerly await the next 2-part Avengers movie event that begins next year, the MCU has a few more films to get through. Before they release their highly anticipated Fantastic Four movie later this summer, they’re bringing us Thunderbolts*, a movie that nobody really asked for but one everyone will be happy got made. Even if they didn’t care about the characters going into it, viewers will leave this film with a new appreciation for them as they go on an emotional and action-packed mission with them in one of the MCU’s better efforts since Endgame. Yelena Belova, John Walker, Ghost, and Taskmaster are characters with troubled pasts who are set up against each other by Valentina who has been pulling strings in her previous MCU appearances. Although they are a group of misfits who can’t seem to get along or trust each other, they are thrust into a dangerous mission alongside Bucky, Red Guardian, and the enigmatic and unknown man Bob. Its setup is definitely reminiscent of the first Avengers movie back in 2012, and it really tries to nail that scrappy vibe and confrontational chemistry that these unique characters have. Written by MCU veteran Eric Pearson and television veteran Joanna Calo, this movie understands that the action and spectacle are secondary to character. It’s a common complaint that some of the later MCU entries lack substance or meaningful characterization, but this movie does it extremely well. It takes characters with established backstories and builds on them in emotionally meaningful ways. Some of these are characters that many people including myself didn’t believe needed more screen time, but this movie more than justifies their inclusion. By Marvel standards, the writing contains mature themes that feel impactful and natural to the overall narrative of the movie. I think even the harshest critics will feel like this movie proves that Marvel still knows how to flesh out characters especially when the franchise is in desperate need of rejuvenation and direction.  Almost all of these characters have shown up previously in the MCU, and they all more or less bring the same energy to their performances as before. To no one’s surprise, Florence Pugh is an utter natural that holds this misfit team together, and she plays off of her ensemble extremely well. It was quite interesting to see characters like Ghost and John Walker have a more natural rapport and banter with their team which is something we didn’t see much off in their original appearances. Lewis Pullman makes his MCU debut as Bob and while most people know where his character is headed, I’ll just remain coy for those who want to remain in the dark before seeing it. Suffice it to say that he’s a great addition to this movie and does justice to his character that will make Marvel fans very satisfied.
While they don’t have God powers, gamma powers, or billion-dollar flying suits, this movie still manages to deliver some truly riveting action and combat. It’s mostly hand-to-hand combat, but it never feels stale. The fight choreography is creative and uses the power set limitations as an identifying feature not a bug. This is paired with some great cinematography from Andrew Droz Palermo and an intense score from Son Lux. This movie does have brief flashes of lethargy, but this is usually corrected quickly. Thunderbolts* is a fun time that will give audiences new hope in the future of the MCU. It takes previously seen characters and breathes new life and enthusiasm into them while also showcasing some of the MCU’s best writing in recent memory. Like any good MCU movie, it’s going to please seasoned comic book readers and novices alike, and it does a good job at mostly filling in the blanks for those who may have skipped a few movies or shows. Thunderbolts* is in theaters May 2. Rating: 4/5 Reviewed by Jonathan Berk  Our expectations of a movie can be influenced by a number of factors. If you’re only familiar with a few details, like the lead actor and the few selected moments shown in the trailer, it’s easy to be led astray into thinking what the actual film will be about. Recently, Lorcan Finnegan’s film, The Surfer, subverted my expectations. In this case, the trailer and the inclusion of Nicolas Cage led me to expect more of a revenge movie, but I made the mistake of overlooking a key detail, not realizing that Finnegan’s directed the 2019 film Vivarium. The Surfer was far more abstract and metaphorical than I’d expected. A man (Cage) returns to his childhood home, hoping that buying his father's old house will resolve many of his problems. The beach by his soon-to-be home is where he started surfing, and he brings his son to experience the beauty of the surf. However, he’s met by the “Bay Boys,” who really emphasize their credo of “Don’t live here; don’t surf here!” His pride is hurt during this interaction, pushing him into an ever-rising conflict that threatens to shatter his picture-perfect plan. Cage excels at portraying the absurd. While his character has moments of relatability, he also takes the performance to the extreme. This is something that Cage has proven to excel at time and time again, and that’s no exception here. Similar in some ways to his character in Dream Scenario, he is a normal man with hopes of making sense of his life, but finds himself in an ever-spiraling situation. Every time it seems things couldn’t possibly get worse, they do. Cage sells the descent his character must fall into before he is able to start to fight his way out, better than almost any actor can. What Cage brings to a film like this is quite interesting. His performance feels so big and over-the-top at times, but he manages to bring in these little nuanced elements that blend together in such a way to keep everything balanced. It wouldn’t work if the film itself were semi-grounded in reality, but that’s not what is happening here. This element of the story is made clear not only by Cage’s performance but also by how it is depicted on screen.  Finnegan’s film establishes early on that it’s not going for realism. There are technical flourishes with the cinematography that imply things are not as they seem. Is it the heat wearing on the character? We see close-ups and heat waves that imply the character’s psyche is in peril. There are rapid cuts to images that could be memories, premonitions, or something else altogether. We are shown through film language that this is not just another beach movie about surfing. As the film reveals more about the characters in this ironically confined setting, it becomes clear that it aims for a deeper meaning.
Scally (Julian McMahon) is the leader of the beach, with his shack acting as a clubhouse for the group of teens. There are various elements at the beach in play: a homeless man living out of his car, the coffee shop employee, the various surfers, a police officer, and a few nearby residents who frequent the beach. Their interactions with Cage help to establish that things aren’t exactly what they seem. Scally is at the center of all of it, and McMahon delivers an equally balanced performance, being equal parts welcoming and menacing throughout. These questions of reality are hinted at with those flashes of images, but the film keeps some of its mysteries close to its chest. Yet, astute film viewers will see the potential premise as it plays out. At times, The Surfer doesn’t fully connect, and its direction feels somewhat too silly. However, this is a film with much to appreciate, and its overall experience is a satisfying one. The uniqueness of Finnegan’s style also delivers an abundance of joy, as he has a distinctive voice. While the film generates tense moments, it maintains a brisk pace. It explores its ideas with a zany bit of anxiety, and it’s all held together by Cage’s performance. If you like Cage’s more odd films, then you’ll likely find joy in this one as well. The Surfer will be in theaters on May 2. Rating: 3.5/5 Review by Adam Donato  The Legend of Ochi is A24’s second overtly fantasy movie of the year after Death of a Unicorn, which floundered at the box office. With minimal marketing, it’s hard to see this movie breaking through to audiences either. This is the directorial debut for Isaiah Saxson, who also produced and wrote the movie. Joe and Anthony Russo have their names attached as executive producers. They’re having a rough year after critics panned Electric State on Netflix. The cast of The Legend of Ochi is solid, but are they enough to entice audiences with this little creature feature? The story is very reminiscent of 80’s family fantasy films like E.T., coupled with a How to Train Your Dragon vibe. Basically the classic child befriends some fantastical creature that everyone believes is a dangerous enemy. This is a cliched setup so its opportunity to succeed lies in the creativity of the creature and the likability of the characters. Where this concept excels is in the representation of these little blue faced monkeys. They look practical, which goes a long way to make them feel real and therefore easier to care about. While they’re not the most original looking creatures, they’re cute and have their own unique abilities to discover. This cute little baby Ochi is the most fun part about the film. The most fun human in the movie is obviously Willem Dafoe. His character is the leader of a troupe of young boys whose purpose is to hunt the Ochi. He wears this goofy knight outfit for the majority of the adventure and it’s hilarious. While he starts out just being creepy, he becomes more interesting as his relationship with the little girl and his ex wife develop. The performance leans into the fun, wacky Dafoe that audiences know and love.  The rest of the cast is obnoxiously bland. The main little girl in the film is played by Helena Zengel, who got her biggest break in Paul Greengrass’s News of the World. This didn’t get her the proper exposure as the unfortunate timing of the release aligned with theaters struggling with COVID. A role that could’ve been for her what True Grit was for Hailee Steinfeld. Here she speaks so monotone unless she’s screaming. Instead of this child being cute and relatable, she’s annoying and unlikable. Emily Watson plays her mother and she is similarly understated in her performance. Finn Wolfhard is here for some reason. The role is so small and too close to the tone of the Stranger Things franchise so the performance just feels redundant and a waste of time.
The film does sometimes have a quirky sense of humor. It’s not an overtly funny movie, but the audience was chuckling here and there at the cuteness. The film looks pretty as this remote island often feels like a fantasy world. The score is sometimes wonderful, but more often obnoxious and piercing. Overall it just feels like some good ingredients overshadowed by its annoying features. A24’s attempt at a family oriented fantasy adventure is a mixed bag. Some may find it cute enough, but it’s just too been there done that to be worth recommending. Not even Dafoe can save this one. The Legend of Ochi joins a crowded slate of movies at the box office so with little exposure and middling reviews, you’re gonna have to catch this one quickly before it exits theaters. The Legend of Ochi will be in theaters on April 25. Rating: 2/5 Review by Jonathan Berk  Ryan Coogler looms large in terms of modern-day directors to the point that it seems impossible that his new film, Sinners, is only his fifth. From his debut with Fruitvale Station, and the first of four collaborations with Michael B. Jordan, to Creed to Black Panther, and its slightly divisive sequel Wakanda Forever, Coogler has continued to demonstrate his understanding of the form. Sinners is his first truly original story, and he flexes his skills to incredible levels. This film should silence any doubters and secure Coogler as one of the most important voices in cinema today. Set in Mississippi during the 1930s, twin brothers Smoke and Stack (Jordan) return to establish a juke joint. They are fleeing their immediate past and returning to a past they left behind. Their young cousin Sammie (Miles Caton) helps them establish the team they need to make their grand opening a big success, with his own guitar playing being paramount to the entertainment. While they are setting about to achieve their dreams, a new evil lurks just outside their walls. It doesn’t take much research to learn that Coogler is a student of the art form. Like Quentin Tarantino and Edgar Wright, Coogler is able to rise above imitation and pastiche to synthesize the films that inspired him into something personal and authentic to his voice. Film nerds will spot the inspiration and the homage embedded in the frames as they burst onto the silver screen, but you’ll hear Coogler’s voice. His story, style, and aesthetic are clear and feel immensely original while managing to also feeling familiar. These elements of his craft lend themselves to the viewing of the film as well. Every aspect of this film is immersive and equally impressive. The film looks incredible in its cinematography, costumes, and production design. These elements bring the audience into a world that feels so lived-in. The characters are crafted in such a way that they don’t have to dump tons of backstory for you to truly know who they are. While the frameworks of archetypes are there, it doesn’t feel like cookie-cutter clichés dancing on screen. These people have lived lives, and we are joining them at a crossroads. The stakes are clear, and Coogler makes all of that an unbelievable cinematic adventure that keeps the audience hooked from minute one.  Jordan is always watchable as a screen presence, but he is always at his best with Coogler. The same actor playing twins is often a risky choice by filmmakers, and from the first time he is on-screen with himself, Coogler wants to show off a bit. The two light a cigarette and pass it back and forth seamlessly in the same frame. Smoke and Stack are similar yet distinctly different, and a lot of that is due to Jordan’s dual performance. His charm goes a long way, but there is something to his performance that stands out.
Caton makes his feature film debut here, and that detail was shocking. Nothing about his performance feels like a debut. Yet, his character, Sammie, is ultimately making his debut to the world. He has existed, but this night is pivotal to the life he will lead. He has ambitions of his own, but the people in his life all seem to believe they know what is best for him. A familiar role, but the way it plays out in the film feels incredibly original. The cast as a whole is completely incredible. Fans of Delroy Lindo will be ecstatic when he shows up and owns every scene he gets. Wunmi Mosaku is incredible as Annie in this film. Hailee Steinfeld has been an incredible screen presence since her debut in True Grit (2010), and gets to show her evolution as an actress here. Then Jack O'Connell continues his 2024 momentum and stealing scenes and playing an incredible villain. Of course, one could argue that the real breakout of this movie is music. The songs and score written by Ludwig Göransson take inspiration from various genres, but center around the blues. The trailers allude to many things about the film, which I’ve mostly left out in case a reader doesn’t want to know the details, but almost nothing about the role music plays in this. While not quite a musical, Coogler again demonstrates his love of cinema by paying homage to the Hollywood musical and its framework. The importance of music has on this story and its characters will likely resonate with audiences. If nothing else, it elevates an already incredible genre movie. Sinners may be Coogler’s opus. It delivers in every aspect and shows why creative people should be given creative license. What’s lost on the Hollywood executives who are constantly chasing existing IP because of the built-in audience is the idea that, at some point, all of those IPs were new. They started with nothing, and fans flocked to them, likely because there was something genuine about them. This film is a great example of that. Sinners is in theaters now, and you should see it on the biggest screen possible. Rating: 5/5 |