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Review by Sean Boelman
Video game adaptations are well-known to be cursed, but every once in a while, there comes around an exception that is surprisingly very good. Although it’s far from perfect, the amount of hilarious and exhilarating moments make Twisted Metal one of the most easily-consumable series in recent memory.
Set in a post-apocalyptic world, the series follows a delivery driver who spends his days making runs between safe havens through the anarchic wasteland as he is given a once-in-a-lifetime opportunity to earn his freedom. Ultimately, this MacGuffin-based storyline is only an excuse to get our characters into hijinks running into bands of survivors in the wasteland. The show is both action-packed and quick with its comedy. Add in the episode lengths all being right around a half hour — sometimes even shorter — and the series absolutely flies by. That being said, there are some portions that feel somewhat rushed. The show often jumps forward in time, rather than using tools such as montages to show the passing of time, which does make it a bit harder for us to buy into the “race against the clock” narrative. As the plots of the games are relatively thin and straightforward, it would be reasonable to ask how they found enough material to create a ten-episode series. The answer is that the show is better described as loosely-inspired by the games, with a vibe that feels much more akin to Zombieland with a dash of Mad Max. It’s a fun time, and there are a lot of easter eggs for those familiar with the games, but expect less Thunderdome and more of the 1979 film. 
When it comes to the show’s visuals, they are a bit of a mixed bag. When the action sequences fall back on CGI, it’s blatantly obvious. However, given the heavy camp factor the show has anyway, it doesn’t detract particularly much from the viewer’s enjoyment. And while certain sets and costumes are great — the DMV torture chamber is particularly inspired — others don’t fully immerse us in the post-apocalyptic world.
After having been the sidekick or co-lead in so many franchises, Anthony Mackie finally gets his chance to be the leading man in Twisted Metal, and he truly shines. He’s charming and funny, and he nails the few hand-to-hand combat scenes he has. Stephanie Beatriz’s performance is more uneven. She’s often funny and has great chemistry with Mackie, but her line delivery often feels unnatural — especially during the more emotional moments. There are also plenty of other memorable supporting characters that would have been competitors in the game. In the supporting cast, Will Arnett is very funny as the voice of maniacal clown Sweet Tooth (one of the games’ more recognizable characters), and Thomas Haden Church is perfect as the depraved lawman. There’s also a particularly fun cameo from Jason Mantzoukas. Twisted Metal is a lot more fun than it has any right to be for a show based on a video game whose point is basically to smash other cars. What allows this to stand out from other video game adaptations is that the creators did not feel overly bound to the source material, instead using it as the inspiration for a genuinely fun action-comedy. Twisted Metal streams on Peacock beginning July 27. All ten episodes reviewed. Rating: 4/5
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Review by Tatiana Miranda  Based on the best-selling book of the same name, Good Omens follows angel Aziraphale and demon Crowley as they deal with humans and supernatural beings in modern-day London. Season 1 of the comedy series, which premiered in 2019, followed the plot of its source material, as Aziraphale and Crowley worked together to stop armageddon. In season 2, co-author of the book and co-showrunner Neil Gaiman takes inspiration from unwritten storylines he and the late Terry Pratchett had previously come up with. Along with the primary plot of the season are a handful of "minisodes" intertwined with the main episodes. These vignettes give a glimpse into Aziraphale and Crowley's past together, including depictions of historical moments such as WWII and biblical references such as the story of Job. While season 1 of Good Omens had similar storylines that featured the backstory of Aziraphale and Crowley's relationship, the minisodes in season 2 feel a bit overpowering as they take up a good chunk of the episode's runtime and distract from the main plot at hand. Even after the finale of season 1 left room for a continuation of Good Omens, season 2 doesn't seem to know where it wants the storyline to go next. The first episode opens with archangel Gabriel arriving at Aziraphale's bookshop with no knowledge of who he is or why he is there. Over the following episodes, Aziraphale and Crowley must keep Gabriel hidden from Heaven and Hell as they try to discover what happened to him.  This storyline remains on the back burner for most of the season, though, and only begins to answer the mystery in episode 5. Meanwhile, other storylines — such as a romance between two local shopkeepers — are more prominent and act as a driving force for a lot of Aziraphale and Crowley's actions. Compared to the romance subplots in season 1, this storyline comes across as distracting and unnecessary.
Perhaps one of the biggest disappointments of season 2 is the misutilization of Aziraphale and Crowley's contrasting motives and their growth as characters. While the two aren't necessarily good or evil, a lot of season 1 dealt with the two working to further the agenda of either Heaven or Hell. Since they are now deemed traitors, both Aziraphale and Crowley are working based on their own motives, rather than what their higher-ups tell them to do. Although this has always been the case, as Aziraphale and Crowley regularly go against orders, their new position as outcasts would have made for some interesting character development, especially as they go against Heaven and Hell in their attempt to protect Gabriel. Overall, season 2 of Good Omens is a disappointing addition to an entertaining and well-loved show. Even with some humorous moments here and there, the disjointed nature of the plot and lack of interesting character development makes it an underwhelming season. Season 2 of Good Omens releases on Prime Video on July 28. Five out of six episodes reviewed. Rating: 2/5
Review by Sean Boelman
Left to right. Luis Zahera as Zan and Denis Ménochet as Antoine Denis in THE BEASTS. Courtesy of Greenwich Entertainment.
Rodrigo Sorogoyen’s The Beasts debuted at the 2022 Cannes Film Festival to great acclaim. Sadly, this seems to be a case of Eurocentrism at play, as although the film is entirely competent and means well, it presents a take on an important issue that is almost describable as tone-deaf.
The movie follows a French couple who moves to the Spanish countryside in the hopes of finding an escape, only to find their escape short-lived when they butt heads with the locals. This is the type of premise that should set up a battle of the wits thriller, but it is disappointingly lacking in the sharpness it needed to pull that genre off. The film shows promise as an examination of xenophobia. However, when there are so many other stories to be told about this problem, it’s admittedly frustrating to see a tale of xenophobia committed by white people against white people. Although these issues exist, the movie’s argument feels like the xenophobia equivalent to “all lives matter.” Although the first hour and a half are pretty compellingly paced, the film loses nearly all of its narrative momentum after that point. Ultimately, the movie feels somewhat unfocused. It either needed to be an examination of the consequences of hate, or a condemning depiction of the hate itself, but the combination of the two results in a film that feels bloated in its unnecessarily long runtime. 
Left to right. Denis M énochet as Antoine Denis and Marina Foïs as Olga Denis in THE BEASTS. Courtesy of Greenwich Entertainment.
When you throw in an additional subplot about how the energy companies are attempting to steal the land (or at least not pay fair value) for development, there is simply too much going on in the movie. In trying to say something about a lot of things, the script manages to say very little about anything.
Sorogoyen manages to effectively maintain tension throughout the first two acts of the film through uncomfortably long takes with slow zooms. The focus is on the performances, and the entire ensemble is so captivating that the movie is entirely engaging. Unfortunately, the final act abandons the thriller genre — and it’s much less effective as a drama. It’s really a shame that the script isn’t strong, as Sorogoyen has assembled an exquisite cast. Denis Ménochet elevates the subpar material with a performance that is extraordinarily nuanced. He manages to radiate both anger and vulnerability, showing a great deal of range. Marina Foïs is okay in the first half, but really gets a chance to shine in the final act. And while a bit one-note, there’s no denying how intimidating Luis Zahera is. There are some commendable things about The Beasts, and it’s not reprehensible by any means. Still, there have been plenty of other, better films that have explored these themes in a more productive way. Your time would be better spent watching one of those instead. (R.M.N. is a recommendation that jumps to mind.) The Beasts hits theaters on July 28. Rating: 2.5/5
Review by Sean Boelman
(L-R): Rosario Dawson as Gabbie, Tiffany Haddish as Harriet, LaKeith Stanfield as Ben, and Owen Wilson as Father Kent in Disney's live-action HAUNTED MANSION. Photo Jalen Marlowe. © 2023 Disney Enterprises, Inc. All Rights Reserved.
On paper, Haunted Mansion seems like it’s one of Disney’s most shameless cash grabs yet, but once you look at the talent involved, it inspires much more optimism. Haunted Mansion has its fair share of flaws, but it’s much more effective than your average nostalgia bait — a great throwback to the horror-tinged adventures of the ‘90s and ‘00s that much of the film’s target audience grew up on.
The movie follows an unlikely group of misfits who find themselves in over their heads after they are unwittingly trapped in a mansion haunted by ghosts. Compared to the 2003 Eddie Murphy film, this one is a bit more heavily inspired by the actual narrative of the ride(s), but it still supplements it quite a bit to create a satisfying story. The biggest issue with the movie is its pacing, as the film is a bit too long. Although the movie is consistently funny and adventurous, it takes too much time for the characters to encounter the main villain and get the ball rolling on the primary conflict. There’s at least fifteen minutes of this that likely could have been cut. As one would expect, there are plenty of Easter Eggs to the iconic Disneyland and Magic Kingdom attractions, many of which are worked in wonderfully well. (There’s one sequence that will have fans giddy with excitement — and you can probably predict what it will be.) But beyond those, the film contains some of the strangest and most disruptive product placement (that isn’t tongue-in-cheek or satirical) in any movie this writer can recall, including some particularly egregious mentions of Baskin’ Robbins and Burger King. 
(L-R): Chase Dillon as Travis, Rosario Dawson as Gabbie, LaKeith Stanfield as Ben, Owen Wilson as Father Kent, and Tiffany Haddish as Harriet in Disney's HAUNTED MANSION. Photo by Jalen Marlowe. © 2023 Disney Enterprises, Inc. All Rights Reserved.
Viewers will likely be unsurprised to learn that, with an ensemble as massive as this, there are some players who get the short end of the stick. Many characters disappear for entire portions of the film — and with a budget reported to be north of $150 million, it’s not a matter of them not being able to afford the A-listers for the entire shoot.
Still, everyone in the cast is surprisingly game and willing to go along for the ride. Perhaps it’s nostalgia for the deep-rooted Disney lore, maybe it’s really strong direction from Justin Simien (Dear White People), or it could be — and likely is — a bit of both. Every member of the ensemble is firing on all cylinders here. Lakeith Stanfield brings so much emotional heft to the role, and Rosario Dawson isn’t far behind him. And in their supporting roles, Owen Wilson, Danny DeVito, Tiffany Haddish, and Jamie Lee Curtis are all quite funny. Haunted Mansion is also quite impressive visually, with an enormous level of attention to detail in the production design. And in what might be the film’s most shocking quality, the CGI actually looks really good. It feels like the budget was actually put to use. The score by Kris Bowers also stands out, incorporating familiar themes from the ride’s soundtrack, but with a unique spin. In terms of movies based on theme park rides, one could do a lot worse than Haunted Mansion. Although it seems unlikely to start a franchise a la Pirates of the Caribbean, it’s still a fun time at the cinema, and is a solid little kiddie horror movie you can enjoy with the whole family. Haunted Mansion hits theaters on July 28. Rating: 4/5 [Fantasia 2023] THE PRIMEVALS -- The Completed Work of a Lost Master Serves as a Relic of the Past7/24/2023
Review by Sean Boelman
Visual effects maestro David Allen, who worked on films like The Howling and the Puppet Master series, passed away before he was able to complete work on his fantasy feature The Primevals. Decades later, the movie has finally come to fruition, and while it’s a bit scant narratively, it’s a great joy to see the work of a master completed.
The film follows a group of archaeologists who go on a voyage into the mountains in search of the legendary Yeti after the remains of an organism that seemingly resembles one are discovered, only for them to discover there are even more creatures than they could have imagined. It’s very much a throwback to classic adventure flicks, of which this maybe would have become one had it not been mired by tragedy. The movie’s origins as an unfinished passion project are evident in the pacing, which is incredibly choppy. At times, it can get difficult to determine which shortcomings can be attributed to the film’s troubled production history, and which are simply a product of the genre — but the final product doesn’t make a ton of sense, and is better enjoyed as a vibe piece than for its story. As is the case with many movies that are made primarily as an exercise in technique, the film is somewhat lacking in substance. Allen always wanted this to be a showcase for his stop motion abilities, and the world-building that goes along with them is interesting. However, one almost expects there to be either an environmentalist or anti-colonialist message here, and neither is particularly pronounced. 
The character development is very archetypal, but considering that the movie is essentially a throwback to what was already intended to be a throwback, it makes sense that the characters are not particularly distinctive. It is a bit problematic, however, that the Asian characters in the film are completely underdeveloped.
Juliet Mills gives the only performance in the cast that actually knows what type of movie it’s in. She has the perfect camp factor, and manages to make the trope feel like it is her own. Richard Joseph Paul and Leon Russom both take their roles a bit too seriously and would have been served by being more tongue-in-cheek. Given that the production was initially started in the 1990s, the special effects feel very old-school — but that’s exactly the movie’s charm. It has a very Jason and the Argonauts-esque feel to it in terms of its blend of live action and stop-motion animation, and it gives the film an extremely fun vibe. If you approach The Primevals for what it is — a relic of the past — it’s a good time. The generic nature of the story and characters will prevent it from becoming a cult classic like so many of the movies that inspired it, but it’s still amazing that this is finally complete. The Primevals screened at the 2023 Fantasia Film Festival, which runs from July 20 to August 9. Rating: 3/5 |