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Review by Adam Donato  Gru (Steve Carell) and Gru Jr. in Despicable Me 4, directed by Chris Renaud. As the first half of 2024 comes to a close, the film that reigns supreme at the box office is Inside Out 2. It seems the most reliable films at the box office this year are animated franchise sequels, as Kung Fu Panda 4 is also one of the highest-grossing movies of the year. Another fourth film in an animated franchise kicks off the second half of the year in Despicable Me 4. It's funny how it used to be taboo to include the number four in your title. Most franchises opt to slap a colon and a second title so as to not alienate new fans who might find the task of catching up on three movies too daunting to see a fourth film. Despicable Me 4 wears the number like a badge of honor. That doesn't even include the two Minions spinoffs, which also feature Gru's story. It doesn't seem as though audiences are getting sick of the villain-turned-dad as Despicable Me 4 is primed to own the month of July as long as Inside Out 2 fever wains. Outside of the baby, Despicable Me 4 is indistinguishable from the prior two installments. Unfortunately, the minions are iconic characters. They're universal. Literally. It feels like the last Minions movie also had superhero versions of the mutants. Who cares? They're cute, and the rest of the movie is pretty light. Fans of the franchise will certainly be satisfied with this entry, but the ceiling is so low, and the floor is so high. Watch this movie in a theater full of kids and say it doesn't fully succeed in entertaining its target audience. Adults also enjoy it due to the relatability of the family and the broad humor of the silly minions. It's surefire fun for the whole family. The villain of the film, Maxime, is voiced by Will Ferrell. His character sports a voice reminiscent of his performance in Zoolander. Maxime has backstory beef with Gru, which is better than him being some random bad guy. He's pretty funny, but it's not Will Ferrell's best voice-acting work. The character just isn't given enough focus, as the middle of the movie has Gru doing some side quest with the girl next door. There are too many subplots going on and so many characters to keep up with, and it must all be wrapped up in 95 minutes. Maxime has a love interest in the film, voiced by Sofia Vergara, and she has nothing to do. Why make up this character, get a good comedic actress to voice her, and not give her anything to do?  The Minions subplot has nothing to do with the film's main plotline. It's an entirely separate mission from what Gru and the family have going on. This does give Steve Coogan more of a role to shine. His character is turning the minions into Mega Minions. The most memorable thing about his character is that his name is a butt joke. This is the level of humor we're working with here. There were just as many adults laughing during the movie as there were kids. It's got mass appeal.
One thing the Despicable Me movies have always been known for is the music in their films. Pharrell Williams, who has a LEGO biopic coming out later this year, always brings it with good original songs for these movies. Double Life is a fun bop that sets the stage at the beginning of the film. The soundtrack usually has characters singing popular throwback hits. At the end of the day, it's a funny twist on a good song. Illumination goes back to the well, extending the franchise to a fourth film. Recent news came out saying they're taking The Simpsons model by not aging up their characters. With how sure of a success this film is destined to be at the box office, one may wonder if there will ever be a movie one day named Despicable Me 8. If it ain't broke, don't fix it. It's working enough. Despicable Me 4 is mildly entertaining and entirely unspecial. Despicable Me 4 hits theaters on July 3. Rating: 3/5
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Review by Adam Donato  A Family Affair. Nicole Kidman as Brooke Harwood, Zac Efron as Chris Cole, and Joey King as Zara Ford. Credit: Tina Rowden / Netflix © 2023. Netflix loves shitting out these standard rom-coms. Just change the stars and the setting for a brand-spanking new movie. It's not just Netflix, as competing streaming services like to utilize the same formula. Just recently, Amazon released The Idea of You, a romantic comedy where Anne Hathaway plays a mother who falls in love with a boy band member when she takes her daughter to a music festival. It's hard not to think of that movie when A Family Affair is about a mother who falls in love with a movie star for whom her daughter works. Hollywood is unoriginal; what else is new? Director Richard LaGravenese returns to the director's chair after a year off. The director mostly does romance pictures outside his biggest hit, Freedom Writers. With A Family Affair, this should be right in his romantic wheelhouse. Can he make this tired premise feel fresh? The stars occupying this formulaic content are pretty prolific. On the one hand, that legitimizes this movie, but it also is sad for stars of this caliber. Nicole Kidman is one of the greatest actresses of the 21st century. Sure, she starred in those Aquaman movies, but a Hallmark Netflix original romance? Sad! Her love interest is drooping to new lows as well, as Zac Efron plays the douchey boss turned MILF-lover. Although he's no stranger to the romance genre, this type of streaming schlock feels below him. The real protagonist of the film is played by Joey King. She stars as Kidman's daughter and Efron's assistant, who accidentally brings the two together and struggles with their flourishing relationship. King is no stranger to Netflix originals, as that's where she belongs. Kathy Bates is also here for some reason. The only actor elevated by this project's pedigree is the former social media personality Liza Koshy.  A Family Affair. Nicole Kidman as Brooke Harwood, Zac Efron as Chris Cole, and Joey King as Zara Ford. Credit: Tina Rowden / Netflix © 2023. Kidman is as solid in the film as she can be. She has decent chemistry with Efron, but her soiled connection with her daughter is not given the dramatic weight to feel like there are any real stakes. Efron's comedic chops are the highlight of the film. His character is very funny as an exaggeratedly rude and out-of-touch celebrity, but his energy drops entirely once his relationship with Kidman starts. It's as if he turned into a whole new person, which makes it harder to feel for King's struggle to cope with their relationship. King is comedic enough, but mostly just annoying to follow. Her conflict is so unreasonable and predictable. Bates is good for some solid scenes of advice. Koshy's skillset is much more suited for the stage as she's so animated and overly expressive. She has social media fans, but some find her content to be cringe and annoying. She has a dramatic scene with King that comes out of nowhere, and she feels like a different person.
There's definitely an audience for films like A Family Affair. With an endless combination of hot actors and actresses, this formula is a perpetual goldmine. It's got a good sense of humor but fails to connect on an emotional level. Even with the high pedigree of actors at play, this one definitely belongs on a streaming service. Netflix makes some of the best movies of the year on a regular basis, but this is not trying to be one of those. It's the same movie but with different actors in a different setting. Nicole Kidman was nominated for an Oscar two years ago. Don't lose sight of that, despite what this movie may have you believe. A Family Affair streams on Netflix beginning June 28. Rating: 2/5 Review by Adam Donato  Actors don't make movies; they make a living. Recently, Russell Crowe was asked about Dakota Johnson's comments about Sony and her experiences working on a Marvel superhero movie. Crowe, who had a role in the poorly received Thor: Love and Thunder and is going to star opposite Aaron Taylor Johnson in Sony's Kraven the Hunter, said: "If you're expecting this to be some kind of life-changing event, I just think you're here for the wrong reasons." His career has persisted, but he has yet to be the focal point of a hit film since the 2000s. He's had box office success and critical success, but never both at the same time. Even in Les Miserables, he's known to be the weak link of that cast. It's ironic that there's a Gladiator sequel coming out later this year, and it's primed to be a greater success than Crowe's last five films combined. This week sees the release of Crowe's latest leading role, The Exorcism. One might ask, "Didn't the Russell Crowe exorcist movie come out last year?" This is not Deja vu. Just over a year ago, theaters were surprisingly packed for Crowe in The Pope's Exorcist. Just not domestic theaters, as the film only covered its $18 million budget in the states, but worldwide pulled in an extra $56 million. To The Exorcism's credit, the concept of this film is more compelling than that of The Pope's Exorcist. A disgraced actor stars in a horror film, and his estranged daughter notices he's either slipping into his old destructive ways or becoming possessed. With all the conversation about the value of method acting, this story may hit home for some people. Crowe is not very good in the film and fails to generate any scares with his performance.  The supporting cast includes some familiar faces. Sam Worthington, who won his way back into some fans' hearts with his performance in Avatar: The Way of Water, is one of Crowe's co-stars here. He's there, but his character is entirely forgettable. Ryan Simpkins is the older sibling of famous child actor Ty Simpkins, who appeared in Crowe's The Nice Guys. While everyone is begging for a sequel to that gem, we're stuck with multiple Crowe exorcist movies. Simpkins's character forms a relationship on set with an artist played by Chloe Bailey, Halle Bailey's sister. Their relationship is cute and allows Simpkins an outlet as she struggles with her father's problems.
The director is the son of the man who played the priest in The Exorcist. One would hope the experience would rub off on the son, but this film is far from the likes of The Exorcist. None of the scares are really effective in the way the film wants them to be. The narrative is easily predictable, and the character's internal struggle is not compelling. The Exorcism thinks it's really cute sucking up to cinephiles by taking place on a movie set and having references to superior films. It's not worth your time at the theater. The Exorcism completes the dookie of a doubleheader of exorcism films from Crowe in the last two years. With the release of A Quiet Place: Day One on the horizon, it's hard to see this entry finding an audience for itself at the domestic box office. Maybe it will translate overseas like its predecessor, and hopefully, some quality is mistakenly discovered. Save this one for streaming if you're going to watch it at all. These days, Crowe's reason for making a film seems to be the paycheck and more power to him. It's a rough industry, especially for action heroes past their prime, but when it's all said and done, nobody is going to remember The Exorcism. The Exorcism hits theaters on June 21. Rating: 2/5 Review by Adam Donato  Things with Disney are not at an all-time high at the moment. In the last five years for Pixar, all their films have been commercial failures, critically middling, or dumped on Disney+. Soul won Best Animated Feature, making it the eleventh time Pixar has taken home the award. One of those times was Inside Out, which was released almost exactly nine years ago. Since then, Pixar has done three sequels, which are by far the most successful films at the box office. So, who could blame them for going back to the well for something they know will have mass appeal? Inside Out 2 marks Pixar’s tenth sequel/prequel/spinoff, and most of them have been viewed as disappointments aside from the Toy Story trilogy. Can this sequel buck the trend, justify its existence, and live up to the first installment? The biggest compliment one could give the Inside Out movies is to say a way they’re better than the Toy Story movies. Andy works as a character because he’s such a blank slate audience insert. Riley is a much more fleshed-out character, and the goings on in her life are directly tied to the adventures of the gang of fantasy characters. She’s relatable enough to garner mass appeal but distinct enough in her specific interests from similar characters. Maybe that’s what helps the case for an Inside Out sequel. The concept of the franchise is obnoxiously universal. Who doesn’t have emotions? It would be nice to round out this character’s journey with a third film about her experience in high school, like a family-friendly version of Big Mouth.  The new emotions do make revisiting this world worthwhile. In fact, Anxiety is one of the more fleshed-out antagonists in recent Pixar memory. She’s a formidable threat who believes she’s doing what’s best for Riley. The whole new gang’s personality is fun, yet doubtful to become a household name that is quoted like Anger is. Ennui has nothing to do, which is on brand because her character seems to want nothing to do with what’s happening. Ayo Edebiri is one of the most exciting young talents in Hollywood and does a good job making Envy stand out. New voice actors for characters like Fear and Disgust, while under unfortunate circumstances, give solid performances that don’t feel like a significant step down from the original.
The concept for the film has a lot of potential avenues to explore but stays very focused. The majority of the film takes place within a weekend and at one location. The film has very positive messages and is accessible to all ages. It doesn’t pack as big of a punch as the original film, but that may just be due to original bias. This isn’t our first time experiencing this world with these characters. There’s nothing offensive with the direction of the characters or any major missed opportunities with the story. One sequel pitfall Pixar seems to have learned from is avoiding repeating an arc for a character. Joy may not be great at sharing control of the console, but she has definitely retained the lesson that all emotions have their own value and purpose. Inside Out 2 will probably garner a nomination for Best Animated Feature, but it would be the worst film to win the award in over a decade. It will probably be one of the more successful films at the box office this year as the film can be enjoyed by anyone. The characters provide many laughs, and Riley’s struggles are compelling. Most Pixar sequels wish they were this good. Inside Out 2 hits theaters on June 14. Rating: 4/5 Review by Adam Donato  Ry Barrett as "Johnny" in Chris Nash's IN A VIOLENT NATURE. Courtesy of Pierce Derks. An IFC Films & Shudder Release. One of the directors featured in ABC's of Death 2, Chris Nash, directs his first feature, In a Violent Nature. The film follows an undead monster, literally! That's the bit. It's a slasher film from the perspective of the killer. Most scenes with unsuspecting human characters are seen from a distance through the bushes. This looks to be yet another high-profile horror release from Shudder, which specializes in horror films. The movie was shot three years ago and is just now receiving a release — but not a wide theatrical release, unfortunately. Will this gimmicky horror film by a first-time writer-director connect with mainstream audiences? The horror slasher genre has been done to death. Finding a new perspective to approach the genre is a breath of fresh air. In a Violent Nature strips the basic story down to only the necessary bits. Audiences already have seen the story of a group of twenty-somethings vacationing at a cabin in the woods so they can do drugs and have sex. So, only getting snippets from afar is narratively satisfying enough. Forget the annoying dialogue between the friends. In A Violent Nature opts to focus on the relentless pursuit of the monster. This keeps the tension high throughout the film. It also lends itself to some striking shots in the movie. There are several close-up shots of the killer's bloody hand that are extremely effective.  Ry Barrett as "Johnny" in IN A VIOLENT NATURE. Courtesy of Pierce Derks. An IFC Films & Shudder Release. What doesn't work about the film's gimmick is the pacing and length. There's more walking around in this movie than the Lord of the Rings trilogy. For the more impatient audiences, this indie horror will be considered way too slow. That being said, when the killer finally arrives near its prey, the kills are so bombastic and over the top that it feels like a satisfying conclusion to the wait. The film runs at just over ninety minutes, and it's clear they had to stretch out the runtime to make it feature-length. Honestly, this film would've worked better with even less dialogue, especially towards the end, as there's a conversation that drags out the ending to the point of losing momentum. The film still ends on a satisfying note, but getting through the bulk of the third act feels like the story is stretching itself. Going forward, it will be interesting to see if Nash can maintain this type of freshness.
The horror genre has seen surprising hits from all sorts of places this year. Shudder has slowly been asserting itself as one of the better studios when it comes to horror output. Hopefully, In A Violent Nature will generate enough buzz to escalate to a wide theatrical release. It takes a familiar setup and brings a fresh visual perspective. It's not unlike the recent indie Sasquatch Sunset in that it's a cooler idea than it is a film to watch. Both include a lot of walking but are impressive for what they're able to accomplish in a feature-length film. Ambition should be recognized and celebrated so In a Violent Nature is certainly worth a watch for horror fans. In a Violent Nature hits theaters on May 31. Rating: 4/5 Review by Adam Donato  Daisy Ridley as Trudy Ederle in Disney’s live-action YOUNG WOMAN AND THE SEA. Photo courtesy of Disney. © 2024 Disney Enterprises Inc. All Rights Reserved. Daisy Ridley's career took off when she was cast as the lead in Disney's Star Wars sequel trilogy. After those movies were met with varying levels of success, Disney would love to keep their young talent in-house. She's had a hard time translating anywhere else. Chaos Walking, Murder on the Orient Express, and the Peter Rabbit movies have failed to build upon her celebrity. With talks of another Ridley-led Star Wars film in the air, it's smart to keep her in audiences' minds with the release of Young Woman and the Sea. Disney loves making these little uplifting family dramas headlined by one notable star. Ridley already has good standing with feminist film fans as she gracefully handled all the negative backlash from sexist nerds about being a Mary Sue. This story has strong female empowerment themes, so it fits her perfectly. Will it translate with audiences or get lost in the depth of Disney+? It wasn't long ago that NYAD was campaigning for awards, and now we have a very similar film. Instead of an old woman trying to swim from Cuba to Florida, it's a young woman trying to swim from France to England. Young Woman and the Sea has the added pressure of taking place a century ago when society wasn't accepting of female empowerment. Besides that, they are, beat for beat, the same movie. This one has fewer swimming scenes than NYAD, but those scenes still drag after a while. These scenes are purposefully laboring to exemplify the hardships the character is going through, but it's not an enjoyable experience sitting through after a while. It still checks the boxes of being a testament to the human spirit, though. Trudy Ederle's story is super inspirational and will resonate in the hearts of audiences everywhere, especially women.  Daisy Ridley as Trudy Ederle in Disney's live-action YOUNG WOMAN AND THE SEA. Photo by Vladisav Lepoev. © 2024 Disney Enterprises, Inc. All Rights Reserved. Ridley's character is so headstrong and confident that it's infectious. Seeing her defy all expectations of the time and relentlessly pursue her dream is admirable. She demands respect in every way. Ridley balances her game face with being charming as ever. She has a bit where she repeatedly sings one line from a song that gets annoying. Besides that, she's a solid lead, and it's sad that her history with Star Wars, while being responsible for her start, is cannibalizing her image. Hopefully, this opportunity will be just the start of more for her as she continues to branch out in her career.
Without a theatrical release with any real marketing behind it, Young Woman and the Sea is destined for a fate similar to her last performance, The Marsh King's Daughter. This is so the type of movie that Disney+ will bury away. Ridley is an exciting young actress with way more to offer than wielding a lightsaber. This film is a good history lesson for anyone who isn't sexist. It's a general story that has been done a million times, but it's uplifting nonetheless. There's nothing to hate, but there's plenty to enjoy. Young Woman and the Sea hits theaters on May 31. Rating: 3/5 Review by Adam Donato  Angel Studios has seen success as of late. The Chosen, a series about the life of Jesus Christ, had its episodes playing in theaters. Sound of Freedom was one of the highest-grossing movies of last year. Their model is reminiscent of the success Blumhouse has seen. They found an audience that would see their movies, no matter the quality, just because they had a penchant for the genre. What Angel Studios does is more sinister, believe it or not. Having the filmmaker talk to the audience during the credits and ask them to scan a QR code so they can donate more money to the movie is crazy. If people want to give extra money to the film because the contents of the story inspire them so, that's their right to do so. It's not illegal to ask patrons for more money, but it sure is slimy. Sight is the latest entry in the filmography of Angel Studios. It tells the real-life story of Dr. Ming Wang, who is a world-class eye surgeon. A young girl whose mother purposely blinded her by pouring acid into her eyes comes to Dr. Wang looking for a miracle. As Dr. Wang struggles to help her, he remembers his troubled past on his journey to become a doctor. The film cuts back and forth between his current work and his backstory. It's not unlike the Mamma Mia! sequel, where the backstory is much more compelling than what's going on in the present day. The present-day story feels obligatory and dragged out. It's way more interesting to see how the Wang family got out of the trouble going on in Communist China and how Dr. Wang got through school. The only thing that happens in the present day is conversations with Greg Kinnear who plays his coworker friend.  The tone is overly dramatic and desperately tries to tug at your heartstrings. Terry Chen from Almost Famous stars as Dr. Wang and is unconvincingly stressing out during the present-day scenes. Kinnear has attempts at humor as well as Dr. Wang's brother, played by Garland Chang. The jokes are just lame and unfunny. The story is less controversial than Sound of Freedom, but it's just as dull. The movie runs for a hundred minutes but feels more like two hours. It's ironic because the director's last film was called The Blind, so this kind of subject matter is clearly in his wheelhouse. It's a chore to sit through for anyone who doesn't buy into what Angel Studios is selling.
At the end of the day, it feels mean to diss an innocent little movie that's trying to inspire people. After all the crap that Angel Studios has pulled, it's easy to be cynical about their releases. The type of people who pay to see Angel Studios fans won't know the difference. They'll really enjoy being moved by this story about trying to save children from being blind. As long as people are buying tickets to the theater, then it's not the worst thing... whether or not people are actually sitting in those seats being purchased. Sight hits theaters on May 24. Rating: 2/5 Review by Adam Donato  (from left) Abigail (Alisha Weir) and Sammy (Kathryn Newton) in Abigail, directed by Matt Bettinelli-Olpin & Tyler Gillett. Photo Credit: Bernard Walsh/Universal Pictures There’s a subgenre of horror that embraces the ridiculous to become almost more funny than scary. Abigail walks in the footsteps of the recent hit M3GAN, which also featured a villain in a form that appears to be a little girl. This time, the little girl is a ballerina vampire who preys upon a group of unsuspecting criminals trying to make a big score. The directors of the last two Scream films, Matt Bettinelli-Olpin and Tyler Gillett, reteam with Melissa Barrera on this crazy horror flick. Other stars include Dan Stevens, Kathryn Newton, and Giancarlo Esposito, who make this quite a fun ensemble all trapped in this mansion of horrors. Does Abigail have the fun to win the hearts of scary movie fans at the box office? It’s really cool that this concept is being made into a big studio movie. Bettinelli-Olpin and Gillett are competent enough filmmakers. Their Scream movies are decently well-received, and their breakout film Ready or Not is getting a sequel. This was definitely a movie they wanted to make, and they earned the right to do it. The concept is surprisingly not the funniest thing about this movie. It’s the cast. Barrera is a solid leading lady, but Stevens really stole the show. It’s ironic because he stars in Godzilla x Kong: The New Empire, which is currently still a big competitor at the box office. It’s awesome seeing him get more big opportunities like this, and he takes full advantage of his time in the spotlight here.  (from left) Sammy (Kathryn Newton), Peter (Kevin Durand) and Frank (Dan Stevens) in Abigail, directed by Matt Bettinelli-Olpin & Tyler Gillett. The supporting cast got a lot of love from audiences at the early screening of the film. Newton is coming fresh off of critical success in Lisa Frankenstein. She works much better here in a supporting role. Her character has a fun dynamic with Kevin Durand, who thrives in his role as the dumb muscle of the group. Esposito is underutilized, but his usage is effective. William Catlett and the late Angus Cloud are both solid members of the group. Alisha Weir’s biggest claim to fame before this is starring in Roald Dahl’s Matilda the Musical. Seeing such a fresh face do so well in such a gruesome film is cool. It will be cool to see this performance garner more opportunities for her in the future.
Abigail is a fun time at the theater but is held back from being a true cult classic because of the lackluster execution. It takes a long time to get to the conflict of the movie and a long time to wrap it up. A film that mostly takes place in one location should’ve been a tight ninety minutes instead of almost cracking one hundred ten minutes. There’s no real theme or emotional grip to the film. You’re rooting for the main character to escape, but there are no arcs or anything. While the other characters are likable enough, you’re more so rooting for them to fall victim to the ballerina vampire. It’s just trying to have a good time, and it succeeds. The horror genre has been going strong with various types of films at the box office lately. Abigail is sure to stand out amongst the crowd for its out-there concept. It deserves the attention, as the cast thrives under competent direction. Hopefully, this will inspire more original studio films in theaters. While this movie may not become the cult phenomenon that movies like M3GAN was, it’s a good time at the movies for anyone looking for a good combo of laughs and scares. Abigail hits theaters on April 19. Rating: 3/5 Review by Adam Donato  Zoe Saldana in The Absence of Eden Courtesy of Vertical and Roadside Attractions. The Absence of Eden tells parallel stories about a woman on the run from the cartel and an ICE agent struggling with the ethics of his job. The film is executively produced by Martin Scorsese, so eyebrows should be raised for this one. It's strange to see a movie with such prestigious backing not be granted a wide release, especially during a month with a minimum amount of box office heavy hitters. Zoe Saldana not only stars but is also a producer here. The star of huge action franchises such as Avatar, Guardians of the Galaxy, and Star Trek not being able to garner a major theatrical push is concerning. This is the first feature for writer/director Marco Perego, who has some experience producing a documentary and a short film. With the film's heavy subject matter, will it impact audiences who discover this one? The best thing this film has going for it is the performances of the two leads. Everyone and their mother knows Saldana is one of the greatest actresses working today. While her time has been monopolized by giant science fiction franchises, it's exciting to see her star in a more serious role like this. Her character's story is heartbreaking as she does whatever she must to survive this cruel world. Immigration is a hot-button problem in the United States, and this film shows the terrible positions that people, especially women and children, are put in to get by. Saldana exemplifies the desperation of people going through these situations in such an impactful way. The resolve it takes to make some of these decisions is huge. The other star is Garrett Hedlund, who audiences may recognize as the star of Tron: Legacy. His character is trying to make an honest living as an ICE agent, but he is put in compromising situations by those in need. He has a very deep voice and is a man of few words, but there are hints throughout the movie of how he became such a hardened and desensitized man. Hopefully, this role will be a step in the right direction for him.  Zoe Saldana in The Absence of Eden Courtesy of Vertical and Roadside Attractions. The film is very short, at just under ninety minutes. While it feels like it got the necessities of the story covered, the runtime could afford an extra fifteen minutes or so to flesh things out and not feel so rushed. The themes are potent in this one, as the title alone leaves some food for thought. The film is titled The Absence of Eden because immigrants sometimes don't have a promised land they can call home. They live in such poor conditions and risk it all to live in a place where opportunity grows on trees. Any time the issue of safety for women and children is present, the stakes are as high as they can be. The Absence of Eden explores these dangers and the moral dilemma facing those not allowed to operate in a gray area. There are more visual metaphors in the film, especially at the beginning and the end, that will make audiences think about their intention. It's good when movies make people think.
The Absence of Eden is a solid thriller and should be considered if it's found on VOD or streaming. After this directorial debut, Perego should garner more believers than just Scorsese. It will be exciting to see what he does next. The same goes for Saldana and Hedlund, who both equally carry this picture. This film tells an impactful story about real people and deserves an audience. The Absence of Eden hits theaters on April 12. Rating: 3/5 Review by Adam Donato  (L to r) GODZILLA and KONG in Warner Bros. Pictures and Legendary Pictures’ action adventure “GODZILLA x KONG: THE NEW EMPIRE,” a Warner Bros. Pictures release. Courtesy of Warner Bros. Pictures. The Monsterverse finds itself in quite the situation at this particular moment in time. The earlier films in the franchise have waned in popularity and success. The latest, Godzilla Vs. Kong, was put in the unfortunate situation of being released in early 2021 and debuting on streaming at the same time as theaters. 2023 saw the release of the Apple TV+ show Monarch: Legacy of Monsters and the Toho film Godzilla Minus One. One would think two critically successful pieces of Godzilla media would only build up to the theatrical release of Godzilla x Kong: The New Empire. Why is that not the case? The Oscar-winning Godzilla Minus One set a new bar for monster movies and opened audiences' eyes to what these movies could be. The problem with the Monsterverse films is that they are pure schlock. From the moment Bryan Cranston's character left the 2014 Godzilla film, the Monsterverse hasn't produced a single compelling human character. The Monsterverse films are awesome when there is a monster on screen. The scenes without monsters are excruciating and lame. Godzilla x Kong: The New Empire continues this trend. At least this time around, there are fewer human characters to focus on. Rebecca Hall, Dan Stevens, and Brian Tyree Henry are all wasting time every second they're on screen. Kaylee Hottle's character was cute in the first movie because of her connection with Kong, but here, the human story is so removed from the monster plot. Cut the humans and drop this puppy down to a ninety-minute runtime max. People like this version of these characters because of the big monster fights, so let's stick to our strengths. Either that or leave Godzilla to Toho because they clearly have a better understanding of how to use these characters to make an actual great movie and not just a silly ride.  (L-r) DAN STEVENS as Trapper, REBECCA HALL as Dr. Ilene Andrews and KAYLEE HOTTLE as Jia in Warner Bros. Pictures and Legendary Pictures’ action adventure “GODZILLA x KONG: THE NEW EMPIRE,” a Warner Bros. Pictures release. Photo Credit: Daniel McFadden. If all the movie cares about is the big monster fights, then let's just focus on the big monster fights. Similarly to how Dune: Part Two demands to be seen in IMAX, that should be the relationship between Godzilla x Kong: The New Empire and higher formats like 4DX and D-BOX. Feeling the rumble of the seat whenever a monster approaches and getting flung around as the monsters share blows makes for a pretty fun ride. While the fights in Godzilla Vs. Kong were more memorable, Godzilla x Kong: The New Empire has fights with more regularity. Also, Godzilla fans, beware that this sequel is definitely more of a journey for Kong. His trek through the Hollow Earth with Mini Kong drives most of the narrative. The fights and monster lore have never been more ridiculous, and that feels like the only direction this franchise can take. If there's not going to be any human emotions to ground the story, then let's get as crazy as possible.
At this point, Godzilla x Kong: The New Empire delivers exactly what audiences expect. The fights are badass and are sure to be replayed on YouTube. If you require more than just baseline monster fights, then steer clear. It's unfair for Godzilla x Kong: The New Empire to have the best Godzilla film since the original still fresh in the hearts of cinephiles. Turn your problem, throw your hands in the air, and enjoy the ride. Godzilla x Kong: The New Empire hits theaters on March 29. Rating: 3/5 |