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Review by Jonathan Berk  Wes Anderson's new film, The Phoenician Scheme, is full of his familiar style and flair. Despite the similarities his twelfth film shares with its predecessors, Anderson takes the time to experiment with the addition of new elements to liven up his impeccable production design. Much like his style, the film is full of familiar faces, but even there, we discover the inclusion of a new actor among his usual suspects that feels like a long-lost love. Fans of Anderson should find his newest film to be a triumph, and walk out feeling satiated. Zsa-zsa Korda (Benicio del Toro) has survived many plane crashes. The latest one felt a little too close, and he decides it's time to embrace an heir. He looks to his estranged daughter, Liesl (Mia Threapleton), to take over his vast empire. However, her eyes are set on a different kingdom: that of heaven, as she plans to take her vows in the coming weeks. The two set out to acquire funding for his greatest plan to date, which will secure his legacy and wealth for years to come. While Anderson is often praised for his set design, costumes, staging, and overall camerawork in his films, he rarely tackles action. Often settling for witty dialogue between characters, the few moments of action in his new film apparently opened the path to some new ideas. On multiple occasions, a POV camera is utilized to show the impact of some hits that have a similar comedic tone to the often biting sarcasm found in the dialogue. It was fun seeing the established auteur try some new things. Anderson clearly has a strong rapport with many actors who have worked with him over the years, based mainly on their frequency of return. Del Toro's section of The French Dispatch was one of the stronger elements of that anthology-style story. He fits into the quirky spaces that Anderson builds perfectly, and this pairing really finds its footing here. The deadpan delivery and odd timing fit del Toro's style perfectly. Not only is he a compelling screen presence easily able to carry the film, but he's just a total blast as this character.  Threapleton is a new player in Anderson's troupe, but feels like an instant fit. The chemistry – or intentional absence of it, in moments – with del Toro truly works well. Their relationship is the centerpiece of the story, and if you didn't buy their connection, the film would fall apart. Fortunately, they work together perfectly throughout the film, and they are dynamite on screen together.
While Threapleton is incredible, the true shock was seeing that Michael Cera had never worked with Anderson before. If ever there was a match made in Heaven, it is this one. Cera's natural awkwardness feels like it is the mold in which Anderson used to craft many other characters in his oeuvre. Cera is the tutor that Zsa-zsa keeps around, who gets a promotion to assistant when the journey begins. He is ever present and used perfectly to interject a variety of emotions. It's great seeing Cera flex his comedic chops and acting prowess in a Wes Anderson world. There are many familiar and famous faces sprinkled throughout the film. Some are clearly visible in the marketing, while others may be a welcome surprise. The film is a globetrotting epic set to a svelte 102 minutes. Some of those faces show up for mere seconds, while others play integral moments that people will walk out talking about. It's likely everyone will have that one scene that really clicks because you just couldn't stop laughing. Similar to Asteroid City, Anderson employs a B-story that is black and white. It's by far one of the most layered elements of the film, and will require some true reflection to decide what, if anything, Anderson was thinking about. The scenes have the potential to have deep, existential meanings, but also offer some of the best cameos. The Phoenician Scheme is Anderson's best film since The Grand Budapest Hotel – and I liked Isle of Dogs, The French Dispatch, and Asteroid City. This film is so propulsive and full of laughs, it’s undeniable. The characters have depth, the jokes pay off, the cast is on point, and Anderson's aesthetic is immaculate as ever. There are allusions to films of the past and a world long forgotten; yet, at the heart, it's about a father and his daughter. The Phoenician Scheme will be in theaters on May 30. Rating: 4.5/5
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Review by Adam Donato  In hindsight, it’s crazy they never made a sixth installment in the franchise until now. The fifth film had the best reviews in the franchise up until that point and still made almost four times its budget. For a franchise that isn’t overly concerned with the overarching storyline, what’s stopping them from conjuring up more elaborate deaths to make up a movie. Delays and a writers strike contributed to this gap in the franchise. Over a decade later, how will the franchise fare with audiences? The opening sequence of the film is the best of the entire franchise. It’s so well laid out and utterly epic. People come to these movies to have fun with these death sequences. It’s scary for the paranoid and superstitious, gross out for the sickos, and funny for the morbid. The third act has some big time deaths, but the second act is really where the film slows down with its scares. Obviously, the Final Destination franchise is pretty low bar and formulaic, but one way that it stands above the rest is there are some likeable characters and interesting ideas at play. A particular standout character is played by Richard Harmon. He literally takes over the movie to a good bit in the middle. A moderately funny character with an amount of depth. This is the first major theatrical role for Kaitlyn Santa Juana and she held her own as the lead. It would be criminal to not shoutout the late Tony Todd. His scene in the film is hands down the most genuine moment of the entire franchise.  The story plays out pretty much the same as the entire franchise, but this is clearly a system that works. Our main character starts having the same horrific dream every night and goes on a journey to uncover the traumatic past of her family. It’s effective seeing this already damaged family absolutely crumble from within. It’s not an ocean, but the Final Destination movies have been swimming in one of those small plastic dog pools so we will take it.
Final Destination: Bloodlines is going to gain a lot of goodwill for resurrecting the franchise, but still come closer to the middle than the front of the pack of this year's horror movie slate. It delivers the good with the stuff you pay to see and doesn’t drop dead when people aren’t actively dying on screen. The box office should be competitive with the wake of Sinners's good word of mouth, but every other horror entry out now is a dud and there isn’t another major horror release until M3GAN 2.0 in late June. There could easily be one of these every couple years. It will satisfy critics and embolden fans of the franchise already. Final Destination: Bloodlines is in theaters now. Rating: 3/5 Review by Camden Ferrell  Spending the last few years mostly directing music videos, Alex Ross Perry hasn’t made a solo feature since his 2018 film Her Smell. His triumphant return to the big screen is a perplexing movie about an equally perplexing band, and it’s a project that is unexpected but absolutely catered to his abilities as a filmmaker. Pavements is a borderline experimental documentary about the legendary indie band Pavement. It’s a creative and endlessly entertaining effort that shines a light on the band’s legacy while also intentionally clouding their history. This movie combines aspects of traditional documentary filmmaking with elements of musical biopics to tell the story of Pavement. It follows the band as they prepare for a new set of concerts, the actors who are portraying the band in a biopic, a museum exhibition for the band, and the production of a stage musical based on the band’s music. If this sounds like a lot, it’s because it is. However, among all of this chaos, Perry is able to find something beautiful and lost that he attempts to dig out for the world to see. Written by Perry, I couldn’t begin to imagine how one would craft this final product. From the initial moments of the film, it’s clear that it is an ambitious film that also still feels analogous to what the band stood for. The way he blends different styles of filmmaking while also imbuing it with biting wit and irony is impressive. He’s able to do exactly what a Pavement movie requires, and the final product is charming, eccentric, occasionally funny, and energetic.  The members of the band like Stephen Malkmus seem fully game for what the movie is aiming for, and it’s a real-world connection that allows this movie to still feel somewhat grounded amidst its madness. I found that the biopic segments benefit greatly from the meta-approach of actors like Joe Keery, Nat Wolff, and Jason Schwartzman to name a few, and it’s one of the many things that allow this movie to feel so unique. Everyone involved in this product feels like they’re all in on some joke the audience doesn’t know, and it works to strange effect.
While I am impressed with how this was actually pulled off in the end, it doesn’t necessarily forgive the fact that even the movie can feel a bit lost in its own craziness at times. Sometimes the lack of precise cohesion is an artistic choice, but sometimes it’s a flaw. Despite that, I believe we are lucky that such a movie exists especially as a fan of Pavement, and Perry has done what many other filmmakers likely couldn’t with his first feature in years. Pavements is a must-watch movie for fans of the band, and it might also prove to be entertaining for novices too. It’s an ambitious piece of documentary (this term is being used loosely) filmmaking that pokes fun at itself while also still being an earnest piece of media. It’s not the movie we expected for Pavement, but it’s the one we deserve, and we should be so lucky that it exists. Pavements is in select theaters now with a wide release on June 6. Rating: 4/5 Review by Camden Ferrell  This year, Norweigan writer and director Dag Johan Haugerud is attempting something very ambitious. He is releasing a trilogy of films that is currently being dubbed as The Oslo Trilogy. This first of the trilogy being released is Love. This movie had its premiere at the 2024 Venice Film Festival. This movie is a tender portrait of romance and connection in modern day Oslo, and it handles its themes with maturity, delicacy, and humanity. In Oslo, Marianne is a physician, and Tor is the nurse who works with her. After an encounter together on a ferry where they discuss the ways in which they seek and receive intimacy, and it sparks something in both of their respective lives. The movie is less concerned with plot and more fascinated with the minutiae of modern dating and romance as its characters, sometimes aimlessly, seek pleasure and love in their own unique ways. It’s an interesting character study that uses contemporary attitudes about sex and love to truly explore its characters. Written by Haugerud, the movie excels most when he allows himself to write, almost as if on autopilot. He is able to write in depth conversations about his main themes but in a way that is accessible, realistic, and insightful. Much like other similar movies that came before it, the movie is at its best when he gives his characters and more importantly their dialogue room to breathe. Its meandering nature is exactly what makes this such a compelling watch. Now for all of its merits, I will say that the one main flaw with this movie is that there are some scenes where the discussions aren’t particularly compelling compared to what came before, and it slightly spoils the flow of the final product.  The movie is led by Andrea Bræin Hovig and Tayo Cittadella Jacobsen who play Marianne and Tor, respectively. They both are excellent in their roles, and while they have good chemistry together, most of their scenes are with other people. Their dynamic is an interesting one that I wish was explored a little more, but I still found their chemistry with the rest of the ensemble authentic and engaging. They handle their long unbroken scenes with ease and bring natural energy to the scene without sacrificing the depth of the movie’s themes.
Cecilie Semec does a great job as the movie’s cinematographer. The movie is shot in a way that makes the most use of its long takes while also understanding how to make the most of a minimalist vision. It showcases Norway in a subtle yet beautiful way to really illustrate not just the times but the location of its story. It’s a delicate job done that perfectly matches the emotions of its story. It’s simple, but it’s also undeniably reserved and tender. Love is a great project that gives me hope in the rest of the trilogy this summer. It may remind me of many great movies that came before, but it also feels wholly unique in no small part due to its cast, location, and visuals. If you surrender yourself to the director’s meticulous and slow pacing, you will likely find yourself enthralled with the characters and the sneaking ways in which love and romance reveal their complexity. Love is in theaters May 16. Rating: 4/5 Review by Adam Donato  Most social butterflies can relate to the experience of trying out a friendship with a new person and realizing you don’t click. Even more outcasts can relate to finally making a connection and then getting ghosted seemingly out of nowhere. Friendship is a film that showcases the fallout of a social situation like that. A relatable concept that will have audiences laughing because it hurts. From television director Andrew DeYoung comes his directorial feature debut. He’s lucky enough to be paired with comedic superstar Tim Robinson and timelessly likable Paul Rudd. With some duds under A24’s name this year so far, can Friendship be a breakout hit? Tim Robinson is most known for his show I Think You Should Leave. Even if you don’t watch the show, you must’ve been exposed to some of the more popular bits. He’s such an animated comedian and his delivery is second to none right now. In Friendship, he’s not doing something wildly different from what he normally does, but he perfectly masters his specific comedic shtick. This is his first major film exposure outside of his brief voice performance in Chip ‘n Dale: Rescue Rangers. Going forward, it will be interesting to see how his comedy evolves and if he can channel his raw energy into an Adam Sandler Uncut Gems type performance. His character here is so pathetic and enduring. It will have you cringing with laughter, but also sympathizing with this poor guy who just wants to have a friend.  This isn’t Paul Russ’s first A24 film of the year as Death of a Unicorn failed to score at the box office. His character is so cool, right down to the fact that he up front tells Robinson’s character politely that he doesn’t want to hang out. Nobody likes a break up and it’s admirable that he is upfront and honest. Both him and Robinson are very funny and very relatable in opposite ways. Kate Mara and Jack Dylan Grazer play the wife and son of Robinson’s character. Mara’s performance is very straight and the film is not as engaging when they’re focusing on their marriage dynamic. Dylan Grazer is totally underutilized for how funny of a young actor he is. Also a shoutout to Connor O’Malley who delivers the funniest line in the movie.
With a slow roll out release date, word of mouth is sure to carry Friendship to the promised land. It’s wall to wall funny that had the entire screening in stitches. Robinson clearly has that It factor right now and this performance should expose more people to his brand of comedy. This is a much needed win for Paul Rudd who can use the street cred right now as most blockbuster fans still have the bad taste of the Ant Man and Ghostbusters sequels in their mouth. Be sure to catch Friendship in a theater as it is far and away the funniest film of the year thus far. Friendship is in theaters now and expanding on May 23. Rating: 5/5 Review by Adam Donato  Earlier this year, Paul Feig felt inclined to dispel rumors of the sequel to A Simple Favor getting delayed amongst the drama surrounding Blake Lively. Why not make a sequel to a film that made almost $100 million off a $20 million budget and has a cult following? Lively has seen recent box office success with last year’s adaptation of It Ends With Us. Clearly some kind of deal with the devil was made for no amount of box office success is worth all the drama she had with director Justin Baldoni. Could that dirt have influenced the decision to limit this sequel to streaming? Amazon did have to shut off the comments to the film’s trailer on social media. Then again, isn’t hot gossip what this franchise and Lively’s career is all about? Another Simple Favor conjures up a new reason why these two women would ever be in the same room as each other ever again. Lively’s character blackmails Anna Kendrick to be her maid of honor at her wedding in Capri, Italy. This sets the sequel up at a beautiful location, with pretty settings and stunning fashion. It’s a big step up from the suburban setting of the first film. Makes this entry feel bigger. The drama is also bigger here as now all these characters from the first movie have a juicy history together. Everyone seemingly has it out for one another and once the bodies start hitting the floor, it’s fun to see our crime fanatic on the case.  Lovely and Kendrick are so much fun together. Lively as the cool girl dom of the duo and Kendrick as the every girl who finds herself infatuated by the confidence of her dangerous friend. It’s that type of Mean Girls dynamic that some friends can relate to. They want to be Lively so bad as we follow Kendrick through this forest of mystery and backstabbing. The two are much more comfortable with each other this time around and make for some funny banter. Retelling this duo was a good decision.
The plot does get convoluted to the point of ridiculousness. This feels like it was done in an effort to make sure nobody could call what was happening all along, but ends up just becoming too much. The intrigue leading up to the reveal is way more fun than discovering what’s actually in the box for these movies. The villain reveal is flimsy and cheesy, but this is just a fun girls night out comedy mystery and it succeeds as being that. It’s a real shame this wouldn’t get a theatrical release. Especially when a heavy movie like It Ends With Us can do so well with Lively’s star power. Another Simple Favor is a much more fun time at the theater with the girls. It will be long forgotten in the bowels of Amazon Prime’s content library, but this unnecessary sequel isn’t worth much more than a passing good time first watch. Another Simple Favor will be streaming on Prime Video May 1. Rating: 3/5 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 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 |