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review by Jonathan Berk  In 2018, fans of metal music and outrageous comedies were treated to a charming cinematic merge with directors Juuso Laatio and Jukka Vidgren's Heavy Trip. After six years, the guys are back with the aptly titled sequel, Heavier Trip. The first film was full of charm and some wild comedic moments that made it extremely memorable. While the second film tries to give audiences more of the same, it doesn’t quite live up to its predecessor. After the events of the first film, the members of Impaled Rektum — Turo (Johannes Holopainen) on vocals, Xyrtax (Max Ovaska) on bass, Oula (Chike Ohanwe) on drums, and Lotvonen (Samuli Jaskio) on guitar — are still serving time in Norway’s nicest prison. The guys are initially content with finishing their sentence until Lotvonen’s parents' reindeer farm is about to be foreclosed upon. If they can land a big gig and get paid some big bucks, they could potentially save the farm — and Lotvonen’s father’s health. After busting out of prison, they set their sights on getting added to the Wacken festival in Northern Germany. It’s not uncommon for sequels to attempt to give us more of the same. Heavier Trip commits the sequel sin of bringing the guys back to what is essentially the same place they were at the beginning of the first film. There is mention of their fame and the demand for their music after the exploits of the first movie — but the plot quickly undercuts this, still leaving them as a group of nobodies. A large part of the film essentially debates whether they should “sell out” or not, and every moment connected to that seems to ignore the fact that they played a major show at the end of the first film. The conflict in this sequel feels contrived, and while the idea of a road trip is embedded in the name, this particular trip just feels like more of the same. If it managed to be as endearing and as funny as the first film, maybe this could be overlooked…but something is missing here that keeps those feelings just out of arm’s reach.  That’s not to say there aren’t elements that work. Xyrtax is still such a fun character. Aside from being the one truly dedicated to the music — at least from his perspective — his interactions with others are often the best moments. The real-life band Babymetal shows up as a recurring joke, with Xyrtax at the center, and it’s an excellent addendum to his character and the clear highlight of the film.
The band as a whole is what makes Heavier Trip worth watching. While it doesn’t quite hit the highs of the first film, the band’s charm remains intact, making it easy to root for these metal misfits the more you’re with them, despite the predictable plot. Turo’s drive to be an epic metal singer is unmistakable, and you genuinely want him to succeed. Lotvonen and Oula have their quirks and are also very likable. The amiability of the band, despite the extreme nature of their music and songs, makes this an easy watch. As every bump along the journey happens, you hope the guys can figure it out. Unfortunately, many of those bumps feel silly, redundant, or too predictable to make the entire journey memorable. There are a few cool set pieces that make the film pop a little more — yet, for a film about a band, it doesn’t feel like there’s enough music. Even when we do get scenes of the band playing, they’re often cut a little too short, only giving us a taste of their talent. The camerawork, costumes, and production all make those scenes visually pop, which only makes it sadder when we realize how brief they’ll be. Heavier Trip feels like it lands squarely in the sophomore slump often associated with a band’s second album. It’s not that the movie isn’t good, but it’s clearly not as good as the first. That comparison makes this one simply feel lesser. Imagine waiting for a band to finally come back to play the encore, only for them to replay some of the songs they played earlier in the night — it’s hard not to be disappointed. Heavier Trip is in theaters and available on VOD on November 29. Rating: 3/5
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Review by Jonathan Berk  The concept of “paint-by-numbers” is often associated with biopics. If you’ve seen one, you can often see the pattern in which filmmakers shape the story. That’s why when a filmmaker with a distinct style and approach takes on a film in this genre, they can break away from the status quo. Director Pablo Larraín has done just that with Jackie, Spencer, and now with his newest film, Maria. Maria Callas was once the world’s most renowned opera singer. But in 1977, she is living a life of seclusion in Paris with her butler, maid, and two poodles. Her health is in decline, but a request for her to return to opera for a tour raises an important question: Will La Callas sing again? And if so, for whom? One way Larraín approaches these three biopics that stands out is by choosing to focus on a very narrow portion of their life. He utilizes some flashbacks to explore outside the limited window in which the primary story is told — but for the most part, he chooses an impactful moment of these figures' lives rather than employing the “cradle to grave” format that many other biopics strive for. The sad reality, however, is that most moments in our lives are mundane and uneventful. By choosing to focus on these pivotal moments, Larraín provides a strong sense of who the person was rather than simply documenting the events they experienced. His approach, similar to Danny Boyle’s Steve Jobs, creates a heightened version of reality — one that makes for an enthralling cinematic experience that centers on the heart of who these people were, or what they may have been like.  While the storytelling in Maria is captivating, Angelina Jolie’s performance as the diva is equally impressive. The film chooses to integrate an operatic style into many of the sequences, and Jolie is tasked with delivering these incredible vocal performances. She not only shines in these grand moments — but also in the quiet, introspective ones. Maria’s mental and physical decline is conveyed so poignantly through Jolie’s portrayal. Her performance is spellbinding, bringing both vulnerability and grandeur to the screen, capturing Maria’s struggle to find her voice once again.
Pierfrancesco Favino and Alba Rohrwacher play the two other primary characters in the film — the butler and maid, respectively. Their performances are also incredible, and add depth to the depiction of Maria’s seclusion. There is a recurring motif where Favino’s character has to move the piano for a variety of reasons, despite having an injured back. It’s an element that could feel inconsequential, but instead carries an emotional weight that matches that of a man struggling with the burden of moving such a heavy instrument. The chemistry between the three forms the emotional spine of the film, and it’s in far better shape than the butler’s. The visuals in the film are extraordinary, matching the emotional richness of the performances. Larraín likes to dabble with surrealism, which results in some stunning cinematography. Various stylistic flourishes make scenes feel like documentary footage, while others play with our perception of reality or draw attention to the form itself. A black-and-white close-up of Jolie as she sings is one of those early images that instantly burns into your mind. We are introduced to the character in such an intimate way, locking eyes with the diva who we will be spending the next two hours with. Larraín’s style and voice shine through, demanding our attention, and making this film unforgettable. There is so much to take away from this movie that it is easy to recommend. Maria is a captivating portrait of a legend in her twilight, demanding that we remember her voice, her talent, and her struggle as tragedy fell upon her. This film may not paint the entire picture of her life, but it gives us a sense of who she was. For that alone, Larraín’s film is worth watching. Maria will be in select theaters on November 27 and on Netflix on December 11. Rating: 4/5 Review by Adam Donato  Disney Animation Studios may not be dealing with a world war or near bankruptcy, but this era is quite a low point for the studio. Wish and Strange World were total flops. Even when Encanto succeeded critically, it underachieved at the box office by the studio’s standards. Another hindrance in their box office is the insistence of Disney+. Audiences have been conditioned to know that they can skip the theaters since the movie will drop on the streaming service for free in a couple months. It’s safe to say Disney’s Revivial Era is long over. Besides Encanto, Disney has been crapping out impactless originals and lazy sequels. Will Moana 2 perpetuate this downward spiral? Not unlike Frozen 2, Moana 2 has been plagued with bad press centered around the making of it. Moana 2 was supposed to be a Disney+ series. Last year, Nielsen crowned Moana as the most streamed movie of the year with over 11 billion viewing minutes. From a business perspective, it was a no brainer to stretch this sequel out into a full blown movie. After seeing the film, there are pacing signs that show this was repurposed content. The animation feels up to par and the main voice cast is back, but Lin Manuel Miranda is noticeably missing. Do these disadvantages ruin the film? Moana 2 is fine. Every single aspect about this sequel is inferior to the original. There is not a single song here that is better than any song from the first movie. The jokes are lazy retreads of the exact same jokes from the first movie. The narrative is reminiscent of the story of the first movie. It’s really depressing for a movie about venturing outside of the norm to discover the new to have a sequel lacking in ambition. The only thing really new about this story is the sequel bait, which is hard to get excited about when the story of this movie feels like it’s lacking purpose. Families won’t go into this sequel with as much cynicism as cinephiles, but even then it will be surprising to see any fans of the first movie preferring the sequel.  Criticisms aside, Moana 2 is a very digestible movie. The animation is still pretty and the world of this movie is such a vibrant place to revisit. It would’ve been nice for Moana 2 to take notes from another Disney sequel, The Rescuers Down Under, which sports a similar plot to the first, but feels unique as the location of the film couldn’t be more different from the first. Luckily for Moana 2, the location reflects a beautiful vacation type spot. Watching Moana swing around her boat is almost like watching Spiderman swing around New York City. She’s such a proactive character that’s full of personality so hanging out with her again is a delight. Seeing her grow as a leader and build more relationships with her people is rewarding. The songs aren’t anything to write home about, but there are songs and they are generally fun. There’s kind of a villain song that feels like a villain song, but isn’t really a villain song. Nothing bad with the music, just entirely unspectacular. The new characters are not very memorable, but cool enough and not annoying. Moana has a little sister with big front teeth who is very adorable. Moana 2 is one of the cutest movies of the year and families will eat it up.
Rewatching the first Moana after seeing the sequel is a depressing act as the level of passion and artistry has taken a huge hit. It’s not an instant classic, but it’s a fun and light movie that will entertain the masses. It will contend for the highest grossing animated movie of all time, but if Frozen 2 didn’t warrant a Best Animated Feature nomination, then this shouldn’t get one either. Listen to what the studio was saying in the first place: this “movie” belongs on a streaming service for kids to play on repeat. Watch it in theaters for a mildly fun, if not forgettable time. Even in a dismal year for animation, Moana 2 is more of the same for Disney Animation Studios: passionless and cynical content. Moana 2 is in theaters on November 27. Rating: 3/5 Review by Borja Izuzquiz  Renate Reinsve in Halfdan Ullmann Tøndel’s ARMAND. Courtesy of Pål Ulvik Rokseth. An IFC Films Release. “I love you” Elisabeth (Renate Reinsve) exclaims as she races down a countryside road. Having not received an answer, she inquires whether that sentiment is reciprocated. Armand introduced itself to Cannes audiences with that short yet compelling scene that foreshadows the tendency of influencing and manipulating perceptions from that moment onwards via shocking and muddled reveals.
Elisabeth’s query remains unanswered as she arrives draped with exquisite elegance to her son’s school. She is there to discuss an incident that occurred between her son Armand and fellow classmate Jon, neither of which make an appearance. First time director Halfdan Ullmann Tøndel manages to create an elaborate space surrounding an otherwise simple affair. The incident in question is kept secret at first, but the school’s insistence on the details not being leaked alludes to a potentially sinister occurrence. Furthermore, Tøndel envisions Elisabeth as otherworldly, with her radiance existing in stark contrast to the surroundings she’s arrived at. The setting is basic enough, yet after the categorical introduction, Tøndel leisurely reveals details that increasingly challenge perceptions. Elisabeth, along with Jon’s parents Sarah and Anders meet with their children’s teacher Sunna. The conversation is cordial enough partly due to the fact she and Jon’s parents are related. However, Elisabeth finds it difficult to make sense of the serious accusations, leading her to ferociously defend her son. The school where the film takes place offers its own dosages of mystery and tension. Unpredictable oddities made possible by the excellent cinematography of Pål Ulvik Rokseth, are liable to take place in dark hallways as fire alarms incessantly go off, adding to the increased tautness. Classroom walls hold lies and dark secrets people tell themselves to justify their purpose and prejudices, as the past and present lure their heads to defend their side of the story. Films related to family drama run through Tøndel’s family history. His grandparents, Ingrid Bergman and Liv Ullman were two of the greatest filmmakers to ever tackle these subjects. Bergman and Ullman directed and starred in Autumn Sonata, a 1978 film dealing with family dynamics and the effect of parental absenteeism on children. Tøndel retraces those themes here, but layers with a unique style and thematic vision that helps him stand apart from his famous grandparents. In fact, Tøndel gleefully navigates the film towards increasingly odd and surreal depths. Anchoring the hellish landscape is Renate Reinsve. Already having proven herself an excellent actress in The Worst Person in the World, Reinsve elevates her abilities even further here. Her performance of Elisabeth spiraling into a state of anguish and despair is extraordinary. Reinsve’s pinnacle moment occurs during a seven-minute scene where she completely takes over with an absurdity that defies convention. Tøndel’s direction slings Elisabeth towards unforeseen situations from that point, and Reinsve continually more than meets the challenge. Armand is as ambitious a debut as can be. Not every swing connects for Tøndel, yet he remains committed to push boundaries. As the answer to Elisabeth’s initial question remains unanswered, so too does Tøndel refrain from revealing the reasons for his unconventional decisions or for his characters motivations. Whether that weirdness is ultimately earned is up for debate, but the unique vision is appreciated. Armand is in theaters on November 29. Rating 3.5/5 review by Jonathan Berk  In many cases, the concept of "show, don’t tell" is the essence of cinema. Every once in a while, though, a movie comes along that defies that principle and proves that — with the right actors — dialogue can be just as compelling as any image projected onto a screen. My Dinner with Andre is a prime example of a talkie that many find endlessly captivating. August Wilson’s previous cinematic adaptations — Fences and Ma Rainey’s Black Bottom — fall into this framework as well. While The Piano Lesson fits into this category, it is by far the most cinematic of all the entries. Fortunately, the cast in director Malcolm Washington’s feature film debut is more than up for the task. Boy Willie (John David Washington) arrives at his Uncle Doaker’s (Samuel L. Jackson) house hoping to sell his father’s old piano. The catch, however, is that it truly belongs to his sister, Berniece (Danielle Deadwyler), who has no intention of letting it go. The two argue over their perspectives on the past, the value of legacy, and their aspirations for the future. Danielle Deadwyler manages to shine the brightest in this incredible ensemble cast. This is not to take away from John David Washington, who delivered his best performance since breaking out in Spike Lee’s BlacKkKlansman. Yet, there’s something about Deadwyler’s performance’s many layers that makes it undeniable. Both actors get equal opportunities to shine, and they succeed in drawing the audience into the emotionally complex world they inhabit.  They are surrounded by a wealth of talent that helps fill out the scenes. Samuel L. Jackson never disappoints, and here is no exception. He delivers some memorable monologues, but comfortably takes on a supporting role, allowing the younger cast members to truly shine. It was a treat to see Ray Fisher flex his acting muscles after his challenging time in the DCU. His character, Lymon, has two particularly powerful scenes that remind us of the talent Fisher possesses. Michael Potts and Corey Hawkins also make the most of their roles, showcasing their acting prowess in key scenes.
One of the highlights of the film that allows it to break away from the intense dialogue is its quasi-musical sequences. One standout scene features Washington, Jackson, Fisher, and Potts gathered late one night, telling stories that evolve into a rhythmic recounting of their shared history. It’s engaging in every aspect—from camera placement to the beat the men create to tell their tale. There are many memorable moments throughout the film, but this initial musical number absolutely stands out and separates itself from the rest. Malcolm Washington employs impactful camera movement and positioning to keep the visuals dynamic, even when it’s often just people talking. The use of flashbacks and cutaways takes us out of the house where most of the story takes place, adding depth to the narrative. The story itself plays with reality and integrates supernatural elements, giving Washington the chance to experiment with creative flourishes that he is more than willing to employ. These components help this stage play adaptation feel more cinematic than Wilson’s two previous works. The Piano Lesson finds its rhythm quickly and never goes out of key. On the surface, the story is compelling, but it's the incredible talent delivering outstanding performances that make it truly resonate. Add in the creative touches of a promising young director, and you’ve got quite a film. It’s the kind of movie that may not work for everyone, but for those who it does, it will be an incredibly rewarding experience. The Piano Lesson will be on Netflix on November 22. Rating: 4/5 Review by Adam Donato  David Gordon Green used to make smaller dramas and comedies, but lately he’s been nothing but horror. Universal was so happy with what he did with the requel Halloween trilogy that they gave him full reign on their new Exorcist trilogy. The only problem is that it failed both critically and commercially. A movie like Nutcrackers is exactly the type of movie to get him back on track. Ben Stiller, who also produces the film, stars as a businessman who gets saddled with his late sister’s four boys as Christmas approaches. It’s been awhile since Stiller has starred in a film as he’s been focused more on streaming series. No need to worry about the box office as the film is going straight to Hulu just in time for the holidays. Is this family film the step in the right direction for David Gordon Green? Nutcrackers is a story that has been told before and it’s very obvious where it’s going right from the jump. Stiller has a big business deal to close, but he’s gotta get rid of these kids. During the process they bond and everyone’s priorities are reevaluated. Not that it’s a bad story, it’s just entirely unspecial. It is a good back to basics narrative for David Gordon Green, who was given a great deal of creative freedom with some high profile horror franchises. The story is effective in what it’s trying to accomplish, but that’s more due to the direction and performances than the screenplay.  This role is very familiar territory for Ben Stiller. Uptight dad type gets cartoonishly jerked around by a bunch of rascals. He plays up the physical aspect of his comedic performance well. One of his strong suits is how his type of character handles awkward situations. There’s a romance that is supposed to be developing between Stiller and Linda Cardellini, who plays the social worker that’s assisting him with his family situation. This doesn’t get much time to develop and feels ancillary to the main story about his relationship with the kids. Tim Heidecker has a small role as a police officer in this small town and he is criminally underused. The kids are all purposefully annoying. Only one of them really stands out, the oldest boy who has an underdeveloped romance with a girl he used to dance with.
The film is called Nutcrackers because one of the children rewrote the original Nutcracker story and his version is what the family is to perform at the end. This dance sequence is very cute and heartwarming. A story thread that was very uncomfortable is when Stiller’s character tries to pawn the kids off on other parents potentially that are in the area. It really makes his character seem slimy in an unredeemable way. They hadn’t really established him as being that immoral and was an unsatisfying pitstop in the narrative. A familiar story, but done by a couple competent filmmakers. Hopefully this experience grounds David Gordon Green a bit as he starts a new chapter in his career. It’s very nice to see Ben Stiller leading a comedic film again as he has been preoccupied for so long. The film is a good enough Christmas flick to throw on as the spirit of the holidays grows closer. Nutcrackers will be on Hulu on November 29. Rating: 3/5 review by Jonathan Berk  It’s been 24 years since Ridley Scott brought the world Gladiator, a film that would go on to win Best Picture and earn Russell Crowe the Oscar for Best Actor along with several other nominations. Now, Gladiator II, the long-awaited sequel from the storied director, has finally hit the screen — but despite its star power, it doesn’t quite live up to its predecessor. The performances, while strong, aren’t enough to match the impact of the original, and some of Scott's creative choices seem puzzling. Years after the death of Maximus, Rome is now under the rule of tyrannical twin emperors. While many traditions have changed, the bloody spectacle of the arena endures as a primary source of entertainment. Lucius (Paul Mescal), who finds himself alive but filled with rage after a violent encounter with Roman soldiers led by General Acaius (Pedro Pascal), is given a chance to fight for Macrinus (Denzel Washington). Through this opportunity, Lucius could potentially earn his freedom as a Gladiator. The true reason to see this film lies in the performance Denzel Washington delivers. It's no secret that Washington is an incredibly talented actor, but he is doing something that feels very distinct in this role compared to his previous work. He is clearly enjoying himself, fully immersing in his character, while also bringing tremendous depth to the story. Often, actors are referred to as scene stealers…but in Gladiator II, Washington steals the entire film. He owns every moment he is on screen, and it's impossible not to be captivated.  That’s not to say Mescal, Pascal, Connie Nielsen, Joseph Quinn, and Fred Hechinger don’t deliver on their parts. Each of them turns in a solid performance, but none manage to pop the way Washington does. It’s not a matter of being overshadowed or diminished, but rather that they seem to struggle to connect with the material as effectively as Washington does. Many of their characters are burdened by trauma or tragedy, which forces them to play their roles in a restrained way —and the result isn’t quite as engaging as it could have been.
One notable difference from the original is the film's depiction of its action sequences. Gladiator felt more grounded in its battles, while this film includes moments that lean toward the fantastical. There is one particular scene in the arena that feels almost magical, with a battle that borders on the improbable. It's not a poorly executed sequence, but it feels somewhat out of place, given the gritty tone of the two films. The narrative also suffers from pacing and development issues. Despite the film running over two hours, some plot threads seem to materialize out of nowhere, without buildup. The third act, in particular, gets wild, introducing events and twists that feel unearned and disconnected from the careful build of the earlier scenes. Gladiator II ultimately feels like the mid-card fight that Roman citizens might have watched indifferently while waiting for the main event. Some moments, especially those featuring Washington weaving his plans and integrating himself into the other characters' lives, are truly worth cheering for. However, there are plenty of other scenes that will leave you glancing at your sundial, wondering how much longer this spectacle will go on. Gladiator II is in theaters everywhere on November 22. Rating: 3/5 Review by Adam Donato  Musical adaptations have not seen much success at the box office as of late. Mean Girls, The Color Purple, West Side Story, Dear Evan Hansen, In The Heights, and Cats all saw failure at the box office in the last five years. Wicked appears poised to buck the trend. These days musicals seem to try to hide the fact that they’re musicals, but Wicked brandished it like a badge of honor. The only thing it’s trying to hide is the fact that it’s a part-one situation. Just like Dune, the uninitiated will be going in completely unaware that this two-hour and forty-minute movie is only half of the story. The difference between Wicked and Dune is that Wicked Part Two is slated for next year, but Dune wasn’t a slam dunk to get a part two. Any inch marketing can get to squeeze out a larger audience. The film is dazzling. Despite its lengthy runtime, it’s engaging throughout. The film centers around the relationship between Glinda and Elphaba as they start out at odds with one another, but develop a sister-like bond. There have been many adaptations of The Wizard of Oz, but it’s been over a decade since the last theatrical adaptation of the story. That fact, coupled with the fresh perspective on the narrative, keeps this movie feeling fresh. It may not hold up to the original The Wizard of Oz, but that’s arguably the greatest fantasy film of all time. Regardless, they made something old feel new and it’s sure to delight audiences.  Cynthia Erivo and Ariana Grande are electric together. It’s not easy to follow in the footsteps of Idina Menzel when it comes to singing, but Erivo does a great job hitting some of those notes. Her makeup looks convincing and her look overall was on point. The role requires a ton of dramatic weight that will have audiences on the verge of tears. Such a heartbreaking role and performance. Grande may be the more impressive performance as acting is not her main trade. Going from popstar to musical lead isn’t a total change, but it’s not a one to one comparison. Fans of Nickelodeon shows like Victorious and Sam & Cat know that Grande is hilarious, but she reminds the world here that she is. It’s a very physical comedic performance as well that kept the tone feeling light throughout. Her character has more of an arc than Erivo’s character, but that’s just due to the fact that this is more of Erivo’s story and this is only one half of the film.
A good deal of concern was brought up over the look of the film. Many were up in arms about the cinematography saying that it was too washed out and desaturated. This is less of a problem while watching the film. While the film doesn’t give you that bright technicolor feel like in the original, the world does look pretty and it’s not as distractingly dull like the Solo: A Star Wars Story is infamous for. The special effects hold up pretty well. There’s probably going to be more intense CGI in the second half of the story, but the talking animals and the flying sequences look good. It feels like the visual inverse of Oz the Great and Powerful, which was criticized for its over reliance on green screens. Wicked is very much a known commodity. It’s sure to be one of the biggest box office successes of the year despite tough competition in Moana 2 and Gladiator 2. The musical lives up to the lofty expectations and is sure to garner some awards nominations this year. What a glorious win for Broadway adaptations and for moviegoers everywhere. Be sure to check this one out in theaters this Thanksgiving season. Wicked will be in theaters on November 22. Rating: 4/5 Review by Adam Donato  Curious how streaming sites decide when to let their movies be released in theaters and for how long. Any normal person would think that a big, action blockbuster starring Captain America, the yellow peanut M&M, and The Rock might attract people to come out to the theater. Of course these streaming sites don’t want to support the box office as they want to kill the theater industry and move movies to streaming. Short term payday or long term culture shift? Today, Amazon chose a wide theatrical release. Jake Kasdan has directed many comedy films, but Red One feels most akin to the Jumanji reboot duology. That franchise also stars The Rock and is a bad mouth, but family friendly, fantasy, action, adventure romp. Those movies were a big hit at the box office, but this time the franchise recognition is Santa Clause and The Rock’s reputation isn’t the same as it was five years ago. Speaking of five years ago, that’s the last time Chris Evans played Captain America. He’s collected a few streaming flops in that time in Ghosted, The Fall Guy, and Pain Hustlers. The marketing for Red One is pretty substantial for an original film like this. Seems like a pretty big gamble. There’s plenty of good ingredients here, but this movie is just corporate garbage. Evans and The Rock have zero chemistry together and the majority of the movie is just the two of them together. The constant lame one liners from Evans are cringe inducing and make him entirely unlikable. The Rock is the same old serious The Rock action man. Both of these guys are really good actors that have had success in the past and have the potential to succeed again, but Red One is no success.  It’s funny thinking of Santa Clause as a franchise. Can’t make a blockbuster without some sort of name brand recognition. It is interesting to see the different takes on Santa in movies. This corporate ripped Santa and CIA esq crew are not a crazy new take. It’s reminiscent of Arthur Christmas, especially in its corporate aspect. The entire joke of J.K. Simmons’s Santa is that he’s ripped, but it’s funny because Santa is usually fat because he eats all the cookies. The elves are little CGI freaks. The trolls are big CGI freaks. One of the main supporting characters is a CGI polar bear named Garcia, who happens to be the only memorable character. Just seeing this corporate/special ops take on Santa coming from Amazon was sad.
The CGI in the film was disgusting. Again, outside of Garcia the polar bear. All the CGI characters had such ugly designs and were very unconvincing. There’s a scene where The Rock slides down a giant outdoor slide. Horrible. One of the recurring bits in the movie was that some characters would have the ability to shrink to about half their size in an instant like Ant-Man. This looks bad every time. That being said, there are some makeup and practical effects that look cool in this movie, this is especially true for Krampus and his horde of goons. It was reminiscent of the Dungeons & Dragons: Honor Among Thieves. A movie that’s quite similar in tone to Red One, but much, much better quality. The humor in the film is lazy. It’s littered with baseline “person getting hit or falling down” jokes. Red One is rated PG-13 and thinks mild cursing is a good punchline. They don’t even actually go for it. PG-13 allows one f bomb and they cut away from it. Either say the word or don’t. They want to appeal to the same type of kids that would go to a Marvel movie. This is really sad because Jake Kasdan has a very good track record of comedies. The film just feels passionless and artificial. When the people asked for original movies, this is not what they meant. Maybe paying Dwayne The Rock Johnson $50 million in 2024 wasn’t a good value contract. He cannot wait until Moana 2 revives him. Unluckily for Red One, Moana 2 is only a couple weeks away. Next week is only Gladiator 2 and Wicked. If Amazon would’ve kept this on streaming, nobody would’ve noticed this bellyflop. The masses may mildly enjoy this, but it’s not sneaking into the annual Christmas movie rotation. Red One is in theaters everywhere on November 15. Rating: 1/5 by Jonathan Berk  If you celebrate Christmas, then you’re probably familiar with the story of Frosty the Snowman. The kids build him, put a magic hat on his head, and Frosty springs to life. The children have a blast with their new friend, the adults are understandably alarmed, and a jealous villain wants his magic hat back. Now, imagine if Frosty were incredibly ripped — dare I say, hot even. Netflix’s newest Christmas movie, Hot Frosty, delivers on that very premise. Kathy (Lacey Chabert) has struggled to care for herself and her home since her husband passed away. Her friends encourage her to start moving forward and to put more effort into fixing up her house. On her walk home from her diner one night, she places a scarf around the neck of a hunky snow sculpture. To her surprise, Jack (Dustin Milligan) shows up at her diner the next morning, ready to thank her for bringing him to life. Chabert has starred in countless Christmas movies since her Mean Girls days, with most of her titles in full Hallmark syndication. While she often brings charm to these Hallmark roles, she rarely seems to fully lean into her comedic potential. For Hot Frosty, however, Chabert taps into the peak of her talents, using her charm and comedic timing to make the movie shine among the available holiday-themed streaming options. Chabert’s wit and warmth are firing on all cylinders, making this movie stand out in the crowded world of Christmas rom-coms. Chabert shares strong chemistry with her co-star Milligan, who brings new meaning to the film’s title as he struts onto the screen with nothing but a scarf (and an eight-pack). The movie leans into Milligan’s unique combination of raw sexuality and genuinely humorous appeal, leading to charming, laugh-out-loud moments. In one of the funniest scenes, Jack startles an elderly couple walking their dog — the husband is frightened, while the wife is thoroughly amused. Milligan’s blend of heart and humor is a delight, turning a frosty figure into a warm Christmas charmer.  Fortunately, Milligan is more than just eye candy. His character brings loads of heart, a touch of Buddy-the-Elf optimism, and excellent comedic chops. He’s a joy to watch, as his innocence and sense of morality are shaped by TV and the people around him. Whether he’s fixing the roof, helping unstick a car, or making pizza, Milligan shines with every scene.
Director Jerry Ciccoritti’s film manages to balance the saccharine sweetness we expect from a Christmas movie with more traditional comedy elements. The film even ends with bloopers, reminiscent of the '90s comedies that we rarely see today. There’s enough romance here to classify it as a rom-com, complete with an extended montage that both cements this idea and serves as a fun homage to the genre. Notably, Lauren Holly, who appears in this film, starred in a ’90s movie that similarly paid homage to the same rom-com classic, which wasn’t lost on me. Craig Robinson and Joe Lo Truglio also bring standout performances as cops, injecting comedic gold into every scene they’re in. One highlight is a sequence where Milligan and Lo Truglio discuss dating. What begins as an innocent chat escalates into a hilarious exchange of compliments, ratcheting up the laughter as the scene continues and we watch these characters bond. That’s not to say Hot Frosty is an instant classic. The ending is a bit predictable, and a few scenes go on a bit too long or feel excessive. Still, the script is solid, with nearly every setup paying off meaningfully. The charm between the characters and the heartwarming holiday message create a feel-good experience perfect for the season. It is a fresh and funny Christmas comedy balanced with just the right dose of much-needed joy and holiday cheer. This might even earn a spot in my and my wife’s annual Christmas rotation. Hot Frosty is streaming on Netflix on November 13. Rating: 3.5/5 |