INVINCIBLE (Season 2, Part 2) -- An Exhilarating Conclusion to the Superhero Show's Sophomore Season3/6/2024 Review by Camden Ferrell After an admittedly annoying midseason break last year, Invincible is finally back with the final half of season 2. This batch of episodes continue the story from where it was left off, and it definitely feels like that midseason break was either on purpose to make people pay for Amazon Prime without ads, or it genuinely took the team that long to finish the animation. Either way, these episodes are another set of thrilling episodes that progress the many stories into exciting and unknown territory. Omni-Man has been taken by the Viltrumites, and Mark must deal with the fallout. He also has a new baby brother, and his personal life gets more complicated by the day. In addition to Mark’s story, we get to see the Guardians of the Globe continue to grow as a team and deal with new threats. And last but not least, Angstrom Levy is still out there somewhere, and it’ll be exciting for viewers to see how his journey continues. Since this is the final half of a season, the episodes do tackle more high-stakes topics and consequences, and this leads the writing to be quite poignant at times. In addition to the typical witty and entertaining dialogue we’ve come to expect from this show, there are some excellently written moments throughout that really try and understand its characters on a deeper and more meaningful level. The voice acting is still incredible as always in these episodes. Steven Yeun continues to impress as Mark. This season tackles a fan-favorite moment from the comic that is quite heartbreaking, and Yeun knocks it out of the park as well as everything else this season. The show continues to have a strong supporting cast that fit perfectly for their characters and works realistically within the context of the show.
As mentioned before, this new season gets into some heavy territory that readers of the comic will be familiar with. These moments are handled extremely well this season and adapted wonderfully. The animation quality for season 2 has been one of the points of complaint from viewers and while this can be strange at times throughout the show, it’s not too bad in my opinion. The animation quality is great when it matters most, so the occasional shortcomings are forgivable. Invincible concludes its second season with a bang. These 4 episodes are thrilling from start to finish and show us that this show is nowhere close to running out of juice. Fans know that this is just the tip of the iceberg, and the show is going to get even more wild going forward. This season starts setting up some major future storylines that will make fans hope season 3 comes out sooner rather than later. Invincible Season 2 - Part 2 begins streaming on March 14 with episodes, with episodes premiering subsequent Thursdays. All episodes have been reviewed. Rating: 5/5
0 Comments
Review by Camden Ferrell Snack Shack is the newest movie from writer/director Adam Rehmeier, following up his 2020 Sundance film Dinner in America. This film also features Gabriel LaBelle, who broke out in 2022 thanks to his role in Steven Spielberg’s The Fabelmans. At nearly two hours, this 1990’s comedy is entertaining enough but can feel overly bloated and full of genre clichés. AJ and Moose are two best friends who don’t always make the best choices together. As summer comes around, they embark on their newest suspect endeavor, operating a snack shack at the local pool. After realizing they are in over their heads, these best friends aim to make a profit all while navigating friendship, romance, and the other woes of adolescence. This setup has all the elements of a classic coming of age story, and the 90’s setting does give the film an air of nostalgia that keeps the film simple and grounded. Rehmeier’s script is a good enough foundation for the movie. It isn’t the most original in its execution and dialogue, and it relies heavily on tropes that have been done before. The character archetypes are nothing new, so the movie can suffer from feeling too familiar to what came before. Its attempts at comedy are persistent throughout, and they mostly earn mild chuckles for the most part, but there isn’t much that necessarily blows me away comedy wise. The acting in this movie, like everything else, is anywhere from passable to solid. Conor Sherry and Garbiel LaBelle lead the movie as AJ and Moose, respectively. One thing that is undeniable is that these two have impressive chemistry together. Even when the movie has shortcomings, their genuinely believable friendship always shines through. That being said, the duo works best when they’re together, and the results are mixed otherwise. LaBelle definitely excels in his role and knows how to play up the charisma of his character without entering embarrassingly exaggerated territory. Mika Abdalla and Nick Robinson also have two decent performances that supplement the leading duo.
While I mentioned LaBelle’s ability to be charismatic without being too exaggerated, it definitely feels like the movie could benefit from that same philosophy. It plays up all of its execution in a way that subverts the earnest messages and tones it aims for. It’s the type of filmmaking one would expect from a hastily made sophomoric comedy, not one from a filmmaker like Rehmeier who has an otherwise heartfelt attempt with this movie. In addition to this, the movie could afford to shave a handful of scenes since the runtime becomes quite apparent by the film’s conclusion. Despite its flaws, Snack Shack takes you back to the 90’s with a decent and entertaining story even if it feels like it had the full capabilities to be something more. Most people will enjoy the nostalgic vibes and camaraderie of its leads, but those looking for something they’ve never seen before will likely walk away slightly disappointed. Snack Shack is in theaters March 15. Rating: 3/5 Review by Camden Ferrell Do you remember 2010’s Megamind? It was quite a delightful film with some solid voice acting and genuine heart and humor at its core. What if I told you after many long years, fans are finally getting the sequel they’ve been begging for? And what if I told you that it has all the same characters but nothing else that made the movie good? Megamind vs. the Doom Syndicate may be one of the biggest cinematic crimes in recent memory, effectively treating the character’s legacy with about the same delicacy as one would treat toilet paper during a bout of food poisoning. After the actual character growth that we see from Megamind in the first movie, why would we want to see him progress anymore? We get the privilege to watch him have the same development as a napkin while he deals with his old villain team, The Doom Syndicate. He must act like his new hero status is a rouse while he figures out a way to stop them. Meanwhile, as an audience member, you’ll likely need to figure out who needs to be punished for this abomination. Written like a low-quality kid’s program, it feels like the days of AI-written scripts are finally here. It would be genuinely shocking if AI wasn’t involved in some capacity in the production of this movie. The dialogue is painful in unfathomable ways. This is the kind of storytelling you tolerate for 15 minutes from a toddler at a family gathering before making an excuse to step away. I feel bad for being so rough on something that clearly took some amount of man hours, but it’s such a low effort attempt that I don’t even imagine anyone would care. The movie is full of over-acting voice actors (including Talon Warburton who sounds like a discount version of his dad), and it doesn’t do much to help the shoddy material. I don’t want to bash the cast too much just because it’s mildly refreshing to see actual voice actors receiving work, but it’s just a shame it’s at the expense of the rare instance of celebrities who did a solid job the first time around. And for some weird reason, Tony Hale is in this. I guess the Veep residuals are drying up. He could have probably made more if he asked Pixar to make more Forky shorts.
The main problem is that there is no soul to this movie. It is one of the films ever. It has a story. It has sound. It has visuals. It certainly is a movie. However, at no point during this movie did I have the semblance of a positive thought. It’s not just indifference, I think my life has actively become worse because of this. They should have given this the Batgirl treatment and axed it for tax purposes. What does the studio gain by releasing this? Less people sending them emails asking for a Megamind sequel? Megamind vs. The Doom Syndicate is about as pleasant as a colonoscopy. It certainly is fun to watch a beloved character from your childhood get massacred alongside some random new character who is a few steps away from becoming Jake Gyllenhaal in Nightcrawler. This movie is a case to defund animation programs around the country. Avoid this movie at all cost and consider praying to whatever god you believe in to alleviate me of the burden of having witnessed this. Megamind vs. The Doom Syndicate is streaming on Peacock March 1. Rating: 0.5/5 Review by Camden Ferrell Italian director Matteo Garrone follows up his 2019 adaptation of Pinocchio with Io Capitano, a harrowing odyssey through Africa as two Senegalese teenagers try and make their way to Europe. This movie had its premiere at the 2023 Venice Film Festival and has been nominated at this year’s Academy Awards for Best International Film. While one could take issue with a European director making a film about the plight of African migrants, it’s hard to deny that this is an intensely captivating movie that manages to take hold of you due partly to its impressive young lead actors. Seydou and his cousin Moussa are teenagers in Senegal who have aspirations and yearnings for elsewhere. They both have desires to migrate to Europe to achieve success and also help their families out back at home. However, they are not prepared for the dangerous path to Europe. As they leave Senegal, they enter a journey of danger both manmade and natural. This is a story that many African migrants have lived through, and it’s an experience that is important to highlight. While the foundation of the story is quite simple, the writing manages to still make the movie feel wholly unique. It develops its lead characters well and allows the audience to get easily attached to them and invested in their success. The dialogue isn’t the best at times, but this is compensated for by the great performances and tight pacing. The narrative also feels naturally progressive without being predictable. It’s an uncertain journey, and the writing does a great job at reflecting that without losing sight of natural realism in how the plot progresses. As mentioned before, the acting in this movie is impressive, especially for such new and inexperienced actors. Seydou Starr leads the film, and he is able to carry himself through the movie almost flawlessly. He has a delicate and unique control over how his young character slowly gets hardened by this odyssey. There are moments of exhaustion, joy, and pure desperation and pain that he nails perfectly. Moustapha Fall co-stars and while his material isn’t nearly as impressive as Seydou’s, he still does a great job playing off of him and having a natural chemistry on screen. Additionally, Issak Sawadogo has a great supporting role despite it being so brief.
Being directed by a European, a movie like this one was always at risk of feeling out of touch or exploitative, but Garrone goes to lengths to avoid this. He has expressed his understanding of the nuances and implications of himself directing this African story, and he has done his due diligence to work closely with those who have experienced similar things. As a director, he worked with people who migrated out of Africa and faced the same dangers as Seydou and Moussa. This allowed the movie to not be an observation of these challenges from an outsider, but to be a direct reflection of the immigrant experience. The main success of this movie lies in the fact that the audience doesn’t feel like they’re watching this journey but that they’re a part of it. Io Capitano is hard to watch at times, but it’s an emotional journey from start to finish. It’s beautifully shot and directed, and it’s sadly a story that happens all too often. It might not be the best of this year’s international film nominees at the Oscars, but it’s still a worthwhile experience due to its gripping story and phenomenal acting. Io Capitano is in theaters February 23. Rating: 4/5 Review by Camden Ferrell Starting out as a director for music videos, Trish Sie is now an established feature film director of films like Pitch Perfect 3 and last year’s Sitting in Bars with Cake. Her newest film, Players, is the obligatory Netflix Valentine’s Day release. It also serves as the feature film debut of veteran television writer Whit Anderson. Even though the cast has mildly decent chemistry, this romantic comedy hits narrative beats that have been beaten to death while clinging to awkward and exaggerated tropes. Mack is a sportswriter for a local New York paper and spends her free time hanging out with her longtime best friends. These friends have spent years devising a meticulous system of “plays” in order to hook up with their desired target. However, things get complicated when Mack decides she wants to finally play for keeps. Obviously, this movie will require some suspensions of disbelief, but it still had the potential to remain grounded and relatable, and this doesn’t get capitalized on at all. Anderson’s script flows exactly as one would expect it to. At no point in the movie, did the writing take me somewhere even remotely unexpected. While adhering to the story structure that romcoms seem to love isn’t inherently bad, this movie fails to add its own flair at all. The story does nothing to distinguish itself from other romcoms, and it feels borderline soulless. The dialogue is cheesy and unrealistic, and it never flows well. The characters feel exaggerated to the point of annoyance. They’re too excessive to be relatable, and they manage to occasionally become displeasing to a viewer. There isn’t much I can praise about the movie, but I will say its acting is probably its strongest aspect. It’s clear this ensemble is doing the best they can with the material given, and it goes about as well as expected. The movie is led by Gina Rodriguez, and she has proven she can give strong performances in romcoms, and her newest effort as Mack is passable. It’s not a memorable role with her, but it is a role that benefits a lot from her natural charm. The best actor in this film is Damon Wayans Jr. who also brings his signature charm to a movie that desperately needs it. The rest of the cast of actors like Tom Ellis, Augustus Prew, and Joel Courtney among others are decent albeit a little overblown.
It may seem like I’m being too harsh on a lighthearted and mindless romcom, but it really fails to do anything for me. It’s a specific brand of cheesiness that is insufferable more often than not. There are plenty of romcoms that endear me and audiences with their cheesiness and adherence to genre conventions, but this is not one of them. It’s an overacted film that devolves into caricature and fails to connect to your emotions in any earnest way. Players is a movie that you have definitely seen before, and it’s one you could predict within seconds of watching it. Your mileage may vary, but there isn’t a whole lot working in this movie’s favor. It is embarrassingly excessive at times, and at its best, it’s a mildly entertaining buddy comedy that is carried primarily by its good-looking and charming cast. Players is streaming on Netflix February 14. Rating: 2/5 Review by Camden Ferrell Carlson Young might be known to most for her acting work in various movies and shows, but she is now returning to the director’s chair for her second feature film. Her first movie she’s directed without acting in, Upgraded is a new romantic comedy from writers Chrstine Lenig, Justin Matthews, and Luke Spencer Roberts. While the film is certainly bearable and adequate, it also is painfully cliché and feels like every other film you’ve seen in this genre before. Ana is an art intern, struggling to make ends meet as she tries to get noticed by her prolific and intimidating boss Claire. Through some good fortune, she finds herself on a trip to London as Claire’s assistant to help with a high-profile art auction. Here, she meets William, who mistakes her for her boss, and this misunderstanding spirals into a situation that Ana tries to control all while dealing with love and her career in the art industry. It’s a cheesy setup that’s been done before, and based on the premise alone, most people will probably be able to predict each narrative beat that this movie will hit. The script is passable. Void of any laugh out loud moments, it still keeps the general vibe light and easy for consumption. As mentioned before, it’s about as standard as these romcom scripts come, and that’s either a good or bad thing depending on your unique tastes. However, if you’re looking for a movie that’s subversive or distinct in any way, this might leave you with something to desire. The acting in this movie, like everything else, is just fine. Camila Mendes leads the film as Ana and while she has a natural charm, it’s not enough to breathe energy into this production. Her performance is about the same as the other performances of hers that I’ve seen. Archie Renaux is also adequately charming as her handsome British love interest but isn’t anything memorable. The highest profile actor in this film is Maris Tomei who plays Claire, and even she doesn’t do much to be notable in the movie either. There really aren’t any bad performances in this, but there certainly isn’t anything that’ll stand out to viewers in particular.
Even though this film is a dime a dozen, it still has that mindless romcom charm that is occasionally just irresistible. It’s undemanding and cheesy in every way one could expect, but it’s still relatively enjoyable and breezy to get through. There’s nothing I’ll remember about this down the line, but there are worse ways to pass nearly two hours. Upgraded is a new romcom that will definitely satisfy diehard fans of the genre. Casual fans might be moderately entertained at best by the familiar beats and cheesy story. Young’s direction works for the type of movie this is, but it would be nice to see her develop her own unique voice in whatever genre she does next. There’s nothing particularly memorable about this movie and for the most part, that’s fine. Upgraded is streaming on Amazon Prime February 9. Rating: 3/5 Review by Camden Ferrell Suncoast is a new coming-of-age film that had its premiere at the 2024 Sundance Film Festival. This is the directorial debut and full-length feature writing debut of Laura Chinn. This movie as inspired by events from Chinn’s own life and family, and it is lead by up-and-comer Nico Parker who won the Breakthrough Award at Sundance for her performance. While some might be turned off by the movie’s unwillingness to address the more pressing issues presented, Suncoast tells an emotional and entertaining story of adolescence that is elevated by standout performances. Doris is a shy girl who has spent most of her childhood caring for her terminally ill and disabled brother. As her brother enters hospice care, she finds herself clashing more with her mother while also getting a taste of traditional teenage life with a group of kids at her school. She also meets a caring older gentleman who is at the hospice center who is there due to a controversial case of one woman’s right to die. This is a personal story for the director, and she does a great job of imparting her own unique experiences into a genre that can sometimes feel repetitive. Chinn’s script is sharp and lays the groundwork well for the main narrative. Her dialogue is well-written and captures the different complex relationships and events that Doris encounters throughout the movie. The scenes involving Doris and her mother are especially captivating and highlight her skills as a writer. The script also introduces some interesting ideas about the politics of religion and death, but it only ever skirts the surface of those issues. This shortcoming of the script may be seen as a flaw to some viewers, but I think this is a rare instance where I think playing it safe really allows the movie to flourish in the areas it does best. One of the most notable things about this movie is its cast. Featuring veterans like Woody Harrelson and Laura Linney, who both give great performances, the real highlight is Nico Parker. Leading a film like this is no small task, and she delivers on every front, a feat that’s even more impressive given that she was still a child when this movie was filmed. She knows how to balance the uncomfortable, awkward, and frustrating stages of adolescence while balancing it with more tender and subdued moments of grief. It’s a role that allows her to show off her range, and she does it gracefully.
While playing it safe worked in the movie’s favor at times, it can still feel like it’s hitting beats we’ve seen hundreds of times before. It doesn’t try to defy genre tropes or tinker the formula much, and this can lead the movie to feel like it’s not living up to its full potential. Regardless, this is still a tightly paced movie that doesn’t overstay its welcome at all. It may not elevate beyond the constraints of coming-of-age movies, but it still contently sits among some of the better entries in recent years. Suncoast is a movie that will appeal to everyone in at least one small way. Those who have trouble with how it tackles deeper moral issues, will still find some enjoyment in the earnestness of Chinn’s vision. And while the story beats might seem familiar, you can’t help but feel completely invested in Doris and the complex and heartfelt situation in which she often finds herself. Suncoast is streaming on Hulu February 9. Rating: 4/5 Review by Camden Ferrell Independent media powerhouse, A24, has captivated audiences for a decade with their wide variety of original and imaginative content. Their new series, Hazbin Hotel, is their first expedition in the medium of animation. This Vivienne Medrano-created series was the result of a successful pilot that was released on YouTube in 2019. Despite some great songs and voice performances, this adult-animated series can suffer from its occasionally middling writing and lack of direction. Charlie Morningstar is the princess of Hell. Unfortunately, Hell suffers from an overpopulation problem and as a result, Hell suffers an annual purge at the hands of Heaven’s angels. Charlie, looking to find a less violent way to resolve their overpopulation, aims to open a hotel with the goal of rehabilitating sinners to send them to Heaven. Admittedly, this is a unique and entertaining premise that has lots of potential for its theatrical antics and dark comedy. The novelty of the premise fades eventually due to the writing being underwhelming. The jokes through this show are mostly adequate, but it can sometimes mistake vulgarity for humor. There’s plenty of wicked humor to be found in its premise, but these attempts don’t land as well as they could have. Even though the comedy can feel lazy at times, some of the more earnest moments of Charlie’s relationship with the rest of the characters are quite good. The voice actors in this show are its saving grace. Led by Erika Hennignsen, this cast of characters come to life with so much energy that it can sometimes overcome its less than stellar writing. Stephanie Beatriz delivers a great performance as Charlie’s girlfriend Vaggie while Amir Talai, Blake Roman, Jeremy Jordan, and others excel as well. In addition to the regular voice acting, the musical numbers in this show are the strongest parts of the show. The songs are catchy, and the cast has some undeniably beautiful voices that bring these moments to life.
Despite the cast’s best ability, the show falters sometimes due to its meandering nature. Even though we’re introduced to Charlie’s plan from the start, the show just doesn’t operate with much immediacy. Certain tangents take up too much time in already brief episodes, and it feels like not nearly enough progress has been made through the first half of this season. In addition to this, the animation, while creative, can sometimes feel stilted and take away from the viewing experience. Hazbin Hotel will certainly find a devout following, but everyone’s mileage may vary. Most will be able to enjoy this at least for its incredibly talented cast and great tunes. However, some may also want more from this unique premise and the potential it has for dark and devilish humor. It may not be my cup of tea, but I think everyone should at least give this show a decent chance to capture their heart. Hazbin Hotel premieres on Amazon Prime on January 19. Five out of eight episodes have been reviewed. Rating: 3/5 Review by Camden Ferrell As a comic book character, Echo was introduced to audiences in 1999, and she had her live-action debut in the 2021 Disney+ series Hawkeye. Echo, a new miniseries for Disney+ and Hulu, kicks off 2024 for the MCU. Featuring some solid storytelling and mostly entertaining TV-MA action, this spin-off series is enjoyable even if it's not completely captivating After her last appearance, Maya Lopez finds herself returning to her hometown where she must face her past. She aims to reconnect with her Native American roots while also confronting the family she left behind. All of this happens while an even more sinister threat looms over her life. This is a spin-off that doesn’t initially feel needed on paper, but Maya is an interesting character that could be worth exploring if done properly. Since Maya is deaf, the show relies more on visual storytelling than other MCU efforts. This is noticeable within its first episode, and the show manages to keep a tight pace and find creative ways to convey ideas and emotions. This limitation brings out the best in the series and helps it thrive when the script can be lacking. The story itself does a decent enough job balancing the different challenges Maya faces, but the beats are just too familiar and safe to grip viewers the way it was intended to. The one thing that stands out the most in this show is Alaqua Cox’s leading role as Maya. She is engaging to watch in moments of flashy action and subtlety alike. Admittedly, she isn’t given the best material, but she makes the most of it. While most people will focus on some fan-favorite characters in this series, the rest of the supporting cast is entertaining as well. Specifically, Tantoo Cardinal and Chaske Spencer are enjoyable to watch in these episodes.
With its TV-MA rating, the show manages to slightly push its boundaries with violence. It’s not a bloodbath by any means, but it’s nice to see the MCU embrace more violent onscreen action. The stunts and fight choreography are also strong and ambitious. This ambition is its strength, but it’s also its main shortcoming. Certain fight scenes sacrifice realism and proper pacing for the sake of flashy camerawork, but it’s a tradeoff that’ll be acceptable depending on the viewer. Echo will not blow viewers away. However, it is a decent enough story that might be the last bit of MCU content we get for a few months at least. Even with its flaws, Alaqua Cox is a solid lead, and there’s more working for this series than against it. Echo is now on Disney+ and Hulu January 9. Three out of five episodes have been reviewed. Rating: 3.5/5 Review by Camden Ferrell The 1972 Andes flight disaster is globally known and has been referenced and adapted in numerous pieces of media since then. The newest film from J.A. Bayona is the most recent attempt to tell this harrowing story of survival. Society of the Snow had its premiere at the 2023 Venice International Film Festival, and it is the Spanish submission for Best International Feature for the upcoming Academy Awards. An impressive feat of storytelling and visual effects, this movie will shock you with its brutality and surprise you with its abundant humanity. A Uruguayan rugby team finds themselves embarking on a trip to Chile with other passengers when the plane collides with the Andes mountains, killing several and stranding the rest. In unbearable temperatures and with minimal food, the remaining survivors must battle the elements and grapple with their own morality in order to persevere and live to see another day. This story is widely known, but it’s still fascinating to get an in-depth look at what they experienced on a day-to-day basis and learn more about their stories and humanity. Based on Pablo Vierci’s book of the same name, this movie was written by Bayona, Nicolás Casariego, and Jaime Marques. These writers do a great job with balancing the different conflicts in the movie. It’s a classic tale of man vs. nature while also being an emotional saga of man vs. self. The characters feel fleshed out which make the brutal elements they face feel more brutal and visceral. The emotional moments are earned thanks to the great and subtle characterization done by the writers. It has some great moments of dialogue throughout as well which keeps this movie feeling fresh despite taking place in mostly one location. This movie thrives off of its talented ensemble with great chemistry. It would be remiss not to give credit to everyone in the cast for bringing these characters to life. However, the highlights of this movie are Enzo Vogrincic Roldán, Matías Recalt, and Agustín Pardella. They have the most screen time of the cast, and they are commanding in their respective roles. They perfectly portray the horror, desperation, and sorrow of these characters. They’re captivating to watch and round the movie out nicely.
While the humanity of this story is on full display, one must also commend the amazing VFX work of this film. Throughout the movie, everything feels so immense in scale and spectacle, but the effects maintain the film’s realism which heightens its brutality. In addition to this, Pedro Luque’s work as a cinematographer is brilliant from start to finish, featuring some creative shots and imagery. And Michael Giacchino’s tender and emotional score rounds out the film beautifully. Bayona has outdone himself with Society of the Snow. It’s a chilling and gripping tale of survival that audiences will have a hard time looking away from. It is a technical marvel and a storytelling marvel as well. It’s one of the finest survival thrillers in recent years, and a heartfelt testament to the survivors and victims of this horrible tragedy. Society of the Snow is in theaters December 22 and streaming on Netflix January 4. Rating: 4.5/5 |
Archives
March 2024
Authors
All
|