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 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

Review by Camden Ferrell

After decades where video game movies were doomed to failure from the start, it appears we’re entering a period of time where it seems like Hollywood is giving these adaptions a fighting chance at competency. A Minecraft Movie is the next film that is attempting to prove that video game movies can be more than just mindless and soulless cash grabs on a beloved IP. While nobody is going to confuse it for high art, audiences will certainly agree this Jack Black-led comedy is so outlandishly stupid that it becomes one of the most entertaining video game movies we’ve seen in recent years.
 
Natalie and Henry are two siblings looking to start a new life in Idaho when they find themselves thrust into an unexpected adventure. Along with a local celebrity and their real-estate agent, they enter the world of Minecraft (aka the Overworld), a land where Henry’s creativity can roam free. Along with the help of another human named Steve, this group of misfits are on a journey to find their way back home. It’s a classic family adventure set up, and it’s a convenient way of telling a familiar narrative among the unique video game settings of this world.
 
This is Jared Hess’s first feature as a solo director in 10 years, and it feels like a strong return to form for him. This movie was written by five writers, and it’s actually quite surprising that Hess is not one of them because of the quirky offbeat humor it possesses. While it definitely has some of the cheesiness and tropes of standard family fare, there’s also a frequently present eccentricity that feels aligned with Hess’s style as a director. This means the movie has broad appeal that ensures parents can also enjoy this movie with their kids. 

One of the main aspects that make this movie worth watching is its absolutely unhinged performances. This movie is led by Jack Black as Steve, and it’s about as energetic and insane as you’d expect. He gives 110% in every scene, and it truly gives the film a loud and unique personality. He’s joined by an ensemble that consists of Jason Momoa, Emma Myers, Danielle Brooks, and Sebastian Hansen. Of these actors, Momoa matches Black’s energy and delivers another crazy and over-the-top performance. Their individual performances and chemistry are worth several laughs at a minimum.
 
Even though the performances are firing on all cylinders from start to finish, I’ll admit it’s not fully sustainable throughout the movie, so it does have some dull moments as a result. On top of that, some of the humor might not speak to all ages equally. Additionally, some of the goofiness and borderline amateurish aspects of the film heightened the absurdity of everything to an entertaining degree, but this might not hold true for everyone.
 
On paper, this movie shouldn’t work. But thanks to Hess’s signature style of filmmaking and the fervent dedication of its cast, this movie is one of the biggest surprises of the year. It’s a genuinely entertaining movie with heart, passion, and plenty of tomfoolery. Kids and adults alike are going to get a kick out of this movie for one reason or another. The video game movie genre has another success story.
 
A Minecraft Movie is in theaters on April 4.
 
Rating: 3.5/5 

Review by Camden Ferrell

In 2024, Alex Garland wrote and directed Civil War where he worked with military advisor Ray Mendoza. That same year, Garland announced that he would step down from directing and that his newest movie Warfare would be his last, and that it would be co-written and directed by Mendoza. This movie is based on Mendoza’s experiences as a Navy SEAL during the Iraq War in 2006. Told in real time, this movie can sometimes drag and lack nuance, but it still features some genuinely nerve-wracking and intense moments of military combat that will keep you engaged.
 
A platoon of servicemembers are in Iraq on a mission when chaos erupts on the scene. From here, the audience is taken through a real-time portrayal of all the events that unfolded as they deal with life-threatening perils and the horrors of combat. It’s a story that’s intentionally limited in scope, and it’s one that aims to be realistic, not necessarily cinematic. Thus, it’s working with narrative limitations that can make it feel less than substantial at times.
 
Written by Mendoza and Garland, it definitely dives into realism more than anything. Not just in its violent and intense moments, but also in the minutiae of daily life for this platoon. It’s a neat aspect that’s written, but it’s also one that makes the movie feel like it takes its time before the ball gets rolling. While it’s a necessary build up, it’s one that feels like it eats up more runtime than it should. Once the danger starts though, the script takes a backseat to the violence at hand, so it doesn’t have a chance to shine outside of a handful of emotional beats for specific characters.

The movie is brought to life by a who’s who of the next generation of actors. This includes actors like Will Poulter, Joseph Quinn, D’Pharaoh Woon-A-Tai, Cosmo Jarvis, Kit Connor, Michael Gandolfini, and Charles Melton to name a few. This ensemble plays very well off of each other, and in a Q&A I attended, they mentioned that they spent weeks in a simulated boot camp where they could bond with each other and push themselves to truly get into these roles. Their moments of camaraderie are emboldened by the prevalent moments of fear and pain.
 
While the movie has some pacing problems, it absolutely excels in immersing viewers into the stresses of warfare. Its real-time approach prevents viewers from getting a chance to cut away from the action and breathe. If the platoon is suffocating under the fear of death and debilitating injury, the audience does not get the luxury of looking away. It’s a bold approach, and it’s one the lifts the film above its shortcomings.
 
Warfare is an ambitious project that tries to recreate the real events that occurred to a platoon almost two decades ago, and it works more than it doesn’t. It has some problems tackling some of the more nuanced issues of war, but it’s a flaw that is mostly forgivable by the good intentions of its director. Fans of war movies and general audiences alike will find something to appreciate in this film, whether it’s the visceral performances or the quite often impressive craftsmanship on display.
 
Warfare is in theaters April 11.
 
Rating: 3.5/5

Review by Camden Ferrell

Banned in Vietnam, Viet and Nam is the second narrative feature film from writer and director Truong Minh Quý after his 2019 effort The Tree House. His newest feature had its premiere at the 2024 Cannes Film Festival where it received a nomination for the Queer Palm. It is without a doubt a visually stunning experience, but its hypnotic musings on love and Vietnamese history can make the film meander too much for its own good.
 
This film follows the titular duo, two young Vietnamese miners who find themselves engaged in a love affair plagued with difficult decisions including Nam’s desire to leave for Europe.  This romance is underscored by a country in the wake of war and trauma as Nam’s mother is searching for answers about his father who left during the war. While there is an underlying plot driving the story forward, the movie seems less concerned with plot and more concerned with its own atmosphere and ambiance. This is a decision that will have differing mileage depending on the viewer.
 
That being said, while the plot feels secondary, Quý’s script is still full of undeniably tender and beautiful moments throughout. Their impact is sometimes undermined by its sluggish pacing, but in a vacuum, he wrote some truly nuanced dialogue and interactions that make the film feel painfully real at times. He especially excels at the moments of intimacy between his two leads, and it’s an incredibly compelling relationship that he is able to create with so few words.

At its core, the movie would fail to work without the wonderful chemistry of Đào Duy Bảo Định and Phạm Thanh Hải who play Viet and Nam, respectively. They lean into the long pauses and fill them with indescribable yearning that really elevates the movie even in its weaker moments. It’s a vulnerable, physical, and emotional role that they both play so well. In a movie like this, believing in their love is non-negotiable, and they deliver marvelously.
 
There isn’t enough I can say about how beautifully shot this entire movie is. Quý and his cinematographer Son Doan make every frame feel like a painting you never want to look away from. It utilizes minimal camera movement and extended takes to create a dreamy atmosphere, and it’s a method that works for better or worse. While I can’t commend the visual splendor of the film enough, I will say that the movie does have a severe pacing problem that keeps it from greatness. However, I’m inclined to believe it’s by design. This seems like a movie you’re supposed to float in and out of more than follow, but it has mixed effects. While I can appreciate the deliberately stalled pace, it’s often at the expense of so many other great elements.
 
Viet and Nam is beautiful, but it can be occasionally demanding. It has some very nuanced explorations of the lingering effects of trauma and war below a delicately crafted story of closeted gay love. While I can’t say it’s great due to its execution, it’s a rewarding experience that I encourage everyone to view with an open mind.
 
Viet and Nam is in theaters March 28.
​
Rating: 3.5/5

Review by Camden Ferrell

​Jimmy Warden is a name you might be familiar with as he was the writer of Cocaine Bear, which became a bit of a cultural phenomenon and box office success in 2023 due to its absurd premise. Now, it seems he has earned himself a shot in the director’s chair with his newest movie Borderline, which he also wrote. He doesn’t break any new ground as far as horror stories about celebrity obsession go, but he does infuse his own brand of eccentricity and outlandish humor to mixed effects.
 
Sofia is a pop superstar, and Duerson is a dangerous and delusional stalker who thinks they’re in love. When he breaks out of his mental institution in order to put on the wedding of his dreams, Sofia finds herself in an intense fight for survival with a man who is as unpredictable as he is passionate. Immediately, comparisons to Misery and other works may come to mind, but Warden definitely has a unique tone that he brings to help differentiate the story beneath its surface.
 
Warden’s script is probably what I found weakest about this movie even though I would say it worked more than it didn’t. It feels incredibly conventional in its narrative, and while it has a few curveballs, it doesn’t feel daring or unpredictable enough for a film in this genre. On top of that, it gets very close to diving deeper into its cast of characters, but he always seems to pull back before anything substantial can emerge. It’s a short movie, and I think a few more minutes of character development could have done wonders for the final product.

One thing that I can say about the performances is that they are committed for better or worse. Samara Weaving is a reliable horror protagonist, and this movie is no different. She has natural charisma for this type of role even if it isn’t much different than what she’s done in other films. Ray Nicholson co-leads as Duerson, and he definitely gives maximum effort in his role. It teeters between caricature and genuine insanity in a way that is messy but ultimately quite interesting to see. It’s hard not to watch him and think of his dad, but it’s clear he’s trying to forge a unique and bold niche for himself in this film.
 
The aspect I was most impressed with was Duerson’s direction and the surprisingly gorgeous cinematography of Michael Alden Lloyd. There are multiple scenes, shots, sequences, etc. where these two artists work together to achieve their vision, which is quite captivating. It seems like there was love and care in the way they visually crafted this story, and it helps overcome to movie’s flaws occasionally. I think Warden’s direction in this movie proves that he has something special inside of him and that even if it’s not fully developed yet, he’s someone we should keep an eye on.
 
Borderline may not be the best its genre has to offer, but there are inklings of brilliance shining throughout in various aspects. It may be occasionally inconsistent in tone, and it may also adhere to strongly to narrative convention, but this movie cannot be accused of being passionless. It’s very clear that everyone working on this truly gave it their all, and it’s a bit of a beautiful mess in that regard.
 
Borderline is in theaters and on VOD March 14.
 
Rating: 3/5

Review by Camden Ferrell

Steven Soderbergh is one of the most prolific American directors working today, and it’s no surprise considering how vast and frequent his output is. Black Bag is his second wide theatrical release of 2025 (even though we’re not even a quarter of the way through the year), and it’s yet another notch in his ever-growing belt of filmmaking prowess. This thriller film boasts a steady hand from Soderberg, strong and committed performances, and one of the best scripts of David Koepp’s illustrious career.
 
George works for a high-profile intelligence agency, and he is tasked with finding a leak in the agency. The people in question are colleagues, friends, and even his wife Kathryn. What ensues is an intense and riveting story with twists, turns, betrayal, deception, and romance all twisted together. The plot itself isn’t anything new and borders on relatively basic narrative surrounding a McGuffin-y device that is being sought after by Russian agents. However, where this movie really shines is by diving deep into the interpersonal relationships and emotions that drive the cast of characters throughout the movie.
 
Koepp has made a name for himself writing for some of the most iconic franchises in film history like Indiana Jones, Spider-Man, and Jurassic Park. One might look at his resume and assume his best years are behind him, but his two most recent efforts with Soderbergh prove that he is far from finished and has exciting ideas and characters to share with the world. This movie seamlessly blends espionage thrills with great character studies sprinkled throughout, and it makes the film much more engaging and gripping. In addition to the character development, Koepp has some undeniably witty and insightful dialogue that serves as the engine to this steadily powered train of a movie.

This movie’s ensemble is a definite highlight in a movie where so much already works. Michael Fassbender leads the film as George, and he brings a very calculated and smooth energy to his character. It’s such a steady and stoic performance that makes his brief moments of catharsis (even in the slightest sense) so much more tangible and impressive. Kathryn is played by Cate Blanchett who could probably have phoned it in and still been exquisite, but she definitely brings her A-game yet again. She plays well off Fassbender and is exactly what balances out their interesting dynamic. The rest of the ensemble is rounded out with players like Tom Burke, Marisa Abela, Regé-Jean Page, and Naomie Harris who are all equally impressive in their respective roles.
 
Soderbergh once again wears different hats as director, editor, and cinematographer, and it never feels like he’s spread thin. It’s a cleverly shot movie (although the aggressive washed-out lighting was hit-or-miss), and it’s such a meticulously blocked film in a way that feels distinct to his sensibilities. It’s not as innovative as his other movies, but he still makes it feel like something you haven’t seen before.
 
Black Bag is a gripping film that breezes past you in an instant. It grabs you from the start and doesn’t loosen its grip until its final moments. It’s a raw glimpse into a group of deeply flawed and human individuals in the midst of a high-stakes situation. It’s also another stark reminder that this writer/director duo are still putting out some of their best work.
 
Black Bag is in theaters March 14.
 
Rating: 4.5/5 

Review by Camden Ferrell

After the long and illustrious history of Looney Tunes, it’s quite surprising that they had previously never had a fully animated film released theatrically until this year. The Day the Earth Blew Up: A Looney Tunes Movie was released last year in order to meet 2024 awards eligibility criteria but is now getting a proper wide release in theaters across the country. This animated movie is a fun story full of enjoyable animation and visual gags even if it doesn’t feel particularly inventive or always worthy of a feature-length runtime.
 
Porky Pig and Daffy Duck are in dire need of money to fix their roof to prevent their property from being condemned. On top of this, they find themselves faced with the threat of an alien invasion. What ensues are wacky hijinks that aim to revitalize these timeless characters while staying true to the charm that made them successes in the first place. As mentioned before, even though it sounds like a fun premise, it doesn’t feel like it’s one that needs to be fleshed out in a full-length movie.
 
This film serves as the feature-film debut of writer/director Peter Browngardt who wrote this alongside Kevin Costello and Alex Kirwan. The script has some great moments of comedy sprinkled steadily throughout the film, but the narrative does feel like it can drag at times. One can celebrate its attempts at meta humor and its attempts at comedy aimed at a newer generation even if it doesn’t always land the way it wants to. The jokes can miss, but when they land, they land greatly.

One thing that I can completely commend is Eric Bauza’s voice performance as both Daffy Duck and Porky Pig. He brings so much life and energy to these characters, and his comedic timing and delivery truly elevate the funny moments in this film. Candi Milo also lends her voice very well as Petunia Pig.
 
When compared to previous Looney Tunes works, I can testify that this newest movie features some of the best animation the franchise has had to date. It feels very traditional while refreshingly innovative in its execution. Even when the script can feel a bit thin at times, the animation never fails to feel cinematic without losing the old-school charm the characters naturally bring.
 
The Day the Earth Blew Up: A Looney Tunes Movie may be far from perfect, but it’s entirely adequate as an animated film based on beloved characters. I think that longtime fans and new viewers alike will find something to enjoy about this movie. Even if it has flaws and shortcomings, at the very least, it’s good for its fair share of laughs. And while I wouldn’t call this a movie that needs to be seen on the big screen, I will always advocate for that experience, and it’s not every day we get to see a true fully animated celebration of these characters in theaters.
 
The Day the Earth Blew Up: A Looney Tunes Movie is in theaters March 14.
 
Rating: 3/5

Review by Camden Ferrell

Netflix’s Daredevil series aired its final episode in the Fall of 2018, and in 2025, Matt Murdock is back in a continuation of the hit series. While the previous series was always part of the official MCU canon, Daredevil: Born Again feels like the character’s unofficial welcome to this larger universe. Viewers who are concerned about a dip in quality after the long break and new streaming home, can relax peacefully. This follow-up series carries on the legacy of its predecessor quite effectively, delivering strong writing, great performances, and some pretty gripping action at times.
 
This show follows Matt Murdock, one of comic industry’s most beloved lawyers turned superhero, and it picks up nicely from where we left off. Elsewhere, Kingpin (who has been having other MCU shenanigans as well) is pursuing his own political endeavors. Like always, these two men are on a collision course with each other while they deal with their own personal turmoil and new challenges, characters, and threats that come in their way.
 
One thing to commend off the bat is that the show feels very new-viewer friendly. Whether it’s your first time watching the show, or if you just might have forgotten what happened before, this show is mostly forgiving. There are a handful of callbacks and some of the backstories are more fleshed out with prior knowledge, but the writers do a great job of making sure this new series stands on its own if need be. On the topic of writing, I’d argue that you would have a hard time believing this show had a 6-year break since its most recent season because the style of dialogue and storytelling feel very consistent. This should ease viewers who are worried this show would be a disaster.

Once again, this show is led by the talented and entertaining Charlie Cox. More and more, this feels like a role he was made for, and he continues to flex his acting and action chops as the Man Without Fear. Alongside him, Vincent D’Onofrio delivers another reliably menacing and nuanced portrayal of Wilson Fisk. While it’s not among their best performances as these characters, it’s still gripping to see them back in action together.
 
While the show is known for its legal elements (and this new series has plenty of that), people also tune in for its stylish action. This season delivers its fair share of heart-pumping action, full of blood and bone-breaking. I will say that the middle episodes aren’t nearly as gripping as the bookend episodes which deliver the most captivating action of the season, but this is a shortcoming that is made up for by good quality storytelling throughout. For those worried this show would go soft on Disney+, I think Episode 1 will put those concerns to rest quite quickly.
 
Daredevil: Born Again delivers a solid first season that acknowledges its past while paving a sturdy future for itself. There are a handful of characters and cameos that people will be excited to see no matter how inconsequential it might seem in the grand scheme of things. It feels like the Netflix series never ended, and it has me excited for what’s in store next season.
 
Daredevil: Born Again Season 1 begins streaming its first two episodes on Disney+ March 4 with episodes premiering subsequent Tuesdays. All episodes have been reviewed.

​Rating: 4/5