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 Daniel Lima

Review by Jonathan Berk

The Penguin Lessons is a new film that, despite being set in the past, feels somehow extremely current. I found this movie to be a pleasant surprise for a multitude of reasons, namely because of Jeff Pope's incredible script, Steve Coogan's astounding performance ( which combines drama and comedy), and Peter Cattaneo's solid direction. Of course, the cute penguin and the fact that the story is inspired by true events help to make it quite compelling. This feels like one of those quiet films that may not work for everyone…but if it does, it’ll leave you gob smacked. 
​
Inspired by a true story, Tom (Coogan) moves to Argentina in 1976 to work as an English teacher at a private school. He is very content living life on the sidelines, doing just enough to stay afloat. However, Tom discovers he lives in a divided nation, and teaches a class of unteachable students. It’s not until he rescues a penguin from an oil-slicked beach against his better judgment that his life starts to change.

Fans of Coogan will not be too surprised at his ability to nail this role. Tom exudes a dry sarcasm mixed with cynicism from the moment he first arrives in Argentina. He keeps most people at a distance, seemingly interested in nothing more than just skating by. An early scene shows him taking a nap on a bench when he is supposed to be coaching rugby. He overhears a conversation between the local fishmonger and Sofia (Alfonsina Carrocio), a school custodian, about the change in government. Sofia inquires whether her conversation disturbed his nap, but he pretends he heard nothing. It’s a keen insight into Tom's psychology. 

He is very much interested in people, and clearly has ideas about the way things should be — or at least the way things could be.  However, he opts for the passive role in life. The way the story plays out in Pope’s script forces Tom to have to make some tough choices. Coogan not only can bring levity to many of the scenes but is capable of effectively delivering the emotionally powerful ones. He can maintain the facade of his outward persona while his eyes betray the true emotional turmoil boiling underneath. It’s a powerful performance inside a captivating story.​

The supporting cast is also deserving of praise. Jonathan Pryce plays the school’s headmaster, who is a tough nut to crack — but eventually, he warms up as well. Björn Gustafsson plays a Finnish co-worker who is desperate for a friend and a shoulder to cry on, with no sense of personal space. Carrocio is great as Sofia, and her grandmother is played by Vivian El Jaber, who has incredible moments with Coogan. Several of the students give solid performances, with David Herrero being the standout. Despite all the solid performances from the human cast, there is a clear co-star that is undeniable…the penguin. 

Technically, it was a couple of different penguins, but every moment that there is a penguin on screen is just wonderful. Coogan is able to bounce off the bird as if it were Rob Brydon during any of the moments from The Trip franchise. That’s not a shot at Brydon as much as it is a credit to both Coogan and the penguins. There is so much chemistry with this pair that it makes the movie a pure joy to watch. However, the penguin gets moments with other characters — and they all work. 

An unexpected element of this story is one that parallels with the Oscar-winning I’m Still Here, as the new government is making people disappear. It’s a plot point that greatly impacts Tom and his fear of getting involved. The fear of government retribution also creeps into the classroom, and what he is allowed to teach. The students at the school are mostly spoiled kids of wealthy Argentinians with various connections to the new regime. The idea of doing nothing while so many others' lives are being impacted is a major source of conflict for Tom and one that many may relate to right now. 

There is no denying that movies about teaching usually connect with me. Tom doesn’t start as a teacher that I would support. However, as the film went on, I found Tom to be a kindred spirit. The connection to the unexpected pet only felt all the more relevant for me, having just lost a dog of over 15 years and then immediately gaining a new puppy. I say all this to make sure it’s clear that this film felt like it was made for me at this specific moment. Your mileage may vary. 

Despite my predisposition to connect with this film, I still think it is quite exceptional. Pope’s scripts for Stan and Ollie and The Lost King worked for me as well. Coogan is usually a reason to give a film a chance if he has more than a few scenes. There is much at work to make The Penguin Lessons a standout; and yes, the penguin is also a metaphor. 

The Penguin Lessons will be in theaters on March 28. 

Rating: 5/5

​

Review by Adam Donato

It’s ironic that this film was produced before the allegations against Majors came out because this performance feels like a response to this. Almost as if it's propaganda trying to rehabilitate Majors’s image as he is just a supremely driven individual who occasionally flies off the handle despite trying his absolute best to keep a lid on it. Majors is really good in the film. It’s very difficult to watch him try to remind himself constantly about how to properly operate, but inevitably lets his anger get the best of him. He has several freak out scenes that are just heartbreaking. The bodybuilding competition meltdown is a more obvious one, but the most impressive scene is when he confronts his former attacker in a diner. When he’s at his lowest is when he really shows his true colors and you really get to see his toxic outlook on himself and the world around him. Without spoiling anything, the film ends in a very ambiguous way as we are left to imagine how a person like this can continue on the path they’re on. Majors isn't doing anything crazy out of his comfort zone as this role feels like a more grounded version of the character he was playing in Creed III. Nonetheless, he still deserves credit as he carries out this movie on his “small” deltoids.

Magazine Dreams is sure to fly under the radar, which is unfortunate because a lot of artists came together to make a good movie. The timing is inconvenient, but if one can separate life from art, then there’s a lot of value to be found here. It’s tragic to watch this pathetic character fall farther down the hole he continues to dig for himself. While staying proactive is key, it’s important to maintain positive relationships and be kind to ourselves. Check out Magazine Dreams in theaters this week.

Magazine Dreams will be in theaters on March 21.

Rating: 4/5

Review by Daniel Lima

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 

​Flying Lotus has more than earned the title of visionary. Having Coltrane blood undeniably helps, yet Lotus has carved his own path from musician to filmmaker, offering his own brand of creations along the way. Sometimes, however, being a visionary is a two-edged sword. In the case of his latest directorial feature Ash, some of the worst tendencies of his creative genius shine through.

Ash is filled with moments that want to defy convention. Every moment looks to warrant a reaction, whether it be repulsion, scares, or aural and visual confusion. Up for debate though is how much context it all adds. With most of the opening sequences building up to jump scares, the effect becomes old quick. The blistering sound design keeps most dialogue muted, while the visual palette sways between too few creative ideas and uninspired imagery.

To say it is a disappointment is a massive understatement. From what has come to be expected from Flying Lotus, Ash curiously feels like a film that was reeled in from its bolder creative ideas. Its main character Rya (Eiza González) is the lone survivor of a space mission to planet Ash. After an introduction filled with gory clips, the film cuts to Rya lying on the floor, covered in bruises and blood. Something terrible has happened, yet Rya has a tough time remembering what has happened. Clues are afforded by bloody bodies and flashbacks Rya experiences as she investigates her surroundings.

The film’s plot revolves around Rya piecing together what happened. Given that the results are already known via the gory remnants, Ash struggles to make any of it compelling. The action has already happened, making it a challenge to patiently wait for a not so surprising reveal while an obnoxiously loud soundtrack threatens to rupture eardrums. It isn’t until a mysterious visitor named Brion (Aaron Paul) arrives that something interesting looks like it may be stirring the pot.  Even then, the results are lackluster.