Tag: franchise

SPIDER-MAN: BRAND NEW DAY – Review

As we trudge past the miserable heat of July, many movie fans might think that the Summer season of blockbusters is over with the arrival of August. And they would be wrong. Just as it appeared that TOY STORY 5 would be crowned box office king of 2026, film franchise royalty returns after a five-year hiatus. Ah, but with his comic book roots, will the media pundits crying “superhero fatigue” be proven right, especially after SUPERGIRL failed to take flight? Well, from the internet buzz and the spectacular ticket presales, it looks like this scrappy wallcrawler has many more “webs to spin”. But with a new director guiding that trilogy’s trio, his many fans are bracing for a different era in SPIDER-MAN: BRAND NEW DAY.

Here’s the cover to a paperback prose story with the then CBS TV stars back in the late 70’s!

Yes, a new, more subdued tone is established in the opening moments of this installment. The spell cast by Dr. Strange in the previous film hasn’t weakened. The world has forgotten Peter Parker (Tom Holland), who is now living on his own. When he’s not working as Spider-Man with his NYPD connection (unofficially), Det. Jean DeWolff (Liza Colon-Zayas), Pete is following the constant online video updates (all through MIT) of former BFF Ned Leeds (Jacob Batalon), with cameos from his roommate pal, MJ (Zendaya). And yes, Pete’s still carrying a “torch” for his lost love. Which is why he’s spending so much of his time as the Big Apple’s protector. Naturally, things get very weird when a super-villain he helped put away, Mac Gargan AKA the Scorpion (Michael Mando), is sprung from the fortress run by the feds at the Dept. of Damage Control by a mysterious mind-controlling force that jumps from one person to another, after a janitor commandeers a tank. Complicating things is the unwanted “help” from NYC’s other, less-adored vigilante, Frank Castle AKA the Punisher (Jon Bernthal). After a briefing by DODC chief Bill Metzger (Tramell Tillman), Pete runs into Ned as he grabs some supplies for his big housewarming party. Following him, Pete crashes the party and sees MJ there with her new beau. Later that night at his home, he seems ill and faints. The next morning, Pete wakes up in a web cocoon, outside his window. Something’s happening with his body and mind. Could his spider-enhanced DNA be mutating? A visit with celebrated ESU prof Bruce Banner (Mark Ruffalo) just raises more questions. Can Peter survive this “metamorphosis “, while stopping this new menace that appears to emanate from a shadowy young woman (Sadie Sink)? And will he find a way to reunite with his old friends turned puzzled strangers?

Despite the large, impressive supporting cast, this story belongs to Holland’s maturing Peter Parker and his arachnid alter-ego. Here he expands on his dramatic talents, going even further into pathos from the last entry. Though a lot less awkward (somehow more confident in uniform), Holland leans into the tragic consequences of his fateful, mind- and world-altering, though selfless, decisions. And that’s coupled with his panic over the strange alterations in his mind and body. Certainly, Holland is more than up to the challenge, despite having played the role for ten years over six movies. His “heavy-lifting” emoting is done with his leading lady, now real-life wife Zendaya, whose MJ still has a snarky, dark attitude, but has learned how to let people “in”. Her big “revelation” scene with Holland is a heart-tugging highlight. Their rapport is balanced by the sweet-natured charm of Batalon, who somehow becomes more enduring, even as his Ned becomes “Spidey-obsessed” (love his “tracker”). If there’s a “scene-stealer” in this flick, the title would belong to Bernthal, who brings a lot of heart to the world-weary, cynical Castle, a role he’s honed over several streaming TV shows. This “flip-side” spin on crime-fighters is a welcome addition to the story. And it’s great to see Holland finally sharing some scenes with Ruffalo, whose Banner is an easy-going, affable academic and another mentor ala Tony Stark. Sink is somehow sinister and sympathetic as the villain that’s more than her sometimes “evil deeds”. Speaking of mentors, Colon-Zayas is another nurturing maternal influence on Pete, and a great partner, much like Inspector Henderson on the 50’s Superman TV show. And I don’t want to spoil it, but the film also has great sequences with two wonderful actresses, one that figures in the MCU future, while the other is a sweet return from a past fave.

Here’s the Spidey story that introduced the Punisher!

So who has replaced Jon Watts after his time as director of the previous trilogy? None other than Destin Daniel Cretton. After helming the Shang-Chi feature (which should’ve had a sequel years ago) and the superb streaming show “Wonder Man”, Cretton injects quite a bit of real-world grit and a streetwise style (truly “friendly neighborhood”) into the Spidey saga. Although two of the main series screenwriters, Chris McKenna and Erik Sommers, penned this one, it eschews much of their bouncy, whimsical sensibilities. This helps in setting it apart from high school romps and shenanigans, with the main trio mulling over their place as adults in this grounded setting. Aiding in this is the moody camera work from Brett Pawlak, which still meshes with the soaring music score by the returning Michael Giacchino. There’s no rehashing done, although there are some nice nods to MCU history and the memories of Pete and his pals. This helps in getting past a few wonky subplots (without Stark, how is all that tech acquired?). All the effects (love the “zombie pulse waves”) work well, especially with the thrilling action scenes (this Hulk truly smashes). With so much to enjoy, the final act doesn’t wrap things up in a satisfying manner, with no real “sign-off” with a major character. But fans will enjoy seeing Spidey with two other comic stalwarts (three really), and the tykes will get to see their hero in dazzling action with some of the best “city swinging”, though there are some dark, scary moments. It doesn’t quite “stick the landing”, but there’s lots of what makes the “web-head” endure for over 60 years (lots of “mushy stuff” in the Stan Lee-penned tales) in the exciting and often amazing SPIDER-MAN: BRAND NEW DAY.

3.5 Out of 4

SPIDER-MAN: BRAND NEW DAY opens in theatres everywhere on Friday, July 31, 2026.

MINIONS & MONSTERS – Review

So, after seeing the new TOY STORY installment (at least once), you say that ya’ just can’t get enough of CG animated franchises? Well, the multiplex movie gods have answered your prayers. Less than two weeks after the return of Woody, Buzz, and their plastic pals comes the newest flick in a series that’s almost half as old. Technically, this is the seventh one in the series, but it’s really the third of the spin-offs. So, has this gang of jabbering yella’ fellas “worn out their welcome”, or do families need another visit from them? Hold on, looks like they’ve brought some company, since this comic adventure is titled MINIONS & MONSTERS.

After a really nostalgic and clever opening credit sequence, we join an inquisitive tour group at a Hollywood movie history museum. When their guide, Olivia (the voice of Allison Janney), shows them the display honoring the Minions, the kiddies are perplexed. She explains as we begin a flashback to a time long ago when the Minions were in search of a “big boss” (they have to be sidekicks to somebody evil and worthy). When things don’t work out with several potential candidates, they make their way to North America. Naturally, there are rebels in the mix (a trio): the plump, silent Ed, artist James, and the dreamer, the writer of stories, Henry. In a desert out West, the team spies a desperate bandit on horseback as he tries to elude a determined posse. Ah, but it seems that the “M squad” has stumbled onto the set of a silent movie in the 1920s. When the chase ends in bustling LA, the flick’s director, Max (Christoph Waltz), believes his epic is ruined. But when he shows the footage to his bosses, Frank and Elwood, the heads of Bright Brothers Studio, it’s a sensation. The duo proclaims that the lil’ guys will be in all their features from now on. Max finds them and proceeds to make the Minions big, popular movie stars. Still, Henry and James want to tell their own stories. But fame is fickle, and the guys fall out of favor with the arrival of “talkies,” AKA sound films. Henry believes that the sure way to get back “on top’ is to make a monster movie. However, all his yellow buddies, except James and Ed, decide to resume their “big boss” quest. Luckily, Henry still has a book of spells from a wizard, so they conjure up a monster, saving on special effects and makeup. Ah, but the lil’ green guy, Goomi (Trey Parker), has an evil scheme up his sleeve. Can he deceive the trio? And what happens when the other Minions find a new “candidate”, a robot-costumed science-fiction fan named Dort (Jesse Eisenberg)? Will they reunite to stop Goomi and finally meet their dream “mastermind”, Gru?

As the old TV commercials used to say (maybe still do) “your mileage may vary”. Here, I’m referring to your own feelings and tolerance for the lil’ “banana bros”. I still find them somewhat amusing in small doses, so I had some trepidation about a third feature. However, much of this does work, at least in the first act or so. By delving into their past, we’re given new backdrops for their comic chaos with some nicely designed “masters”. The international settings are great, but the artisans really shine as they recreate La-La-Land from a hundred years ago. The colors are dazzling with the city still shiny and new. Plus, this works in lots of nifty tributes to the classic stars of the time, though the museum settings also do this with a fun filmmaker cameo. We get a nice riff on the oft-told tale of silents going from sound, perhaps best seen in SINGING IN THE RAIN and THE ARTIST (let’s try to forget the wretched BABYLON). Oh, this would be a terrific TV special, a splendid streaming thirty minutes or so. But then, it keeps going. The plot requires the M’s to split up and bounce between the “A and B’ stories. And neither are half as engaging as the opening. Per the title, we’ve got to meet those monsters, led by the Lovecraft-inspired Goomi, with Parker tweaking his Cartman tone. His larger henchmen, Howard and Phil (aha, H P), aren’t that interesting, though Irene, the “mega-monster”, is more compelling with her zillion eyeballs floating in caramel pudding look. In the “B” zone, Dort doesn’t transcend the old “nerd SF geeks” cliches even as he begins a romance with a sweet suffragette, Debbie, voiced by Zoey Deutch. As for the other vocal talents, Bridges seems to be having fun as the twins (one mellow, as the other fumes), and Waltz brings lots of Stroheim-zeal to Max. Once more, all the Minions are played by this film’s director, Pierre Coffin. It’s a shame he has to pad out the plot, since the physical acting is superb and the images compare favorably with the Pixar wizardry. But by the time the extended finale showdown finally concludes (guessing this is a kaiju/Kong satire), the kids may be exhausted beyond the somehow lengthy ninety-minute runtime. It’s an improvement over the previous two flicks, but the separate plots and urban destruction detract from the silent era celebrations at the heart (and opening) of MINIONS & MONSTERS. And, speaking of the latter, why are there none of the classic movie monsters in this release from Universal Studios (at least Lon Chaney, Sr.)?

3 Out of 4 Stars

MINIONS & MONSTERS opens in theatres everywhere on Wednesday, July 1, 2026.

TOY STORY 5 – Review

Summertime is truly “funtime” once more at the multiplex because several dear old childhood pals have returned for a brand-spanking-new adventure. Now it’s not the Avengers or those “furious-fast fellas”, either. You see, this ‘team’ has been entertaining us in theatres for over thirty years now, so original fans are introducing them to their offspring. They’ve really been through a lot (the warranty has lapsed long ago), but this may be their biggest challenge yet, one that many parents are dealing with: the “screens”. And isn’t it somewhat ironic that the first big CG animated heroes of movie features are tussling with “tech” in TOY STORY 5? Double that since this comes to you from one of those dreaded “devices”.


Strangely, this installment actually starts on what appears to be a deserted island. A cargo ship has washed ashore, spilling its contents all over the beach. Why, it’s an army of the new “tech-enhanced” versions of Buzz Lightyear. As these confused Space Rangers attempt to return to civilization, the location switches to the bedroom of sweet, shy lil’ Bonnie (voice of Scarlett Spears) as she stages a big wedding involving nearly all the toys that were gifted by Andy (from TS 1-3). It’s fun, but the toys’ leader, Jessie (Joan Cusack), along with her smitten admirer, the original “low-tech” Buzz (Tim Allen), are concerned that she’s not making many friends, including the twins that moved in across the street. Bonnie’s parents share their worry and try to help by bringing home a new plaything, a game-filled children’s “first computer” called Lilypad (Greta Lee). It quickly becomes apparent that this “device” has become the pre-teen’s obsession, taking away all “playtime’ with the toys. After deputizing Buzz, Jessie puts in a call to the AWOL (from TS 4) Woody (Tom Hanks). But Lilly has her own agenda, and connects Bonnie with her dance classmates, who invite her to a sleepover. In an effort to tag along, Jessie and Bullseye the horse end up at a reminder of Jessie’s past heartbreak. Meanwhile, a confused Woody reunites with his pals and joins Buzz in a battle of wills with Lily. Can the gang finally get back together and triumph over the tech, or will they get “boxed up” and forgotten as Bonnie is swayed by the “screen”?

Yes, those rumblings online prove to be true: this is Jessie’s story. So, let’s let out a most appreciative yodel to the wonderful Ms. Cusack, who deftly mixes spunk, snark, boisterious energy, and sweet sentiment to everybody’s (this’ll grow the fanbase) favorite ginger cowgirl. Of course, it helps that the story builds on one of the greatest scenes of the series, the “backstory” of her first “kid,” Emily. It’s no wonder that “Andy’s gang” flourishes with her as the new “sheriff”. It’s great that Jessie has much more depth here than in the last installment, which also goes for her romantic “pardner'” Buzz. Allen brings some of that original bravado tinged with trepidation as he struggles to find the “right moment” to express his feelings. And, of course, Hanks is terrific as the more “mature” Woody, complete with poncho and “bare” pate spot. As for the new additions, Lee as Lily, has a soothing “singsong” quality which gives a great passive-aggressive tone to her “burns’ and boasts about “hooking” Bonnie. Spears melts our hearts as Bonnie, and is a sweet “play pal” to another “newbie” Blaze, given a rowdy tone by Mykal-Michelle Harris. But the most interesting and funniest new “old” toy (he’s a big “plot propeller”) is Smarty Pants, a friendly old school low-tech “potty-trainer” blessed with the sneering sarcasism and caustic comic timing of Conan O’Brien. In such an impressive ensemble of talent, he might be the supreme scene-stealer.

Though he’s been part of the screen stories for all of this series, this film marks the first to be directed by Andrew Stanton, sharing the “chair” with McKenna Harris (both wrote the script). This duo expertly balances the comic interplay with the characters with a whole lot of heart (again, Jessie’s history, along with Bonnie’s “social challenges”) along with a rollicking adventure structure (the ole’ heroes’ journey). While many fans have slammed Pixar for “falling back” on sequels (hopefully this year’s successful HOPPERS silenced some of the most vocal), here they’ve found a great way to return to the “toy box” via an important message concerning a current parenting quandary. The “screens” are dazzling the toddlers, so how does this affect personal interactions? The filmmakers have crafted a timely tale that addresses this, while never preaching, and promoting a balance. Plus, they’ve given a new “spin” on the usual “villain” tropes of the series (Sid in #1, Al and Pete in #2, Lotso in #3, and Gabby Gabby in the last one), so they avoid a “retread” and allow for an engaging redemption arc. Of course, the animation is splendid with expert physical acting, wonderful character design (even the minor humans and animals), and superb background renderings from suburbia to a lush ranch, with a tropical ‘stopover”. While many early viewers have stated that this is the best of the franchise (it doesn’t match TS2, though that’s an incredibly “high bar” to surpass), it is true “family entertainment” of the highest quality (miles from a “churned out” “cash-grab”). The artisan wizards of Emeryville have dazzled us once more, bringing wonderful wit and relevance to the beloved movie icons that “started it all” way back at the end of the last century (whew) with TOY STORY 5. Now that’s some quality “playtime”…

3.5 Out of 4

TOY STORY 5 is now playing in theatres everywhere

READY OR NOT 2: HERE I COME – Review

Yes, it’s a week past Friday the 13th, but that doesn’t mean that we can’t be part of a fledgling fright franchise. Particularly a horror franchise, a concept that probably goes back to the Universal horror classics of the Golden age, starting strong with 19341’s FRANKENSTEIN (DRACULA was not as prolific, really). Hammer picked up the mantle in the late 1950s and into the early 70s with Christopher Lee as Dracula and Peter Cushing as Baron Frankenstein, though you can argue that American International Pictures had a series with the Poe adaptations from Roger Corman starring Vincent Price. He also did two films as THE ABOMINABLE DR. PHIBES, around the same time as those blood-suckers BLACULA and Count Yorga. At the end of that decade, extremely long-running franchises sprang from HALLOWEEN and FRIDAY THE 13TH. In the last few decades, we’ve gotten our current scary series, SCREAM, along with the FINAL DESTINATION. And then there’s the sub-genre of horror/ SF with ALIEN and PREDATOR. This new one is a bit of a hybrid, as it’s an action-oriented fright fest. So, are you all prepared for READY OR NOT 2: HERE I COME? Ya’ better be ’cause…” ollie, ollie, oxen-free”!

So, this new flick picks up right where READY OR NOT ended (almost seven years ago, c’mon). Bloody and battered Grace MacCaulley (Samara Weaving) is enjoying a smoke as the mansion of her new in-laws, the esteemed Le Domas family, goes up in flames. We hear the arrival of the paramedics and other disaster teams. As they question Grace, she faints from traumatic shock. While she’s “out”, word of the demise of the Le Domas dynasty spreads like wildfire to several other wealthy, influential families, who want to replace them as “Lucifer’s favorites” and rule the globe. It all starts at the Danforth casino/country club, as their trusted Lawyer (Elijah Wood), explains the demands of “Mr. Le Bail” to twin siblings Ursula (Sarah Michelle Gellar) and Titus (Shawn Hatosy). They, in turn, contact the other powerful families across the world. Meanwhile, Grace awakens in a hospital bed…handcuffed. Seems the police have lots of questions for her about that horrific honeymoon. But before the inquiries begin, Grace is reunited with her estranged younger sister Faith (Kathryn Newton), who is still the “emergency contact”, though they haven’t spoken for many years. As Grace is about to leave the hospital, all Hell breaks loose, and the MacCaulley sisters are knocked out by a gas canister. They awaken bound and gagged in the Danforth estate’s conference room, surrounded by members of the four families. The lawyer lays out the rules for a new “game”. Grace refuses to be “it” until Faith is threatened. The new “contest” involves the killing of the sisters before dawn in order for one of the families to become the new reps for the Devil. Can the still-recovering Grace protect Faith from these packs of wealthy predators and live to see a new day?

I suppose we need to begin with our only returning “survivor”, the fierce Ms. Weaving. Here she gets to add a few new “layers” to Grace, as the experiences of her “wedding celebration” have left lots of scars, physical and psychological. And she’s had little time to heal either (the hospital did do a pretty decent bandaging job). Weaving’s eyes project the fatigue of battle. But now she’s got a big reason to “soldier on”: the rekindled love for her sibling and a hope for reconnection. This introduces a terrific new character into the mix, sister Faith, played with spunky snark by the engaging Ms. Newton (one of the bright spots of the last dismal Ant-Man flick). At the first reunion of the two, she’s full of anger that masks the despair of rejection. However, when the s#*t goes down, Faith proves that the fighter’s spirit is in her, too. Newton sells both the stunts and the emotions. It helps that the ladies have a formidable “murderers’ row to play and literally bounce off. At the forefront is the eternal “slayer” herself, Gellar, who gives Ursula a ruthless, calculating edge and a razor-sharp wit and intelligence that helps her muzzle and restrain Hatosy as the deadly, demented Titus, the wildest of “wild cards.” Hatosy unleashes a white-hot demon who seemly “springs to life” as he delights in the torture of his prey. Here’s another nuanced role for Wood as the unwavering and enigmatic barrister, who is also a referee and executioner. Most of the other “hunters” are played for laughs by a talented ensemble. Standouts are Dan Bierne as the robe-clad, martini-swigging Danforth cousin, Kip, and Maia Jae as the spurned fiancée with a personal score to settle.

I referred to this as an action/horror entry, but it’s also a very dark, almost pitch-black comedic romp. It’s a satiric spoof of all the “evil rich” tropes, while being unafraid to go for big slapstick set-ups with gore-splattered (Jackson Pollock-inspired) gag pay-offs. This seems to be a “calling card” with the directing team of Matt Bettinelli-Olpin and Tyler Gillett. They directed two SCREAM installments and the equally bloody-fun ABIGAIL since the last tale of Grace. And Matt co-wrote this with returning scribes Guy Busick and R. Christopher Murphy. They supplied the MacCaulleys with lots of verbal burns and zingers that often land with more force than their combat skills. Plus, they concoct a multitude of clever ways for the baddies to commit their carnage with lots of dated devices (part of the family fortune’s past). The filmmakers keep the often convoluted plot from collapsing, while knowing when to slow things down a touch for a bit of sibling angst. Sure, the surprises from the first flick (the offerings to Mr. Le Bail) are absent, but the addition of Faith and expansion of the enemies help to make this a frenetic and still fun follow-up. So if you’re not too squeamish (I wince at the actors trying to get the sticky red goo from their skin and hair… yuck), then you’ll enjoy this “sudden-death” round of the “game” in READY OR NOT 2: HERE I COME. But, is it now “game over”?


3 Out of 4

READY OR NOT 2: HERE I COME is now playing exclusively in theatres

BALLERINA (2025) – Review

With another post-Memorial Day weekend, yet another franchise arrives with a new entry at the multiplex. It feels like a week ago (and it was) that I wrote about the return of THE KARATE KID, which was a sequel/reboot that dealt with the loss of a major supporting character, Mr. Miyagi. This new film takes on the challenge of continuing a series when the major “title” character met his end (yeah, probably…) in the last installment. Well, you bring in another, similar “principal” and set the story during the “in-between” time of previous entries. This way, that beloved figure can be “ret-conned” using old footage and new scenes, as a supporting player “passing the torch”. Or in this case, “tossing a huge freakin’ gun with an endless clip”. And so, here’s the new “super action” diva known as BALLERINA, though many sites list it with the “play it safe” “intro tile” of IN THE WORLD OF JOHN WICK, since they want all to know that this “aint’ no” frilly ballet flick (but it does briefly concern that).


And it’s the first image we see, namely, an amusic-box style toy with a twirling tutu-wearing dancer in a glass bubble. It’s the prized possession of eight-year-old Eve, who is living a peaceful life with her widowed young father in a blissful beach estate. He mentions a lost older daughter before the tranquility is shattered by a force of heavily armed men. Eve hides behind a wall, but through a row of books she watches her battered papa get questioned by the group’s leader, a dark, brooding man known as the Chancellor (Gabriel Byrne). Before he expires, Daddy leads Eve away, after she spots an odd “X” marking on the wrists of the killers, to a safe spot where she is eventually taken in by Winston (Ian McShane), who puts her under the protection of the New York Continental. As the years pass, Eve (Ana de Armas) travels to the theatre location of the fearsome Ruska Roma to begin training as a classical dancer under the strict guidance of the “Director” (Angelica Huston). Actually, Eve divides her time between the ballet and bullets, as she also learns to become an elite assassin, and gets a bit of advice from a sullen visitor, John Wick (Keanu Reeves), himself. On her first big assignment, Eve encounters one of the “X-marked” men, which leads her to the Prague Continental, where another widowed father, Daniel Pine (Norman Reedus), is trying to break away from the “X cult” and the Chancellor. This sends Eve, despite stern orders from the Director to stay away, to a snowy, quiet Alpine village for a final “revenge quest” against the Chancellor, who brings in the “biggest gun” (you-know-who) to end the deadly dance of the blood-soaked ballerina.

As one of many who groused that her appearance in the last James Bond flick was far too brief (really one of that lackluster flick’s best sequences), I was pleased that we get to see the captivating Ms. de Armas in full “action queen” mode as the revenge-obsessed Eve. Her “hyper-focused” stare and superb physical combat skills really carry the simple story across the globe. We get to see a touch of Eve’s emotional anguish, often as she strives to be a “killer dancer” rather than the former, but the filmmakers want to firmly establish a new “force,” and Ms. de Armas is more than up to the often exhausting task. Plus, she has an excellent rapport with Reeves (actually their third film together), who slips right back into the stoic, sullen Wick as though he were donning one of his indestructible jackets. His time in her tale is brief, but Reeves brings the gravitas as he gently nudges Eve into the spotlight. Byrne is effective as the calm, cool mastermind, balancing a soft, gentle tone ( a mask, really) with the malignant, murdering tyrant interior. Also, as another tough crime veteran, Houston still captures us with her piercing glare as another major “player” in the global underground. Bringing a lot more warmth is the suave McShane, as the mentor/uncle to the emotionally scared little Eve. Another great father figure is Reedus as the dad “on the lam” who points Eve, like a weapon, toward her goal/target. Big kudos for the producers for giving us one last visit from the taken-too-soon Lance Reddick as Winston’s firm but friendly “right hand”, Charon.

Director Len Wiseman, perhaps best known for the first two UNDERWORLD action/horror flicks, gets the best from his impressive stunt team along with his f/x artists, to expand on the “Wick world”, as they travel the planet and leave countless corpses in their wake. Yes, action “adrelaine junkies” will get a strong “fix” here as Eve piles ups the baddies in loads of new creative waves. One sequence has her “making do” with boxes of old hand grenades, turning much of a massive basement into a “Pollack painting” of destruction. It’s all nasty R-rated splattered fun, up until a point (perhaps the 90-minute mark). Ultimately, the new “spin-off” suffers the excesses of the last Wick epics as the “first-person-shooter” video game-style mayhem becomes a tad tiresome past the two “full of fatalities” hours. Yes, some of the dance/fights are engaging and creative, but it all hinges on the flimsiest and cliched vengeance plots. The locations are pretty nice, particularly a massive indoor “meat locker” frigid dance hall. Ms. de Armas is a charismatic and stunning action heroine who deserves a bolder sequel script that will build on the stunt-heavy, “drama-lite” BALLERINA.

2.5 Out of 4

BALLERINA is now playing in theatres everywhere

PREDATOR: KILLER OF KILLERS – Review

It’s always great as a reviewer when you can alert folks to a film that’s truly worth their time, a real engaging story full of twists, turns, and often very pleasant surprises. An even greater “stunner” is the fact that it’s the sixth (though some may argue it’s the eighth) installment of a nearly forty-year-old film franchise. Normally, I’d suggest that you would be wise to order tickets early to see it at your favorite multiplex, but I can’t really do that. So, here’s the perplexing and frustrating part: it premieres on a streaming app. However, it’s more than worthy of an IMAX-sized screen. The last time I felt like this was three years ago, with the action/SF/thriller PREY. And, wouldn’t you know it, this is from the very same “shared universe”. By the way, did I mention that it’s an animated anthology? Just another element in the countless delights of PREDATOR: KILLER OF KILLERS. Let the “hunt” begin!

Yes, I did say “anthology”. At least for most of the movie. Each section has its own time period and title. First is “The Shield”, set in the early ninth century. This is a Viking revenge fable focusing on the angry warrior queen Ursa (voice of Lindsay LaVanchy), who is leading a crew of killers, including her own teenage son Anders (Damian C. Haas), on a quest to take King Zoran out, the man who murdered her father. But when they breach his sanctuary, Ursa and her compatriots are not alone. It turns out that the hunters are being hunted by an otherworldly demon, a Predator. We zip ahead about 800 years for “The Sword”, set in feudal Japan. This one’s a tale of family rivalry as a grim shogun pits his two pre-teen sons against each other over the ownership of his estate. One brother triumphs as the other is banished. The years go by, and the father passes on. Before son Kiyoshi claims his inheritance, his prodigal brother Kenji (Louis Ozawa) returns. Ah, but a different Predator silently observes, waiting for his time to strike. Finally, we’re in the 20th century, though at the start of WWII. In “The Bullet”, we meet newly drafted Latino-American (I’m guessing Cuban) John Torres (Rick Gonzales) is a gifted mechanic stationed on an aircraft carrier near Vichy France. He yearns to fly, but his supervisor, Captain Vandy (Michael Biehn), just wants him to make sure the planes are ready for combat, including John’s rickety fighter he’s dubbed “the Bullet”. Several pilots land in damaged planes, telling of a weird, almost invisible “enemy”. Vandy takes his squad into the “danger zone” as John finds something odd embedded in one of the engines. It’s a metal spearhead, unlike anything on this Earth. He then disobeys Vandy’s orders and takes Bullet into the battle. He arrives in time to see several squad members get taken down by a “bogey,” which becomes visible when struck. It’s an attack spaceship piloted by another Predator. When the fight ends, John’s saga is far from over as he finds himself in a locked cell on a vessel along with Ursa and Kenji. The trio, who are unable to communicate, have odd metal collars snapped around their necks and are eventually led off the ship and into an arena filled with the Predator beings. The warlord/MC informs them that they must fight to the death or their collars will explode. But John tries to inspire them to work together. But can this mismatched team survive a giant, savage alien beast and attempt to somehow find a way home?

Speaking of PREY, the same talented director is behind this. Dan Trachtenberg works with co-director Joshau Wassung to create this compelling, original exploration into the mythos of these iconic movie alien a*#kickers. They’ve even taken animation feature storytelling to a new level, expanding on the dramatic possibilities opened up by the “Spider-Verse” films. Yes, there have been many dramatic/ action animated features before (BATMAN: MASK OF THE PHANTASM immediately springs to mind), but this tackles the brutal intensity of any live “R-rated” horror/action epic. While most of the straight-to-home-video films feel close to the “four-color” comic books, this is more akin to the darker balck and white “graphic” magazines from the Warren company (“Creepy”, “Eerie” and “Vampirella”, the “unholy trinity”), though Marvel would “dip their toe” with “Savage Tales” and its ilk. Basically, the carnage is more straightforward, as the Predators chop and dismember with ghoulish glee. Oh, and the creature design is inspired. Yes, each has that “crab-pincer” mouth, but each segment has wild variants with weird weapons. Fighting the Vikings is a Hulk-like, near seven-foot-tall alien (one of the crew calls it “Grendel”), sporting a “repulsor/sonic blaster” for a right claw. In Japan, we get a leaner. graceful sword-wielding hunter with a spear on a whip-like chain. The “battle ace” beast has a smooth dome as it propels all manner of devices (constricting nets, grappling hooks, etc..) from its armored hull. And the animation is superb, though it appeared a bit stiff in the early scenes. Perhaps this was to make the battle energy more impactful (it does). And each “chapter” has a distict tone, with “The Shield” looking dark and chilly”, “The Sword” giving a Springtime feel with the forest landscapes, as opposed to the 1940s early “recruitment poster color” of “The Bullet”. It’s all paced perfectly with an “Easter egg” final shot that will have fans jumping from their couches. And that’s my only real complaint. In a “just world” I’d have been swept up in these sprawling stories by being engulfed in the biggest screens, with booming Dolby-type audio. Nope, this is only streaming, and its quality is on par with any of the other recent franchise entries. Bravo to Trachtenberg and company. Those “trilling/growling” hunters are in great hands. And I anxiously await your next live-action installment in November, PREDATOR: BADLANDS. But for the next few months, fans will be delighted, becoming eager “trophies” for the animated epic PREDATOR: KILLER OF KILLERS.

3.5 out of 4

PREDATOR: KILLER OF KILLERS streams exclusively on Hulu beginning on Friday, June 6, 2025

MISSION: IMPOSSIBLE – THE FINAL RECKONING – Review

Tom Cruise plays Ethan Hunt in Mission: Impossible – The Final Reckoning from Paramount Pictures and Skydance.

It seems impossible that Tom Cruise would stop making Mission Impossible movies, but if you have seen any of the films in this franchise, especially the more recent ones, you know nothing is impossible in the Mission Impossible universe. Yet MISSION IMPOSSIBLE – THE FINAL RECKONING is hinted to be the last in the franchise. We shall see about that. Of course, at some point, star Tom Cruise will have to step back from this action franchise, because everyone ages, including Cruise, in order to maintain a scrap of believability in this franchise built on ever-more impossible stunts. Still, since Cruise bares most of his muscular body, not once but twice, in this film, he may be telling audiences he’s still in good enough shape to continue, for now.

Fans are still enthusiastic about the action-fueled, stunt-packed franchise regardless, and if Tom Cruise wanted to go out on top for this series, MISSION IMPOSSIBLE – THE FINAL RECKONING would be a good choice. More cohesive and entertaining than the last one in the franchise, this round has now-freelance secret agent/do-gooder Ethan Hunt and his team in a ticking-clock race to defeat an AI entity taking over the world by seizing control of the world’s nuclear weapons, with a plan to wipe out humankind. It is thrilling, nail-nibbling excitement and entertainment throughout.

The series originated from a 1960s TV spy thriller series, with agent Jim Phelps and his team of skilled secret agents would thwart evil international plots, using a variety of disguises and technology. That show started with a frenetic, burning-fuse, jazz music theme, and agent Jim Phelps getting a secret assignment via audio tape that would always end with a message about official disavowing the teams action and the tape self-destructing, as it burst into flame. About all that remains of that origin show is a sampling of the catchy musical theme, a recorded message that self-destructs in a puff of smoke, and penchant for masks and impersonation. Even the name of the team leader was changed long ago by producer/star Tom Cruise, to Ethan Hunt.

As MISSION IMPOSSIBLE – THE FINAL RECKONING opens, Ethan Hunt (Tom Cruise) and his team have become free agents but are still committed to doing good. When Ethan gets a recorded-message plea for help from the President (Angela Bassett, in a brilliant bit of casting), he lets bygones be bygones to come to the rescue, literally to save the world, or at least humankind, from a powerful AI entity that wants to rule the world, and is gaining control of the world’s nukes to do that. The all-powerful AI makes for a chilling villain, a real challenge Hunt’s skills and his team.

Along with the AI’s plan to wipe out humans, Ethan also faces a human adversary named Gabriel (Esai Morales), a smiling madman who believes he can seize control of the AI to rule the world himself, but who wants to let the AI grab all the nukes first.

Ethan’s team has familiar faces, such as Simon Pegg as tech assistant/right-hand man Benji Dunn. Hayley Atwell plays Grace, a beautiful young master-thief and skilled pickpocket who becomes an Ethan ally and sort-of love interest for Cruise, Pom Klementieff plays Paris, a roguish, deadpan and deadly fighter who has joined Ethan’s team, and Ving Rhames appears as brilliant tech/biomedical genius who is a long-time friend and help to Ethan Hunt. They are joined by a host of familiar names, including Shea Wigham, Nick Offerman, Mark Gatiss, and Janet McTeer, in various supporting roles.

But the real star of this show, as always, is Tom Cruise, in those impossible stunt sequences. In every movie in the franchise, those stunts get bigger and wilder, topping the previous one, and MISSION IMPOSSIBLE – THE FINAL RECKONING continues that mission well.

The stunt sequences are the major appeal of the series, and this one delivers. Thrilling, physics-defying sequences are abundant in this nearly three-hour long action thriller extravaganza. Stunt sequences take place in the air, with wing-walking on a pair of bi-planes, at at sunken sub in the freezing Arctic, and in numerous battles and fight scenes spanning the globe, either with Cruise battling a single foe or the whole team fighting a small army of baddies.

All the stunts and the effects are outstanding, and highly entertaining, even better than previous installments in the franchise. The thrilling, nail-biting underwater Arctic Ocean sequence is a highlight, where Cruise’s Ethan has to dive into a sunk sub to find an essential McGuffin to defeat the AI, risking life and limb in the freezing and dangerous environment of the deep ocean and on a shipwreck precariously balanced on the edge of a trench. Another thriller highlight is an air-borne, death-defying battle where Cruise’s Ethan chases bad guy Gabriel above a rugged African landscape – in biplanes.

Apparently eager to show off his physique, the aging Cruise gets nearly naked in two of these action sequences, including, mindbogglingly, in the frozen Arctic Ocean. Nothing is too preposterous in this franchise, which constantly tops itself with gravity-defying, physics-violating, and biologically-impossible thrillers, all performed reportedly by star Cruise.

These numerous stunt sequences, fight scenes and chase thrills periodically are interrupted by scenes of banter with his team, fizzy flirtations with the pretty pickpocket, and “I love you, man” emotional scenes with team members, particularly with Ving Rhames, as the tech genius who crafts a weapon that might defeat the evil AI. The whole thing takes place against a ticking clock, of course, as Ethan and the team race around the world to thwart the evil plan.

There are plenty of twists, lots of death-defying stunts, a few good guys (and baddies) lost along the way, and the whole thing is kept cooking along at a fast pace, although a few scenes could have been trimmed to reduce that excessive running time, mostly in some of the too-long emotional scenes between action sequences and a few extra fight scenes that don’t really advance the plot.

Still, MISSION IMPOSSIBLE – THE FINAL RECKONING delivers the over-the-top and top-the-last-one impossible stunt action, and plenty of Tom Cruise heroics, that fans of the franchise crave, whether this really is the final one or not.

MISSION IMPOSSIBLE opens in theaters on Friday, May 23, 2025.

RATING: 3 out of 4 stars