The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
Guy Ritchie has had an eventful 2023 with two films being released so far in “Operation Fortune: Ruse de Guerre” and now “The Covenant.” On paper, it was a film I was looking forward to with great anticipation, as I firmly believe Jake Gyllenhaal is one of the best working actors in Hollywood today. When I see his name or Oscar Isaac’s name on a movie poster, I’m immediately interested in checking out the film, as they always bring something unique and outside the box to the proceedings. Ritchie, on the other hand, is a stylish director who knows how to make old-school action films with a modern style.
The film is set in 2018 and shows Afghanistan through the eyes of Army Sergeant John Kinley, played by Gyllenhaal. He needs an interpreter in order to communicate with the people of Afghanistan after his previous interpreter was killed. He is introduced to Ahmed Abdullah, played by Dar Salim. John doesn’t always see eye-to-eye with Ahmed, but Ahmed knows how to get the proper results. If the interpreters do their job, they will be granted visas to the United States for their service. One day, John is attacked by Taliban fighters and knocked out in the process. However, he is saved by Ahmed, who makes it his mission to get him back to the base.
Once he gets him back home to the base alive, John is back in Los Angeles with his family trying to piece it all together as he suffered severe head trauma. John then proceeds to try to get in touch with Ahmed and make sure he’s properly taken care of after he saved his life. He feels this bond and connection with him. Even though they butted heads at times, he knows Ahmed saved his life from the Taliban. It was not an easy task to accomplish, and he knows he wouldn’t be alive if not for Ahmed. Ahmed couldn’t take any roads and had to make sure he wasn’t noticed by the Taliban. He accomplished a heroic feat, and it is eating away at John that he can’t do the same for Ahmed in return. Instead, Ahmed has to hide in a cave with his wife and family as he’s number one on the kill list for the Taliban because he turned against them and saved an American Sergeant.
The problem with “The Covenant” is the fact it really lacks an emotional depth and connection. Ritchie has always been great at crafting violence and in-your-face action. He does this here. However, he forgets to take the time to really build a proper relationship between John and Ahmed. He didn’t develop the characters individually or together. Because of this, the film suffers greatly and doesn’t feel urgent. When you have an actor like Gyllenhaal at your disposal, there really isn’t anything the man can’t do on screen. However, he is knocked out for part of the film, and for the other moments he’s on screen, he’s yelling, screaming or in battle.
In the end, I was pretty disappointed with “The Covenant.” It is not a bad movie by any stretch of the imagination. I just figured with a two-hour running time, Ritchie would strike the right balance between action and emotion. Instead, it is about eighty percent action and twenty percent character development. That is not a good percentage for a successful film. The moments which should have carried more weight really, really felt flat. I kept waiting to get into the story, and it never took off for me. I do, however, hope to see Ritchie and Gyllenhaal work together again in a film with a better script. This one was watchable, but it should have strived to do more with its premise. Sometimes Ritchie makes the fatal mistake of making a film which is all style and not substance. This is all action and very little substance.
* * out of * * * *
Blu-ray Info: Guy Ritchie’s “The Covenant” is released on a two-disc Blu-ray and DVD combo pack from Warner Brothers Home Entertainment. It also comes with a digital code for the film. I must admit I was very surprised a film like this did not receive a 4K release. It would not have improved the quality of the film, but it’s the kind of film that really lends itself to the 4K format. It has a running time of 123 minutes and is rated R for violence, language throughout, and brief drug content.
Video Info: The 1080p transfer does look really, really good, but I would have liked to have seen what a 4K transfer of this film would have looked like considering some of the action scenes in the film. The Blu-Ray is impressive looking, though, and holds up its end of the bargain.
Audio Info: We are treated to a great Dolby Atmos soundtrack here along with subtitles in English and Spanish. Considering all of the action in the film, I was happy I was able to keep it on the same sound level throughout the film without it ever getting too loud.
Special Features: None
Should You Buy It?
Guy Ritchie’s “The Covenant” was a letdown for me. It’s nearly impossible to be bored by a Ritchie film, as there is always something happening on screen, but this is a film where I really felt the running time of a little over two hours. I didn’t feel like there was enough going on with the plot. They had a solid idea for a film along with a major star, but it never really took off. I thought it would turn around in the second half, but it never really found its footing. Once again, I’m really surprised this film did not get a 4K release, but I’m guessing it might be because it was not a big box-office hit. If the film had made more money in theaters, I think it would have had a 4K release. It’s still a good-looking Blu-ray, but there are absolutely no special features. I don’t think it’s worth owning at all, but if you catch it on Max, you might find it more enjoyable than I did as a viewer. It’s rare that I’m this underwhelmed by a Jake Gyllenhaal or Guy Ritchie film. I thought the two of them together would make a really exciting action flick. Instead, this is as run-of-the-mill as they come.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
It’s particularly interesting to watch “The Flash” as we all know James Gunn and company are now overhauling the DC Extended Universe to where many of the actors we see here will likely never get to play these iconic characters ever again. Who knows if we will ever get to see Gal Gadot play Wonder Woman in another film? As for Henry Cavill, his days as Superman are now sadly over. As for Ben Affleck, it kind of feels like sheer luck he is back as Batman considering what a bust the theatrical version of “Justice League” was. In a lot of ways, this DCEU installment is a goodbye of sorts, both literally and thematically speaking.
And at the center of it all is Ezra Miller who returns as Barry Allen and his alter ego, The Flash. Long before this film’s release, Miller had been in various legal shenanigans to where I wondered if he was actually playing himself in “We Need to Talk About Kevin.” If all these allegations are true, it is a miracle he is not in jail or a mental institution, and it’s no surprise that the bosses at Warner Brothers did their best to shut him down months before this film’s release. Of course, their conversation with him probably went something like this:
“Look Ezra, we have put hundreds of millions of dollars into this superhero movie, not to mention the similar amount we put into advertising and publicity. Don’t mess with us or our investors! We need a solid return on this one before we doctor the books to make it look like it has yet to go profit… Oh, and get some mental health treatment. I think you need help.”
Well, regardless of the extended chaos, “The Flash” is now in theaters, and regardless of what you think of Miller as a person, he does give a solid performance as not one, but two Barry Allen’s as he struggles to straighten out the DCEU multiverse which proves to be as easy to fracture as the one in the Marvel Cinematic Universe is.
This movie gets off to an entertaining but rough start as Barry is forced to go into action as a hospital is about to collapse to the ground. Ben Affleck’s Batman is on hand to handle the bad guys while Barry races to save a nurse and a number of adorable newborns from certain danger. The visual effects were all over the place and not altogether exhilarating in the way they should be, and it made me worry that “The Flash” would fall short of the finish line. Perhaps I have been spoiled by the glorious spectacle that was James Cameron’s “Avatar: The Way of Water,” as the visual magic he gave us makes all other CGI effects pale in comparison.
Things, however, do get better as we get to the heart of the story in which we learn how Barry’s mother, Nora (Maribel Verdú), was murdered and that his father, Henry (Ron Livingston), was wrongfully convicted of the crime. Like any other iconic superheroes, Barry has suffered a terrible tragedy which has come to define him, and he pines to get back those he lost too soon.
But then Barry discovers that, in addition to running at lightning speed, he can also go back in time. From there, he succeeds in preventing his mother’s murder thanks to a can of tomato sauce, and everything seems right in the world. The problem is, he quickly discovers he is not in his own reality as he is confronted with another version of himself who is overly obnoxious, and he learns certain superheroes are not around to lend a helping hand. To make things even more unsettling, he is in a reality in which Eric Stoltz was never recast as Marty McFly in “Back to the Future.”
From there, we know Barry has to go back and undo the damage he did to the multiverse. The story of what happens when you mess with time and change the course of events has been done to death. I have seen it dealt with in the “Back to the Future” movies, “Project Almanac,” “Frequency,” “Hot Tub Time Machine” and at least one or two episodes of “The Twilight Zone.” But while the narrative thread may seem overly familiar and the story’s resolution can be seen from a mile away, it is how director Andy Muschietti (“It” and “It: Chapter Two”) gets to this resolution which makes it feel both earned and heartfelt.
Now while the visual effects might seem underwhelming initially, they do get better as they go along, and they prove to be at their best when Barry Allen desperately tries to repair the multiverse in various ways. This leads to some incredible visuals at we get a look at iconic characters in their past incarnations, and of what they could have been cinematically speaking had certain projects not fallen apart. There are a variety of priceless cameos which are too good to spoil here, and they are worth the price of admission.
Miller may be a troubled soul in real life, but he does really strong work here as both versions of Barry Allen. While the Barrys initially come off as annoying and cloying, I really liked how Miller made each of them evolve throughout the film’s 144-minute running time. While the characterizations might seem too broad at first, the way they achieve their objectives is given a lot of depth by Miller as they make harsh realizations of what they can and cannot change, and of their responsibility to the universe they exist in.
But yeah, the real selling point of “The Flash” is seeing Michael Keaton return as Batman. After he retired from the role following “Batman Returns,” I never thought I would see him played the Caped Crusader ever again. Seeing him in Tim Burton’s “Batman” made audiences realize what a strong dramatic actor he could be, something they should have realized a few years before when he starred in “Clean & Sober.” Seeing him back in this role 30 years later is a real treat, and he hasn’t missed a beat as he brings the same gravitas, thoughtfulness and humility we saw him give this character in the past. I thought it might be just a mere cameo, but his Batman is very central to the plot.
As for Affleck, I really do believe it when he said he had a lot of fun being in “The Flash.” While his intro into the DCEU was a rough and bumpy one, he has finally settled into this character to where he could make it his own even in the brief time he appears. Still, this may be the last time we see Affleck’s Batman, and it feels a bit sad as a result.
Sasha Calle gives us a strong and formidable Kara Zor-El/Supergirl here, and I say this even though we don’t get to see enough of her here. And while it is great to see Michael Shannon in anything and everything, his presence as General Zod feels shoed in as the screenwriters needed a central villain to center the story, and he really doesn’t get much to do.
When it comes down to it, “The Flash” is a good but not great motion picture. It is not as exhilarating as I hoped it would be, and the screenplay is a bit of a mess, but it does have heart and is never boring. Considering how bumpy it has been recently for the DCEU, particularly with the critical and commercial failure of the “Shazam” sequel, the fact it is this good is a huge relief. As weary as I am of comic-book/superhero movies, this one feels a bit refreshing and was very entertaining.
Recently, I was listening to an episode of Mick Garris’ podcast “Post Mortem” in which he talked with those involved in the horror genre who are currently walking the picket lines for the Writers Guild of America strike. In his conversations with Leigh Whannell, Darren Lynn Bousman and “Fright Night” director Tom Holland, I came to see how those who make scary movies are the nicest and most kind in the business as they constantly wish the best for one another. In any other part of Hollywood, jealousy typically rears its ugly head to an infinite degree as insecurity remains a constant.
I was reminded of this while watching the documentary “Hollywood Dreams & Nightmares: The Robert Englund Story” as it brings together a plethora of horror actors and filmmakers such as Eli Roth, Tony Todd, Lance Henriksen, Adam Green and Lin Shaye among many others. But regardless of their love of horror films, they are mainly here to talk about the actor who originated the role Freddy Krueger in Wes Craven’s “A Nightmare on Elm Street.” What results is a documentary which delves deeply into Englund’s career and ponders whether is best to be known for portraying one character or many.
Directors Christopher Griffiths and Gary Smart take their sweet time looking over Englund’s acting career, and it is great to look at when he started as this is something I have not seen enough about, His parents were not keen on him becoming an actor as they felt he was destined to become a lawyer. Hearing this, it kind of sounds like he had Kurtwood Smith’s character from “Dead Poets Society” as a father (“You’re going to Harvard, and you’re going to be a doctor”). Nevertheless, he idolized Steve Allen, and the acting bug bit him really hard.
While he was determined to become a stage actor, thinking it would be a fair business (no business ever is), he eventually made his way to Hollywood where he made his film debut in “Buster and Billie.” It was interesting to learn that he was typecast for years as a southern redneck for years, and his breakthrough role turned out not be as Freddy, but instead as resistance leader Willie. This brought him worldwide fame, playing one of the nicest aliens in a show filled with devious ones. And then came the child murderer who haunted and killed the younglings on Elm Street. From there, audiences around the world would quickly forget he ever placed nice guys.
Back in the 1980’s, there was no escaping Freddy Krueger as he was literally everywhere. On top of appearing in “A Nightmare on Elm Street” and its many sequels, there was also the television series “Freddy’s Nightmares,” and I believe there was even a rap album. I mean, let’s face it, everyone had a rap album back in the 80’s. Whether it was a good rap album or a horrifically awful one is open to debate.
This is the part of the documentary I was especially interested in because, while Englund never lacked for work in the 80’s, I wondered how he felt about being known for this character more than any other he has ever portrayed. As actors, we yearn to have a career like the ones Meryl Streep and Robert De Niro have as they continue to have the fortune to portray a sublime variety of characters to where it appeared as though they could play anyone and anything. But being typecast seems like a lifelong prison sentence to where no one will let you get paroled in this lifetime.
While I hoped Griffiths and Smart would have dug deeper into Englund’s typecasting as it clearly had an effect on the work he was able to do outside of Elm Street. He makes clear at one point about how he was forced to turn down several roles because of his involvement in the franchise which built up New Line Cinema, and that must have wounded him more than we see here.
An example of this typecasting comes when Englund and others talk about his role in “The Phantom of the Opera” in which he plays another horribly disfigured character, but one who is madly in love with a soprano singer and kills others to steal their skin and apply it to his mangled face.. And yet, when this particular film was being released, its American poster featured a picture of him as Freddy taking a mask off. While Englund was trying to do something a little different, Hollywood still played it safe by reminding audiences he was Freddy.
But the real surprise and satisfaction I had with “Hollywood Dreams & Nightmares” was seeing how Englund looks at his fame as a “happy accident.” Whereas some actors have been desperate to escape the horror genre, Englund has found a wealth of opportunities within it which he may not have gotten elsewhere. Even in movies like “The Mangler,” “Wishmaster,” “Urban Legend,” “2001 Maniacs,” “Hatchet,” “Zombie Strippers” and “Behind the Mask: The Rise of Leslie Vernon,” he has had the good fortune to portray a variety of characters to where you have to envy what he has accomplished in his long career.
Also, this documentary makes it very clear how nice a guy Englund is in real life. This shows in the way he talks and acts around others, and from the various participants who are interviewed throughout. While he may have a dark side, and everyone does by the way, it’s usually the nicest people who end up portraying the most devilish of characters. Some may disagree, but judge not lest ye be judged.
And again, the horror community on display here seems like a great group of people as everyone speaks warmly of one another. Considering how maligned a genre it has been made out to be by many critics and the touchiest of individuals, we see how it deserves to be taken much more seriously. Whether you like horror films or not, the majority of them are not crap or easily disposable.
While this is not a groundbreaking documentary in any way, shape or form, “Hollywood Dreams & Nightmares: The Robert Englund” gives us a memorable portrait of an actor who never set out to be a horror icon but became one out of sheer luck and with the help of engine oil he put into his hair for his Freddy audition. Watching Englund here reminds me of how actors can never really prepare their careers as they may end up in a far different place than they ever dreamed. Like the Rolling Stones said, you can’t always get what you want, but if you try sometime, you just might find you get what you need.
One more thing, I do hope Englund gets to play Freddy Krueger one more time. His appearance on “The Goldbergs” should not be the character’s swan song. Maybe they could do something along the lines of “Logan” where we see an old age Freddy. Hey, maybe even a musical would work. Just get Baz Luhrmann to direct it and it will be spectacular! I can see it now:
Just when I find myself getting increasingly weary of superhero/comic book movies, along comes another “Spider-Man’ installment. This friendly neighborhood web-slinger has succeeded in maintaining a high batting average on the silver screen, and this continues to be the case with “Spider-Man: Across the Spider Verse” which has as much heart, soul and endless creativity as do the best entries in this franchise. I figured this would be the case as the opening credits proved to be a kaleidoscope of crazy colors and images much like the ones Gaspar Noe used in the opening credits of “Enter the Void.” And when a certain character says, “Let’s do things differently this time,” you better believe many will.
We catch up with Miles Morales (Shameik Moore) who is ever so busy with his crime-fighting as his universe’s Spider-Man to where his parents keep wondering where he is most of the time. Never on time for his school counseling appointment or for the party celebrating his father’s promotion to police captain, he is still unable to tell mom and dad he really is Spider-Man as the truth of his alter-ego may put them in grave danger.
In addition, we meet up with Gwen Stacy/Spider-Woman (Hailee Steinfeld) who is going through some serious issues in her own universe. A tragedy has devastated her, leaving her antisocial among her peers and her dad believing Spider-Woman committed murder to where J. Jonah Jameson is calling for her head on a stick. Even if Gwen does have the time to give her dad a big hug, there is still a distance between them which needs to be dealt with.
Eventually, Gwen reunites with Miles in his world, and it proves to be one of the most heartfelt moments as these two can relate to one another in ways they cannot with anyone and everyone else. But their reunion coincides with the arrival of Dr. Jonathan Ohnn, a former scientist who has since been transformed into the supervillain known as The Spot. Voiced by Jonathan Schwartzman, he starts off as a comedic character who pursues a life of crime as his transformation cannot allow to pursue a regular job. Granted, putting down on your resume that your body is covered with interdimensional portals which allow you travel through space and time may not get you that first interview. But as this film goes on, we come to see The Spot will prove to be one of Spider-Man’s most dangerous foes as his power grows and grows and grows.
Like any “Spider-Man” motion picture, “Across the Spider-Verse” deals with those heavy themes of tragedy and responsibility. As with its predecessor, this installment reminds of the loses Spider-Man and the other Spider-Men in the multiverse have suffered and of responsibilities they are forced to live up to where it is inevitable that any and every web-slinger is destined to suffer an unavoidable tragedy. But when the possibility of this is explained to Miles Morales, he won’t accept any such fate for himself or those he loves, and this leads him on a spectacular mission which will have the audience wondering if free will can prevail over predestination, an argument which never gets old.
“Across the Spider-Verse” plays on our knowledge of Peter Parker and of what he has experienced in the live action films, and we know of the sacrifices and challenges Peter has had to endure while fighting crime through his secret identity. While this animated film could have simply trodden over familiar ground, it instead deals with variations on this character both literally and figuratively speaking. As you can expect, there will be an endless number of Spider-Man incarnations on display, and it all gets to where you have to wonder not who could be Spider-Man, but who couldn’t be him (or her, or they, or them, or it).
The animation here is incredible, and I swear there were moments where, if you look in the background, it seemed like live-action elements were added in to where it seems seamless. The visuals are also given a depth which shows in scenes with Miles and Gwen as they stand on top of tall buildings and structures overlooking the crazy city they live in. Seriously, I almost got a case of vertigo looking at these heights, and I never an animated movie to make me feel this way.
As for the action sequences, they are nothing short of spectacular and exciting as Miles is forced to fight off hundreds, maybe even thousands of Spider-Men while determined to make certain changes the multiverse will not easily allow. All of this is aided by the terrific and propulsive music score by Daniel Pemberton.
The entire voice cast is fantastic. Shameik Moore continues to do great work as Miles Morales, but the real standout for me was Hailee Steinfeld who continues to remind us what a wonderful talent she has proven to be following her star-making performance in “True Grit.” As Gwen Stacy, she gives the character’s animated form a true emotional depth which makes her actions and decisions all the more enthralling to take in. Schwartzman succeeds in taking The Spot from being a joke of a burglar to a infinitely dangerous villain who is determined to make Spider-Man suffer to his last breath. It is great fun to have Jake Johnson back as Peter B. Parker as his Spider-Man is now a dad and still a gas to be around. Issa Rae makes her Spider-Woman of Jessica Drew a rough and tough version of the web-slinger whose dedication to her job leaves no room for doubt or uncertainty. And when it comes to Brian Tyree Henry and Luna Lauren Velez, they have wonderful chemistry and many warm and funny scenes together as Miles’ parents, Jefferson and Rio.
Are there any problems with “Spider-Man: Across the Spider-Verse?” Well, I didn’t catch all the dialogue being uttered to where I cannot wait for the 4K/Blu-ray release so I can rewatch the film with closed captions. Even with a running time of 140 minutes, I would have liked for things to slow down a bit so that I could take in more of the action and story. While movies these days tend to be longer than they should be, this one could have been even longer if it wanted to.
Also, there are scenes where we see Miles and Gwen standing upside down on very tall buildings. Now I know Spider-Man has special webs on their hands and feet which allows them to climb buildings, but these two are wearing shoes which makes their ability to hang out upside down rather impossible. I mean, can their webbings penetrate the soles of their designer shoes? Besides, Miles has a pair of Air Jordans, and those shoes are never cheaply made.
There is a lot more I would love to tell you about “Spider-Man: Across the Spider-Verse,” but I am not about to spoil any of its surprises. Besides, there are so many easter eggs to take in to where a second viewing is completely mandatory. Spider-Man has always been one of my very favorite comic book characters this side of Batman, and I am happy to say his adventures are still thrilling even as comic-book movies are starting suffer a bit. When it comes to Miles Morales and his alter-ego, however, there is no stopping him. It makes me very excited for what will come next, and there is still more to look forward to in the next year.
The following review was written by Ultimate Rabbit Correspondent, Tony Farinella.
Your enjoyment level for “Shazam! Fury of the Gods” will depend on how funny or clever you find its main protagonist, played by Zachary Levi. Personally speaking, he is an actor I’ve never been a fan of, especially in these films. I found his performance incredibly irritating, silly and annoying. I understand he’s trying to portray a silly high schooler as an adult who is learning how to be mature and deal with his new superpowers. However, I just found his performance to be very grating after a while. He’s very over the top. I’m all for a superhero film where they have some fun as it doesn’t have to be so dark and dreary throughout. There is room for every type of superhero film out there, and I fully respect and get that. However, he is not the right actor for balancing the goofy scenes along with the more serious action sequences.
Our film opens up in a museum in Athens, Greece where two of the three daughters of the Titan Atlas break in to steal the Wizard’s broken staff from the previous film. Billy Batson (Zachary Levi) is trying to keep his family together as he’s about to turn eighteen and is worried he will be thrown out of the house as his foster parents, Victor and Rosa Vasquez (Cooper Andrews and Marta Milans), are struggling to keep it all together financially. He’s also suffering from a case of imposter syndrome. In essence, he’s insecure and also struggling to figure out his place in the world. Can he keep his “Shazamily” of foster siblings together, as they are maturing and developing their own interests and unique personalities?
However, he has to act fast as two of the daughters of the Titan Atlas, played by Helen Mirren and Lucy Liu, have captured his brother Freddy Freeman (Jack Dylan Grazer) along with a newly repaired Wizard staff. Early on, they are also dealing with controversy for their crime fighting methods in Philadelphia. In fact, they are now known as The Philly Fiascos thanks to some of their mishaps, even though their hearts were in the right place. As mentioned previously, the family has a lot on its mind. For Freddy Freeman, before he was captured, he had a crush on a girl named Anne, played by Rachel Zegler. Pedro Peña (Jovan Armand) is keeping a secret he’s not sure he’s ready to share with the world quite yet.
Darla Dudley (Faithe Herman) is trying to accept growing up while still being a kid at heart. Eugene Choi (Ian Chen) is preoccupied, and Mary Bromfield (Grace Caroline Currey) wants to get into college and is focusing on her studies. They must come together as a family and put their individual interests aside in order to conquer The Three Daughters of the Titan Atlas. They work better when they are together, but it is important they get on the same page and focus on the task at hand. From here on out, we get a lot of explosions, special effects, bad jokes, and a big finale. The film was never boring and it kept my attention for its over two-hour running time. However, it just fell flat for me because of Levi’s performance and just the fact that the film lost its sense of direction near the end and went all over the map.
I’m completely aware that sequels are part of Hollywood when a film is successful, especially when we are talking about a superhero film. People will flock to them. There is a built-in audience already. The “Shazam!” films have been directed by David F. Sandberg, and I was a huge fan of his previous two films: “Lights Out” and “Annabelle: Creation.” The film looks really good, as he has a keen visual sense. However, I didn’t feel the heart of the film as much as I would have liked, and it’s a big problem here. I liked it better than the first one, but when the lead actor is such a ham on screen and so phony and fake with his line readings and performance, it really takes you out of the story. I liked everyone else and thought they did a really good job, but once it becomes a bloated mess and Billy Batson turns into a one-line machine, the film just didn’t work for me. If you liked the first one, you will like the second one. If you didn’t, there isn’t anything here that is going to change your mind or convert you to this character and this franchise.
* * out of * * * *
4K Info: “Shazam! Fury of the Gods” is released on a two-disc 4K and Blu-ray combo pack from Warner Brothers Home Entertainment. It has a running time of 130 minutes and is rated PG-13 for sequences of action, violence and language. The film comes with a digital copy to be redeemed as well.
Video Info: We are treated to a beautiful Dolby Vision transfer here that really stands out and pops. The film looks beautiful on 4K, especially the action sequences. Even though they can be overdone and unnecessary at times, I can admit when they look beautiful. My issue is more of the fact they don’t hold as much weight when the emotional heart of the film isn’t present. The darks set the mood when it needs to, and the film is also filled with color and light when it calls for it.
Audio Info: The Dolby Atmos track is also really, really good here. With a film that relies heavily on action, you worry about the film being so loud that it takes you out of the film. Here, thanks to the Dolby Atmos track, it’s never too loud or soft. It’s perfect throughout the entire duration of the film.
Special Features:
SHAZAM! Let’s Make a Sequel – featurette
The Rock of Eternity: Decked Out – featurette
The Shazamily Reunion – featurette
The Zac Effect – featurette
The Sisterhood of the Daughters of Atlas – featurette
Pay By Play: Scene Breakdown – featurettes
Ben Franklin bridge collapse
Rooftop battle of the gods
Unicorn ride in Philadelphia
Epic showdown at the baseball stadium
The Mythology of Shazam! – featurette
Director’s Audio Commentary with David F. Sandberg
Deleted Scenes, Alternate & Extended Scenes
Should You Buy It?
As a 4K disc, it looks and sounds out of this world. I’m a big fan of what Warner Brothers does with its 4K releases. They really place a high importance on giving their big screen movies a proper release on 4K with Dolby Vision and Dolby Atmos. There are also a lot of special features here, so if you enjoy “Shazam! Fury of the Gods,” you will enjoy this disc and its special features. If I’m grading this movie overall, it’s just average. It was watchable and entertaining at times, but it’s a film I have no interest in rewatching, and I don’t think it will have great repeat value. There are rare moments where the heart of the film is on display, and I liked those moments. The main struggle here is the balance between comedy, action and drama. The film doesn’t quite pull this task off successfully during its over two-hour running time. When it does, it’s good fun. When it doesn’t, it’s very bland and uninteresting. This is a film in search of a tone. If you are a fan of this franchise, you will be happy with the 4K release. If you are watching this for the first time or didn’t enjoy the first one, this sequel is not going to win you over.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
I’m an emotional, sensitive and empathic person, and I tend to seek out films which will make me think, move me to tears and tell a narrative that resonates with me. However, I have a good barometer for films that are trying too hard to tug at my heart strings and doing just a little too much to get an emotional reaction out of me. When you try to watch a movie or two a day, you can usually figure out which direction a movie is going to go either from its trailer or by where the film is taking its audience. “A Good Person,” directed by Zach Braff, started out incredibly promising until its wild and heavy-handed third act.
“A Good Person” stars the always lovely and talented Florence Pugh as Allison, a young woman who is about to get married to the love of her life, Nathan (Chinaza Uche). They are the perfect couple and the film opens with their engagement party where they are at their happiest. But then things spiral out of control for Allison when she gets into a car accident with her fiancé’s sister and husband in the car. She took her eyes off the road for one second to check Google Maps, and while she survived, they both perished. This sends her down a path of becoming addicted to OxyContin to deal with the physical and emotional pain of the car accident.
Allison cuts her hair one day and is making rash and impulsive decisions in her life, which worries her mother, played by Molly Shannon. She hits up an old friend for pills, former classmates, and even curses out the pharmacist. Finally, she decides to go to a meeting, which is being led by Simone (Zoe Lister-Jones). While there, she runs into Nathan’s father, Daniel, played by Morgan Freeman. Allison is hesitant to stay, as she knows the pain and hurt she caused his family, but he insists that she stay. Daniel has his hands full as he’s a recovering alcoholic who is now in charge of taking care of his granddaughter, Ryan (Celeste O’Connor), after her parents were killed in the car accident.
The best thing about “A Good Person” is the back-and-forth interactions between Pugh and Freeman. When you have actors of this caliber, it’s best to just stay out of their way and let them do their thing. Freeman plays an ex-cop who never really knew how to be there for his son Nathan growing up. He used to beat him, which has caused a lot of trauma and resentment in Nathan toward his father. The two of them barely speak and don’t have much of a relationship. For Allison, she’s trying to deal with the grief and guilt of what she has done to Daniel, as she has taken his daughter away from him. However, he could use some help when it comes to figuring out how to talk to a sixteen-year-old teenage girl about safe sex when her parents are now deceased.
I really enjoyed the first hour and a half of “A Good Person.” I thought Pugh really, really went for it with her performance. She’s an actress who really immerses herself in her characters. Physically and mentally, this is a fantastic performance. She looks, sounds and acts like an addict. Freeman is also very good, as he usually is, at portraying many different emotions throughout as he’s trying to be a grandfather, deal with his own demons, and also forgive Allison. Thanks to the two lead performances and a fast-moving plot, I was really enjoying “A Good Person.” Sadly, the film takes a wild and crazy turn in the third act, which really sent things spiraling off the rails.
Yes, this is a drama, and you expect certain emotional moments and sequences to be displayed on screen. In “A Good Person,” it felt forced and like writer/director Braff had an idea for a movie and the right cast, but didn’t know what to say at the end or how he wanted to end it. Instead, it turns into a cheesy soap opera, and he, sadly, wastes the performances of his two leads and his supporting cast. The film is also about 15 to 20 minutes too long. Once again, the drama felt forced at the end and it seemed like they were really trying for an emotional and powerful ending. Instead, I could see right through the fact they were trying to make me feel something instead of letting it happen organically. The film didn’t need to try so hard and throw so much into the last 30-40 minutes of the film.
* * out of * * * *
Blu-Ray Info: “A Good Person” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It is rated R for drug abuse, language throughout, and some sexual references. The film has a running time of 128 minutes. It comes with a digital copy of the film as well.
Video Info: The 1080p High-Definition transfer is very, very solid. It’s a clean looking film with a green tint that really translated itself well to the material. Visually, Zach Braff did a great job behind the camera. It’s his script which really needed work.
Audio Info: The DTS-HD MA: English 5.1 audio track is also really good for this film. I did feel like Zach Braff relied on music a little too much throughout the course of this film to get the audience to feel something. I enjoy music in a film, but it needs to be properly placed and not shoved down our throats. There is also a Dolby Digital: English Descriptive Audio track. Subtitles are included in English, French, and Spanish.
Special Features:
None
Should You Buy It?
It’s always disappointing when I want to like a movie and don’t. I know this might sound like a rather simplistic approach to film viewing, but I had high hopes for this one. I’m still a huge fan of 2004’s “Garden State,” and I think Zach Braff is a talented director. When it comes to his writing, I think he can be a little too earnest. He means well and his heart is in the right place, but sometimes it just seems like he can’t keep himself from going a little too far. I didn’t hate the film and I enjoyed a good portion of it, but it was just a little too sappy for me which is saying something. The film looks and sounds good on Blu-ray, so it’s not a huge disappointment they didn’t give it a 4K release. There are no special features on this disc at all. I think it’s worth watching for the performances of its two leads, but I don’t think it’s a film you need to own. If you see it on Max or at Redbox, it’s worth watching. However, this is not a film I need to watch again. This is a case of two performances which deserved a better script.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
I vaguely remember watching 2020’s “Becky” when it was released through various digital platforms. Besides the brutal violence and seeing Kevin James as a Neo-Nazi, the film didn’t really leave a lasting impression on me as a viewer. When I heard they were going to make a sequel, “The Wrath of Becky,” I was intrigued for two reasons: Lulu Wilson and Seann William Scott. Wilson is a tremendous young actress who shows maturity beyond her years, and Scott has shown a knack recently for playing chilling and unsettling villains. I figured it was worth giving it another go around, and I’m happy to report “The Wrath of Becky” is lightyears better than the first film.
When the film introduces us to Becky a few years later, she has an edge to her after the traumatic events of the previous film. She’s sarcastic, matter-of-fact, and she doesn’t suffer fools lightly. She has been bounced around from group home to group home. Eventually, she decides to rent out a room with an older African-American woman who takes in strangers and is dealing with her own sense of loss. Her name is Elena, played by Denise Burse. One night while waitressing, Becky runs into a group of men who call themselves the Noble Men. They are a white supremacist militia group with bad intentions. After she spills coffee on one of them, they follow her back to Elena’s house, where they proceed to kill Elena and take Becky’s dog Diego.
Now, Becky is looking for two things: revenge and to get her dog back. The film uses an interesting technique where it will show the audience a violent sequence of what she is hoping to do, and then what she actually does. They use voiceovers for this as well, which was a nice touch. She communicates with the audience and lets us know what she’s thinking. They don’t overdo this, thankfully. The Noble Men are brought back to the house of one of their leaders named Darryl, played brilliantly by Seann William Scott. Scott and Wilson are the stars here, and Scott knows how to be unnerving and very intense without trying too hard. I remember him in a film called “Bloodline,” and he crushed it in that film. He’s really, really good at playing these low-key, calm, and sadistic villains.
The rest of the group consists of DJ (Aaron Dalla Villa), Anthony (Michael Sirow), and Sean (Matt Angel). Twig (Courtney Gains) is already with Darryl at the house. They have members all over the world, and they are looking to take down Senator Hernandez (Gabriella Piazza) at an upcoming town hall event. First, they have to deal with extreme girl scout Becky, and she is not one to back down from a fight, especially since they have her dog and they killed the one living person in the world she actually liked. From here, it’s a rather straight-forward film with Becky taking on these misogynist, hateful, and narrow-minded men. The characters are a little too on the nose at times, politically, but it works as a film like “The Wrath of Becky” is one where you are going to sit back and watch Becky destroy bad people in creative and brutal ways.
The film is not shy about its violence. It really goes for it. As with any sequel, especially one which relies on violence, they really up the ante here. They were also smart enough to keep the film under 90 minutes. We are reintroduced to Becky, find out what she’s up to, meet the villains, and then it’s time for the mayhem. It’s a formula, yes, but it’s a formula that works because Wilson is terrific at playing Becky. She’s a badass chick and easy to root for as the heroine. She also has a worthy adversary in Seann William Scott. The scenes with the two of them together are just brilliant.
In the end, you know what you are getting with “The Wrath of Becky” and what you have signed up for as an audience member. I could have done without the dog being involved, not because it offended me, but because it seemed to take a page out of other films, most recently “John Wick.” We have seen people try to avenge their dog when it has been captured or killed. The ending seems to hint that there might be another film or two still left in the “Becky” franchise. If they keep the budget low and stick to one location, which is basically what they did here, I see no reason why they can’t continue to make more of these films. Wilson is a star, and she deserves her own franchise. I look forward to seeing her take on more villains portrayed by quality actors in the future.
Should You See It?
The film is being released on May 26. I know there are a lot of movies to choose from at the box office right now. “The Wrath of Becky” is a nice change of pace, though, from the usual fare of blockbusters and franchises. It’s bloody, gory and very, very entertaining. As stated in my review, this film knows what it needs to do, it stays out of the way of its actors, and it’s a ton of fun. I truly enjoyed seeing Lulu Wilson and Seann William Scott in a battle of wits. It’s way better than 2020’s “Becky,” as it moves at a faster pace, gets right to the meat of the matter, and it doesn’t hold back with its violent, in-your-face approach. I think it would be a lot of fun to watch on the big screen. It’s in limited release, but you can find it at a theater near you. I don’t think you will be disappointed if you enjoy blood, guts and have a sense of humor.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
The idea of being a superhero is something which appeals to people all across the world. They want the chance to start out as an ordinary individual and transform themselves into something special and magical. 1978’s “Superman” is a perfect example of this, especially with its leading man, Christopher Reeve. It’s an iconic role and performance which continues to stand the test of time. It also achieved the rare feat of being both a financial and critical success. When that happens in Hollywood, everyone is pleased as punch. It’s the magic formula Hollywood is always trying to achieve as they want to do quality work which is meaningful to an audience while also making a lot of money.
There are so many things which make “Superman” great. Of course, as mentioned previously, you have the tremendous performance by the late, great Christopher Reeve. However, you also need a really, really effective villain, and it’s hard to find a better Hollywood villain than the legendary Gene Hackman as Lex Luthor. He oozes with charisma, personality, and you love to root against him. As far as the supporting cast, it is filled with some of the greatest working actors and actresses in Hollywood history, such as Marlon Brando, Margot Kidder, Glenn Ford, Jackie Cooper, Terence Stamp, Ned Beatty, Jack O’Halloran, Maria Schell and Sarah Douglas.
It also doesn’t hurt when you have a director like Richard Donner behind the camera as well. He knows how to pace the film, allow his actors room to breathe, and he is also respectful of the source material. There was also the magnificent score by the iconic John Williams. When you have all of the right pieces in place like Donner did such as the script, the actors and the budget, you have to stay on track and basically not screw it up. He was just the right man for this big budget affair. During its release, it had the highest budget for a film at the time, coming in at $55 million. It’s funny to hear that number now, considering how much budgets have increased in Hollywood since then.
What speaks to me about the first “Superman” film is the idea of having a double life and people not knowing who you really are. During the day you are Clark Kent, a mild-mannered reporter, but you also have the ability to be Superman. It shows we all have something special inside of us. It is up to us to really find that, harness it, and use it for good. Superman is your all-American, clean cut, good guy. He’s very likable and effortlessly charming. On paper, this idea might sound ludicrous, but because the filmmakers took it seriously and had the right actors and participants involved, they really had lightning in a bottle. Even to this day, the film holds up incredibly well. When you see the special effects, they were really ahead of their time and they helped pave the way for a lot of the effects we see today, only they are now taken up a notch. Most importantly, this film has a big heart and a big soul attached to it. This is why the film is beloved by so many.
With this tremendous release from Warner Brothers Home Entertainment, we are also treated to “Superman II” in two different versions. We get the original theatrical cut by Richard Lester and the Richard Donner Cut on 4K. To this day, people still debate which version they like better and which is more worth watching. If you ask me, it’s best to watch both versions. I see things in Donner’s film I like more than in Lester’s and vice versa, but overall, I felt like Lester’s version was a much more polished, easy to follow, and complete film. Donner’s version is flawed with moments of greatness, and it deserves to be seen. Thanks to this set, you can watch both versions, which, as stated previously, I highly encourage you to do as I love a good film discussion. Film is subjective and there is really no right or wrong answer.
In “Superman II,” Mario Puzo is back once along with fellow screenwriters, David and Leslie Newman, again with a really good story, and this is a great thing for the audience. All three really know how to flesh out a story and create unique and interesting characters. It doesn’t hurt when you have actors like Beatty, Kidder and Hackman completely invested in the material. While not as good as the first one, and it’s rare for a sequel to be as good as its predecessor, it’s still a very, very good movie. There is some great humor here, and even in a superhero movie where the stakes are high and we are in a fictional world, some levity is very much appreciated! Sometimes it is nice to have a different vision and a new voice in a franchise while also staying true to what made the first film successful. Richard Lester was not put in an ideal situation, but he made it work, and you have to give him credit for that.
By “Superman III,” it seemed like the magic was starting to disappear, and they totally shifted the focus of the franchise into a campy, goofy and comedic realm which really rubbed audiences the wrong way. I understand they were going for something different, and they brought in Richard Pryor, but the script, the jokes and the material are just really, really bad. There is no denying that Pryor is a funny man with great comedic timing, but his abilities didn’t lend themselves to this film franchise. Overall, “Superman III” was doomed because of behind-the-scenes issues, script issues, and a film in search of the right tone. The filmmakers seemed to have lost the plot all together as well as their love for the character and the franchise. When a franchise has success, many times it is how the filmmakers handle that success which defines how it will carry on and continue. It is clear they didn’t know how to handle success here.
It didn’t get any better with “Superman IV: The Quest for Peace.” It was so poorly made and received that they didn’t make another Superman film until 2006. As is often the case with sequels, they went cheap. Even though Hackman returns and Kidder receives more screen time, this film was dead on arrival. The plot is incoherent, messy, and just plain dumb. It was a cash-grab sequel, and when you are focused on money over quality work, you end up with “Superman IV: The Quest for Peace.” It’s a very frustrating film and incredibly hard to follow. As you can see with the “Superman” franchise, you have the law of diminishing returns.
4K Info: The “Superman” 5-Film Collection 1978-1987 is in a terrific box set with all the films getting their own individual dual 4K case which also includes a Blu-ray version of the them. I was really happy they didn’t stack the discs in the set here, as that is always a pet peeve of mine. I was also very happy they gave each film its day in court with artwork and its own individual dual case. “Superman” was previously released on 4K, but this is the first time the other four films have been released in this format. You also a digital code for all of the films as well.
Video Info: If you already own the first “Superman” 4K, please know they have not added anything new to it here. It’s the same “Superman” 4K that had been released in its standalone edition. That being said, it’s hard not to be stunned and blown away by the beautiful Dolby Vision look of the original film. I had not previously owned the first “Superman” film, so I had no qualms about there not being anything new here. It’s just something to keep in mind for those who already own it on 4K. Overall, this is far and away the best these five films have ever looked on home video. They look sharp, clean and free of grain or mess. They have cleaned these films up very, very nicely. I was very impressed with these transfers. Warner Brothers has really been knocking it out of the park with their releases this year during their 100-year anniversary celebration, and this “Superman” box set is no exception.
Audio Info: We are treated to Dolby Atmos on all five films which is fantastic news! I am a huge fan of Dolby Atmos, and the sound is such a vital part of these films. The audio sounds crystal clear, concise, and it comes in at just the right pitch without being too loud or in-your-face. I’m always happy when I can leave it on one volume setting and still get the same impact throughout. That was the case with all five films. They also all come with subtitles in French, English and Spanish as well.
Special Features:
“Superman: The Movie” Special Features:
Commentary by Ilya Salkind and Pierre Spangler
The Making of Superman – vintage featurette
Superman and the Mole-Men – vintage featurette
Super-Rabbit – 1943 WB cartoon
Snafuperman – 1944 WB cartoon
Stupor Duck – 1956 WB cartoon
TV Spot
Teaser Trailer
Theatrical Trailer
‘Superman II” Special Features:
Commentary by Ilya Salkind and Pierre Spengler
The Making of “Superman II” – 1980 TV Special
Superman’s Soufflé – Deleted Scene
First Flight
Fleischer Studios’ Superman vintage cartoons:
Superman
The Mechanical Monster
Billion Dollar Limited
The Arctic Giant
The Bulleteers
The Magnetic Telescope
Electric Earthquake
Volcano
Terror on the Midway
Theatrical Trailer
“Superman II: The Richard Donner Cut” Special Features:
Commentary by Richard Donner and Tom Mankiewicz
Introduction by Richard Donner – featurette
Superman II: Restoring the Vision – featurette
Deleted Scenes
Lex and Ms. Teschmacher Head North
Lex and Ms. Teschmacher Head South
The Villains Enter the Fortress
He’s All Yours, Boys
Clarke and Jimmy
Lex’s Gateway
Famous Studios vintage cartoons:
Japoteurs
Showdown
Eleventh Hour
Destruction, Inc.
The Mummy Strikes
Jungle Drums
The Underground World
Secret Agent
“Superman III” Special Features:
Commentary by Ilya Salkind and Pierre Spengler
The Making of “Superman III” – 1983 TV Special
Deleted Scenes:
Save My Baby
To the Rescue
Making Up
Going to See the Boss
Hatching the Plan
The Con
Rooftop Ski
Boss Wants This to Go
Superman Honored
Gus’ Speech
Hanging Up on Brad
Theatrical Trailer
“Superman IV: The Quest for Peace” Special Features:
Commentary by Mark Rosenthal
Superman 50th Anniversary Special – 1988 TV Special
Deleted Scenes:
Clark’s Morning
Jeremy’s Letter
Superman’s Visit
Nuclear Man’s Prototype
Metropolis After Hours
Lex Ponders
Flying Sequence (Extended Scene)
Battle in Smallville
Battle in the U.S.S.R.
Nuclear Arms Race
Superman’s Sickness
Red Alert
By My Side
Lark and Lacy Say Goodbye
No Borders
Theatrical Trailer
Should You Buy It?
Last time I checked, this set is going for about $90, which is a great price for five films. Granted, you are really paying for “Superman,” “Superman II” and “Superman II: The Richard Donner Cut,” so you need to own all of the Christopher Reeve “Superman” films if you are a completist like myself. I’ve heard a lot of people in the film community complain about some of the special features from other releases not being included on this set but they are included in the other Blu-ray releases. This did not bother me as there are still plenty of special features to shift through here. I’m happy they included the Blu-ray discs for all of the films and didn’t just include the 4K’s. The good films in this franchise leave me with a warm and fuzzy feeling. When films make me feel this way and put a smile on my face, I’m a happy camper. There is also something to enjoy about the total and complete absurdity of the bad films as well. If you have a sense of humor and come in with the right mindset, you can enjoy them on the level of they are aiming at. All the films come with Dolby Atmos tracks, which is a great perk. My one minor nitpick is the fact that not all these films include Dolby Vision except for the first one. However, in 2023, when physical media is hard to come by in stores but very much appreciated by us hardcore film historians and lovers, I don’t want to be too overly critical or negative over the little things. Warner Brothers and other studios are really going all out to preserve important pieces of cinematic history. We shouldn’t look a gift horse in the mouth. This set comes highly recommended, and I enjoyed revisiting these films in 4K. It gave me a whole new appreciation for these films, Christopher Reeve’s performance, and the intense feelings of happiness and joy the first two (three if you are counting the Richard Donner cut) films brought to me. You can’t put a price tag on that. This set comes highly recommended!
* * * ½ out of * * * *
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
The following review was written by Ultimate Rabbit correspondent, Tony Farinella.
I saw “Creed III” in theaters when it came out in March, and I walked away very impressed by the directorial debut of Michael B. Jordan. Even though we were only three months into the new year, I felt it was an early candidate for one of the best films of 2023. I enjoyed his creative and inventive approach to filmmaking, the tremendous acting throughout the film, and the way it was paced just perfectly. Here we are, almost half-way through the year, and I feel even stronger about “Creed III.” It really surpassed any and all expectations I had for the film, and it also shows the “Rocky/Creed” franchise is in very good hands. Much like the “Scream” franchise did with “Scream 6,” it proved you can leave a key player or two from the franchise behind and not miss a beat if you have your heart in the right place, a good script, and you forge your own path while also remembering the pulse of the franchise.
I think by now it is common knowledge that Sylvester Stallone is not in “Creed III.” Stallone expressed his reasons why in interviews, and while I would have enjoyed him in this film, even if it was only in a minor role, I can’t say he was missed. I say this as a huge fan of Stallone and his contributions to the “Rocky/Creed” franchise. It says more about the fact that Jordan took the bull by the horns and really ran with it when it came to “Creed III.” He’s in front of and behind the camera here, and from what he showed me as a director, I can’t wait to see what he does with his next project. He has a keen visual sense and tremendous style without losing the heart and emotional weight of the film.
“Creed III” opens by showing us a young Adonis Creed hanging out with his friend from his group home, Damian Anderson. They are like brothers to one another, and Damian looks out for Adonis. Damian is on the rise as a young up and comer until he finds himself in prison for pulling out a gun while defending a young Adonis. Adonis ran away and never faced any jail time. Damian, on the other hand, spent almost two decades in prison and saw his chance go by the wayside. Adonis is ready for retirement after winning his final fight and leaving as the undisputed heavyweight champion of the world. He’s now a family man with a beautiful house, wife, and young daughter.
Adonis is also running his own gym with the help of Little Duke (Wood Harris) and helping promote a fight for the world heavyweight champion Felix “El Guerrero” Chavez (José Benavidez Jr.) against Viktor Drago (Florian Munteanu). On his way out of the gym one day, he runs into Damian (Jonathan Majors) who is out of prison and looking to make up for lost time. He wants to fight for the heavyweight championship of the world, as he was a top prospect and a Golden Gloves champion before he ended up in prison. Adonis agrees to let him hang around the gym and spar with Felix, but he feels uneasy about having him around and wonders what his true intentions are, especially after all these years.
As a matter of fact, Mary-Anne (Phylicia Rashad) is not too keen about Damian being around, as she remembers some of the trouble he and Adonis would get into as youngsters. Adonis is also dealing with parenthood as his hearing-impaired daughter Amara, played perfectly by Mila Davis-Kent, is having trouble expressing herself in school. When she is being bullied by another student, she resorts to violence instead of working things out in a more peaceful way. This is very troubling to her mother Bianca, played by the lovely Tessa Thompson. She is looking to raise their daughter to express her emotions in a more productive way instead of resorting to violence. For Bianca, she’s been adjusting to her career as a producer. While she enjoys it, she also misses performing and doing her own thing. However, she must also be protective of her hearing as she doesn’t want to cause further damage. She’s also noticing Adonis is pulling away from her and that something is bothering him. It’s clear he has unresolved guilt and anger from his past with Damian. Until he deals with those feelings, he will never be able to move forward in his life and will be stuck in the past.
I have to give major credit to the women of “Creed III” from Rashad to Thompson to Davis-Kent. They are attempting to help Adonis see the forest from the trees and learn that it’s okay for him to open up about his past and talk about his regrets and his pain. It’s not good for him to bottle it all up inside. The two main male characters played by Jordan and Majors are also terrific together on screen. Jordan is fantastic at expressing his emotions on his face and not overacting. That being said, he knows when to tap into an emotion, anger, and turmoil when the scene calls for it. His facials here are terrific, and he knows how to tap into whatever the screenplay needs out of him. Majors reminded me and others of a young Mike Tyson. He will do whatever it takes to win, and he is physically imposing and carries a tremendous presence on screen. When he’s on screen, you can’t take your eyes off him.
For a film which is nearly two hours long, there is rarely a dull moment. There is something dramatic which occurs in the film (no spoilers) that seemed to get glossed over and moved on from very quickly. It seemed rather unnecessary, and that is my only gripe with the film. As with any “Rocky” or “Creed” movie, the best scenes are not in the ring. The best scenes are the characters talking to one another, figuring out their inner conflict, and dealing with the past and the present. Yes, it’s a boxing movie, but the boxing ring serves as a therapeutic canvas for them to work out their pain. That being said, the boxing scenes are beautifully shot and are the best kind I’ve seen in a boxing film in a long time. Jordan makes some really interesting choices as a director, and they worked out perfectly for him.
“Creed III” is a feel-good film with a big heart behind it. It has a great soundtrack with some real bangers on it. It also has some fantastic acting from everyone in the cast. There isn’t a bad performance to be found here. The stakes also seem very high throughout. There is an urgency here. For a first-time director, this is a very, very impressive debut. I can see them carrying on the “Creed” franchise with Jordan working both behind-the-scenes and in front of the camera. He really hit a home run here, and I loved this movie from start to finish.
* * * ½ out of * * * *
4K Info: “Creed III” is released on a two-disc 4K/Blu-ray combo pack from Warner Brothers Home Entertainment. It is rated PG-13 for intense sports action, violence and some strong language. It has a running time of 116 minutes. The 4K combo pack also comes with a digital code for the film.
Video Info: I loved the way this film looked in 4K. Warner Brothers has become one of the top studios for 4K releases, and they do not disappoint here with “Creed III.” I’m always happy when a film gets the Dolby Vision treatment, and this film is spectacular looking. We get a detailed, clean, and smooth look with dark darks to set the mood for the emotional trauma Creed is dealing with inside of him. This film really, really pops on 4K. Dolby Vision and Warner Brothers are always a match made in heaven. I truly was impressed by this 4K transfer and how it lends itself to the film.
Audio Info: More good news—we also get a Dolby Atmos track! For a film like this with great music and intense boxing action, you have to have a good Atmos track. The Atmos track makes the film sound absolutely perfect. Warner Brothers really did the right thing by “Creed III,” and I’m very thankful for that.
Special Features:
Michael B. Jordan: In the Ring/Behind the Camera – Featurette
There’s No Enemy Like the Past: Donnie and Dame – Featurette
Deleted Scenes
Should You Buy It?
If you saw it in theaters like I did, I’m happy to report it holds up very, very well on a second viewing. It’s one of the reasons why I love to watch a movie in the theater and then at home. It’s two totally different viewing experiences, and you pick up on certain things you might have missed initially. It was actually better on a second viewing. I highly recommend you pick this film up on its release date on 4K. It is truly the best way to watch this great film. With Dolby Vision and Dolby Atmos, Warner Brothers really did a magnificent job of putting this film together for a great home-viewing experience. The supplements are a little light, and I would have liked a commentary with director/actor Michael B. Jordan, but still, this is a day-one purchase. I’m not sure how the rest of the year will play out, but this film is still one of the best of 2023, in my opinion. I loved the powerful performances, incredible emotion, ingenious boxing sequences, and how much fun this movie was. I highly recommend “Creed III” as a movie to proudly own on 4K. You won’t be disappointed.
**Disclaimer** I received a copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.
Alright! We are back in Paul Schrader land with his latest film, “Master Gardener.” Just as with “Taxi Driver” and “First Reformed” among other films, it focuses on a loner who keeps a journal and is struggling to deal with a past which was never less than traumatizing. Some directors tend to make the same film over and over again, but I always enjoy seeing Schrader doing so as he always has an interesting angle on this, and “Master Gardener” is no exception.
Joel Edgerton stars as Narvel Roth, an infinitely meticulous horticulturist who is employed at Gracewood Gardens, a beautiful estate owned by Norma Haverhill (Sigourney Weaver). Judging from the blooming flowers featured in the opening credits, this is an individual who takes his job ever so seriously as he clearly revels in bringing a garden and the flowers in it to exquisite life. There is even a scene where Narvel invites his fellow workers to smell the soil they have been working on endlessly. Watching this, it made me wish this film came with one of those scratch and sniff cards like those Odorama cards John Waters used for “Polyester.” I would love to have smelled what these characters were taking in as it might just give new meaning to the word “organic.”
Norma, who it turns out is having an affair of sorts with Narvel, has invited her wayward step-niece, Maya (Quintessa Swindell), to become his apprentice. While Maya may be a wealth of trouble at home, she slides into her new job with what seems like relative ease. But, as you can expect, nothing will stay sane for our main characters as revelations of who they are will truly eventually come to the surface whether everyone is prepared for it or not.
Looking at Narvel and hearing how he talks, it is tempting to think he has been a dignified individual since birth, but he eventually takes off his shirt to reveal two things: he has spent a lot of time at the gym, and he has a plethora of tattoos of swastikas and other neo-Nazi images covering his body which indicate he has had a racist past which he is trying to get past. It would have been enough if Narvel had just one swastika tattooed on him to indicate he was once a white supremacist, but the fact he has so many reminded me of a scene from Martin Scorsese’s “Cape Fear” remake in which Robert Mitchum looked over Robert De Niro’s heavily tattooed body and said, “Jesus! I don’t know whether to look at him or read him.”
This revelation brings about complexities as we wonder if Norma and Maya are aware of Narvel’s sordid past. Looking at this, I kept thinking Narvel would reveal the truth of his past existence to both women in an intelligent fashion. But if he did, would this film have such rich dramatic tension?
Gardening and horticulture never struck me as something which could be captured in a cinematic way as it can seem rather boring. It is a credit to Schrader and company that “Master Gardener” makes gardening seem far more immersive than it might be to some. Like I said before, I would love to smell this garden Narvel is cultivating because it is clear no one can cultivate one the way he can.
Schrader also makes the characters and their situations all the more dramatic by pointing out how different their ages are to one another. Now I have long since learned to NOT ask any women their age as serious bodily harm is likely to occur and deservedly so, Norma being almost twice Narvel’s age and Maya being close to half of his. Taboos are bexploited for dramatic effect as certain things are not quickly accepted in today’s culture, but here we may need to look more closely at what is going on.
Looking at Joel Edgerton’s resume, I wonder if I have given him enough credit as an actor. He has played a variety of roles in the “Star Wars” prequels, “The Thing” prequel, “The Felony” and “The Gift” among other films. Each has shown him going from playing good guys to villains with relative ease, and that is a gift many in his field would love to have. While it might seem like Edgerton is playing Narvel as a far too reserved, it becomes clear why this is the case as he nails this character’s complexities perfectly from start to finish.
Sigourney Weaver is a very welcome presence here. As Norma, she gives off a very regal vibe which makes her seem like a peaceful individual, but her play on words reveals someone whose anger is just simmering beneath the surface. I also love how she makes indigent sound like a four-letter word.
Quintessa Swindell does very interesting work as Maya. We learn a lot about this character before she appears onscreen, and Swindell makes Maya into something more than a mere cliché or stereotype that many might expect her to be. As we find Maya becoming involved with a man who is at least a decade older than her, Swindell comes to hold her own opposite Edgerton in their scenes together to where it becomes clear who has the upper hand in this relationship.
When it comes to Schrader and his films, he typically works with the bare minimum of budgets, and I am always impressed with what he accomplishes with them regardless of how tight they are. The cinematography by Alexander Dynan is quite lovely, the music score by Dev Hynes fits the material just fine, and kudos to those who gave Schrader the money to make this one as indie films like these do not get as much support as they once did.
How does “Master Gardener” compare to Schrader’s other works? Hard to say as there are many I still need to watch. This one does not quite reach the cinematic heights of “First Reformed” or “Affliction,” but this one reminds me of what a compelling voice he still is in cinema. Perhaps the conclusion left me wanting more as it did not quite fill my cinematic bloodlust, but maybe that was because I was expecting the wrong kind of movie. Whereas many of Schrader’s films end in an orgy of violence, this one concludes in a way which gives a certain piece of dialogue from “Natural Born Killers” an infinite amount of meaning, “Love beats the demon.”
Perhaps the loners who inhabit Schrader’s recent works have found reasons to not end their lives in an intensely dramatic and fatal fashion as the women they encounter give them a reason to live on. While the writer of “Taxi Driver” and “Raging Bull” might be treading through familiar territory, it is clear he has found how love can alter one’s destiny. This makes “Master Gardener” stand out in a memorable way as it defies certain expectations which I never should have brought into the theater in the first place.
Moreover, this film makes me view gardening and cultivating in a whole new light. I really enjoyed the specifics Schrader gives us when it comes to certain flowers as few other writers could these details down so perfectly. Perhaps I should visit the local flower or garden shop to truly appreciate the plants and their smells which are on display here.
I am glad Schrader is still making films in this cinematic climate. There always needs to be something outside of the mainstream.
The Ultimate Rabbit 