2023 Movies

‘The Exorcist: Believer’ is Not a Worthy Sequel

Posted on by The Ultimate Rabbit

William Friedkin’s “The Exorcist” was such a singular cinematic experience, let alone a singular horror film like few others, that making a sequel to it had to seem like a truly insane prospect. “The Exorcist II: The Heretic” proved to be as hideous piece of celluloid as the original was a brilliant one, “The Exorcist III” was undone by needless studio interference which made it look pitiful for no good reason, and the attempts to make a prequel got so messed up to where two versions of it were made, both of which proved to be quite flawed. Looking at this franchise, one which is quite accidental, it seems like one driven by profit more than anything else. Granted, sequels are generally made because the original was a big box office hit, but not all of them exist simply because of financial benefits for everyone involved.

Now we have “The Exorcist: Believer” which comes to us from David Gordon Green and his fellow filmmakers who gave us the recent “Halloween” trilogy which proved to be worthy sequels to a celebrated classic. And yes, I do include “Halloween Ends” which many despised. Like those films, this “Exorcist” installment serves as a direct sequel to Friedkin’s original, it completely ignores the other sequels to create its own cinematic path. What results is a motion picture which is not terrible, and I went into it refusing to expect it to be any equal to the original, but it still proves to be inconsequential and unnecessary as Friedkin’s film continues to be extremely difficult to make a sequel to.

We are introduced to professional photographer Victor Fielding (Leslie Odom Jr.) who is raising his daughter, Angela (Lidya Jewett), as a single parent following the tragic death of his wife. One day, Angela asks her dad if she can go over to her friend Katherine’s (Olivia O’Neill) to study. That’s okay, Victor says, but she needs to be prompt about returning home for dinner. When Angela fails to do so, and she and Katherine go missing, the whole town goes looking for them. Eventually, they are found alive 30 miles away from their home addresses, but both are convinced they were only gone for a few hours.

As you can expect, both Angela and Katherine turn out to be possessed, and Victor turns to others to help the girls before any more lasting damage can be inflicted. Among them are Ann (Ann Dowd), a nurse at a local hospital and a fallen Catholic, and Chris MacNeil (Ellen Burstyn), an actress turned exorcism researcher who has since become renowned for her studies and her best-selling book on the subject. From there, we know we are in store for an exorcism, albeit one which cannot possibly be as intense as the one Friedkin gave audiences half a century ago.

Now you cannot go into “The Exorcist: Believer” expecting something along the lines of Friedkin’s original film as that is asking to be severely disappointed in the process. None of the sequels or prequels could touch it as the 1973 film is a cinematic experience not easily duplicated. But even with reserved expectations, “The Exorcist: Believer” just doesn’t work. It has some strong performances from Odom Jr. and Dowd, and there are some clever jump scares, but there is not enough to justify this as a significant follow-up to a celebrated classic.

The big news with this one is that Ellen Burstyn returns as Chris MacNeil for the first time since the first “Exorcist” film. But while Jamie Lee Curtis’ character of Laurie Strode was a major component of the recent “Halloween” trilogy, Chris MacNeil’s presence in “The Exorcist: Believer” feels like an afterthought, and while Burstyn is great as always, the character does not feel especially necessary to this installment. While it may give this film some legitimacy, Burstyn is barely in this film and does not get a lot to do.

When it comes to the climactic exorcism which the film’s title and its trailers have promised us, it is no surprise to find it utterly lacking in tension. Sure, there is some suspense as the adult characters are forced to make a choice no one wants to make, but it all feels lacking in the long run. As much as I wanted to view this film on its own instead of in comparison to the classic original, I could not help but be reminded of how intense and unnerving Friedkin’s film was. I wanted this exorcism to have the extreme intensity of what came before, and I knew that was not going to be the case which made this direct sequel all the more frustrating.

David Gordon Green is a terrific filmmaker. In addition to his “Halloween” trilogy, he has also directed films in various genres. He has given us “George Washington,” “Pineapple Express,” “All the Real Girls,” and “Joe” which features not only one of Nicolas Cage’s best performances, but also one of his most subtle, and that is saying a lot. I cannot help but wonder what made him, Scott Teems, Danny McBride, Jason Blum and all of Blumhouse were hoping to accomplish here. Were they hoping to make something which could stand alongside the original proudly, or at least be considered its equal?

For a moment, I thought Green might have some luck as the opening scenes in Haiti do have a documentary feel to them like the original did. But after a bit, it just felt like I was watching a movie. This is the biggest problem with “The Exorcist: Believer;” you watch it more than you experience it. You can see how the screws go in, and it does not help that the CGI effects utilized here are not all that great. Then again, I have long since been spoiled by the visual wonders of “Avatar: The Way of Water,” so nothing else can possibly compare.

Making a sequel or any kind of follow-up to “The Exorcist” is no different than anyone trying to make one to “The Texas Chainsaw Massacre.” Both those horror classics gave audiences a cinematic experience like few others, and they still remain enthralling and greatly unnerving so many years later. And yet, there are those who have turned these movies into franchises which may succeed financially, but never critically. They will forever be shadowed by a predecessor which can only make the best efforts look ever so pale in comparison, and yet people keep trying futilely to give us something worth watching. The fact that no one has succeeded in doing so should not come as a surprise.

Nevertheless, another “Exorcist” movie is set to be released in 2025, and the best way to look at this situation is to say Green and company have nowhere to go from here but up. Perhaps if they played around with the formula, they could audiences something more original which will stand on its own. Until then, I wonder if the ghost of William Friedkin will haunt Green just like he promised.

* * out of * * * *

‘The Flash’ Movie and 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

In order to be direct with the readers, I must admit two things before reviewing “The Flash” – I’m not at all familiar with the drama surrounding Ezra Miller and his off-screen antics.  I’m also not at familiar with “The Flash.”  Because of these reasons, I was able to go into the film fairly fresh, which is how I like to go into most movies.  The less I know about a movie or a character, the better.  I believe a film should be able to stand on its own two feet for the diehard fans along with the newbies.  When the movie accomplishes that tricky tightrope act, it has done its job.

Ezra Miller stars as Barry Allen/The Flash.  He’s just trying to get his energy for the day with a sandwich when he must help save a hospital, specifically the maternity ward, as babies are flying out of the window along with a nurse and a dog.  Barry even says to himself that he feels like the janitor of the Justice League. Meanwhile, he shows up late to his job at a research center, where his coworkers are none too pleased with his track record for being tardy. After work, he sees an old friend from college, Iris West (Kiersey Clemons). She’s a reporter who wants to find out how Barry feels about his father’s upcoming trial for the murder of his mother.  Barry maintains that his father is innocent.  This sets him on a mission to try to go back in time using his lightning speed and change the past.

If he can change the past, his father will not be in prison and his mother will still be alive.  Batman (Ben Affleck) warns The Flash about the consequences of messing with the past.  He says their past made them who they are, and they need to grow from it.  The Flash, however, believes he can right a wrong and is determined to change past events. When he goes back into his childhood home, he sees his mother, father, and a different version of himself.  He meets up with the second version of himself and tries to explain what he’s trying to do and how they are going to do it.

“The Flash” had a great opening sequence which was fun, exciting, and really well-done by director Andy Muschietti (“It” and “It Chapter Two”).  I thought the film was establishing a really good baseline of humor and emotion, especially in the scene with Barry talking to his father (Ron Livingston) on the phone.  I could feel the connection between Barry and his mother and what an important relationship this was to him.  It’s the emotional core of the movie.  Who amongst us has not wanted to go back in time and fix the past?  However, the middle of the movie is really bogged down with action sequences, Michael Keaton looking bored as Batman, and the film lost its way in the multiverse.  It ends on a high note with the emotion and heart from the start of the movie. At that point, we were two hours plus into this movie, so it was too little, too late.

Miller is entertaining in small doses here, but when there are two of him, he overplays it a little bit and tries way too hard to be funny.  Less is more with the multiverse angle in the film. The second version of Barry is incredibly grating, annoying and cumbersome to spend time with as an audience member.  When the first part of him is grounded in some form of reality, it’s really good. Overall, it’s a mixed bag with his performance.  The film loves nostalgia with cameos and callbacks throughout the film, but it didn’t work for me because it felt like they were trying to be a little too cutesy.  Overall, there is a good film in here somewhere, but it really lost its way in the middle.  Once it regained its footing, it was far too late.

* ½ out of * * * *

4K Info: “The Flash” is released on a single disc 4K from Warner Brothers Home Entertainment. The film has a running time of 144 minutes and is rated PG-13 for sequences of violence and action, some strong language, and partial nudity. It comes with a digital code for the film as well.

Video/Audio Info: The film comes with a Dolby Vision transfer and a Dolby Atmos soundtrack. I’m sad to report, this is not one of the better transfers I’ve seen for a new film. It didn’t stand out in any way, really.  It looks very lifeless and run-of-the-mill. The audio was solid, but the visual look of the film left a lot to be desired.

Special Features:

“The Flash: Escape the Midnight Circus” podcast – Six-part original scripted audio series featuring Max Greenfield as The Flash

“The Flash: Escape the Midnight Circus” Behind the Scenes

Deleted Scenes

Saving Supergirl – featurette

The Bat Chase – featurette

Battling Zod – featurette

Fighting Dark Flash – featurette

The Flash: The Saga of the Scarlet Speedster – featurette

Making the Flash: Worlds Collide – featurette

Let’s Get Nuts: Batman Returns, Again – featurette

Supergirl: Last Daughter of Krypton – featurette

Flashpoint: Introducing the Multiverse – featurette

Should You Buy It?

I had high hopes for this film as I’m a big fan of director Andy Muschietti, and I thought he would bring a unique visual flair to it.  I also felt as though the film would do what I wish more superhero films would do, which is incorporate comedy and emotion with some fun action sequences.  Instead, it goes off the rails for a good chunk, and it doesn’t stick with what works in the beginning and end of the film. It also completely forgets about the love story between Iris and Barry, which was moving in a really good direction.  For the most part, this was a pretty dull and uninteresting viewing experience.  The 4K transfer also leaves a lot to be desired.  There are plenty of special features here, so if you did enjoy the film, you will have a lot to go through if you pick this disc up.  If you did like the film, I’d suggest waiting for it to drop down in price a little bit, as the 4K transfer doesn’t make this a must-own right away.  I wish it would have included the Blu-ray, as I would have liked to have seen the difference between the two formats.  Overall, if you haven’t seen this film, you aren’t missing anything. If you did see it and liked it, you have the special features going for you, but the visuals are truly underwhelming.

**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 Equalizer 3’ – The Best of the Trilogy

Posted on by The Ultimate Rabbit

The first two “Equalizer” movies directed by Antoine Fuqua and starring Denzel Washington were effective action flicks, but much of what happened in them did not stay in my brain for very long. The most I can remember is that Denzel played Robert McCall who, when he starts the timer on his digital watch, is gifted at leaving his opponents in a world of immense pain in about five seconds’ time. And then there are others who he leaves in a world of searing pain before killing them off in a rather gruesome fashion. Other than that, few things from those films stayed with me after I watched them. They were good and did their job, but like your average fast-food meal, it only leaves so much of an aftertaste.

The same, however, cannot be said about “The Equalizer 3” as it features a storyline and action scenes which will not leave my mind for a very long time. Whereas its predecessors followed similar plotlines, this one goes in a different direction as Robert McCall wonders how he can live on after all the bloody and brutal acts he has unleashed upon others. But while he looks to have found peace, we know that peace will eventually be shattered.

This sequel starts off with an immediate bang as a drug lord drives up to his beautiful home, the kind which the average working-class individual can only dream of affording. Upon his arrival, he discovers many dead bodies littered around and inside his home, including one henchman with a hatchet buried deep in his face. For a moment, I thought “The Equalizer 3” was about to introduce us to Robert’s latest chief antagonist, but instead we find Robert has killed all these men, and we first see him sitting in a chair, held at gunpoint by the drug lord’s henchmen and looking to be on the verge of breathing his very last breath. But, of course, this is the only the movie’s beginning, and once Robert tells this nameless drug baron he has nine seconds to decide his fate, you know he is going to walk out of there and no one else will.

“The Equalizer 3” is rated R for “strong bloody violence.” Please take this rating seriously. The opening sequence alone hangs over this sequel as McCall ends up laying waste to those in his ways in an infinitely brutal fashion. He even shoots his nemesis in a very painful area before ending him ever so coldly, before rendering them dead or, as Chevy Chase described it in “Fletch,” extremely sleepy. Right from the start, this is Fuqua’s and Washington’s way of saying, “Hey, this is make believe, but all the same we ain’t playing around!”

From there, the action moves to the Amalfi Coast in Southern Italy where McCall goes to recover from life-threatening injuries, and it is there he finds a level of peace his violent past has never allowed him to have. Eventually, he is made to feel like one of the people there after he finally gets that cup of tea he ordered at the local café. Cinematographer Robert Richardson lights this town beautifully and adds to allure of it being a desirable tourist destination I would love to visit someday. Even one of my critic friends told me, after watching this movie, how she would just love to retire there. Who wouldn’t?

Nevertheless, we know this peace will eventually be shattered, and it is shattered by members of the Sicilian Mafia who are determined to turn this beautiful town into a major tourist destination with hotels and restaurants. Essentially, they are real estate investors of the most violent kind as they show no hesitation in throwing an old man out the window or beating up a local chef in order to make their presence known and never forgotten. It’s just like what John Doe said in “Seven:”

“Wanting people to listen, you can’t just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you’ll notice you’ve got their strict attention.”

Fuqua and Washington love playing with our emotions and the situations presented to us. We know McCall is going to leave these heavily tattooed thugs in a world of pain before certain death, but we still get to have a lot of twisted fun here as these thugs try to intimidate McCall, and we revel in the fact that they have no idea what they are in for or who they are dealing with. They may delight in intimidating others, but we know they are on the verge of experiencing a level of pain which could literally make them shit their pants. There is even a certain scene in a restaurant in which McCall shows how much he knows about the human anatomy, he presents this in a painfully unforgettable way.

I have long become convinced that Denzel can do absolutely no wrong as an actor. Not once have I failed to see him give the best performance possible in any motion picture he stars in, and “The Equalizer 3” is no exception. It could have been a role where he simply could have stared his foes down, but he makes every single movement of his body, every look with his eyes and every word of dialogue he utters count for so much. He is not about to render Robert McCall into some mere one-dimensional action hero like the ones many of us grew up with in the 1980’s. Just as Matt Damon did as Jason Bourne, Keanu Reeves did with John Wick and even Tom Cruise does with Ethan Hunt, Denzel imbues McCall with a deeply wounded humanity which rings true throughout. This is one of many characters with a violent past they are hoping to make peace with, but we all know they will eventually return to the thing they do best. This is what makes them so fascinating and enthralling to watch.

The other big delight of “The Equalizer 3” is the appearance of Dakota Fanning, reuniting with Denzel for the first time in almost 20 years after “Man on Fire.” It is fascinating to watch Dakota then when she was a young girl and then watching her now as a woman, and it is great fun to see her hold her own opposite Denzel as CIA officer Emma Collins. She is a terrific presence as she carefully tries to pierce away at McCall’s hardened exterior to find out what lies underneath. My only disappointment is seeing her sidelined before the film’s third act as I would have loved to see these two team up to together to take on the mafia, but I guess her character was written to serve a different purpose.

And while the screenplay by Richard Wenk may come across as your routine and formulaic vigilante action flick, Fuqua and company end up pulling the rug right out from under us before we can even get a glimpse of what could possibly be coming our way. You know how it goes; the bad guys get hurt and embarrassed really bad, and they vow a revenge which we know will hurt even worse than what came before. But when it comes to our man McCall, he is already several steps ahead of them. So, when the pain comes, it comes fast and brutal, and you pity those who have no idea what kind of fate they are in store for.

Of all the movies in “The Equalizer” trilogy, “The Equalizer 3” is my pick for the best of the bunch. It is the most memorable, features action set pieces which must had director Mel Gibson going, “Hey, I could have done that,” and it proves to be a strong conclusion to a well-made trilogy. Again, take the R rating this movie has very seriously. If you do not like seeing someone stick a gun in an eye socket they have already shot through in order to take out another henchman with several bullets, this may not be your cup of tea. Whereas John Wick takes out his enemies before they even know what had hit them, Robert McCall wants you to first know who it was who had beaten you.

* * * ½ out of * * * *

‘Oppenheimer’ – Seriously, One of the Best Films Ever

Posted on by The Ultimate Rabbit

I had to watch Christopher Nolan’s “Oppenheimer” twice before I could sit myself down and write a review about it. There is so much going on here in front of us to where it is impossible to take everything in right away, and I kept waiting for J. Robert Oppenheimer’s head to explode before the atomic bomb did. Upon a second viewing, I came to better appreciate and understand all of what Nolan was doing here, and I continue to marvel at the brilliant editing job he and Jennifer Lame pulled off. What results is not only one of the best films of 2023, but perhaps of all time.

Like “Memento,” Nolan has constructed this biopic in a defiantly non-linear fashion as he gives us two parallel storylines which are destined to crash into one another. We have the typical biographical story of how J. Robert Oppenheimer began studying science when he was young, and of how his worldview evolved as he went about constructing the bomb which would eventually succeed in ending World War II. Then the story shifts to a few years later when Lewis Strauss (Robert Downey Jr.), one of the original members of the U.S. Atomic Energy Commission (AEC) is enduring a Senate confirmation hearing to be appointed as Secretary of Commerce. Strauss is the one who put Oppenheimer in a special position of power, and now he wants to crush Oppenheimer in a way which hurts worse than death.

I love biopics like “Oppenheimer” as they breathe life and complexity into human beings most of us have only read about in books. People like him seem so one-dimensional from a distance, but Nolan fleshes him out fully as a man who was a brilliant mind and a loving husband and father, but also a womanizer and quite the chain smoker. Nolan is also aided by a career best performance from Cillian Murphy who succeeds in embodying this historic individual both physically and emotionally.

Not for a second does this film hide away from the politics and implications of the atomic bomb. Oppenheimer and everyone working closely with him knew they were working to build a weapon of mass genocide, and this weighs heavily on everyone’s conscience. The problem, however, is that if they do not build the bomb, someone else will, and the results could have been disastrous had the Nazis beat them to it. Regardless of the intentions, the invention of the atomic bomb and the arrival of the Nuclear Age was inevitable, and nothing would ever be the same.

And, of course, Oppenheimer was turned into a hero for the world to see, and we know what happens to heroes; they are broken down and their images coldly shattered for all the world to see. Seeing him try to regulate nuclear energy in the wake of the Trinity test and the bombing of Hiroshima and Nagasaki was understandable as this was a power which needed to be reigned in and controlled. But like Dustin Hoffman said in “Outbreak” when he learned the military was still going to bomb a small town despite the doctors having a much-needed vaccine, “they want their weapon.”

Seeing Strauss and others take down Oppenheimer serves as a reminder that even decades ago, it was never about the truth as much as it was controlling the narrative. Linking Oppenheimer to communist causes, even though he never was a Communist, reeks of being guilty by association, and all you need is just a little glaring flaw to get the masses pissed at you. At one point he says, “Is anyone ever going to tell the truth about what’s happening here?” Indeed, truth is often a casualty in the realms of power, and it never is revealed right away, maybe even for decades.

There are many memorable images and moments to be found throughout this film. The explosion of the bomb is certainly a highlight as it demonstrates just how triumphant and horrifying this process of discovery was. It also reminded me of a demonstration a science teacher did one day outside of the classroom. He had a student take a pair of books with them and walk far off into a field. Once in position, he had the student slap them together, and the sound of them coming together did not happen until a second afterwards. It remains one of the most memorable science lessons I have ever witnessed, and I was reminded of this when the bomb exploded onscreen here. All you hear at first is silence as those witnessing this historical event can only hear their own baited breath. But when the sound of the explosion arrives, it proves to be quite deafening as it shakes everyone up as much as it does the theater you happen to be watching this cinematic opus in.

The other moments which stand out include those when Oppenheimer discusses theories and life in general with Albert Einstein (the remarkable Tom Conti), and the first meeting we see these two have hangs over the film throughout as we wonder what is said and why Einstein walked away looking so grim. The answer is eventually revealed to us all, and it speaks to how the more things change, the more they stay the same.

Seriously, there is not single weak performance to be found here. Even the smallest of roles carry a lot of weight throughout the film’s three-hour running time. Whether it is Casey Affleck, Jason Clarke, David Krumholtz, Kenneth Branagh, Tony Goldwin or James Remar, every cast member inhabits their roles with tremendous energy as each character has a very strong reason for being featured here. None of them should ever be accused of doing a mere cameo, and this includes the actor who portrays President Harry S. Truman.

Some performances worth singling out however include Robert Downey Jr.’s as Lewis Strauss, and it is truly one of his best ever as he plays this man as someone very knowledgeable about politics and power, but who eventually is undone by his lack of understanding as to what is really going on. Emily Blunt is at her most blunt ever (pun intended) as Oppenheimer’s wife, Katherine, who urges him to take a stand against those out to humiliate and discredit him. Florence Pugh remains an actress willing to go to emotionally raw lengths for a role, and her work here as Jean Tatlock, one of Oppenheimer’s lovers who gets swallowed up anxiety and depression is never less than impressive. And there is no leaving out Matt Damon who makes General Leslie Groves much more than the average military figure we often see in films like these.

But perhaps the real scene stealer is Alden Ehrenreich who portrays a Senate aide to Strauss. At one point he looks to be a hopelessly naïve idealist who has a lot to learn about politics, but then Ehrenreich makes this character into someone more confident and smarter than we are led to believe at first sight. More importantly, his last scene has him telling Strauss exactly what he needs to hear, and it is such a stinging moment to where I almost found myself applauding it.

Like “Goodfellas,” “Oppenheimer” proves to be many cinematic things to me: it is scary, thrilling, an important look into history, a study about the morality of the deadliest weapons mankind has ever invented, of how the narrative is often more important than the truth, and there are some laughs to be had here and there in the process. I live for motion pictures like these. Hopefully the Academy will not snub Nolan and company here when Oscar season comes around as they have in the past. “Oppenheimer” is a monumental cinematic achievement, and one which needs to be seen on the biggest screen in your neighborhood. More importantly, seeing it once will never be enough. I believe this is a film which will be studied endlessly throughout the years, and not just because of the brilliant editing job.

Oppenheimer brought us into the atomic age which eventually evolved into the Cold War involving nuclear weapons. We never really left the Cold War now, did we?

* * * * out of * * * *

‘Mission: Impossible – Dead Reckoning Part One’ – Never Less Than Entertaining

Posted on by The Ultimate Rabbit

Well, we are finally back in IMF territory where Ethan Hunt keeps taking a lick but keeps on ticking, just like the Energizer Bunny. Like Nicole Kidman keeps saying at your local AMC multiplex, we come into this theater to see if Tom Cruise and his director of choice for this franchise, Christopher McQuarrie, can top what they did previously in “Mission: Impossible: Fallout” which itself was one of the best action films in recent memory. Better yet, can it be the equal of last year’s exhilarating spectacular, “Top Gun: Maverick,” which Cruise starred in and McQuarrie co-wrote? Whenever these two are presented with a challenge, they always rise to the occasion no matter what the cost. And speaking of cost, “Mission: Impossible – Dead Reckoning Part One” is the most expensive installment of this franchise yet, let alone in Cruise’s film career.

“Mission: Impossible – Dead Reckoning Part One” begins with what I would like to believe is an ode to “The Hunt for Red October” as we encounter a Russian submarine with stealth capabilities, and its captain believes he is in command of the most lethal weapon on planet Earth. But before he knows it, the submarine is destroyed in a way similar to how the Konovalov went down, and we are introduced to this film’s McGuffin: a key which will give one power over an experimental AI (artificial intelligence) called the Entity. Originally designed to sabotage digital systems, it went rogue like Ethan often does, but in the process, it has infiltrated defense and military systems and intelligence networks. As a result, all the major powers are racing to get control over the Entity before it does the whole planet in.

These days, AI is the perfect villain as it threatens to take over all our lives and the work human beings are supposed to get paid a healthy salary to do. Clearly, audiences need to revisit the first two “Terminator” movies as James Cameron was really onto something. You remember what happened when Skynet became self-aware, right?

As always, it is fun to see in what format Ethan will receive his mission in, should he choose to accept it. In the past, he has gotten it via vinyl record, a pair of cool-looking sunglasses, a disposable camera, and a small videotape. This time, it comes to him in a food delivery bag like the kind Door Dash and Postmates often utilize. The irony, however, is inside it is a micro-cassette recorder, an allusion to the past which Ethan will be forced to confront. And while many “Mission: Impossible” installments are made to stand on their own, this one remembers how its characters, particular Ethan Hunt, have a history which has come to inform where they are now. Peter Gabriel said it best when he wrote how “nothing fades as fast as the future, nothing clings like the past.”

Following the plot of “Dead Reckoning Part One” is a bit hard as, like some of the other sequels, it gets a bit convoluted as so many ideas are brought up to where the plot is a little hard to follow. Then again, we do not go into these movies for logic. We go into them for the action and amazing stunts.

Still, I was reminded of how McQuarrie won an Oscar for writing “The Usual Suspects” and how brilliant that screenplay was while watching “Dead Reckoning Part One.” Like “Usual Suspects,” this film is a puzzle piece filled with characters trying to figure it all out before the timer on that bomb, any bomb, reaches zero. Also, I am not sure I have seen another movie in recent memory with so many actors putting on their best poker faces. As I watched everyone do their emotions hidden and not show any sign of vulnerability, I kept waiting for Lady Gaga’s “Poker Face” to start playing on the soundtrack. It doesn’t, but maybe Cruise and McQuarrie are saving it for “Dead Reckoning Part Two.”

But yeah, let’s talk about the stunts. There have been several trailers and featurettes dealing with the key stunts which include a massive train crash and Ethan riding a motorcycle off a cliff, and it made me wonder if Paramount Pictures was giving too much away in advance. But sure enough, they are amazing stunts which thrilled me to no end as Ethan is forced to catch up with a train in the worst way possible, and the payoff is priceless.

As for the train crash, everything leading up to is pulled off ever so skillfully. Clearly, Cruise and McQuarrie have watched the best action films out there and look to one up the stunts which have enthralled us before. While the situations seem similar, the screws have been tightened ever so tightly to where the room for error is miniscule. This is especially the case when the characters are on top of the train, looking to take one another out while also avoiding certain tunnels and structures which could knock them out of the way without much warning.

And wait a minute, I forgot to mention the car chase which precedes these scenes in Paris as Ethan and the ever so clever burglar, Grace (Hayley Atwell), race through the streets of Paris, and it featured a moment where one has to be grateful for the existence of airbags. Unlike your average car chase, this is one which puts you right behind the wheel, and just when you think things are getting better, they do not.

Cruise has always been a better actor than people typically give him credit for, but this film reminds one of what an excellent producer he can be. Along with McQuarrie, he remains determined to give audiences around the world a very good reason to see movies in a theater long before they have a chance to stream them at home. Indeed, the spectacle on display is best experienced on the biggest silver screen in your neighborhood as it will make your cinematic experience all the more invigorating.

When it comes to Cruise’s co-stars, they all deserve a wealth of credit. Simon Pegg has been this franchise’s comic relief for a while now as Benji Dunn, but here he shows how this character has evolved from his meek beginnings in the IMF to where he is not the least bit naïve about how his life compares to this or any other mission. Ving Rhames who, like Cruise, has been in every single “Mission: Impossible” movie since the 1996 original, remains an ever so powerful presence as Luther Stickell, a man who will never give up on Ethan even if someone forces him to. And let us never forget Rebecca Ferguson who once again returns as Ilsa Faust, one of the coolest MI6 agents you could ever hope to see on the silver screen. Ferguson remains an ever so indelible presence in this franchise, and she also shows an inescapable vulnerability which just might prove to be her undoing.

But when it comes to returning characters to the “Mission: Impossible” movie franchise, the most notable one to be found in “Dead Reckoning: Part One” is Eugene Kittridge, played once again by Henry Czerny for the first time since De Palma’s “Mission: Impossible” back in 1996. A Canadian actor, Czerny has proven to be enigmatic presence in films like “Clear and Present Danger,” “The Ice Storm” and “Scream VI” among other works. Here, he proves to have the greatest poker face of them all.

As for the new faces, we have Hayley Atwell prominently on display as Grace. She gives a very strong performance here as she matches Cruise scene for scene, and watching her character evolve throughout helps to give this installment more depth. Kudos also goes to Cary Elwes who is memorable in everything he does, and that includes his role here as Denlinger, Director of National Intelligence. And then there is Pom Klementieff who proves to be a lethal and maniacal presence as the French assassin, Paris.

In terms of villains in the “Mission: Impossible” movie franchise, they have been a mixed bag at times. But for my money, Esai Morales proves to be one of its best as the powerful terrorist, Gabriel. Like Philip Seymour Hoffman’s villain in “Mission: Impossible III,” he is a nemesis who enjoys the suffering and humiliation more than the kill, and he is a seething presence from start to finish to where I could not wait for Ethan to lay waste to him.

I have a hard time ranking the “Mission: Impossible” movies as this franchise has been around for several decades, and I get frustrated a lot with numbers. For me, this installment is not quite as good as “Fallout,” but that was a hard one to beat. Plus, we know there is going to be a direct follow up to this one next summer, and it has me wondering, and quite fearful, about what crazy ass stunts Cruise and McQuarrie will come up with next. Like many, I am convinced Cruise is going to get himself killed in a future sequel, but nothing seems to be stopping him.

“Mission: Impossible – Dead Reckoning Part One” is superb entertainment, and I cannot wait to see what comes next.

* * * ½ out of * * * *

‘Indiana Jones and the Dial of Destiny’ – Yes, I Liked It

Posted on by The Ultimate Rabbit

Leading up to the release of “Indiana Jones and the Dial of Destiny,” I was often reminded of a piece of dialogue from “Live Free or Die Hard” in which Thomas Gabriel described John McClane as being “a Timex watch in a digital age.” This was certainly the case when Harrison Ford put back on that fedora and bullwhip in 2008 with “Indiana Jones and the Kingdom of the Crystal Skull,” and it remains the case with this fifth and final installment in this thrilling franchise. While practical effects were the thing for Steven Spielberg and company back in the 1980’s and 1990’s, CGI has taken over to give some de-aging power to Ford and to create, or even re-create, those creepy crawlers Indiana hates with a passion. Indeed, times did change for Dr. Jones and us but, like him, I wonder if we can adjust to the changes from what we grew up on and loved.

Following an exciting prologue in which Indy and fellow archaeologist Basil Shaw (Toby Jones) discover half of Archimedes’ Dial during the last days of World War II, the action then shifts to 1969 where we find an aging Indiana Jones being woken up by the Beatles’ “Magical Mystery Tour” and teaching classes at New York’s Hunter College. And while the students at the university he previously taught it had crushes on him, the ones he teaches here could not care less about artifacts from the past, especially when man has only recently landed on the Moon with the Apollo 11 mission. At this point in his life, Indiana has become a curmudgeon of sorts, and anyone has to be considered such if they don’t like any songs by the Beatles.

Into the picture comes the Helena Shaw (Phoebe Waller-Bridge), Basil’s daughter and Indy’s goddaughter, who herself has a degree in archaeology and is eager to find the other half of Archimedes’ Dial. This is the prize of this Indiana Jones installment as this device is said to locate fissures in time. That’s right, Indy and company are dealing with an artifact which allows for time travel, so you know the spacetime continuum rules from “Back to the Future” will come into play at some point.

With its middling reception at the Cannes Film Festival, and with many fans still complaining about how bad they thought “Kingdom of the Crystal Skull” was with its aliens and nuking the fridge, I think one should go into “Dial of Destiny” not expecting the greatest action movie of all time, but instead an Indiana Jones film directed by James Mangold. Having given us such excellent films like “Logan,” “Copland” and “Ford Vs. Ferrari,” he takes over director’s chair from Spielberg and gives us something he cannot completely make his own, but that’s okay because this is not a franchise in need of too much change.

Okay, let me get some of my issues with “Dial of Destiny” out of the way here. At 154 minutes, this film could have used some tightening. There are moments where the story and action drag when they should not, and my mind did wander at times And yes, sometimes the CGI effects took me out of the film such as when our characters encounter those eels which could only hope of being as scary as the one in “Jaws: The Revenge” or those thousands of snakes in “Raiders of the Lost Ark.”

Still, I was very much entertained by “Dial of Destiny” as it does have the heart, soul and the action we come to expect from these action extravaganzas. When it comes to Ford, I am glad he gave us one last go around as the man with the hat. With each “Indiana Jones” film, he gives us a different side of this iconic character. In this one, Indy is a broken man on the verge of retirement and living in a time which does not seem to have much use for him. Marion Ravenwood is in the process of divorcing him, and the retirement gift of a clock from his staff is one he is understandably quick to give away to a stranger. Despite all the great adventures he has been on in his lifetime, no one outside his inner circle knows or cares about what he has been through. As for the villains of this piece, he is only a means to an end for them as he simply holds the key to an artifact which is far more interesting to them than anything else.

While the Nazis were a thing of the past in the previous installment, they are back in force this time around as Jurgen Volter (Mads Mikkelsen), a former Nazi whom Indy encountered back in World War II, looks to correct the mistakes Adolf Hitler made years ago and to where the world a better place to live in. Mikkelsen plays Jurgen in the same way he played his James Bond villain in “Casino Royale,” as a man with a cool façade who eventually unravels when things do not go his way. While I hoped Mikkelsen would have had more fun playing this Nazi sympathizer in the same way Alan Rickman did when he played a most memorable villain in “Die Hard,” he does give Indy the formidable foe this picture needs.

And there is no escaping Phoebe Waller-Bridge when it comes to reviewing “Dial of Destiny.” Does this film have too much of her character, Helena Shaw? Perhaps, but can you blame Mangold and company for featuring so much of the “Fleabag” star? She is such an infectious presence in life, let alone in this film, and she gives the proceedings the excitement and enthusiasm it desires. Also, like many classic characters in this franchise, she has quite the poker face which eventually comes apart as Helena gains a perspective on life which affects her original stance of being in this just for the money.

Other than that, we have John Rhys-Davies returning as Sallah, Indy’s longtime friend who was sorely missing in the last film. Antonio Banderas is a fun presence as another friend of Indy’s, Renaldo, who captains a boat Indy and Helena set sail on. Shaunette Renée Wilson gives us an interesting presence as Mason, a US government agent who represents the kind the FBI and CIA recruited back in the 1960’s to infiltrate certain groups like the Black Panthers. And I enjoy seeing Boyd Holbrook (“Logan” and “The Predator”) here as Klaber, a right-hand man to Jurgen Volter and an especially nefarious individual who is quick to kill someone without a second thought.

As for Mutt Williams, Shia LaBeouf’s character from “Kingdom of the Crystal Skull,” he does not appear here, but he is mentioned. I think this was a smart move on the part of the filmmakers because to pretend this character never existed would have been thoughtless to where he would have come across as total mistake in retrospect.

When it comes to “Dial of Destiny’s” final act, many have described it as being “bonkers,” but these people are the same ones who decried “Kingdom of the Crystal Skull” for being “unrealistic.” While these films take place in historical periods which have long since passed us by, the filmmakers do a great job of capturing those time periods with a good deal of authenticity to where it vividly comes to life. This helps ground the action in a reality we know and understand while the fantasy elements reign supreme on the silver screen.

I cannot spoil the last half of this film for anyone, but I loved how it proved a few things for me and, I sincerely hope, many others. When it comes to mathematics, it is more useful tool in life than we realized while in high school as it truly provides us with a universal language. Also, when certain characters do not take continental drift into their plans, I hope this reminds everyone around the world about how science can only be refuted by more science, and it made me love this film’s final act all the more.

When it comes to “Indiana Jones and the Dial of Destiny,” I think we are coming into this one with a lot of trepidation as expectations are so hard to deliver on or surmount. A lot of people had their daggers out for this one before it was released as they wanted it to be a certain kind of motion picture, and while many of them will not get past their individual prejudices, I hope there will be enough to accept for this film for what it is as opposed to what they want it to be. It has its flaws as most films do, but this one still had me engaged for the most part, and I walked out of the theater with a smile on my face as seeing Indiana grab that fedora of his was a most pleasing sight. I expected a fun time at the movies, and that is what I got.

And yes, we do get another monumental music score from the great John Williams which adds to the action in a glorious way. Even at 91 years old, this man still knows how to deliver, so don’t tell me someone is too old to do something. I hope, if I ever reach that age, that I can still be every bit as creative.

* * * ½ out of * * * *

Guy Ritchie’s ‘The Covenant’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

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.

‘Hollywood Dreams & Nightmares: The Robert Englund Story’ – Freddy’s a Nice Guy!

Posted on by The Ultimate Rabbit

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:

“Freddy Krueger

That old man Krueger

He just keeps slashing away!”

* * * ½ out of * * * *

‘Spider-Man: Across the Spider-Verse’ – Our Friendly Neighborhood Web Slinger Thrills Us Yet Again

Posted on by The Ultimate Rabbit

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.

* * * ½ out of * * * *

‘Shazam! Fury of the Gods’ Movie and 4K/Blu-ray Review

Posted on by The Ultimate Rabbit

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.