The Cars franchise has varied in quality throughout its three cinematic releases, but there’s always been something quite charming about the friendship between Owen Wilson‘s Lightning McQueen and Larry the Cable Guy’s Mater. Pixar knew what the film’s strengths were and with each project kept that at the base of its hard; no matter where the story leads it. That very same thing can be said with Pixar’s true first animated series, Cars on the Road.
Across the various episodes, the duo is on the road for a few days to take part in the wedding of Mater’s sister. Besides the surprise revelation of Mater’s family background–which has quite a fun twist that doesn’t overstay its welcome–and some more fun between the leading pair, there’s something quite special with the Pixar series. Each episode is its own little storyline that offers something quite fun and a great time.
Steve Purcell and his team tried to offer something fun with each episode, such as playing around with different genres, film tributes, and generally just taking these iconic characters and putting them into surprising scenarios. While one episode explores the pre-historic history of the Cars universe with a Ray Harryhausen animation twist, another will give us The Shining with a vehicular twist.
The series doesn’t revolutionize anything and there’s no real need for it to do so. From the opening, the show knows exactly what it’s about and doesn’t try to be anything else. What helps with that aspect is that these episodes are pretty digestible. You’ll get through an episode in just around seven to eight minutes, which includes credits and it helps give each episode a quick pace.
The show goes by fast and still has its memorable moments. McQueen goes through quite a bit of hell this time around, as the poor guy has to live through a haunted mansion and even face his fear of clowns; a highlight of the season. Mater is as enjoyable as he’s always been and the show doesn’t change their characters much; mostly just sees how their personalities would work or even clash depending on the situation.
We also get some new additions this season with characters like Quinta Bruson‘s Ivy and Dana Powell‘s Mato. They are fun additions but don’t really take much of the focus away from our leading duo. There is a point in the story where they make it seem like they’ll have someone joining them for the road but that storyline is swiftly scrapped. In a way, it did make you wonder why they included it besides for a few gags and it was a shame not to explore how their dynamic would change with a new friend tagging along.
The animation is great and everyone looks the way you’d expect them to. As stated earlier, there is an episode that pays tribute to claymation that highlights the attention to detail. A lot of this series feels like a love letter to the many genres and films where the franchise started. There aren’t any major twists and turns but a simple joyful ride with two close friends.
Cars on the Road is just a great time and has something for everyone. Kids will just have a blast with Mater and McQueen’s usual dynamic while also enjoying how these two play off of each other. In the meantime, adults will get a blast out of Easter eggs from Mad Max, The Shining, and more sprinkled throughout the series. In a way, it could be the perfect jumping-off point for anyone wanting to spark their kid’s curiosities about some classic films when they start asking why a bunch of cars are driving through the desert challenging strangers to survive the Thundercone.
Cobra Kai has always had a sense of ridiculousness to it, but Season 5 takes it up a notch in the best way possible.
Most shows tend to falter as seasons go on. For some, it is in their sophomore seasons that they fall apart, while others begin to falter in latter seasons, seemingly struggling to maintain quality over the years. Cobra Kai, thankfully, managed to avoid the sophomore season curse and has only continued to become better with each new installment. Five seasons in, the Karate Kid spinoff appears to have more steam now than ever. The series understands what it wants to be and is willing to take risks. So, by the time the final episode of Cobra Kai‘s fifth season ends, viewers will find themselves desperately seeking Season 6 — which is currently thought to be the show’s final season.
Season 5 of Cobra Kai picks up shortly after where Season 4 ends. Miguel has headed to Mexico in search of his biological father, Cobra Kai is riding high from winning the All Valley, and Johnny is still trying to mend his relationship with his son. But given that this is Cobra Kai, things don’t necessarily go as planned. Cobra Kai is still causing trouble – both the students and the senseis – and there will be repercussions felt throughout the entire season because of their actions. While prior seasons have focused on the relationship between Daniel LaRusso and Johnny Lawrence, Season 5 has put the focus on family and how our choices impact those around us. What we get to finally see is the weight of their choices. Both men are still incredibly, incredibly stubborn, but this season sees them move beyond being karate obsessed.
This season puts a ton of focus on character growth. Season 5 of Cobra Kai takes its main cast and puts them into uncomfortable positions, forcing them to learn from their mistakes along the way. Surprisingly, while Johnny and Daniel do grow plenty, it’s the kids this go around that show the most growth. Which is a nice change. We’re so used to the story being centered around the adults, but Season 5 puts the kids in the spotlight. They’re reckless, they’re frustrating, but at the end of the day, they’re a lot different by season’s end. The most notable character arc this season belongs to Peyton List‘s Tory Nichols who has arguably the best (and most emotional) storyline this season. List leaves everything on the mat this season and deserves all of the praise she’s sure to receive.
The season isn’t without its faults, of course. There are moments that do drag on seemingly more than necessary, and the things Silver manages to get away with can be quite frustrating. But the stumbles are minor, and the season always manages to recover from the tiny blows.
As for the fight scenes this season, they’re not as great as they have been in the past. That isn’t to say there aren’t some highlights, though. After all, this is Cobra Kai and there will always be at least one insane fight included. Some of the fights are goofy, of course, but the hard-hitting fights are memorable – especially the big battle we see near the end. It’s the first time in the show’s history that audiences will find themselves unsure of the safety of some of their favorite characters. It’s both well-executed and well-cut. It’s a hell of a way to end what is easily the most ridiculous and yet fantastic season of Cobra Kai to date.
Honestly, looking at where Cobra Kai is now, it’s easy to forget that the series started out as a YouTube original. It’s easily one of the best shows on television because it knows what it wants to be and doesn’t take itself too seriously. This is a karate series with great characters. The dojos and karate used to be the main selling point of the series, however, Season 5 does a hell of a job making it about the characters. The series has grown over the years into a far more confident version of itself and it shows.
Overall, Season 5 of Cobra Kai is one of the best seasons to date. While the fight scenes aren’t the best, the season excels in its character work. It’s hard to believe a story about two warring dojos has managed to shine in its storytelling five seasons in, and yet, Cobra Kai has done so with ease. While the plan might’ve been for six seasons, Season 5 proves there is still plenty of story left to tell if the creatives are up for it. For now, fans can relax knowing their favorite karate series is back bigger and better than ever.
Space Trash: Vol. 1 hails from Jenn Woodall and tells the story of three kids – Stab, Yuki and Una – as they visit abstract locations while attending high school on the moon. It’s a fascinating premise that is full of promise with the three students discovering something that could change the course of their future forever.
As a Mass Effect fan, I’ve often wondered how cool it would be to play as Commander Shepherd before they become the legend. Given that players can pick from three distinct backstories, a prequel taking us through each background would’ve been most welcome. So the highest compliment I can pay Space Trash is that it feels like that idea came to life. Introducing Stab, Yuki, and Una amidst some colorful supporting characters isn’t a novel choice, as they might as well be this novel’s Harry, Hermione, and Ron, but making all three of them come from underprivileged communities is a really good choice by Woodall because it allows for the eventual friendship forged to actually mean something. There’s trauma that these three have experienced, and it has made them who they are. It also will have an impact on who they become, and I’m really excited to see what surprising ways that unfolds.
Another cool thing the author does is to set the school the children attend in the backdrop of an Earth that has been abandoned. While this all-too-quick read doesn’t give us a lot of insight into this abandoned Earth, it does give us just enough in terms of what the planet meant to these characters for the loss to be felt. There’s also this feeling that they will try to return at some point, and that feeling does cloud the proceedings a bit as it feels like more set-up is needed for that to truly mean something. What the novel does set up better is the complex system that these children are living under: a mix of Hunger Games and Game of Thrones, this dynamic makes sense considering what happened that led to the creation of it.
All of this set-up comes to life with creative color usage and writing that is top-notch. However, having 2091 look like 1980 didn’t really help set the story apart. You can’t sell a futuristic story and then not really set it in the future, and choosing to not do so really takes you out of a well-written story. The story has queer and non-binary characters, which is great for representation, and that’s always a plus. However, the lack of care given to this world made it hard for the characters to feel truly developed — much like the world they inhabited.
SPOILER WARNING: This article will discuss spoilers from Spider-Man: No Way Home alongside the additional footage released in the extended cut.
With the official re-release of Spider-Man: No Way Home this Labor Day Weekend, Sony added extra incentive for audiences to get back into theaters by folding in previously unseen footage into an extended cut. Whether or not this was worth removing from the digital and Blu-ray release of the film remains to be seen, but nonetheless, there are some interesting new facets to discuss coming out of it. Before getting into the film itself, audiences are treated to an introduction via a video conference call from Tom Holland, Andrew Garfield, and Tobey Maguire. It’s a fairly straightforward exchange of pleasantries and gratitude about the experience of working on Spider-Man: No Way Home. Now a breakdown of the new footage.
(L to R) Hannibal Buress, J.B. Smoove, and Martin Starr in Spider-Man: No Way Home
FIRST ACT
The very beginning of the film remains the same as the original, with the first additions coming in the form of extended investigations done by Arian Moyaed’s Cleary with Peter Parker and company. The most noticeable difference is with Cleary having extended conversations with Peter about his previous ventures and his penchant for being in action near popular monuments. In addition, the infamous Night Monkey is addressed in the interrogation process.
The first outright new scene brought into this cut of No Way Home is the notably cut scene involving Harry Holland’s drug-dealing character being stopped by Spider-Man. The main focus then switches towards the civilians in the surrounding area accosting Peter Parker despite stopping a criminal which is built around a debate about the morality and culpability of Spider-Man being erroneously claimed to be a 14-year-old child. This scene closes out with the green paint being thrown on the suit of Spider-Man (as opposed to it just being part of a Daily Bugle montage).
The most distinct additions in this new cut are scenes at Midtown High School. Essentially every scene is expanded upon with new lines of dialogue from supporting and background characters expressing their excitement or disdain towards the webhead. One moment of note is Hannibal Buress’ Coach Wilson loudly goading Peter Parker to climb a wall during gym class with other classmates gawking onwards. This ultimately culminates in a new extended montage of interspersed sit-down interviews done by Betty Brant with supporting members of the Midtown ensemble. Of note here is the comically terrible green screen akin to the wonky production quality seen at the beginning of Spider-Man: Far From Home. The montage provides Buress, Martin Starr, and J.B. Smoove time to flex their comedic chops in the way of one-off cutaway lines. Additionally, audiences further dive into the vapid psyche of Flash Thompson in the midst of selling his new autobiography and receive some awkward closure between the Ned Leeds and Betty Brant relationship.
Charlie Cox as Matthew Murdock in Spider-Man: No Way Home
SECOND ACT
After leaving Midtown High, this version of No Way Home has no real changes to the structure of the film for a considerable amount of time. There are only two tangible additions of note. Firstly, there is a brief segment from J. Jonah Jameson on the Daily Bugle interviewing a construction worker on-site during the fight between Spider-Man, Sandman, and Electro. However, the construction worker comedically refers to it being a conflict between Spider-Man with a sparkle web fighting Dirt Man and a Power Monster (to the bemusement and confusion of Jameson). This scene is essentially an extension that leads into J. Jonah Jameson receiving the tip about the location of Peter Parker at the F.E.A.S.T. facility.
And then, this is followed up with the long-rumored second scene involving Charlie Cox’s Matthew Murdock. The lawyer is seen representing and defending Happy Hogan while under investigation from Cleary and his team at Damage Control. However, Hogan is distracted by watching the arrival of Peter Parker, May, and the villains into his condominium on the security camera via his phone (this scene is spliced with the original cut version of Peter and co. entering the condo). Murdock accosts Hogan for being distracted and closes by insisting on Jon Favreau’s character to stop sweating so much.
(L to R) Tobey Maguire, Tom Holland, and Andrew Garfield as Peter Parker Variants in Spider-Man: No Way Home
THIRD ACT
Following the new Matt Murdock scene, there are no new full scenes added to the film in the new cut. However, audiences will come to find a few new brief exchanges between the Spider-Man variants while on the Statue of Liberty scaffolding. These are all extensions of conversations already seen in the original No Way Home. Of note, Andrew Garfield’s variant continues his motif of being uber-excited about being able to interact with two versions of himself and is already planning a future meet-up between the trio. In addition, there are further points made about Tobey Maguire’s ability to create organic web-fluid and the unconscious process in which he generates it. Audiences will likely find a brief, yet tender exchange between Maguire and Garfield’s versions discussing the thought of being able to have second chances on past mistakes to resonate most strongly out of all of the additions. Once the villains then arrive for the final battle, the film remains the same course with no changes or additions abound.
Angourie Rice as Betty Brant
POST CREDIT SCENE
Though there still remains one last surprise for audiences who stick around to the end of the film. A new post-credit scene is introduced that adds an interesting perspective to the resolution of Spider-Man: No Way Home. It takes the point of view of a final school news broadcast from Betty Brant celebrating the graduating class of Midtown High. In it, she discusses all the various events that they’ve gone through during their years, including The Blip (with Betty and Jason Ionello dusting and returning during news broadcasts). Though what’s most notable is the presence (or lack thereof) of Peter Parker. To slightly dispute the leak description from Reddit, Tom Holland’s character is technically present but is conventionally barely cut out of frame in every photo he is in (or has birds flying in front of his face). And of course, there is no mention or memory of him during the scene.
This helps bring new insight and understanding towards the nature of Doctor Strange’s spell and how the memory of Peter Parker was wiped from the minds of everyone in the world. And of course, provides a discreetly somber reminder of the lonely place Spider-Man is in at the end of the film.
THOUGHTS AND OPINIONS
Ultimately, the extended edition of Spider-Man: No Way Home was a fun experience, but certainly not game-changing in any way. As one can infer from the breakdown, a vast majority of the new scenes come from the first act of the film and at Midtown High School. While all the scenes brought new perspectives and enjoyable moments, director Jon Watts and his team made the right call in making the opening of the film as succinct as it was. Confirmation that Angourie Rice’s Betty Brant is an unsung hero in this first Spider-Man trilogy in the Marvel Cinematic Universe is almost certainly the main takeaway. The only scene that could be considered worthwhile to have been included in the original cut was the Matt Murdock-Happy Hogan scene and the new lines from the Spider-Man variants solely from how little was changed via their additions. It will come down to the individual viewers to determine if the extended cut of Spider-Man: No Way Home was worth a full-on new theatrical release. However, if a fan is interested in being able to see the film again on the big screen as it was designed, it’s certainly an enjoyable experience either way.
Deep in the Sundering Seas, a ship sails toward peace and freedom. All onboard are merry, as they know what bountiful future awaits them, save for one soul. Galadriel, a young Elven warrior, is not content. She looks around with concern and restlessness as her companions begin to sing a holy song in unison. Her brethren embrace what they understand to be a blessing, yet Galadriel is unable to wrap her mind around the same joy. The boat rolls onward, but her true journey lies somewhere behind it. This scenario, which plays out near the end of The Rings of Power‘s first episode, is how many may have felt when The Lord of the Rings films first premiered two decades ago.
Universally loved by fans and critics alike, it quickly became heresy to suggest the original live-action trilogy wasn’t for everyone. While all manner of brethren sang it’s praises like a holy verse, some simply couldn’t bring themselves to join in. Their journey lay elsewhere, in the gutters of other fantasy deemed “less-than” by those who could more naturally comprehend the great works of J.R.R. Tolkien. To be fair, these high-ground thoughts were never entirely misplaced. Peter Jackson‘s movies are indeed a generational achievement, and the novels they’re based on are undoubtedly a cornerstone to which all subsequent entries of the genre owe their existence. Nevertheless, The Lord of the Rings was never an easy story for the average viewer to sink their teeth into.
Filled with intense exposition and expansive world-building, it could often feel like there was homework required to fully appreciate the cinematic experience. Beautiful, awe-inspiring filmmaking, for sure, but also perhaps too much for some to take in at once. On the other hand, Jackson‘s Hobbit prequels were derided for leaning too far in the other direction. Too much explosive action, not enough thoughtful commentary. The Rings of Power, a new prequel series from Amazon set a full Age before the events of Tolkien‘s seminal masterpiece, feels special for at least one major reason – it works in a way where viewers are granted both pace and spectacle. The series’ pilot and its follow-up, each directed by J.A. Bayona, are chock full of the gorgeous visuals and thrilling set pieces one has come to expect from adventures set on Middle-earth, but pull them off while maintaining the intellectual integrity of the franchise.
Anyone who might have been worried about the show not living up to the iconic aesthetic of the films can rest well knowing this is not the case. It’s very clear that The Rings of Power is the most expensive television series ever created. From the very beginning, it looks absolutely unreal. This is the same Middle-earth fans have spent years obsessing over, only it feels quite a bit younger. Not only are several of the protagonists in the ensemble cast literally younger versions of established Tolkien characters, like Morfydd Clark‘s aforementioned Galadriel or Robert Aramayo‘s gleaming Elrond, but much of the landscape gives off the essence of a used car restored to its former glory. The grime of Sauron has yet to truly taint the world, even if his dark presence is ever looming.
As a result, the premiere episodes exude a fairly fresh aura to potential new fans of the franchise. This is not a project anyone has to rewatch older films to enjoy. It’s amicable for those who have loved what’s come before and welcoming to those who’d finally like to try giving Middle-earth a shot. There is some of that familiar exposition, yes, but the show’s episodic format allows for it to be delivered in smaller, separate doses as opposed to all-at-once. Interspersed between are countless moments of shock and amazement that will leave audiences pondering on how a television series could pull all of it off. There are grand scenes of war, charming competitions of friendship, slaughtering at the hands of a lumbering troll, and a horrific game of hide-and-seek played with a skull-fit orc.
It’s impressive how effortlessly The Rings of Power shifts between these many masks in its attempt to weave an epic tale. The characters, too, are plenty of fun to spend time with. New light is shed on well-known names, enough to make them – possibly – even more likable, and enthralling introductions are made for the latest faces to join the universe. Viewers are reminded exactly why they fell for the varying species of Middle-earth, especially the Hobbits and the Dwarves. Any time spent with Harfoots (Harfeet?) or the cave-dwelling Khazâd is an automatic highlight of the episode.
Best of all, the premiere episodes leave fans with more questions than they do answers. Without spoiling anything, there’s much to dissect in the coming season. Despite a runtime of over two hours and a lot to establish, A Shadow of the Past and Adrift do a fantastic job of keeping the audience entertained and engaged while setting up plotlines that will last for a long time to come. With an agreeable approach and a stunning coat of paint, The Rings of Power might just be the first Lord of the Rings entry that everyone can fall in love with.
Editor’s Note: This review is based on episodes 1-7. The eighth and final episode was not provided for review. Please keep that in mind while reading.
Netflix’s The Devil in Ohio is about a young girl who escapes a cult and finds herself wanting to stay with her rescuer and her family. It’s a simple premise, but it’s also so much more than that, really. The Devil in Ohio is an adaptation of the novel of the same name by Daria Polatin and is said to be based on a true story. It’s a story about corrupt religion, family, and the lengths people will go to in order to get what they want.
The series begins with Mae (Madeleine Arthur) on the run. At the time, it’s unclear what she is running from or why, but the answers are hinted at relatively quickly. She’s in danger and needs to get away for her own safety. Enter Suzanne Mathis (Emily Deschanel), a psychiatrist eager to protect the girl and anyone else that might need her help. From the moment Mae enters Suzanne’s life, things begin to erupt into chaos. Those familiar with Deschanel solely through her work on FOX’s Bones will be delighted to see the actress have the chance to play with more emotional complexities here. Suzanne is a flawed character. She acts on emotion rather than logic. Her choices are often questionable, and her dedication to Mae sometimes borders on obsessive. While the character means well, she’s not necessarily well-written, although Deschanel does her best with what she’s given.
Arthur, who starred in the small screen adaptation of Snowpiercer, proves to be a standout here. She perfectly captures a sense of creepiness and childlike wonder with Mae. Viewers will often find themselves questioning whether or not she’s trustworthy and if she’s worth protecting. There’s so much mystery that surrounds her character. Even by episode seven, it’s hard to imagine the Mae’s story will be successfully concluded with one final 45-minute-long episode; while we do learn a fair amount about Mae by the end of Episode 7, she hasn’t truly developed a personality of her own just yet. She’s still figuring herself out, and it’s hard to get a true feel for her character. If there’s one thing The Devil in Ohio could’ve benefited from, it would’ve been two additional episodes. Two more hours could’ve given the series time to breathe and focus on Mae and her story a bit more.
That isn’t to say The Devil in Ohio is bad. It’s not. At times, it is downright frightening. While during others, it can be quite the snooze fest. The slow moments are hard to get through, and sometimes, the writing isn’t that strong. What will keep viewers watching are the performances by the cast and the creepy atmosphere that is highlighted on screen. Unfortunately, though, The Devil in Ohio falters in trying to tell a cohesive story. With so many secrets, it often feels like writers weren’t even sure how to go about answering them, which is frustrating. All the more frustrating is the series managed to get Tahmoh Penikett and failed to truly make use of him.
Penikett is a stellar actor who has such limited screen time in The Devil in Ohio. It’s rather unfortunate, too, because his scenes in this series feel rushed and lacking any importance despite playing such a vital role. It’s almost as frustrating as waiting until the end to finally up the ante. Still, for what it is, The Devil in Ohio is worthy of a watch. Despite its overall flaws, the limited series managed to be fascinating enough that viewers will be drawn into the story of Mae and her life before she was saved.
A psychological thriller about corruption in religion and the willingness to fight back? The Devil in Ohio has all of the right components to be a stellar series. It just needed more time to tell its story.
The eight-episode limited series is now streaming on Netflix.
In 2006, Lionsgate Films distributed a project touted as one of the most high-octane movies of all time. Crank, an incredibly raunchy action film starring Jason Statham, revolved around a highly-skilled assassin who was poisoned by his rival and subsequently forced to keep his adrenaline pumping in order to survive. The premise was promising, and seemed to indicate there would be plenty of over-the-top violence and radical movement occurring throughout it’s 88 minute runtime. Unfortunately, aside from some deceivingly shaky cameras and the occasional thrown punch, the movie mostly just used unnecessarily offensive dialogue and some truly awful public behavior to illustrate it’s concept. Midnight Fight Express, on the other hand, is everything Crank should have been and more.
An exciting new Beat ‘Em Up from the folks at Humble Games, Midnight Fight Express is actually the rip-roaring brawler it’s title suggests it will be. The basic idea is relatively easy to comprehend, and honestly, the gameplay is too. Babyface, a dormant sleeper agent, is activated by a talking drone and sent out into the streets of a city on the verge of collapse. With the landscape overtaken by an innumerable amount of gangs and crime syndicates, the player controls Babyface as he wipes out every bad guy in sight and begins to learn more about himself and the forces he’s singlehandedly opposing. It’s as straightforward as that, and the game is much better off for it’s commitment to simplicity.
The player starts off with a few base abilities – punch, dodge, and grab. One can either punch their way through a group of evildoers, or pick up a weapon to help bash their heads in. Aside from the occasional firearm, which proved the hardest to control in combat, the amount of damage a weapon does is pretty clearly related to how big it is. If a player would like to take a large man down in fewer hits, they should probably find some sort of massive wrench or metallic baseball bat. If they want to roll around and swing in for a sneak takedown, they should probably beat the snot out of someone with a knife and take that instead. As they clobber their way up the baddie ladder, players will also find themselves able to unlock new moves and techniques that diversify gameplay and aid in taking down boss characters. This keeps the game interesting without overcomplicating what already works.
Of course, while the game is not that hard to understand, it’s also not without it’s challenges. As the player progresses though the city and, eventually, down into the sewers – among other places – they will encounter tougher and tougher opponents. Every time a new class of evil is introduced, the gamer must adjust their playstyle slightly to accommodate the new type of threat. Additionally, not every level plays out exactly the same way. Some feature a bit more traversal, with Babyface jumping around rooftops or fighting his way through subway stations, while others focus more on a specific gimmick. Some standouts include a sequence of tasks involving trains, where the player must fight inside while avoiding a sniper aiming through the windows or use oncoming cars to their advantage, and a mission that takes place entirely within a single bathroom, where Babyface has to clear waves of gang members before he can leave.
After using both a console controller and the keyboard to play, it can probably be said that the controller is best for the way this game handles combat. As the footage and Crank comparison might imply, everything that goes on in Midnight Fight Express is designed to happen very quickly. The brain has to think fast or not at all in order to continue surviving, and a controller seems to be more applicable to that kind of scenario. This might be a matter of preference, but especially when it comes to ensuring one swings a punch in the correct direction, there was a noticeable difference in play quality between the two gaming options.
Last, but certainly not least, Midnight Fight Express allows the player to have a lot of fun with customizable appearances and sandbox elements. Beating up baddies in a variety of fun ways earns the player coin to spend in the main menu’s shop, where they can make Babyface look as cool or goofy as they please. This is a great way to dive further into the spirit of the game, which is also sort of hilarious when it wants to be. As with most Steam games of this generation, a lot of the dialogue is incredibly silly without being anything too uncomfortable to read. Police are idiots, thugs are idiots, bosses are idiots, and even sometimes, the drone can be an idiot too. It’s all a bit cheesy and plays in good respite.
Overall, Midnight Fight Express is a dumb, simple, full-throttle, kick-ass, good time. It’s exactly what it advertises, and can almost be cathartic if the player needs it to be. All the action of John Wick packed with the energy of Crank and wrapped in the scenic views of Escape From New York. Highly recommended to anyone who simply wants to spend an afternoon smacking villains upside the head at a breakneck speed.
When most people think of quirky romance films, they’d rightfully think of either Lifetime or Hallmark, two networks known for their made-for-television romance titles. However, it looks like both networks will soon face competition from none other than Netflix. Having already staked its claim in cheesy holiday films, Netflix is adding to its list of titles with the addition of charming love stories featuring the enemies-to-lovers trope. Enter Love in the Villa, a cheesy Italian-set romance sure to delight.
Love in the Villa stars The Vampire Diaries actress Kat Graham and The Umbrella Academy‘s Tom Hopper as Julie and Charlie, respectively. Graham’s Julie is finally going on a trip to Verona – a trip she has planned for years – and she’s thrilled to be spending it with someone who means so much to her. She has meticulously planned every moment of the trip, including scheduling lunches and dinners for their entire vacation. Unfortunately, as she soon learns, things don’t always go to plan. And she soon finds herself alone in Verona, or so she thinks. The villa she’d rented for her romantic getaway is occupied by another guy and he has no intention of leaving. What ensues is a surprisingly rich romance story about finding yourself and letting go.
There’s nothing outright special about Love in the Villa. The plot is simple and ultimately predictable… but there’s something charming about this little film. It’s light-hearted and never tries to take itself too seriously. More importantly, though, there’s a chemistry between the leads that is hard to deny. It makes some of the more cheesier moments all the easier to sell. Graham and Hopper are magnetic. The way they play off of one another is key to the film’s success.
That’s also one of the best things about Love in the Villa. The characters are great – even the secondary ones. Uberto is a character with limited screen time, but he’s sure to become a fan-favorite. The little time he does have on screen is memorable despite very few lines. There are a few other characters that would be spoilers to note, but they help to carry the second half of the film and their presence is delightful. For a movie with such a simple concept, the character work is pretty impressive overall. Writer and director Mark Steven Johnson might have some misfires in his credits – Daredevil, Jack Frost, Ghost Rider – but Love in the Villa is proof he’s capable of crafting a strong romantic comedy.
Those eager for an enjoyable romantic comedy? Love in the Villa is definitely worth a watch. It’s easy to get lost in this love story and there are plenty of jokes to keep viewers laughing throughout. More importantly, though, it’s a nice showcase of the cast and their talents, especially when it comes to Graham, who hasn’t gotten the chance to show what she’s truly capable of just yet. Is it something that’ll bring upon numerous re-watches? Doubtful, but for the hour+ viewers will spend with this story, it’s a mini vacation that they won’t regret taking.
She-Hulk: Attorney at Law finally gets into its full groove in its third episode, and the result is the series’ best episode by far. By being able to embrace the half-hour story format, the show capitalizes on its concept and various parts to create some memorable and enjoyable television. But at the end of the day, Episode 3 is simple: it is wholeheartedly hilarious and full of constant literal laugh-out-loud moments.
With Wong’s introduction, the show once again proves it has strong connections to the MCU that it uses to enhance She-Hulk. The legal case-by-case structure essentially gives the show—apart from Jen’s overarching personal journey—the substance and story it needs on a weekly basis without the weight or pressure of actually needing a heavy overarching premise. There are clear breadcrumbs to a larger plot on the horizon, notably with the Asgardian construction worker-inspired Wrecking Crew that tried to take a sample of She-Hulk’s blood for “the boss.” But that tease is quite frankly the least interesting part of the episode by far.
The focus on smaller-scale stories also gives She-Hulk the space it needs to be genuinely funny and a pure comedy. Without the mandate of a slowly unraveling “main story”, each episode can just simply be enjoyed for what it is. The series can take elements, like Wong, from the greater universe and frame them in its own comedic lens without having to take on any responsibility for the true development of those characters or elements outside of this specific series. The cast, particularly the supporting cast, proves itself to be a formidable comedic vehicle when the narrative gives them the screen time. Josh Segarra’s Pug and Drew Matthews’ Dennis Bukowski handle the B-story without a problem and put in some of the best performances of the episode.
The pure absurdity contained in some of She-Hulk’s source material and comics generally is often not explored in live-action projects because it is—exactly—absurd. Phase 4 in general has been letting itself delve into that weirdness, but this series probably embraces the weird more than any other project. The simple joy of watching the “everyday life” of a Hulk and the Sorcerer Supreme along with the trivial and silly adventures they get into is virtually never part of the usual MCU experience. By not taking everything so seriously, She-Hulk gets to exist and breathe on its own, unique scale. But its resources make the small-scale stories feel much more exciting than if the revolving door of characters and clients was entirely new or bland. The show, through its connections to cameos and references, has an anchor in the MCU that keeps it from drifting into forgettable waters.
She-Hulk: Attorney at Law’s third episode sees the series transform into what it is intended to be. Where the first two episodes jogged, Episode 3 sprints. The show is fully self-aware, and even directly calls out misogynistic patterns that surround female superheroes and woman-led projects, particularly on social media. She-Hulk has nothing to prove to those who cannot handle the concept of a “She”-Hulk getting attention. For the rest of the world, this episode proves that the series is a hell of a good time.
Blue Valleys’ resident superhero is back! The third season of Stargirl is setting up what looks to be a much more character-focused, slow burn compared to previous seasons. The Frenemies theme teased towards the end of the second season makes things feel a whole lot more personal this season and the dynamics that it brings into this chapter could be the most enticing aspect of the season, as it feels like it’s the only thing really going on.
Season 3 brings quite a few familiar faces back into the spotlight, with characters such as Sportsmaster, Tigress, Gambler, and the long-awaited arrival of Joel McHale as Sylvester Pemberton, who returned at the tail end of Season 2 after being teased over the course of the past two seasons. Pemberton’s return brings the dynamic between him and Courtney into focus, bringing up the question as to how the two would be able to co-exist as the only two who’ve ever been able to wield the cosmic staff. Courtney is obviously a bit hesitant but eager to learn more about the cosmic staff from the old hero.
Courtney has gone on to make a life in Blue Valley as Stargirl with the support of both her family and her friends; Sylvester never properly gave up the mantle and of course, his first notion would be to find the staff as its really all he ever knew, he lived and breathed those cosmic rays until he was put six feet under by Icicle. The whole mystery behind his return is still a bit murky, with Sylvester speculating that the staff may have made him almost immortal with the energy it radiates.
Courtney has always been the show’s strongest character, which is a good thing when she is your title character, and the hatchet burying this season really allows room to explore the heights and limits of her heroic nature. We get to see these limits put to the test as she must juggle working alongside Cindy Burman after facing the consequences of releasing Eclipso. Courtney works as the glue, the optimist amongst the few who don’t trust as easily as she does. Cindy’s inclusion in the Justice Society obviously leaves some members feeling a bit uneasy about the situation, as they believe she doesn’t deserve redemption.
The end of the episode provides quite the revelation. The Gambler’s return is quickly shuttered, as the retired Injustice Society member is cut down by a mysterious assailant, just after discovering a system of cameras had been setup around Blue Valley. These cameras are likely monitoring the town for what could only be the experiment teased by Mister Bones at the end of season 2.
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