Murphy's Multiverse

Tag: Movie Reviews

  • REVIEW: ‘Lightyear’ is More Than Just Science Fiction

    REVIEW: ‘Lightyear’ is More Than Just Science Fiction

    In the words of director Angus MacLane, science fiction is a mustard. This is simply to say that, when applied to the sandwich of storytelling, genre is just the condiment you spread on top of a meatier center to spice things up. Lightyear, the latest creation from Pixar’s acclaimed kitchen, is absolutely coated in mustard. It’s an unabashed love letter to every space-faring, reality-warping, robot-fueled adventure that came before it. Science fiction is seeping from every corner, a preparation which only serves to enhance the spread’s flavor. However, a movie cannot survive on aesthetic alone. The dish needs something else to make it really worth consuming. Luckily, Lightyear is a fully nutritional meal.

    Let’s run through the recipe. First, as with any good sandwich, you must select a satisfying bread. This is important because the bread functions as the face of the whole platter. It’s the first thing people see when they look at the art, and when they take a bite, it’s the initial majority of what they’ll taste. In film, this would be the production value. It’s the look and feel of the movie, not just in genre, but in cinematography and score as well. As it turns out, the team behind Pixar’s first major Toy Story spin-off can bake one heck of a bread. MacLane and his crew of animators have designed what might be one of Pixar’s most gorgeous projects yet. Massive set pieces give the film a surprisingly large scope, and colorful designs give life to beautiful environments. There are moments where animation gives way to a visual perception of reality, and Michael Giacchino delivers with yet another awe-inspiring score. Truly, a gift to the senses.

    Next comes the meat. The main event. It’s what fills people up and leaves them wanting more. It’s where teeth sink in and don’t want to let go. As previously stated, a common mistake is to believe that science fiction would be the element that fills this area. It is not. With Lightyear, that honor belongs instead to its encompassing theme – love, or more specifically, family. There is no part of this movie that isn’t about family. Of course, Pixar has a long history of playing with humanity’s heartstrings, but something about the way it’s handled in this project feels different. It’s not showy, or too blunt. Here, it’s earnest, kind, and raw. It takes a movie about a man who prefers solitude, in the cold recesses of space, and injects it with a warmth that must be experienced to be believed. This is what makes Lightyear such a triumph. For all the amazing sequences and pulse-pounding action, all eleven herbs and spices, it’s the tear-inducing moments of tenderness that really bring the whole meal home.

    Obviously, none of that magic could be accomplished without an incredibly talented cast. These fine folks act as the cheese that binds meat and bread together. They add to the warmth of the dish, diversify it’s texture, and make the sandwich believable as a cohesive unit. It’s their performances, and understanding of the project and their characters, that allow for everything around them to fall deliciously into place. First and foremost, Chris Evans is the perfect Buzz Lightyear. All the gravitas of a galactic Space Ranger, with delivery set to match his grandiose surroundings, and every bit of the hidden emotion needed to bring him back down to Earth. Uzo Aduba and Keke Palmer are similarly impressive, playing original characters who are arguably as likable and central to the plot as Lightyear is himself.

    Taika Waititi and his fellow supporting cast, Dale Soules and Peter Sohn, are included in the cheese analogy, but also factor into this next bit as well. On top of the cheese, and the last thing before the aforementioned condiment, are the vegetables. On a sandwich, the lettuce and tomatoes are there to add some crunch and some health to your lunch. So, where do they fall in terms of film? Well, it’s been said for decades that laughter is the best medicine, and therefore, it must also be the healthiest part of Lightyear. What this means is the movie is seriously funny, and Waititi, Soules, and Sohn are a big part of why. In fact, Sohn‘s Sox, a robot cat companion who accompanies Buzz throughout the film, may very well become the next sidekick sensation. If laughter is good for you, then Sox is likely a cure-all.

    With that, the sandwich is complete. A specialty meal, available for the whole family where tickets are sold, on June 17th. Lightyear is a worthy addition to Disney’s ever-growing vault, and an unexpected gem from the Toy Story treasure chest. It’s hard to imagine audiences not loving this upon release, and with any luck, it may even spawn an entirely new franchise for Pixar, and Chef MacLane, to continue playing with.

  • REVIEW: Bonus Features for ‘The Northman’ Blu-Ray

    REVIEW: Bonus Features for ‘The Northman’ Blu-Ray

    The Northman is a film that seemingly came and went with little to no fanfare. The R-rated feature only pulled in $68 million at the worldwide box office, which isn’t all that impressive when the film was estimated to cost $90 million. While The Northman is technically ‘fresh,’ according to Rotten Tomatoes, with 89%, the general audience didn’t seem as enthusiastic with an audience score of 64%. With the release of the Blu-Ray last week, however, The Northman has a new lease on life with plenty of bonus features that’ll (hopefully) intrigue audiences enough to give the film a second chance.

    Included on the Blu-Ray for The Northman are a total of nine deleted and extended scenes. That’s a pretty impressive amount, unfortunately, though, the only one that is seemingly worth checking out is “Yule Murmur Dance and Aurvandil’s Speech,” which is admittedly ridiculous and yet features a strong performance by Ethan Hawke, who is severely underused in the film. Most of the other scenes seem pretty useless, although the extension of the “Bosa Saga” could have benefited the film, with “Hel’s Gate Open” being an exception. Would it have strengthened the movie? No, but it is a beautifully crafted scene and Nicole Kidman commands every second of it.

    As for the featurettes, they’re… okay. Honestly, unless you’re a fan of the film? It’s hard to get excited over the content of the featurettes. “The Faces of Vikings” and “An Ageless Epic” are both semi-interesting, but that’s mainly due to hearing what the stars involved with the project have to say — especially leading man Alexander Skarsgård, who speaks about the movie with such passion. It’s evident all involved wanted to stories of the old Icelandic sagas and the history of the Vikings. One of the most fascinating things of “An Ageless Epic” is that it delves into all of the hard work director Robert Eggers put into the film. It’s evident this was a passion project for him, and the cast clearly felt the same way during production.

    The Northman‘s Blu-Ray release might not contain a plethora of bonuses, but for fans of the Eggers film, it’s a great addition to the collection. Some of the deleted scenes are honestly impressive, as are some of the extended scenes. As for the featurettes, well, while they are nothing to write home about? They are enjoyable and do offer a good look behind-the-scenes of this epic. For those eager to look more into the story Eggers crafted, then the limited bonus features offer just that.

    In the end: The Northman wasn’t this writer’s cup of tea, but the extra features are worth a look for those that loved the Eggers film.

  • REVIEW: ‘Scare Zone’

    REVIEW: ‘Scare Zone’

    When it comes to watching indie horror movies, every so often you’ll come upon a true gem of a movie. Scare Zone is not one of those gems. At all. Scare Zone is something that feels half-baked. It truly never comes together and it’s all the more evident in the final scenes of the film. The best way to explained Scare Zone is that it feels like a project that was filmed for some friends to gain experience making movies. The scares are terrible, as is the acting for the most part. The most frustrating thing about Scare Zone, however, is that the premise for this film was promising. So, how does such an interesting premise go so wrong? That’s the question you’ll be asking yourself after watching this indie horror movie.

    The press release for Scare Zone notes that the movie hails from the creator of such rides as Shrek 4D in Universal Studios and Pirates 4D! in Sea World. It’s odd that these are used as selling points. A Shrek ride isn’t exactly something viewers will want to consider when debating to watch Scare Zone, even if the ride is enjoyable. Perhaps the most frustrating part of the movie, though, is that it was filmed at Halloween Horror Nights. In a film that is supposed to tease what would occur if a killer nested in a haunted house, Scare Zone could have easily taken advantage of its setting and yet, it doesn’t. It never feels as though the movie understands how to tell its proposed story. Sure, horror films have a habit of trying to be funny before all hell breaks loose, but Scare Zone seems determined to be funny more so than scary. It’s a mixture of the acting and the poorly written dialogue that kill this movie as soon as it starts.

    An idea is nothing if it is poorly executed. While writer-director Jon Binkowski had a great idea, it didn’t translate to the screen. What if there was a killer that lived on set of a haunted house-type attraction and was driven to kill unsuspecting workers? It is a great concept and something that would make sense to film at Halloween Horror Nights. Unfortunately, Scare Zone feels like a minimal effort take on the premise. It spends a fair amount of time trying to build a relationship between two of the haunted house workers, and a majority of the kills aren’t even shown. The ones that are? Well, they’re more amusing than scary.

    If Binkowski had the budget along with better talent and a tighter script, Scare Zone could’ve been an enjoyable little horror movie. But this isn’t about what-ifs, this is about a movie that falls apart almost instantly. It’s described as a well-received indie horror film, so perhaps there are others that enjoyed Scare Zone despite its problems. This writer sadly was not one of them.

    One final note: There are some flashing lights in the film. Unfortunately, though, the film has no warning, so please keep this in mind.

  • REVIEW: ‘Hollywood Stargirl’ Offers Less Quirk But More Heart

    REVIEW: ‘Hollywood Stargirl’ Offers Less Quirk But More Heart

    While the first Stargirl film was inspired by the original novel by Jerry Spinelli, its sequel, Hollywood Stargirl, is a very different story. While her name was in the title of the last entry, it wasn’t truly her story. This time around, Grace VanderWaal is taking the spotlight with director Julia Hart returning as well. Yet, the rest of the cast and the location has changed to offer a subtler yet heart-warming film. Hollywood Stargirl uses its new location to tell a story of what it’s like chasing your dreams, and even finding out what those could be.

    When the film starts off, you know something is different. The narration of the original is gone, and we swiftly get our reintroduction to Stargirl Caraway. While things have changed, some aspects stay the same like her love for singing. We even get to meet her pet rat Cinnamon. What changed is that Stargirl is the center point of the story, and we actually get an inner turmoil of her not wanting to constantly move across the States. Her mother, now played by Judy Greer, promises that she’ll get to at least end her first year.

    VanderWaal gives a charming performance once again, but there’s one aspect that definitely stands out. While she still has her quirky moments, it definitely feels quite toned down in comparison to the first. What is pushed to the forefront is her love for money, and she’s become quite a bit more selfish. She isn’t the same girl from Mica, Arizona that did her best to make everyone around her feel better; it’s her time to think about what she wants.

    That is especially challenged when she meets brothers Evan (Elijah Richardson) and Terrell (Tyrel Jackson Wiliams), who both inspire her to do the thing she loves, not because it makes someone else happy but because it’s something she adores. It creates a nice change of pace from the first film, as it moves away from the manic pixie dream girl scenario of the first. The trio carries the film, as their filmmaking venture certainly evokes that feeling of what one thought of as a kid: if I never try, I’ll never know.

    Yet, it does suffer from a somewhat perfect ending. perhaps it’s a more cynical outlook but most of the drama happens off-screen for this project with one vital moment when things simply don’t go the way Stargirl expected towards the final act of the film. Yet, there’s no real solution that is worked for, but rather something that conveniently falls together as required by the story. It’s a feel-good story at the end of the day, but it doesn’t challenge its characters throughout to push them beyond the way they were at the beginning of the film.

    The problem is that most things conveniently fall into the lap of our young trio while the adults seemingly suffer throughout the story. Uma Thurman‘s Roxanne Martel and Greer‘s Ana Caraway are reflections of the core themes yet while everything seemingly goes swimmingly for the new generation, they are the main focus of the drama. Yet, that very drama is something that’s told mostly off-screen with us catching up with them in-between rather than spending time to really get a feeling for what’s going on.

    There are definitely teases throughout, most notably with Ana, but it felt more like a set-up than exploring the very emotional core of that experience. It doesn’t take away from the heart of the narrative, which is generally a charming reflection of working to make your dreams come true. Judd Hirsch‘s Mr. Mitchell felt like the perfect balance, as while he’s left that work behind, he’s swept away by the inspirational events unfolding with his neighbors. His place in the story feels like the balance that the others required; an anchor in a way.

    Of course, there’s a lot more to this film than just its overarching story. Julia Hart is once again bringing that visual charm from the first but gives it a different visual flourish to stand out from its predecessor. There’s a more mature tone to the sequel that builds upon the visual flourishes of the first but highlights the move from the deserts of Arizona to the unique offerings of California. It’s not a reinvention but definitely an evolution.

    The music is once again a highlight, especially with VanderWaal‘s original song “Figure it Out” being a standout in the film. There’s a certain charm to this kind of music that adds a little something to these projects and it’s great to see her once again leave her mark on the film. Though a big part of the film’s charm also lies in composer Michael Penn‘s soundtrack, who took over from Rob Simonsen.

    Overall, Hollywood Stargirl focuses more on what made the first film stand out, especially in the heart it brings and the message it conveys. While it does somewhat undermine that very message by keeping a generational focus on success, it still offers a feel-good story that stands on its own to inspire those still trying to find their path. Even with a lack of conflict, there’s a charm in the direction offered and sometimes, especially these days, it’s good if the hurdles laid in front of us can be stepped over rather than requiring a considerable start-up to overcome. Dreams sometimes come true, other times they don’t, but at least one tried.

    https://www.youtube.com/watch?v=Y5HjvOZW_VA
  • REVIEW: ‘The Bob’s Burgers Movie’ Delights in Stupidity

    REVIEW: ‘The Bob’s Burgers Movie’ Delights in Stupidity

    People are kind of stupid. They’re also smelly, anxious, stubborn, and unpleasant. It’s something we learn at an early age, that other human beings are packed full of everything we’d like to hide about ourselves. We’ve all been to the slumber party where one of the other kids lets a big one rip, followed by a moment of silence and an appalling scent filling the air. By all accounts, this should be the end of that child’s social life. Expelled for unrepentant nastiness. Yet, this is almost never the case. Instead, in the seconds following a loud fart, most of us do the unthinkable. We laugh. We laugh because we know deep down that we’re just as gross and silly as our friend who might need to change their pants, and, most importantly, we know that’s okay.

    The Bob’s Burgers Movie succeeds because it engrains this knowledge into every crevice it has to offer. Loren Bouchard and Bernard Derriman weave a tapestry that, despite being made of comedy, comes together to create a beautiful image about family and all of its flaws. Don’t get me or my fancy wording wrong, the movie is still very much what you’d expect it to be. It has all the trappings of a typical Bob’s Burgers episode, right down to the daily special displayed on Bob’s chalkboard and the ever-changing business next door. There are goofy musical numbers, blink-and-you’ll-miss-them one-liners, visual gags, and all the familiar guest stars. However, the thing that truly helps the film soar is the major, aforementioned core trait that’s carried over from the series to the big screen – the lovable dysfunctionality of the Belcher family.

    A lot of the story’s action takes place outside of the show’s normal environment, so the movie relies heavily on the group dynamics of everyone’s favorite burger-flipping brood. The story concerns a giant sinkhole opening in front of the Bob’s Burgers restaurant, preventing access to customers and threatening to close the joint for good. Bob and Linda form their own plan to raise money with the help of loyal patron Teddy, while the kids take a dramatically different path and try to solve a murder Louise is convinced will solve all their problems. Impressively, both plots work in equal measure, and the movie manages to organically sow them together in the kind of hilariously chaotic style only Bob’s Burgers could pull off. Every moment with more than one Belcher on-screen was guaranteed pleasure.

    There’s a lot of humor from the jump in this film, and the jokes come at a relentless pace. Surprisingly, almost all of them land. There were several moments where I found myself cackling in the theater, something I haven’t done at a comedy showing in years. It’s often difficult in comedy to maintain that high of a joke rate without tiring the audience out. Sometimes, even if the comedy is well done, the schtick gets old by the time the credits begin to roll. Jackass Forever, for example, is a brilliant slapstick piece that almost became too much to laugh at as it crossed the finish line. Well done and actively funny, but most of my screening stopped laughing out loud about an hour in from fatigue. Conversely, The Bob’s Burgers Movie had everyone in their seats until the post-credits scene made us burst into laughter a final time.

    It took me a while to figure out how this worked, but I think I finally came to a conclusion. As stated previously, the best kind of humor is typically rooted in truth. We can’t help but be amused by other people doing and saying stupid things, because really, we know we’re entirely capable of being just as dumb. Bob’s Burgers rattles off an endless stream of material, all of it based in characters being brainless, and more than once, I caught myself thinking “that feels like something I would do”, or, “that reminds me of [insert friend here]”. Because of this, I was completely engrossed the whole time, and let out an audible chuckle for every fart joke and nonsensical sentence the Belchers and friends emitted throughout.

    Finally, to bring it all home, are the last few words from that opening paragraph. Bob’s Burgers never forgets that, no matter how empty-headed its protagonists can be, it’s all okay as long as they still love each other at the end of the day. This is a movie about embracing your weirdness and being comfortable in it because with any luck, you have other weird people around you to accept it. Even the overly-rich, eccentric landlord has an overly-rich, eccentric brother to understand him. The Bob’s Burgers Movie delights in cherishing stupidity, and the people who’ve allowed it to endure for millennia. Sometimes that’s enough to warm your heart, and it’s definitely enough to justify a trip to the movies.

  • REVIEW: ‘Chip ‘n Dale: Rescue Rangers’ Is Nostalgia Done Right

    REVIEW: ‘Chip ‘n Dale: Rescue Rangers’ Is Nostalgia Done Right

    Ever wonder what it would look like if The Lonely Island were put in charge of a Disney movie? Wonder no more. That movie is here, and it is Chip ‘n Dale: Rescue Rangers. The newest animated comedy from the House of Mouse is a perfect example of nostalgia done the right way. Director Akiva Schaffer manages to find a perfect blend between classic story of friendship and the admittedly insane amount of cameos and references pulled off during the film’s tight runtime. It’s family friendly, with lots for the little ones to love, but with plenty of jokes aimed specifically at the adult crowd as well.

    Those jokes, however, aren’t necessarily the kind one might expect from a Chip and Dale picture. Gone are the high-pitched chipmunk voices of old, and in are the vocal chords of comedians Andy Samberg and John Mulaney. Naturally, this leads to a lot more deadpan quipping and observational humor than the cornball antics of the original animated series. The strange tonal pivot, which works surprisingly well, is explained away with a rather Roger Rabbit-esque revelation. Chip and Dale were never those famously squeaky detectives that folks tend to think of when their names come up. Instead, they are simply actors, living in a world where humans and cartoons co-exist peacefully. Now, decades after the end of their hit show, they’ve broken up and live relatively normal lives, working jobs that don’t exactly bring them the same kind of fulfillment as the Rescue Rangers once did.

    From here, the movie gets pretty cliche. The duo’s old partner Monty, now voiced by Eric Bana, goes missing, forcing them to reunite and resolve their differences to save their friend. Most of the plot points and story beats are ones audiences will recognize, and most of what goes on is pretty predictable. It’s a really simple movie obviously designed with children in mind, paced quickly for short attention spans, making it easy to follow. However, the fact that so much of the film treads familiar water while also remaining fun for grown-ups is a testament to just how entertaining the rest of it is. Despite not breaking much new ground, Chip ‘n Dale is genuinely pretty funny from beginning to end.

    The movie is injected with that specific style of new-age satire that allows it to be both earnest and self-aware at the same time. For every joke made at the expense of animation and it’s classic characters, there’s also a sense of pure love and admiration for the genre that the filmmakers so clearly grew up on. There are quite a few deep cut references to the history of animation too. Some are more on-the-nose, like Los Angeles’ slum being called the “Uncanny Valley” because it’s filled with poorly rendered CGI avatars from the “early 2000s.” Others, like a surprise appearance by the Tigra from Marvel’s flopped Avengers: United They Stand  cartoon, are just weirdly obscure and specific enough to put a big smile on the face of an older audience. There are many more I’d love to get into here, but I wouldn’t want to spoil the fun of seeing it all for the first time.

    Mercifully, most of the cameos and references happen in a pretty organic way. Trailers for the film made it seem like the Easter eggs may overpower any actual storytelling, but this isn’t the case. The Roger Rabbit setting allows for a litany of references and appearances to happen without anything being forced, with a multitude of famous faces popping in and out as the plot unfolds naturally. It’s essentially what many fans had hoped Doctor Strange in the Multiverse of Madness might be, without the limitations of applause breaks or fear of “being too much.” There are quite a few vocal surprises as well, with guest stars voicing different characters than were advertised leading up to the film’s release. A lot of them produced excited chuckles from myself..

    Ultimately, Chip ‘n Dale: Rescue Rangers succeeds in being a heartfelt tale for kids while also being a viable entertainment option for adults. Truthfully, the movie sort of plays like a project made specifically for people who grew up on the cartoon while simultaneously introducing the characters and concepts to a new generation. Most of the best jokes and surprises are really for the parents. So, get ready to sit down and gear up for a fantastic new family adventure. Sometimes some crimes go slipping through the cracks, but these two gumshoes are picking up the slack.

  • REVIEW: ‘Marmaduke’ is a Giant Misstep

    REVIEW: ‘Marmaduke’ is a Giant Misstep

    Marmaduke first debuted in June 1954 from creator Brad Anderson. Since then, the character has managed to endure and has received a live-action take starring Own Wilson. That film proved to be semi-successful, pulling in over $80 million worldwide on a $50 million budget. Which is why it isn’t surprising that Netflix decided to make a new, animated Marmaduke film for all-ages. Unfortunately, though, it often stumbles over itself as it struggles to decide if it wants to go for heart or entertainment.

    The story itself is pretty typical for Marmaduke. Wherever he goes, chaos ensues. Which is why in the beginning of the movie, he’s left inside of the house as the family celebrates the youngest child’s birthday. In typical Marmaduke fashion, however, he soon finds himself at the center of the party and not necessarily for the best reason. Sure, it’s amusing, but it loses its appeal quickly. It feels as though the movie tries to sell a joke every other second, and it forgets to remember to have heart.

    After causing a massive scene at the son’s party, Marmaduke somehow makes it onto the local news due to a “pool flop fail.” As the news anchor dubs the dog impossible to train, we see the world’s best dog trainer, Guy Hilton, decide to take on the ‘impossible’ task as a means to win a dog competition. It’s ridiculous, and the training montage that follows shortly after is even less entertaining. Perhaps it is Pete Davidson‘s voice work, or maybe it is the script, but the movie falls apart at this point. The entire casting for the film is a choice, but Davidson is an odd choice to voice Marmaduke. While he undoubtedly is comfortable with comedy thanks to his work on Saturday Night Live, he just feels miscast as Marmaduke.

    The one thing the film did right was cast J.K. Simmons as Zeus, the movie’s big bad. Sure, the character is annoying, but Simmons does such a great job in his vocal delivery. It’s one of the better performances in an otherwise stilted film. But even with Zeus, it feels like the film took the easy way out in handling the bad guy.

    Overall, Marmaduke makes a lot of odd choices throughout its one hour and sixteen minute runtime. There are moments that are heartfelt, and those moments are great. It’s just a shame that the film never truly knows what it wants to be, because had there been a tighter hold on the story? Marmaduke could’ve been a homerun for Netflix. That isn’t to say Marmaduke is completely terrible – it’s likely children will enjoy it, which is perhaps the most important thing. Unfortunately, though, Marmaduke is easily forgettable and feels as though it was rushed into production.

  • REVIEW: Sam Raimi Did It Again With ‘Doctor Strange in the Multiverse of Madness’

    REVIEW: Sam Raimi Did It Again With ‘Doctor Strange in the Multiverse of Madness’

    Sequels aren’t always a sure thing. For every The Empire Strikes Back, there’s a Speed 2. Sequels to superhero films have the benefit of a little more freedom in telling a good story as they are no longer shackled by the weight of the “origin”, but they don’t always hit the mark either. In 2004, Sam Raimi delivered what many consider to be the best superhero sequel of all time in Spider-Man 2. It featured a flawed protagonist and a sympathetic villain; it featured what were, at the time, some of the most well-shot action scenes of any film in the genre. Not just that, but it also featured a story that stirred emotions across the spectrum. In 2022, Raimi has done it again.

    The path to Doctor Strange in the Multiverse of Madness was about as chaotic as Stephen Strange’s trip through the multiverse in the first act of the film. Scott Derrickson, who helmed 2016’s Doctor Strange was set to be back in the director’s chair, but in January of 2020, Derrickson dropped out of the film when it became clear he and Marvel Studios had two entirely different films in mind. A month or so later, Marvel Studios began putting together a new creative team made up of Michael Waldron, whose work on Loki thrilled the folks at Marvel, and Raimi, who had been out of the superhero game since 2007’s Spider-Man 3. COVID delayed the start of filming and then the film underwent significant additional photography. Perhaps no Marvel Studios film caused more preemptive hand-wringing than this film did, but the end product makes it clear that Waldron, Raimi, and the rest of the team were truly taking their time to deliver the best possible version of this film and that’s exactly what they did.

    Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

    The film opens up in media res and introduces the audience to a Variant Doctor Strange who is protecting Marvel’s newest young hero, America Chavez, from a pretty terrifying demon. Amid a brutal assault on Defender Strange, we learn that this demon is in pursuit of Chavez because it wants her powers, which allow her to travel the multiverse. Chavez and Defender Strange are not only trying to evade the demon but also get their hands on the film’s big MacGuffin, the Book of the Vishanti. When things get ugly, so does Defender Strange, setting the stage for one of the film’s running themes: that no matter what universe we’re in, Stephen Strange is a danger and can’t be trusted. Using a star-shaped multiversal portal, Chavez escapes and finds her way to the MCU’s Prime universe and is under attack once more. After battling the beast, Strange and Wong realize that the source of its power is different from theirs and decided to seek out a magic-user with a similar set of powers: Wanda Maximoff.

    Doctor Strange in the Multiverse of Madness is the first MCU film that has the Disney Plus series as “required viewing”, especially when it comes to Wanda. While fans could have skipped WandaVision and figured things out as they go along, having been along for the ride is helpful. It’s here, with Wanda, that Marvel makes one of their boldest choices to date: having one of their core Avengers turn heel, just as she did in the comics. Following a brief conversation with Strange, Wanda reveals that she is after Chavez’s powers in order to find a way to reunite with her sons. A conversation between Strange and Wanda leads to a confrontation in which the Scarlet Witch unleashes a shockingly brutal attack on Kamar-Taj, which rounds out the first act of the film, sending Strange and Chavez on their trip through the multiverse.

    Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

    Fans may never know what Derrickson‘s film would turn out to be, but Marvel Studios should be damn glad that Raimi wanted to make this version. From beginning to end, this is a Sam Raimi film. Sure, he’s telling a story within the confines of Marvel Studios’ shared universe, but he’s telling it in classic Raimi fashion and appearing to have a whole lot of fun in doing so. Multiverse of Madness looks like a Raimi film; it delivers his signature (and surprisingly violent) horror; it delivers, most importantly, the most complete and emotionally stirring story of Phase 4. After a decade-plus away, Raimi showed that he understands now, maybe more than ever, that a good superhero story has to have a heart, especially when someone is trying to rip it out.

    Lizzie Olsen’s Scarlet Witch holds nothing back as she attempts to do just that. Much as with Doc Ock in Spider-Man 2, Wanda’s turn as a villain works so well because the audience wants what she wants: for her to have her kids back. Corrupted by the Darkhold, however, the lengths to which Wanda is willing to go to get them back allowed for some of Marvel Studios’ most innovative and interesting action scenes to date where Raimi and crew got to have a whole lot of fun devising fascinating ways to show magic being used on screen. Olsen’s performance continues to demonstrate her total command of the character. It’s the subtle head tilt here, the smirk there, and the changing tones of her voice that come across as truly terrifying.

    Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

    Opposite Olsen and in her way is Benedict Cumberbatch’s Stephen Strange. Cumberbatch is given much to do here, playing multiple versions of his character, and puts together easily his best turn as the character so far. Following the 2016 origin film, the character hasn’t had much room to grow. Here, Strange’s path through the multiverse, where he learns the stories of other Stranges, forces the hero to look inward, providing the growth necessary to propel the character forward into whatever story he’s placed into on Marvel Studios’ shared tapestry.

    As strong as its lead performances are, the film is enhanced by the knockout performances of Rachel McAdams, Benedict Wong, and Xochitl Gomez. McAdams is particularly surprising in her return as Christine Palmer, who has much more to do here than one might have expected, including some of the film’s strongest statements about Stephen Strange. It’s the moments like these that Palmer, Wong, and Chavez spend with Strange that build an emotional currency within the audience and a master like Raimi knows just how to spend it. This is a huge film that makes big moves within the MCU, but Raimi manages to balance that with a series of small exchanges between characters that resonate because both the audience and Strange know he is flawed.

    Marvel Studios’ Doctor Strange in the Multiverse of Madness (2022)

    For the MCU to continue to thrive, the aforementioned big moves need to continue to be made. In that sense, Doctor Strange in the Multiverse of Madness seems to be to the MCU what Captain America: The Winter Soldier was in 2014. Not only does this film feel as different from its predecessor as Winter Soldier did from First Avenger, but it also comes out swinging with an almost merciless 20-minute deluge of information that’ll be sure to have fans wanting to head right back in for a second showing and heading to Wikipedia after that. If you thought Marvel Studios gave it all away when they teased the Illuminati in a TV spot, you’re sorely mistaken. This film is a game-changer and the most direct setup for the MCU’s next big event film.

    In the end, it all comes back to the magic touch of Waldron and Raimi. They delivered on characters, story, and action to make the most complete film of Phase 4 and maybe one of Marvel Studios’ most complete films to date. Fans of Raimi‘s work will have plenty to smile about as well, with a few references sprinkled in and the obvious influence of Raimi on some of the creature and character designs. Against all odds, he came into a project that seemed to be held together by a thread and by capturing that old magic formula, made one of the best superhero sequels of all time.

  • REVIEW: ‘Crush’ on Hulu is a Delightful Young Adult Film

    REVIEW: ‘Crush’ on Hulu is a Delightful Young Adult Film

    Every so often, there comes a young adult film that leaves its mark as a delightful coming-of-age story. We’ve seen this with Pretty in Pink and most recently Netflix’s To All the Boys I’ve Loved Before. It’s usually because they contain a certain level of authenticity to them; they manage to be heartfelt while maintaining a raw level of honesty. Crush is one of those films.

    Like Love, Simon before it, Crush is a long overdue young adult dramedy that tells the story of Paige, a socially awkward artist, forced to join her high school’s track team to avoid suspension. If it sounds ridiculous, that’s because the concept is ridiculous, and yet it works. Crush manages to be charming, funny, heartbreaking, and honest. The best thing about Crush is that it feels like a film that’ll find a long life for movie fans because it is the type of film young audiences have needed.

    Rowan Blanchard and Auli’i Cravalho, who are both members of the LGBTQ+ community, star in this delightful rom-com as Paige and AJ, respectively. Paige is an out and proud lesbian, while AJ is the mysterious bisexual twin sister of Gabby, Paige’s longtime crush. They’ve barely interacted, but soon find themselves thrown together to train, with AJ being instructed to ready Paige for track. What ensues is a chaotic story about first loves and heartache. Both actors are great in their roles, especially Blanchard, who gives it her all as the socially awkward Paige, but they shine most when they share the screen together.

    And while the young cast steals the film, it’s hard not to highlight the performances of Megan Mullally, Aasif Mandvi, and Michelle Buteau. The always fantastic Mullally plays an incredibly supportive mother to Blanchard’s Paige. She’s a woman who believes sex positivity is important to teach and has always accepted her daughter for who she is – although sometimes she can be a bit too supportive. While Mandvi is the track coach, who nearly regrets putting Paige on the team until he meets her mom. Every interaction between Mullally and Mandvi is absurdly wonderful, but the best adult performance belongs to Buteau. She has limited screen time, but Buteau delivers some of the best lines throughout the film.

    Is Crush awards worthy? No, not at all. Does it deserve its spot at the table with films like Pretty in Pink and Love, Simon? Absolutely. Crush is a darling young adult film that pulls at the heartstrings for all the right reasons.

    If you need another reason to give Crush a chance: Natasha Lyonne, who starred in the classic But I’m a Cheerleader and currently stars in Netflix’s Russian Doll, is one of the producers on this film.

  • REVIEW: Jackass Forever Blu-Ray w/ Bonus Features

    REVIEW: Jackass Forever Blu-Ray w/ Bonus Features

    The Jackass crew is back! After Jackass 3, fans of the franchise have been eagerly been awaiting the return of the Jackass crew. There were plenty of bumps along the way, but the film finally arrived in theaters this past February. After a pretty successful run at the box office followed by its release on Paramount+, the movie finally arrived to purchase on digital, and now Blu-Ray with some bonus features, including some never-before-seen stunts that didn’t make it in the final cut of the film.

    Jackass Forever is definitely the Jackass fans know and love with some new faces added to the mix. The franchise has always pushed the boundaries of what audiences are willing to accept in a film, from the original Jackass‘ infamous butt x-ray to Jackass 3‘s poo cocktail supreme. Unsurprisingly, Jackass Forever takes things even further, and is not for the feint of heart. After all, there is a penis dressed as a Godzilla type monster in the opening scenes.

    While Jackass 3 remains the pinnacle of the series in terms of pacing, Jackass Forever certainly ups the ante in terms of stunts. The latest film is sure to bring fans back to the old days of watching this group of guys perform outlandish stunts with makeshift ramps, to now having the budget to build a human cannon that seemingly stands 50 feet in the air. It has definitely been a massive evolution, but it begs to question whether it really was for the better. While the advancements have been amazing to see, it is hard not to wonder if some of the hook of the original, being normal guys make-shifting stunts and pranks, was lost because of it. 

    On top of the original film, the Blu-Ray release is packed with bonus features. It comes with 16 deleted scenes that include a VR prank and extended looks at some of the pranks done in the film. What stands out most is that, while the film added multiple new cast members, we never really got to know them the same way we got to know the original crew. Thankfully, the deleted scenes do managed to provide fans with more footage of the new cast. Unfortunately, that’s not nearly enough to help keep fans interested in the new cast. Rather than include the various celebrity cameos in the film, surely these new characters could have received the spotlight instead of being shoved to the bonus features.

    Jackass Forever on Blu-Ray is definitely worth the purchase for any Jackass fans out there. If you loved the film, you get more of what you’d expect. While the film’s release made it seem like this was the end of the franchise, one might wonder if the new cast members are a look into the next evolution. You can currently purchase Jackass Forever on Blu-Ray and Digital, or stream it without bonus features with your Paramount+ subscription.