Don't Worry Darling - Movie Review - A stylish stack of missed potential

At the start of the year, when noting all the upcoming releases I was interested in seeing, Don't Worry Darling was certainly one on my radar. My main interest came from it being directed by Olivia Wilde, whose previous film, Booksmart, was absolutely delightful. Despite this sounding very different, I was still keen to see what Wilde would do next as a director. However, after the initial reactions, my interest began to dwindle, thus I didn't rush out to see it as soon as possible. But, a part of me was still eager to give this a go, so I did. 

 

The story involves a woman named Alice living a seemingly happily life with her husband, Jack, in a place known as the Victory Project. However, after a series of unusual occurrences, she begins to suspect that her reality is not what it seems.

 

After hearing that plot summary, you've probably got a decent idea of where the plot is likely going to go. It bears a lot of similarity to films such as The Truman Show and The Matrix, which in itself is perfectly fine as I usually have no issue with films employing the skeleton of existing films in their own narratives, as long as the spin they put on it is distinct and unique. This is where my major issues with Don't Worry Darling present themselves, and to discuss them I will going into spoilers, so consider yourselves warned. Fundamentally, it's not saying anything new. It follows the narratives of the afore mentioned films in ways that don't feel refreshing or particularly unique, raising all the same questions and having plot points that are all too similar, making it a frustratingly predictable watch.

 

What's also very peculiar about the film is exactly how it executes this narrative. The reveal of the Victory Project being a simulation is designed to be a twist; the film spends the first two thirds alluding to it only to finally clarify in the last act. This is a very baffling choice because we more or less know that there's something suspicious going on behind the curtain from the beginning, so why does the film waste time treating this like a big revelation? The Matrix and The Truman Show don't have this issue as they waste no time in explaining exactly what is afoot in their respective worlds, because they know that this is what the audience has signed up for and thus don't want to be weighed down by making a mystery out of what is essentially already known. 

 

You could argue that the exact specifics of the reveal in Don't Worry Darling not being known is the twist here, but this doesn't help the film's case because, to reiterate, this is coming after other films that have had the same plot points, so as we're watching this film with those films in mind, we're likely speculating which way it'll go, and when it eventually does so by explaining the simulation, it isn't that impactful. You could also argue that the twist isn't supposed to be the simulation itself but rather the fact that Jack entered himself and Alice into the Victory Project without her say in the matter. While this definitely has the potential to be a profound revelation, it isn't particularly as Jack is clearly shown throughout the film to be annoyed by Alice's claims regarding Frank, the man controlling the Victory Project, manipulating everyone, so it's natural for one to assume that he doesn't want her to think this way so that his actions can remain a secret. If the film perhaps made Jack completely sympathetic and kind towards Alice and only subtly shutting down her suspicions, then it may well have had a greater impact, but it doesn't, so the impact remains non-existent.

 

I say this is a 'frustratingly' predictable watch because, as I both watched and subsequently reflected on the film, I imagined so many other, more novel ways this could have gone to make its take on this particular narrative more refreshing. The film wants to have a mystery and twists, but it makes such out of factors that aren't especially shocking when revealed, as I've said. So, here are some things that I think it could have done to fit the mysterious / twisty nature that it desires to make such more effective and seem fitting. 

 

Firstly, with Alice being suspicious of Frank manipulating the people in the Victory Project throughout the film and everyone around her claiming she's delusional, what if the twist was that she was in fact delusional and that Frank wasn't manipulating anyone? Sure, it'd be anticlimactic, but that anticlimax could have left such a profound impact on the audience, as they realise they've been restricted to a character who doesn't view the world for what it is, similar to something like Shutter Island. 

 

Alternatively, after it's revealed that the Victory Project is a simulation and that Jack entered himself and Alice into it, instead of having Alice try to escape, what if the film had her concede and accept that this was her reality now? That'd be an interesting change of pace from other films that employ this sort of narrative. Or, even better, what if the film questioned the idea of a fake reality being inherently bad? After being shown Alice's stressful life in the real world, the film could have suggested that maybe life in the Victory Project, despite being fake and out of touch with reality, can remain preferable due to the happiness and fulfillment it produces being genuine. This would have been an enormously refreshing idea, as other films that question reality tend to imply that fake / simulated lives are wrong by default. The film wouldn't even have to take a definitive side on the matter either, as it could merely present both sides of the argument and leave it to the audience to decide, you know, like a properly thought-provoking film ought to do?

My friend who I saw the film with brought up another potential path the film could have taken - involving the character played by Gemma Chan. With her being the wife of Frank, what if it was revealed that she was actually the one running the show? She already controls the women in their dance classes, as shown, so perhaps the film could have found an interesting twist in revealing her to be the ultimate antagonist instead of Frank, who is built up to be the main authority all throughout the film. Again, this would also be an effective way to subvert the audiences expectations.

The amount of different hypothetical versions of this film that I've outlined here should serve as a valid indication that Don't Worry Darling screams missed potential. It's annoying that it follows such a conventional and unsurprising narrative path despite an insistence that it's new and bold. In an age where so many filmmakers are taking familiar tropes and taking pride in subverting them, this film presented the perfect opportunity to do so for the "reality is not what it seems" story, which is exactly why it frustrates me that it doesn't. 

 

The one somewhat unique attribute of the narrative is also what likely has caused the film to end up so narratively weak, and that is the political angle. The film very clearly has feminist undertones and wants to make no secret that it's all about challenging the patriarchy among various other things. Based on the end result, it's believable to assume that the fairly ordinary narrative was adopted purely as a vehicle to get these messages across, or that perhaps the filmmakers believed the power of these messages would be enough to compensate for the lack of an engaging story. There's absolutely nothing wrong with trying to spread political ideas on paper, but no matter how agreeable they may be, it can't be all the substance a film has; I believe the first priority should always be on making a compelling narrative, and any messages that it can convey should be no more than second. 

Okay, so the film doesn't do much interesting stuff from a narrative / thematic standpoint. Elsewhere, it's all rather fine, but nothing more. Florence Pugh is great as Alice and certainly makes the best of the material she's been given, and I also enjoyed Chris Pine as the creepy and conniving yet suave head of the Victory Project. The 1950s aesthetic and Wilde's clearly competent directorial skill made the film easily watchable, and there are some abstract, dreamlike elements that added some appeal in and of themselves, even if they made the overall product feel pretentious. There are also some sequences that are very well crafted, particularly a scene at a dinner table where Alice is sat opposite Frank and indicates how he is maniuplating everyone in various ways, which managed to create a solid amount of tension, though it was unfortunately ruined as it went on with her accusations becoming decreasingly subtle. The score by John Powell, one of my favourite composers, was fairly memorable if a bit overbearing at times. Unfortunately, this is where my praises end. 

Despite a clearly solid amount of talent on display in various areas, Don't Worry Darling is all rather shallow. It insists that it has big things to say but fails to recognise that almost all of such has already been said in far better ways. It had every opportunity to actually be bold and audacious in executing its narrative, but just never took advantage of that. I can't say it was the worst experience I've ever had as there's enough going for it to make it passable, but I think I can safely say that it is undoubtedly one of the most wasteful films I've seen in recent memory, which is saying a lot as I've seen quite a few films also stocked with missed potential this year, such as Jurassic World Dominion or even Doctor Strange in the Multiverse of Madness. I'm sure we'll see more good stuff from Olivia Wilde as a director and certainly from Florence Pugh (I'm so excited to see her in the sequel to Dune), but this is an entry into both their filmographies that's probably better off being ignored when looking back. 

I'm going to give Don't Worry Darling a 5.5/10

Bodies Bodies Bodies + See How They Run - Movie Reviews - Satires with varying success

Coming to the end of the summer film season of 2022, we now reach what I believe to be the worst time of the year for new releases - September. Honestly, I can't express how dull and lifeless this month of the year usually is for new releases. People often flag up January and February as the worst time for new films, and while that is true, with it also being a season that directly follows on of the most marketable and busiest times of the year, at least we get a lot from the previous year receiving wider releases in that time, most of which are some of the most acclaimed with it being "awards season" and all. But September always makes me yawn with barely anything exciting of note, say for a few exceptions. Recently, the state of new releases has been no different, with the last exciting one being Nope, which came to cinemas here in the U.K. about a month ago. However, things aren't all that bad with the arrival of not one, but two new and original films, both of which are, oddly enough, satires.

Bodies Bodies Bodies is a horror satire that I'd heard some positive things about and liked the look of, enough to make me check it out. It involves a group of teenagers staying in a massive house during a storm, where the murder of one of them begins a descent into extreme paranoia. 

From the trailers, this looked like it was going to be a fast-paced, fun, and enjoyably chaotic watch, but in actuality, it isn't so much this. It's quite a slow moving film that speeds up in small doeses and honestly doesn't lean in on the comedy too much. It derives a lot of its humour from character interaction, and while a lot of this seems funny, the film almost seems unsure whether it wants to follow through with it, to the point where I was sometimes left unsure how it wanted me to react. On the one hand, certain lines / occurances are inherently comical and seem like they're designed to be laughed at, but on the other, the emphasis is so minor that it could be interpreted as something to be taken seriously. I understand the film is trying to be more subtle and natural in its humour, and I can imagine it faring better upon rewatch when I have a better idea of what to expect, but I still think it would have been better off if it just went all out in this department. 

The thing is, there's no shame in doing so, at least in my opinion. One film that came to mind quickly when thinking about this film is Scream (the original from 1996). This is also a horror satire, which mocks the state of the horror film industry at that point in time, doing things such as making fun of plot twists by deliberately misleading the audience only to not pay it off, and pointing out other ridiculous trends and tropes that it adheres to in itself in a blatantly satirical way. But, what Scream does that Bodies Bodies Bodies doesn't is that it is overtly comedic - the actors go way over the top with their line delivery, facial expressions, and so on, making it a far more enjoyable and irresistable watch, as the satirical, self-referential angle is clearly felt. With this film, it isn't so obvious, and while I can respect it for not wanting to be, it shouldn't have felt any need to do so as this can result in a satisfying experience.

So, slight tonal confusion aside, how is the rest of the film? All very good. The set-up for the film is very efficiently done, and the narrative construction is very clever. It's designed in a way that keeps the audience guessing right up until the very end, and amounts to a final twist that is honestly genius. The confined setting worked as well here as it does in many other films that adopt such a setting, and it was all brilliantly acted too. The characters struck the right balance between being hatable enough for the film's commentary to come across, but still extremely fun to watch and be in the company of, though my afore mentioned issue with the film's tone did hinder me from fully engaging in the latter. The film's commentary on paranoia and how the younger generations handle situations was well integrated and paid off perfectly, so it succeeds in being a satire in that regard, using the horror genre to go about exploring these ideas. 

Overall, Bodies Bodies Bodies is a solid film and fun watch but I feel it could have been something even better if it didn't hold back so much as a comedy, or maybe if its trailers gave off a more accurate vibe. But even with that, an original film going for something slightly audacious is always welcome, so I can't complain too much.

I'm going to give Bodies Bodies Bodies a 7.5/10 

Next up, See How They Run, which is coincidentally also a satire, in this case of the whodunnit genre. It concerns a grumpy police inspector, played by Sam Rockwell, and enthusiastic officer, played by Saoirse Ronan, who are tasked with solving a murder in the backstage area of The Mousetrap. I was ridiculously excited for this film; whodunnits are always fun but a more comedic take on the genre seemed like a recipe for brilliance, I love almost every member of the cast, namely Ronan, who I was looking forward to seeing in a comedic role for once, and the overall set-up tying into theatre and The Mousetrap was also intriguing. So, I went in with high hopes.

Expectedly, this was just delightful, and for a whole number of reasons. First of all, I was worried the film would do what a lot of supposedly satirical films tend to do, that being point out and make fun of certain tropes despite adhering to those very tropes, using a cheaply 'self-aware' nature as a way to excuse lazy writing, which often comes across quite smug and disingenuous. What works about See How They Run is the fact that it deliberately subverts a lot of whodunnit tropes as well as the typical structure of a story of this type. For example, one of the plot threads involves a filmmaker explaining how The Mousetrap could be made more distinct from the typical whodunnit structure, and the way the film pans out is in line with a lot of what is said here. I'm being vague as I don't want to spoil any of it, but just know that there is some very clever, if somewhat predictable, foreshadowing. The film also mocks particular tropes while adhering to those very tropes, but it didn't feel lazy here as you get the sense that the film only included them so they could be laughed at, and not that it wanted to get away with being conventional. The way the film ties itself to The Mousetrap is also very interesting - I've seen the show once before, though I don't remember an awful lot of the specific plot details. After seeing this film, however, I certainly want to see it again! The whole prospect of having a murder mystery occurring in and around an in-universe fictional murder mystery really solidified the film's self-reflexive angle and gave way to most of the film's best jokes.

Speaking of which, easily the most effective part of the film is the comedy, as this is an absolutely hilarious film. So much of the interaction between characters is just inherently funny, not least because of some excellent delivery from the actors. I was very impressed by just how funny everyone in the film is, as I don't necessarily associate many of these actors with comedy. Sam Rockwell and Adrien Brody have done their fair share and are just as terrific here, but Ruth Wilson, Harris Dickinson, and especially Saoirse Ronan are all people I've mostly seen in dramatic roles, so it was a pleasure to see that they all have very strong comedic chops too. It isn't purely down to the material; their unqiue ways of conveying it are what made it so entertaining, and also so quotable. I saw this film with my family and we spent most of the journey home recalling all our favourite lines, and my goodness there were ever so many to choose from. There's also a lot of well executed physical comedy too, with people being tackled, breaking down doors, flopping around while drunk, and more, which also impressed me as it can sometimes be hard to pull that off in a live action setting.

There's only one thing that I thought was particularly problematic about the film, and that was the style. It very clearly owes a debt to Wes Anderson in various ways - mainly the cinematography being a mix of static shots and sharp pans, and the humour being very dry and witty. However, because the film isn't actually helmed by Anderson, it doesn't go all out with his style, making it feel like an off-brand version of such. This was a bit distracting as, while the narrative and comedy kept me engaged, it felt very blatantly derivative in this regard. I wish it adopted its own style rather than attempting to go for an established one without completely committing to it, as not only would that have given it a unique identity, but it also could've further cemented how the film doesn't behave conventionally, in other words, the icing on the cake of what is already quite a subversive film. That being said, this doesn't apply to the humour in my opinion, as Anderson obviously didn't invent the dry / witty style of comedy he's best known for, so it's unfair to say it's a rip-off in that sense. It was mostly the ways the filmmaking mimicked his work around such that ticked me off.

As a whole, this was just everything I hoped it would be. Despite its unoriginal style, See How They Run is nonetheless a refreshing take on whodunnits that lovingly laughs at the tropes of the genre while also offering something new. Add in a marvellous ensemble and some pitch-perfect comedy and it's just the complete package for me. Needless to say, I cannot wait to rewatch this an endless amount of times. One of my favourite films of 2022 by far!

I'm going to give See How They Run a 9.0/10

A brief overview of summer releases I saw but didn't review - Elvis, Nope, Bullet Train, more

The summer is just about coming to a close, leaving us all to look back on one of the most exciting film seasons of the whole year. You may have noticed that I haven't reviewed an awful lot of films in this time, and that's not because I haven't seen enough to review, it's for a number of reasons such as me not feeling I have anything interesting or unique to say about certain new release, the film in question being out for some time and thus not really being so relevant anymore, or, most of the time, just laziness. But, I've began to notice that this has slowly become commonplace for most films I see, as I now tend to only review the odd film here and there. So, today I thought I'd change that by briefly running through all the new releases I saw over the summer that I haven't discussed. These will be listed in the order in which I saw them and, unlike usual, I'll also discuss the new streaming releases I've seen as well, which I'll signify when necessary. So, you may want to put the kettle on as this will be a long one. Let's get started!

To quickly inform you, I won't be discussing Top Gun: Maverick, Jurassic World Dominion, Lightyear, Minions: The Rise of Gru, or Thor: Love and Thunder here, as I have reviewed them all in more detail. 

Chip 'n Dale: Rescue Rangers (Streaming - Disney+)

This was the very first film I watched this summer, all those month ago. With no attachment to the source material whatsoever, I was surprised that I found myself having a decent time with Chip 'n Dale: Rescue Rangers, as the film manages to be a fun time for anyone watching despite its many references and connections to what has come before. It also has the occasional clever aspect in being a more self-reflexive piece. However, I couldn't help but notice how much this film was essentially a rip-off of Who Framed Roger Rabbit, a film that did basically everything this sets out to do many years ago in a far funnier, more creative, and smarter way. So, I did just spend a lot of the runtime wishing I was watching that instead. Still, I have to say, it certainly could have been a lot worse. 6.0/10

Men

This is the new film from Alex Garland, a director who I often forget how much I admire. His prior two films, Ex Machina and Annihilation, are both really solid pieces of work, with such well-crafted atmospheres and rich yet horrifying themes present throughout. So, I was intrigued to see Men. For the most part, this has a lot of Garland's signature trademarks, as the atmosphere created is just the right amount of unsettling, and in addition to this, it's got some great performances from Jessie Buckley and Rory Kinnear. Overall, I found myself very engaged in what the film offered. However, it's by far the director's weakest film to date. While something like Ex Machina felt very low-key but had a lot going on beneath the surface, this film is almost the inverse with lots of overtly horrific things going on but not so much thematic brilliance to make them feel worthwhile. It's essentially a story about trauma with a pseudo-political edge, which if I'm honest is something Garland is a bit beyond as a filmmaker and certainly doesn't need conveyance with such extreme means. Nevertheless, I still enjoyed Men and found it to be one of the more interesting films I've seen so far this year. 7.0/10

Brian and Charles

A simple film, but an effective one. Brian and Charles is a very gentle and charming comedy about a lonely man who makes a robot to keep him company. The dynamic between the two is really sweet and the overall nature of the film is quite hard to resist, even if there's not much going on. The plot is predictable and it doesn't say much that we haven't heard before, but as a pleasant bit of escapism, this more than sufficed for the ninety minutes it was on for. 7.5/10

The Sea Beast (Streaming - Netflix)

My expectations for The Sea Beast frankly couldn't have been any lower. It looked extremely generic in terms of both story and animation style, so I didn't have high hopes. Upon watching, while I certainly still think it is derivative and a bit plain, I was really surprised at just how much I found myself swept up in this delightful film. The adventure it displays has its charm and is exciting at times, the animation is ordinary but still stunning in its own right, the characters are basic but still really likeable, and there are some solid if unremarkable messages to be found. Along with The Bad Guys from earlier in the year, it's proof that my expectations can often be completely wrong, because this is probably my favourite animated film from 2022. 8.0/10

Elvis

So, this is obviously one of the biggest hits of the summer. I was ambivalent about Elvis going into it as I have no real connection to the real life figure upon whom the film is based, outside of his obvious recognisability, and I'm also not a fan of Baz Luhrmann. The two films I've seen from him, The Great Gatsby and Romeo + Juliet, are so obnoxiously frantic and overly glossy that not only are their stories undermined in places, but they're also just tiring for me to watch. Thankfully, Elvis is the first film from this director where this exact style wasn't terribly ill-fitting. The frantic and glossy nature actually alligned itself with the main character and the struggles he experiences, as well as evoking the time and setting very successfully, so even though I still don't particularly like it, I can at least say it worked here better than it has elsewhere. Performance wise, this was a mixed bag, with Austin Butler being brilliant as Elvis, but Tom Hanks not being so brilliant as Colonel Tom Parker. I mean, it's not a bad performance, but it just left a bad taste for me as I usually want to love Tom Hanks, so having him play such a horrible character wasn't nice at all. On a similar note, I did find the film quite questionable in terms of how it tried to make Parker, who narrates the story, a sympathetic character, as the way the film pans out makes him seem like anything but that despite its attempts to convince you otherwise. On the whole, I enjoyed Elvis - it's a suitable mix of insightful and enjoyable if a bit muddled here and there. Also it's way too long. 7.0/10

RRR (Streaming - Netflix)

I'd heard a bit about RRR earlier this year but didn't really have any interest in watching it. Well, I'm glad that I eventually did over the summer because this was an absolute blast. What impressed me about this was how seamlessly it managed to blend a variety of styles and genres into one piece. It's a period drama that addresses British colonisation and the rebellion against their rule, has the scope of an epic as well as an array of bonkers yet exhilarating action set pieces, also has a feel-good, somewhat comedic tone through the relationship of the two leads, and, on top of that, is also a musical. How this film isn't a complete mess is just beyond me. The story is fairly predictable and padded, but the level of brilliance on display elsewhere made this a terrific watch, and the three-hour runtime didn't bother me too much. Just thinking about it honestly makes me want to go back and revisit! 8.0/10

The Gray Man (Streaming - Netflix)

What a complete yawn of a film. With every passing second, I forget more and more about The Gray Man. It's got big stars who have been excellent elsewhere and a load of money behind it but not much else, with a dull narrative and tiring, CGI-filled action scenes. Honestly, when it comes to the Russo brothers, I'm starting to wonder if their MCU contributions (Infinity War, Endgame, etc.) were only as great as they were because the material they were working with was fun and interesting, because outside of this franchise, they've done nothing to prove themselves worthy of being such highly-revered directors. Cherry with Tom Holland from last year was barely okay, and this was just nothing. It's not terrible but I feel like it should be a lot better than it is. 5.0/10

Where the Crawdads Sing

I enjoyed this mystery thriller for the most part but couldn't help be disappointed with the overall path it ended up going down. With some great performances and a well realised setting, Where the Crawdads Sing is highly watchable. But, it falters in terms of how willing it was to commit to a particular narrative. For the vast majority of the film, it seems to be a story about how a dysfunctional and isolated upbringing can shape someone into a violent and generally dangerous person, which I liked as this idea feels very refreshing and to have an unsympathetic protagonist is something films can be afraid of committing to. However, in the literal last five minutes of the film, it suddenly backtracks and adopts a far safer thematic standpoint by being a story that's anti-discrimination and essentially tells the audience 'don't judge a book by its cover' - perfectly sound messages for sure but so much less subversive and less intriguing than what it was originally doing. What's then really confusing is the fact that one of the last shots of the film returns the story to where it originally was but doesn't give it the necessary development, almost as if it was too afraid to do so. This isn't a story that would likely go down well with general audiences, so clearly they attempted to make it more 'Hollywood happy', which is a shame because there was definitely something more interesting going on here. Keep in mind I have no knowledge of the novel it is based on but I'm assuming that sticks to the more unconventional narrative and themes, and that the film was just making it all more accessible. Overall, a fine watch but definitely something that feels like it's holding back. 6.5/10

Nope

Along with the likes of Jurassic World, Lightyear, and Thor, this was one of my most anticipated films of the summer season. Despite their immense popularity, I haven't actually seen Get Out or Us, the first two directorial outputs from Jordan Peele, though I do somewhat feel like I have due to how extensive the discussion is around both. However, I finally got around to watching one of this director's films with Nope, which looked brilliant and had me excited to see what it had to offer. Unsurprisingly, it was amazing. For the longest time, I planned on writing a full length review of this, but ended up not doing so because I didn't want to just drone on about stuff that had essentially already been said by countless others. But, here are a few of the things I really liked. The film expertly takes on tropes from several genres, namely sci-fi, horror and westerns, with clear influence from particular directors, namely Steven Spielberg, and creates an experience that is exciting, disturbing, thought provoking, and even funny at times, all without feeling confused, much like RRR. Peele crafts what is essentially a Jaws-esque monster blockbuster in a western setting that comments on society and our peculiar fascination with disastrous spectacles. The cinematography is stellar and I wish I could have watched this on an IMAX screen to fully appreciate its beauty. So many scenes vividly live in my mind because of how they manage to be extremely alarming yet somehow also full of awe. If I had one criticism, it would be that the pacing could have been a little more effective; we get enough of an image of the central evil force in the film a bit too soon, and I wish the film left the audience in suspense for a bit longer. But, this is still a vastly successful film and honestly one of the few new releases from this summer that wasn't underwhelming or disappointing in any way. In terms of 2022 summer blockbusters, this and Top Gun: Maverick have kind of been doing all the heavy lifting, so I'm very thankful mostly everything about it came together in the end. 8.0/10

Luck (Streaming - Apple TV+)

Luck feels like a poor man's Pixar film, which makes sense given that it's produced by former Pixar dream-team member John Lasseter, but for a different animation studio. I really enjoyed the first fifteen minutes or so in this film, as they explored the concept of good and bad luck in a way that was really charming and ever so funny. However, it takes a nosedive once it stops doing this and proceeds to do for this concept what Inside Out did for human emotions and memories; providing a completely literal take on the subject via the means of a 'secret world'. This is disappointing as it is more of what almost every animated film has been doing for the last five years, but it's made even worse by the fact that the secret world behind luck depicted in the film is so overly complicated and poorly thought out, to the point where you don't get the chance to engage in it as your stuck working out all the mechanics and logistics the whole time. Inside Out, while also providing a very literal interpretation of its themes, at least created a wonderfully inventive world that was easy to engage in, as well as also having emotional beats that landed perfectly, which Luck most certainly doesn't have. Beyond that, it's just terribly ordinary, with derivative characters, familiar themes, and animation that despite not being bad is lacking any unique flair. As the first film from Skydance Animation, I can't say I'm awfully excited to see where they go next. Well, except for Brad Bird's next film being one of theirs. 6.0/10

Fisherman's Friends: One and All

Of all these summer films, this is the one I have the least to say about. It's exactly what you'd expect from a film called Fisherman's Friends: One and All - it's simple and sappy, but very charming and certainly smile-inducing. That's not much, but it did the job. If there is one thing to note from my experience with this film, it'd probably be the fact that out of the twenty or so people in the cinema I saw this in, I was the youngest by a considerable margin. Make of that what you will. 7.5/10

Beast

Similarly, Beast also isn't a film there's much to say about. It's a disposable but fairly competently crafted survival thriller where Idris Elba faces off against a big old lion to protect him family. He's great in the film, the set-up was effective enough, and the cinematography was actually quite memorable, mostly due to the extensive usage of tracking shots. But yeah there's not really anything more I can say about this. I probably won't see it again but it worked fine. 6.5/10

Bullet Train

This was a wildly fun time with some really excellently put together action sequences and very funny character interactions. Brad Pitt is still a terrific leading man even after a couple decades of doing so, and the supporting cast all had something fun to offer each, namely Bryan Tyree Henry and Joey King. Tonally it's a bit of a mess, with lots of bonkers and comedic antics but also trying to be dramatic and profound too, which didn't go well together at all. Also, it does lose its uniqueness as it goes on, starting as a distinct, cleverly constructed and contained piece but ending up as a more commonplace, ridiculous, CGI-filled load of nonsense. So, while definitely one of the most entertaining films I've seen this year, Bullet Train certainly has its shortcomings and could've been a lot tighter and more intelligent. Still, as I said, I had a great time watching it and would happily revisit. 7.5/10

Spider-Man: No Way Home - The More Fun Stuff Version

To finish, I thought I'd briefly mention this re-release of one of the best films from 2021, which was mostly as good as before. The film itself is beginning to considerably lose its charm with each rewatch I give it, as a lot of the excitement from that first viewing is most definitely wearing off. Luckily, there's still plenty of excellence to be found, so I can't bring myself to think much lower of this film than I always have. As for the new stuff, some of it was good such as the additional scene with Matt Murdock and extensions of scenes such as that of the three Spider-Men bonding over their experiences, but a lot of it didn't really add anything and often felt abrupt in their inclusions, making it evident why they were excluded. It was funny to see that scene with Tom Holland's brother that he discussed on The Graham Norton Show though. Overall, still a brilliant film with a few neat additions. 9.0/10

Well, that's about it. I will try to do more in-depth reviews for upcoming releases as I do enjoy writing them, and it is a bit sad that I haven't done so for most of the things I've seen lately. There's lots to look forward to later this year, whether it be See How They Run, Don't Worry Darling, Black Panther: Wakanda Forever, or Avatar: The Way of Water, among many others, so let's hope there will be plenty of detailed reviews for each of them when the time comes!

Minions: The Rise of Gru + Thor: Love and Thunder - Movie Reviews - Decent additions to fun franchises

I've been a bit busy lately and thus haven't been able to go to the cinema for over two weeks, which is very long by my standards. However, this week, I was able to make a return, and what better time than the release of two new entires in two franchises I'm a fan of!

First of all, Minions: The Rise of Gru. I'd say I'm a fan of the Despicable Me series, or at least some of the films in the series. The first two entries are great, both getting the perfect balance of comedy and heart, as well as having some solid animation, though I don't remember an awful lot about the third film. As for the spinoff, Minions is okay in my opinion; I do enjoy the antics of the little yellow blobs but only in small doses, so when they're made the protagonists of a feature film it just doesn't work as well. So, with that in mind, the prospect of another minions-led film was something I wasn't so keen on. In this film, after becoming servants to the young Gru, the minions aid their boss as he tries to impress his villainous idols, the Vicious Six. 

Despite my ambivalence towards this film, I'm glad to say I enjoyed it. It succeeds by simply being much funnier than I expected. After rewatching Minions the night before and not laughing or smiling much throughout, I was anticipating more of the same here. But, instead, I chuckled very frequently. This might be because the jokes in the first film are ones I'm more familiar with whereas these are all fresh, but the fact remains that this new film was more entertaining. It is a lot more bonkers overall with the minions learning Kung Fu and fighting big monsters among many other set pieces, and I think this is beneficial. What also might be working in the film's favour is that, even though it's titled after the minions, it feels more like it's structured with Gru as the protagonist, thus resembling the nature of the main Despicable Me films where the minions are on the side of the main narrative. This helps because, as I said, the minions work best in small segments, and making them the protagonists is purely overkill. Other than that, the animation is terrific and a lot of the voice acting is solid. If I had to point out any issues I'd say that, obviously, it's quite a shallow watch and doesn't offer much beyond the jokes, thus making it a bit tiring and somewhat forgettable. But, because it made me laugh at a fairly consistent rate throughout its concise runtime, I'd say Minions: The Rise of Gru is a good enough watch.

I'm going to give Minions: The Rise of Gru a 7.0/10

Secondly, I was also able to see the latest MCU film, Thor: Love and Thunder. Being a film in this franchise, obviously I was happy to check it out, but I honestly wasn't really that excited for it. This may be because it's following not one but two entries in this universe that I was extremely excited for and so, in comparison, it just seems a lot less interesting. But, I also think it could be because I just don't think that more Thor is something we needed, even if it's coming from Taika Waititi, who basically salvaged the reputation of this character's solo films with Thor: Ragnarok, which was my favourite MCU film for a short period of time. So, my expectations were relatively low but I still hoped I'd find it enjoyable. In the film, after getting back into shape following Avengers: Endgame, Thor is faced with a new threat as the evil Gorr the God Butcher seeks to murder him and all other gods, and things only get more complicated when his ex-girlfriend, Jane, returns wielding his old hammer, Mjolnir.

Thankfully, I very much enjoyed this! What I admired most about Love and Thunder was the way it balanced its comedic elements with its dramatic elements. Ragnarok is a hilarious film for sure and I love all the comic flair that Taika brought to this previously dull side of the MCU, but I do think it goes a bit too far in a few places and that some of its emotional beats could have been fleshed out more, as most of them are undermined by jokes. Here, however, it feels as if that issue has been recognised as we get more of the zany and quirky humour, but also a fair amount of compelling drama that is sufficiently explored, and they intertwine rather perfectly, leading to an ending that is delightfully wholesome. This was something I really appreciated as it felt like a direct improvement of my only key flaw with Ragnarok. That being said, it is unfortunately true that this film isn't as funny nor as quotable as the latter, which is a shame. Narratively, I liked what the film did with Thor and Jane's relationship, being both heartfelt and also funny in places. However, the best relationship in the film is a highly unconventional one, that being between Thor and his axe, Stormbreaker. The film does a brilliant job at personifying this weapon and creating a hilarious conflict of sorts between it and Thor, where they seemingly don't get along now that Mjolnir has returned. Visually, it's another absolute treat, with some very dazzling settings and very creative uses of colour, particularly when the characters enter a shadow realm where everything is black and white with a few glimpses of normal colours. All the performances were great; Christian Bale is very effectively creepy as the Gorr, the film's villain, though not as memorable as Cate Blanchett's Hela from Ragnarok. Overall, I'm happy to report that this was a very enjoyable, albeit slightly superfluous, entry into the MCU.

I'm going to give Thor: Love and Thunder an 8.0/10

Lightyear - Movie Review - Fun but frustratingly frivolous

I love Toy Story, who in this day and age does not? However, one thing I'm sure we can all agree on is that, at this point in time, it's a franchise that's better off being left alone. I was content with just the perfect original trilogy, and was very unimpressed with the fourth entry, even after numerous rewatches where I've tried to convince myself otherwise. So, the prospect of more from this franchise doesn't seem attractive to me in the slightest. But, Lightyear had me intrigued. 

While this does represent Pixar's reluctance to completely let go of what is definitely their most lucrative property, for what it was, I thought it looked rather good. Tonally, it looked to be distinct from their usual offerings, almost more in line with a Star Wars film, which excited me as Pixar have lately felt burdened by a need to appeal to children in the audience. Also, the way it presented itself as the in-universe film about the character of Buzz Lightyear was also intriguing, so there was much to get me excited about giving this a watch when it came out. 

In the film, after accidentally stranding his crew on a dangerous, uncharted planet, Buzz Lightyear sets out on a mission to find a way to get everyone home safely. But, this proves to be a difficult task when his methods are unsuccessful after many years of attempts, as well as when a new threat emerges in the form of an army of robots led by Emperor Zurg.

In hindsight, I can safely say that my hopes for what Lightyear would end up being were probably a bit unrealistic. From a tonal perspective, it's not the distinct film I imagined it would be based on the trailers; it's very much in line with what you'd expect from modern Pixar. This isn't a huge problem, but it is quite a let down as I was looking forward to seeing this studio make something that felt refreshing. One thing that is very problematic about this is the humour in the film. Forgive me for sounding like a broken record, but this is another Pixar film with some really weak and kind of obnoxious humour. It's not completely devoid of laughs, but there are lots of jokes that just don't land. Again, having a more grounded film would've largely marginalised this aspect, which is another reason why I was keen for this film to be tonally distinct. 

What sinks Lightyear the most, however, is that it just doesn't have a compelling story. Buzz has a fairly standard "arrogant hero who needs to learn to be a team player" arc over the course of the film, which wasn't especially engaging and even made him an unlikeable character at times. There are individual story threads that are interesting - one of the characters named Izzy feels she must live up to the legacy of her grandmother (who was friends with Buzz) but is conflicted due to her fear of going into space, an obstacle she is forced to overcome in a really great scene during the third act. There's also a part where, due to the nature of Buzz's mission and the way time flows differently across space, he has been forced to watch his friends grow old and pass away while he remains the same age, similar to Interstellar, and that leads to quite a touching moment. But, on the whole, the narrative just didn't do much for me as it was mostly dull and predictable. 

With all that being said, there is much to like in the film. The animation is spectacular as usual, and it gave way to some very well crafted action set pieces. I found the character design quite unremarkable compared to Pixar's recent works, but I do appreciate how the film wasn't overly cartoony in its overall mannerisms, it definitely felt more grounded. This would've been even better if the tone aligned with it, but it's still nice to see anyway. The voice acting was solid - Chris Evans was a very natural fit for Buzz, not feeling like he was given the role purely because of name recognition but rather because he can successfully replicate the demeanor of the character close enough to Tim Allen's iconic version but different enough so you can recognise this isn't the goofy action figure who believes he is a space ranger, but rather actually is that very space ranger. Some of the new characters were fun, especially Sox, a robot cat who behaves a lot like C-3PO, which was entertaining. 

The last thing I'll touch upon is the nostalgic aspect of the film. I've complained a lot recently about films being overly reliant on nostalgic novelties to win over audiences, and favouring such aspects over compelling stories / themes. Lightyear is no different, as it has a ton of callbacks to the Toy Story films in the form of dialogue that is repeated verbatim as well as sequences that directly mimic certain actions and shot movements. It is evident that the film is relying on the novelty of being a Buzz Lightyear-led film too excessively, as it prioritises exercising the fact that it is over telling a good story. However, I can excuse this for a few reasons. One, it's all very naturally integrated into the film; it makes sense for Buzz to say and do things just like he did in the original films as he is technically the same character that he was then, after all. But, in addition to this, I don't really care so much as these moments all put a smile on my face. I tried to resist it as I know I'm being part of the problem by getting on board with fan service in place of anything new and interesting, but I can't help it. The familiar nature of Buzz on the big screen was enough to make me happy, so even though I would've liked something more substantial, I at least got something pleasant out of seeing this film. 

Speaking of big screens, after a string of Pixar films that skipped cinemas and went straight to Disney+, it was so nice to see a new film from them in the cinema again! The last time was Onward, over two years ago, just before COVID kicked off, so this was obviously more than welcome, especially when also considering that some of the direct-to-Disney+ releases like Luca and Turning Red came out at times when cinemas were generally a suitable option.

To summarise, Lightyear is a solid and enjoyable spin-off from a beloved series. It is disappointing that it didn't fulfill the potential it displayed from the trailers as a more grounded and distinct film compared to the usual Pixar output, and it is also unfortunate that it lacked an engaging narrative, but the absolutely wonderful animation and familiar sight of such a terrific character was enough for me to have a good time with it. That being said, I do hope this studio continue what they had going up to this point with more original films that hopefully start to be a little more audacious, as that is certainly where my interest lies, but this was still perfectly fine nonetheless. It doesn't come close to any of the original three Toy Story films, but I did enjoy it more than Toy Story 4 as the wrongdoings of this film as a standalone piece are slightly easier to look past.

I'm going to give Lightyear a 7.0/10

Jurassic World Dominion - Movie Review - A dino-sized disappointment

When it comes to the Jurassic films, I'm on the more positive end of the spectrum compared to a lot of people. Like many, I love the original film and it was a big part of my childhood, and while none of the follow-ups have ever recaptured its brilliance, they all mostly offer plenty of fun and exciting set pieces with amazing effects used to create the dinosaurs. So, I was of course looking forward to the supposedly final installment in the series, with its very interesting set-up and the return of the original cast members. 

In the film, after dinosaurs have been set loose on the mainland, a power struggle now exists between them and humans. Navigating this in various ways are Owen and Claire with their adopted daughter Maisie, as well as Alan Grant, Ellie Sattler, and Ian Malcolm. 

I was excited to see where this film would take the series for a few reasons. Firstly, even though I do enjoy the Jurassic World films, I am conscious that their narratives have been very derivative and inelegant a lot of the time. Fallen Kingdom in particular is a very messy and padded film that felt like it took a series of very forced and contrived means to get the dinosaurs from living on Isla Nublar to roaming around the mainland. Because of this, I assumed that the filmmakers were simply desperate to get the series to this point because they had an interesting story they wanted to tell with it, which I can imagine being true as the prospect of dinosaurs and humans having to co-exist in a modern setting is very interesting. It's also a set-up that doesn't largely borrow from one of the original trilogy films, unlike its two predecessors. This was enough to get me excited. 

It's very disappointing therefore to see that almost all this potential went to waste. Dominion does hardly anything interesting with its set-up, it just feels like the writers are doing the bare minimum. The battle for dominance between humans and dinosaurs is hardly given any exploration; it isn't even the main source of conflict in the film, as we instead have another boring corporate villain character exploiting the scientific research for their own gain, this time with biologically manufactured locusts of all things. Additionally, there's more ridiculous nonsense about dinosaurs being weaponised and sold on the black market thrown in too. In other words, it's all more of the same stuff that the previous films offered. Why was this? Why didn't the film take advantage of the endless enticing possibilities of having a power struggle between humans and dinosaurs? Why not make it a pseudo-dystopian / survival film or just something else that's completely different? Additionally, the narrative is split into two main plotlines, and the way they intertwine is so disjointed most of the time. I could potentially look past a dull narrative if it was at least streamlined, but this just makes it worse. I guess we now know why the previous Jurassic World films were borderline remakes of narratives from the original trilogy, because when this creative team is forced to make up something of their own, it's an absolute mess.

One of the notable selling points of this film is the return of the original Jurassic Park cast, namely Sam Neill, Laura Dern, and Jeff Goldblum. It's nice to have them back in these roles for sure, but the film unfortunately does absolutely nothing interesting with them. If all you wanted was to just see these characters again, I suppose you'll be satisfied, because that's about all there is to them. This is yet another instance of nostalgia being capitalised on, but even as a fan of the Jurassic films who was ready to be completely pandered to and wanted to have the biggest grin on my face throughout, I felt very little from their presence. I didn't even smile when they first walked on screen, which is usually a given for me when it comes to stuff like this. There's obviously some innate charm to them, especially Jeff Goldblum, who never fails to make me laugh, but very little work done by the film around them. Most unfortunately, the film isolates them from the newer cast members. As I mentioned with the narrative being split into two main seperate plotlines, one involves the present characters and the other involves these ones, and they only come together towards the end. 

This is sad because when all the characters do eventually collide, there are some really charming and funny exchanges between them. It was nice to see Owen interacting with Alan and Ian, in some ways that were really charming. I wish we got to see more of that as that's a big part of what makes legacy sequels like this good. For example, in Star Wars: The Force Awakens, it's not just fun to see Han Solo and Chewbacca back on screen, it's fun to see how they interact with the new characters, showing the generations both old and new colliding in endearing ways. The same can be said for how Spider-Man: No Way Home handled bringing the older Spider-Man actors back; it didn't just have them show up, it derived some really entertaining interactions and compelling drama from their presences in relation to the main characters. Here, very little of that is apparent, which is a massive shame. 

Of course, the main attraction with any of these films has stayed consistent from the very beginning, that being the dinosaurs. Jurassic Park's groundbreaking visual effects used to create these creatures still hold up to this day, and I can't see them becoming dated any time soon. The Jurassic World films obviously have more advanced effects behind them in terms of their CGI, while also maintaining the usage of animatronics in places. Here, obviously they're all still amazing. The details on all these creatures, whether they be a digital or tangible effect, are all exceptional, truly the best they have ever been.

That being said, the dinosaur set pieces in this film are a mixed bag overall. There are individual sequences of exciting antics throughout, such as a giant flying dinosaur attacking a plane, a feathered one with long claws prowling through a forest as one of the characters crawls into water, and a chase with a smaller feathered one that occurs on a slowly cracking frozen lake. These were all well executed, but often ruined by being a little too brief and thus not leaving as much of an impact as they could have, almost as if they only existed so the film had a variety of things to cut between in the trailer. There are also some that are quite badly executed; most notably a chase through the narrow streets of a city, which was so choppily edited and poorly captured. But, the climax gives the action all the breathing room it needs to be truly awesome, and it was. In typical Jurassic fashion, the final obstacle is a great big carnivore, and while this film didn't dedicate much time to building up to this creature's appearance in the same way the last two films did for theirs, it was still really cool, and having it fight against other enormous dinosaurs was terrific. It also probably helped that this was the only point where I cared about the characters, as I started engaging with them more once the two seperate sets got united.

In addition to some cool moments, there are a handful of beautiful moments too. The one that stuck out to me the most was a very simple scene where two long-necked dinosaurs (forgive my usage of 'Land Before Time' terminology, I'm not so good with dinosaur names now compared to when I was younger) slowly walk through falling snow as a small crowd watches, and while nothing special is happening, I found it so enchanting nonetheless. The third act takes place in a forest consumed by fire, and there are more beautiful shots of silhouetted dinosaurs against the large flames. A lot of these are enhanced in their greatness by the score, which has been consistently great across not just all the Jurassic World films, but almost every film in this franchise. The Jurassic World theme in particular is terrific because it's effective when it's soft and slow, as it is in many of these moments, or when it's loud and boisterous, and even though it isn't as iconic as John Williams' original theme, I think it's almost as powerful. Jurassic Park has many moments of awe and wonder, and even though nothing here is able to match those, I'm glad to see they're still somewhat apparent. 

Overall, it saddens me to say that Jurassic World Dominion was very disappointing. Individual moments and set pieces as well as occasional instances of charming character interaction make it a fairly enjoyable and passable watch overall, but the messy narrative that barely takes advantage of such an intriguing set-up and does so little to service bringing back veterans of this franchise beyond them just appearing for nostalgic novelty really weighs it down. It all just screams missed opportunity; it could've been a distinct and satisfying way to wrap a franchise that otherwise hasn't been consistently great overall, but it feels like they didn't even try. Perhaps my hopefulness was misguided based on the reputation of this series, but considering where it began and the possibilities of where it could've ended, I can't help but feel like this should have been much better than it was. 

I'm going to give Jurassic World Dominion a 6.0/10

Top Gun: Maverick - Movie Review - An exhilarating and emotional big screen experience

Top Gun from 1986 is alright. Some enjoyable flying sequences, a memorable soundtrack, and a sort of novelty from seeing such a young Tom Cruise, but nothing really that special. However, it is certainly a very popular film among many people, so when I heard a sequel was on the way over thirty years later, I thought I knew exactly what it would consist of, that is to say, what every other sequel to a culturally popular film made a decade or two later consists of - an experience that is almost identical through repetitive plot points and an excess of callbacks and references to that original film, capitalising on the audience's nostalgia. I watched the original film for the first time in preparation for Maverick and wasn't overly impressed, so I wasn't so sure if I'd get much out of the sequel. But, it got some amazing responses so maybe I would.

After thirty years, Pete 'Maverick' Mitchell returns to Top Gun, but this time to train the next generation of pilots in preparation for a dangerous mission. Among these new pilots is the son of Goose, who goes by Rooster. 

Between this film and the original Top Gun is such a bizarre shift in quality. The first film is, as I said, just kind of decent. This, on the other hand, is genuinely terrific stuff, even in the eyes of someone like me who isn't especially attached to this world and these characters. 

The major factor is that the action sequences in the fighter jets are absolutely excellent. From the goosebumps you get at the sound of the engines starting up to your hands gripping the side of your seat at all the high-speed dogfights and insane manoeuvres, they're just spectacular. A big part of this is how they're constructed; I'm not an expert, but from what I've heard, I believe most of what is seen on screen is practical effects, with little reliance on CGI / greenscreen. This is believable because all these sequences have a certain heft to them, they feel so grounded in reality, which amplifies the tension at hand. Tom Cruise is a very admirable figure in the film industry today, as he's clearly someone who wants to preserve the traditional crafts of filmmaking in the midst of CGI being most dominant, as well as the cinematic experience at a time when streaming is becoming most dominant. If you plan on watching this film, catch it on a big screen instead of waiting for it to come to your TV, it's at its best in the cinema. 

Beyond that, the film also does a good job investing the audience from an emotional standpoint. The original film did barely anything to make me care about how the death of Goose affected Maverick, but this film really made me care about such based on how it incorporates Rooster into the narrative, and the emotional beats involving them all feel earned and sincere, as well as satisfying. I equally have no investment in the relationship between Maverick and Val Kilmer's character, but through a really endearing scene with the two in this film, I found myself with a big smile on my face at the two. It's easy for films like this to make the fans in the audience feel something, as most of the time the mere sight of familiar characters is enough to satisfy some, but to do so for very detached audience members like myself isn't as simple, so I'm impressed that this film managed to do so. 

Part of why I found myself so engaged is that the film was actually somewhat unpredictable. I expected it to just be the same plot as the original but with a new coat of paint, but it wasn't. At a time when we've seen films like The Matrix Resurrections or Ghostbusters: Afterlife, that being sequels made many years after their predecessors that just repeat the original narratives / themes in slightly varied ways, this was such a relief. Parts of the film are deliberately mimicking the original for sure, but the narrative, for the most part, contained what felt like developments as opposed to retreading familiar ground, which is what the best sequels do. Maverick's arc in this film is distinct from his previous one - instead of being a young and arrogant pilot who has to rein in his confidence, he's an experience flyer who has to get over a trauma from his past. He definitely has elements of the character in the first film, but grows in distinct ways.

Overall, I'm glad I was able to enjoy this as much as I did. Top Gun: Maverick may be a sequel to something that isn't particularly amazing, but it in itself is really awesome. The action is well-crafted and the characters are well defined. It's the quintessential summer blockbuster for this year, so I highly reccommend you give it a go even if you couldn't care less about its predecessor. 

I'm going to give Top Gun: Maverick an 8.5/10