Terminator: Dark Fate November 7, 2019 By: Button Hunter Friesen No matter what our differences may be when it comes to politics and social issues, we as humans can all agree that the Terminator franchise has been downright awful for almost thirty years. Since the innovative T2 by James Cameron, the three sequels by lesser filmmakers have buried this once-popular series in a grave of mediocrity. And once again to milk more money out of nostalgic and hopeful fans, the franchise has been quasi-rebooted into the form of Terminator: Dark Fate . Set in a present where Judgement Day never happened, Dark Fate opens in Mexico City as two robots from opposite sides arrive from the future. Their target is Dani Ramos, an important figure who will someday lead the human resistance against the robot overlords. The human-robot hybrid sent to protect her is Grace, and the robot sent to kill her is the Rev-9, a shape-shifting terminator similar to that of the T-1000. As Grace fights to protect Dani, she is eventually joined by Sarah, who helps the pair go on the run from the relentless killing machine hunting them. https://www.youtube.com/watch?v=oxy8udgWRmo Directed by Tim Miller of Deadpool fame, Dark Fate is a downhill action flick where the ride starts at the top and continues to sink lower as time goes on. The beginning action set pieces are ripped straight from T2: Judgement Day as the two robots track down their target and eventually meet for a fight. This initial scene is by far the best in the movie as each robot gets to show off its unique powers. Miller also lets the scene play out with minimal editing and great stunt work that highlights the quality of special effects. Once this scene is over, Miller has foolishly played his whole hand and left nothing else for the remaining ninety minutes. The action becomes a recycled mess as each subsequent scene takes place in dimly lit areas that try to hide the flaws. Nothing new is introduced about the humans or robots, and it all melds together into a blob of standard movie action tropes. With three screenwriters and five credited story contributors, Dark Fate has way too many cooks in the kitchen that end up canceling each other out. The plot is incoherent, which has now become a staple of the Terminator sequels. Time travel is a finicky business once you start to think about it, but this movie has serious logistical problems straight from the start. These huge, gaping plot holes negate any emotional connection to the story and make every plot twist easy to see from a mile away. The overstuffed writer's room also led to some insufferable dialogue choices. The usual franchise catchphrases are all here, only this time they’re painfully inserted and delivered to the point of parody. There’s also an incessant need for every other sentence to be a profound statement, especially any line from Dani or Sarah. In a seemingly desperate move, the producers brought back Linda Hamilton as Sarah Connor. The character and Hamilton’s performance are the film’s biggest assets, even as she struggles to work with the amateur material given to her. Mackenzie Davis is pretty good as Grace, the robot-human hybrid from the future. Like all robot characters from the franchise, she brings great physicality to her performance. Unfortunately, she doesn’t bring much emotion to her human half, stifling any connection to her character. Relative newcomer Natalia Reyes plays Dani and falls into the usual rookie trap of overacting. At the start, she does fine work, but as the film gets more dramatic, Reyes overleans into her one-note performance. Lastly, Arnold Schwarzenegger reprises his role as the T-800 Terminator. It’s no surprise that the Austrian is great in the role that he can play in his sleep by now, as he makes a nice pair with Hamilton and is the only reason some of the comedic moments work. Dark Fate is the best sequel since Terminator 2: Judgement Day , but that's such a low bar to jump over that it isn't saying much. It's like a student got three straight F's on their exams and then got a C-. It’s still not good, but at least they didn’t fail this time and are somewhat moving in the right direction. Paramount Pictures will release Terminator: Dark Fate in theaters nationwide on November 01st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Late Night with the Devil April 8, 2024 By: Button Tyler Banark On brief occasions, I’ll bring a notebook and pen to take notes while watching a movie. It’s been since November when I last did it for David Fincher’s The Killer . I don’t know what came over me to decide to do this again for Late Night with the Devil , but it turned out to be the right decision, as this film was a lot. It would be a massive understatement to say it was a good time because this is the best new horror movie I’ve seen since Midsommar . It acts as a fresh, spine-tingling fright fest that gets under viewers’ skins and breathes life back into found footage filmmaking. Found-footage filmmaking has evolved quite a bit since it started as a trip into the woods caught on film in 1999’s The Blair Witch Project . Capitalized by the horror genre, notably in the Paranormal Activity franchise, the style crept into sci-fi thrillers like Cloverfield and Chronicle . With Late Night with the Devil , the game has officially changed, promoting the gaze into the lens of a broadcast late-night talk show called Night Owls . Continually competing with The Tonight Show Starring Johnny Carson , host Jack Delroy (David Dastmalchian) hopes that their upcoming Halloween special will give them an edge. His guests for the episode include psychic Christou, magician-turned-skeptic Carmichael the Conjurer, parapsychologist Dr. June Ross-Mitchell, and her patient Lilly. What unfolds with these guests leads to chaos and forces Jack to revisit his shady past. https://www.youtube.com/watch?v=cvt-mauboTc Late Night with the Devil cleverly finds ways to incorporate its found-footage DNA, allowing it to serve as a unique narrative tool. The structure is only used while the show is airing, which then shifts to a black-and-white handheld documentary gaze during the commercial breaks. Most of these documentary segments are stuffed in the beginning to serve as exposition, almost as a small price to unlock this grandiose puzzle. There is never a reliance on jump scares; rather, directors Cameron and Colin Cairnes focus on the fear of the unknown and what’s going to happen next. Many of those feelings come when June and Lilly conjure a demon named Mr. Wriggles, which takes over Lilly’s body and violently contorts it until you can hear her bones crack and skin peel. Of course, the sight of a little girl being possessed by a demon has become a common occurrence (see The Exorcist: Believer just last October), but it’s unique enough here thanks to Ingrid Torelli’s acting. And if that doesn’t send chills down your spine, the entire third act will with its all-out attitude of twisted material. Known for his versatility as a character actor in major blockbusters, including The Dark Knight , the Ant-Man trilogy, Blade Runner 2049 , Dune , The Suicide Squad , and Oppenheimer , Dastmalchian is finally given the time to shine in one of his rare lead performances. He brings both depth and nuance to Jack, convincing the audience of his internal struggles, all while wreaking havoc right in front of them. To be honest, I wouldn’t be surprised if he made my end-of-year Best Lead Actor ballot. The Cairnes’ script strongly comments on how far people are willing to go to achieve something, even in the face of dire consequences. There’s a moment where Jack sees Night Owls as a success, but even then, he succumbs to the realization that he’s flown too close to the sun. In the end, that’s what Late Night with the Devil is about, and in return, Jack is doomed to a lifetime of being haunted by this mistake. By the time this sinks in with audiences, there’s one thing left to give Jack (and the movie as a whole)...thunderous applause. IFC Films will release Late Night with the Devil in theaters nationwide on March 22nd. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Morbius April 4, 2022 By: Button Hunter Friesen I have made a deal with the devil. The trailer for Morbius has been stalking me ever since it first appeared in January 2020. It didn’t matter what YouTube video or movie I was watching in the cinema, the trailer would always follow me there. International arthouse movie? Morbius trailer would play there. Romantic comedy? Morbius trailer would be there too. Animated kids film? You guessed it, the Morbius trailer. After two years of agony, I’d had enough. I called up the Lord of Darkness and begged him to release me from this eternal punishment. He made me an offer for that request. His asking price: sell my soul or buy a ticket to the full version of Morbius . I chose the cheaper option (or so I thought), which was to put money in Sony’s pocket and buy a ticket to Morbius . And now after seeing the final product, I wish I had sold my soul instead. Morbius gives vampires a bad name, which is saying something since the famed bloodsuckers have had quite a tumultuous cinematic career. Besides the Dracula adaptations, there’s been a lot of crummy vampire stories, including multiple editions of the Underworld and Twilight franchises. https://www.youtube.com/watch?v=oZ6iiRrz1SY I will say that it’s tough to categorize Morbius as a vampire movie since I honestly don’t know if the titular character is actually a vampire. Dr. Michael Morbius gets vampiric qualities after he mixes his DNA with that of a vampire bat. For some reason, this gives him superhuman speed and strength and also changes his diet from regular human food to human blood. His search for a cure has brought him a remedy that might be worse than the disease. And while it’s hard to tell if Morbius is a vampire movie, it’s even more difficult to tell if it’s a Marvel movie. Sony desperately wants you to think it is, as their trailers tout themselves as the studio that brought you the recent Spider-Man films. That may be a true statement, but it’s only half true, as Sony is part of the studio partnership with Disney that produces those films. And judging by each studio’s individual output, it’s clear that Disney does the heavy lifting in the relationship. So no, this is not a Marvel Cinematic Universe film, which means you don’t have to subject yourself to torture just to know how it will interconnect with the other pieces. The Disney+ Marvel shows are already torture enough. Sony may wave the Marvel flag to lure you into seeing this film, but there’s none of the Marvel charm or showmanship present within the film itself. There’s no thrill to this story, no reason in wanting to know what happens next. The stakes are nonexistent, as the only thing Michael must do is keep his bloodlust to a minimum and find a cure for his newfound condition. Honestly, after so many superhero films with apocalyptic scenarios, the lives of a few nameless side characters don’t interest me in the slightest. Of course, there is action in this “superhero” film to keep your brain occupied, even if it is the blandest and most murky action I’ve ever seen. I was so bored during the set pieces, that I amused myself by performing an experiment. I would watch half the scene with my glasses on, and then the other half with them off. In the end, it didn’t matter since everything is just a muddled mess of CGI. Trying to make out what is happening, especially during the tedious finale, is a fool’s errand that offers no reward. Poor Jared Leto has gone and ruined another comic book movie, just like he did with his “interpretation” of the Joker in 2016’s Suicide Squad . I’ll give Leto credit for saying that he always brings 110% to what he’s doing, which can be seen quite prominently in his offensive performance in last year’s House of Gucci . It’s just that what he’s doing tends to be wrong on almost every level. I wouldn’t be surprised to learn that he drank real human blood to prepare himself for this role. From the bottom of my heart, I implore you not to watch Morbius . Because if Sony makes enough money from this to greenlight a sequel, I’m going to go insane as the trailer for Morbius 2 will undoubtedly stalk me like its predecessor. And if that does happen, I won’t make the same mistake twice and buy a ticket to it. I’d rather just sell my soul. Sony Pictures Releasing will release Morbius in theaters nationwide on April 01st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Asteroid City June 12, 2023 By: Button Hunter Friesen By far the strangest movie in his eclectic filmography, Asteroid City is Wes Anderson’s return to America in over a decade, having spent time in fictional Eastern Europe for The Grand Budapest Hotel , Japan for Isle of Dogs , and well… France for The French Dispatch . The fanciful writer/director takes us into the scenic deserts of the 1950s American southwest, specifically the titular sleepy tourist town that serves as the meeting point for all of the eccentric characters. The half-built town, complete with the stereotypical bar-stool diner and motel, is the destination for those attending the annual Junior Stargazer / Space Cadet convention. It’s a place where the best, brightest, and most awkward kids in America show off their new inventions, including a jetpack, raygun, and overhead projector for the moon, which, in one of many hilarious throwaway lines, is said to have huge potential in the future of interstellar advertising. Arriving in a putter under the beaming sun is Augie Steenbeck (Jason Schwartzman), a war photographer with a genius son and young triplet girls. This event is only a brief stop on his way to see his father-in-law (Tom Hanks, proving as always to be a wonderful addition to any cast), who’s the only other person that knows of Augie’s wife’s recent demise. Also in attendance is a group of other precocious children and their host of parents (Scarlett Johansson, Liev Schreiber, Steve Park, Hope Davis, etc.) Eventually, this event designed to look up at the stars comes in contact with something from there, which reshapes how our characters interact with each other and themselves. https://www.youtube.com/watch?v=9FXCSXuGTF4 As I said in the opening sentence, this is Anderson’s weirdest movie to date, always keeping your eyebrow in a raised position. To avoid spoiling events beyond what is shown in the trailer, I’ll only mention that Anderson’s screenplay (written in conjunction with his usual partner Roman Coppola) emulates a certain Christopher Nolan movie that has to do with dreams. How else are you going to be able to fit in all the names within this all-star cast, including regular players Edward Norton, Adrien Brody, Jeffrey Wright, Willem Dafoe, and Jeff Goldblum? The term “this is the most Wes Anderson movie Wes Anderson has ever made” has been used to describe nearly every new entry in his filmography. That cycle doesn’t stop with Asteroid City , as the traits you’ve come to love (or hate) are all here: symmetrical framing, varying aspect ratios, color and black & white cinematography, and steady camera movements. Anderson’s usual designer, Adam Stockhausen, once again creates a doll-house world filled with too many sights and sounds to be absorbed in one viewing. Sure, there may now be umpteen TikTok and A.I. generated videos replicating Anderson’s distinct style, but all of them contain just the window dressing of a Wes Anderson movie, and not the emotion. Just as his box of tricks has constantly evolved, so has Anderson’s ability to find the heart in his richly defined characters. While on their methodically placed tracks, each character veers off in different directions, exploring the fear of death, finding connections in a barren land, cutting through the messiness of life, and paying homage to those kitschy B-movies you grew up watching late at night on the public access channel. At this point in his filmography, you’ve probably made up your mind about Wes Anderson. I’m somewhat of an apologist, with those instantly recognizable production qualities and whimsical tones being music to my ears (and eyes). Asteroid City is another healthy dose of what I’ve come to love, with the bonus of seeing an auteur continue to find new ways to channel what they do best. This review was originally published from the world premiere at the 2023 Cannes Film Festival. Focus Features will release Asteroid City in select theaters on June 16th, followed by a nationwide expansion on June 23rd. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Guillermo del Toro's Pinocchio December 4, 2022 By: Button Hunter Friesen Like humanity’s search for the missing link or the cure for cancer, filmmakers have endlessly sought to adapt Italian author Carlo Collodi’s 1883 novel The Adventures of Pinocchio . Of course, Disney practically cornered the market with their 1940 animated musical version, which still haunts children to this day thanks to the Pleasure Island sequence. Decades would pass, with Robert Benigni - hot off the immense international success of Life is Beautiful - writing, directing, and starring in a 2002 live-action adaptation. The film would be a colossal critical and financial failure, practically locking Benigni in filmmaker jail for the rest of his career. But it didn’t stop him from appearing in another version later in 2019, this time solely in the role of Geppetto for writer/director Matteo Garrone’s version (which received two surprise Oscar nominations for its costumes and makeup). We also can’t forget the adjacent stories, such as Stanley Kubrick/Steven Spielberg’s A.I. Artificial Intelligence , or the projects that never got off the ground, such as ones from Sam Mendes and Paul Thomas Anderson/Robert Downey Jr. https://www.youtube.com/watch?v=Od2NW1sfRdA Now in 2022, we have two more adaptations, with Robert Zemeckis’ live-action Disney+ version following the same disastrous fate as Begnini’s, and Guillermo del Toro’s stop-motion animated Netflix, sticking closer to the original text. All this is to say: After so many Pinocchio adaptations, how much can del Toro’s version reinvent the wheel and stick out from the crowd? Well, for starters, this version of Pinocchio might look appealing to children on the outside, but inside it harbors themes of loss, regret, fascism (a del Toro specialty), and mortality. Of course, it still carries a PG rating, so things never cross the line where you have to shield the eyes of the younger ones. But everybody has at least one or two memories of an animated film scaring the hell out of them, so why not let this be one of those times for today’s children? We are first introduced to Geppetto at the foot of his son Carlo’s grave. Through some flashbacks, we understand why he loved his son so much, and how he feels betrayed by God for taking him away. In a drunken stupor, he makes a wooden puppet, which is then granted life by the Wood Sprite, a terrifying version of the Blue Fairy. Pinocchio has a never-ending thirst for knowledge, which leads him to often disobey his papa’s commands. He soon gets conned into joining the circus by an evil carny and his pet monkey (with Cate Blanchett providing the primate noises), and also is recruited into the Italian army by a Nazi leader after it's discovered he’s incapable of dying. Already experienced at guiding live-action directors into the world of animation after doing so with Wes Anderson on Fantastic Mr. Fox , co-director Mark Gustafson aids del Toro in blending the macabre with the cheerful. The attention to detail is immaculate, with the painstakingly crafted sets and character movements given their time to shine. Also crammed into this slightly overstretched 120-minute version is a handful of songs, which often raises the question of whether or not this is a musical. None of the musical moments deserve to be remembered, even though they are delivered capably by the talented voice cast. Del Toro’s love for the material is always present, and so are the influences he has taken throughout his filmography, particularly Pan's Labyrinth and The Shape of Water . That adoration can sometimes be infectious, even if this is well-worn material that probably didn’t need another retelling. Netflix will release Guillermo del Toro's Pinocchio in select theaters on November 9th, followed by its streaming premiere on December 9th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Showing Up July 17, 2022 By: Button Hunter Friesen As Woody Allen once said: “80% of success is just showing up.” But for the character of Lizzy (Michelle Williams) in Kelly Reichardt’s Showing Up , which premiered in competition recently at this year’s Cannes Film Festival, showing up doesn’t seem to be leading to much. She has a sort of career at a small arts college in Portland, complete with her mother as her boss and Andre 3000 as the flirty pottery expert. Her cat owns her personal life with around-the-clock needs for attention, and her neighbor/landlord, Jo (Hong Chau), still hasn’t fixed her water heater after two weeks of constant requests. Is Woody Allen wrong, or is this all her life is cracked up to be? Either way, it’s not a comforting thought. Reichardt’s work has been infrequent, yet always well-reviewed. 2008’s Wendy and Lucy marked the first of many collaborations between the director and Williams, followed by Meek’s Cutoff and Certain Women . But even with those great reviews, Reichardt’s films have never lit the box office on fire. First Cow , seemingly an epic in comparison to her other work, was prevented from having a chance due to its unlucky release during the onset of the COVID-19 pandemic. https://www.youtube.com/watch?v=wELPTxJ2YZY Maybe as an act of self-commentary, all of that can also be said of Lizzy in Showing Up . Sculpting intimate creations, Lizzy’s work has always been appreciated but never put on the same pedestal as her contemporaries, such as Jo and her unwieldy creations. Lizzy is struggling to meet the deadline for her new exhibit, and questions whether she should even attempt to show up. In its low-key nature, Showing Up can be a comforting ode to small artists persevering to put their creations into the world. Just as Reichardt often sleeps on people’s couches and teaches at Bard College (all of which was revealed by Michelle Williams), Lizzy has to put up with no hot water and a never-ending litany of problems to finish her work. And taking the connecting through-line of the bond between humans and animals from First Cow , Reichardt finds a way for Lizzy’s life to be upended, and ultimately transformed, by a pigeon that injures itself by crashing into her window. Both sides of the debate will correctly say that not much happens in Showing Up . But for those who are familiar with Reichardt's work, is that much of a surprise? Plot has never been on the priority list. Ditto to pacing, as Reichardt, serving as her editor as always, lets the credits roll in extended fashion across the first several minutes, and makes time for Williams to meticulously craft the arms to one of her sculptures in an unbroken take. With that slow pacing, Reichardt has often been able to mine deep and expose the hidden feelings that faster-paced works can’t. Not many could carefully tell the uplifting and heartbreaking friendship within First Cow . Showing Up tries to find a similar vein but doesn’t deliver the same refined, fulfilling message about the way unforeseen people and circumstances shape our lives. Unlike Lizzy’s clay creations that start as wet messes and end up as fully formed creations, Reichardt’s work stops just short of the kiln and ends up feeling more like a shallow puddle of good ideas. Showing Up won’t win Reichardt any new fans, but it could potentially offer another helping of what her supporters love so much. For them, Reichart has supplied the goods; now it’s time for them to show up. This review was originally published from the world premiere at the 2022 Cannes Film Festival. A24 will release Showing Up in select theaters on April 07th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Stars at Noon June 1, 2022 By: Button Hunter Friesen Despite being one of France’s leading auteurs, Claire Denis's best works have ventured away from her native country. From her directorial debut, Chocolat , to Beau Travail to White Material , Denis has infused her material with her experiences from her upbringing as a West African colonist as a young girl. Because of that life, Denis has always found herself an outsider in French cinema, which bleeds into her characters and the circumstances they find themselves in. Who else would come up with the idea of the “Fuck box” in High Life ? And while still emulating that same feeling of otherness as she transplants two white people into Central America for Stars at Noon , Denis’ English-language feature is a poorly made and uninteresting story of love in the wrong place and time. Set in either the 1980s or modern-day, depending on what logline you’re given (even though the presence of smartphones and COVID-19 kind of makes the 1980s setting a bit of a stretch), Stars at Noon is an adaptation of Denis Johnson’s novel of the same name. While the timeline of the events is different, the plot remains the same, which also inspires several questions. If the events have been changed to the modern-day, why has the ultra-80s plot of the CIA meddling with Central American politics in fear of communism remained unchanged? Maybe Denis is trying to infuse her trademarked otherworldliness into this story, even if it backfires completely and strips away any of her usual political and cultural bite? https://www.youtube.com/watch?v=Yg3EQ1_zRow That same tactic seems to have inspired the editing, which, according to reports, was rushed to be submitted in time for the festival. Just based on the eye test, those reports seem to have been true, with scenes being so fragmented they might as well have been transported out of a Terrence Malick film. Margate Qualley plays Trish, a failed journalist stuck in Nicaragua. To make ends meet, she enters into sexually charged relationships with influential figures. Her dead-end way of life soon gets turned around by the sudden appearance of Daniel (Joe Alwyn), another journalist. Daniel’s exact line of journalism is a complete mystery, but he’s got enough money and good looks to become Trish’s next fling. Despite the story saying that the two characters immediately hit it off and fall madly in love, it’s impossible to see that on the screen due to the serious lack of chemistry between the two stars. Reportedly, Alwyn was Denis’ third choice for the role of Daniel after originally casting Robert Pattinson and Taron Egerton. Having either of those two in the role would have spiced things up, but it’s doubtful they could have saved this mess. None of this is to say Denis doesn’t try to make the sparks fly between her two love birds. Approximately eight sex scenes are peppered throughout, each one seemingly being used as a life preserver to sustain waning audience interest. To Qualley and Alwyn’s benefit, no one could make bricks from straw with the dialogue handed to them. During sex scene #5 , Alwyn’s passionless reading of the line “Suck me” seemed to have broken the minds of the uninterested Cannes audience, with unintentional laughter spreading like wildfire throughout the crowd. There’s also the embarrassing Zoom cameo by John C. Reilly, who’s clearly talking to a screen in his backyard, and the odd introduction and relationship of Benny Safdie as a CIA agent tasked with uncovering Daniel’s work, which is never truly revealed. It’s a rare instance of nothing working as well as it should. Because of its down-to-the-wire production timeline, all non-Cannes viewers may benefit from the film being possibly re-worked before general release. But until then, Denis’ return to Cannes after all these years has resulted in a hugely disappointing and slightly embarrassing work that wastes a wonderful opportunity to combine the talents of all those involved. This review was originally published from the world premiere at the 2022 Cannes Film Festival. A24 will release Stars at Noon in select theaters on October 14th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Onward March 20, 2020 By: Button Hunter Friesen Set on an Earth where the magical and mythological exist together, Pixar’s newest animated film, Onward , tells the tale of two elven brothers. The story begins on the 16th birthday of the younger brother, Ian Lightfoot, who was never able to meet his dad as he had died before he was born. As a surprise gift for his now grown-up son, the father left a staff that, when combined with a spell, will bring him back to life for a full day. Unfortunately, the spell doesn’t go as intended and only reanimates the lower half of the father. To bring back the other half, a rare gem must be acquired that is hidden deep within a mystical mountain. With only twenty-four hours available, Ian and his older brother, Barley, must set out on a quest to fulfill the spell and bring back their dad for one last moment of bonding. https://www.youtube.com/watch?v=gn5QmllRCn4 Onward is directed by Dan Scanlon, a Pixar veteran and second-time director who previously helmed Monsters University . Despite his best efforts, Scanlon still doesn’t seem to have the same directorial knack that many others before him have possessed. Scanlon’s pacing of the film is both rushed and predictable, with the middle third being the most egregious example of this folly, as it rehashes the same beats over and over again. The final third can pick things up a little, but it too falls into the recent trend by Pixar to substitute light and noise for simple storytelling. Fortunately, Scanlon’s supplementary material helps distract from his shortcomings. The animation is breathtaking as usual, and the score by Mychael and Jeff Dana is wonderful as it balances both the epic and whimsical tone of the film. Scanlon lends his hand to the script, which is also co-written by Jason Headley and Keith Bunin. Similar to the directing, the writing in the first half does no favors as it rushes from location to location with nothing but the basic plot on its mind. A sense of emotional complexity that is usually found within Pixar’s narratives is sorely absent here. But once the halfway mark hits, the film vastly improves as the emotional core of the story hits like a ton of bricks. The writing trio reminds you once again of the magic that Pixar wields as the earlier and underdeveloped themes of brotherhood and fatherhood are given new life in only a few short minutes. As a sibling with a younger brother, the sentimentality of the story hit deep, leaving me in more of an emotional wreck than I was prepared for. Like all Pixar films, the impeccable voice work among the cast works hand-in-hand with the writing to develop the characters. Tom Holland voices our main hero, Ian. It’s a bit of perfect casting by Pixar to have Holland play the shy, awkward character that must learn to control his newfound powers. Holland's experience from his web-slinging days allows him to play to his strengths. With the LEGO franchise and now this movie, Chris Pratt is starting to stake his claim as one of the best voice actors working today. Pratt plays the more rambunctious brother, Barley. His natural charisma enhances the material and creates some of the film’s funniest moments. And as a bit of a bonus, the casting of Holland and Pratt in the lead roles gives us a glimpse of what a possible Spider-Man and Star-Lord buddy movie would look like. While it may not be the finest work Pixar has ever done, the abundance of heartwarming magic found within Onward makes it an enjoyable tale for all ages. Walt Disney Studios Motion Pictures will release Onward in theaters nationwide on March 06th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Black Phone 2 October 15, 2025 By: Button Hunter Friesen In 1954, director Alfred Hitchcock released Dial M for Murder and Rear Window . Ingmar Bergman had Wild Strawberries and The Seventh Seal in 1957. 1974 saw Mel Brooks and Francis Ford Coppola simultaneously reach their apexes, the former with Blazing Saddles and Young Frankenstein , and the latter with The Conversation and The Godfather Part II . And then, in 1993, Steven Spielberg seemingly did the impossible, conquering the box office and the Academy Awards with Jurassic Park and Schindler’s List . He then repeated the feat in 2002 with Minority Report and Catch Me If You Can … and again in 2005 with War of the Worlds and Munich … and again in 2011 with The Adventures of Tintin and War Horse . Now, in 2025, Scott Derrickson has sneakily achieved greatness with Apple TV’s The Gorge back in February, and Black Phone 2 this October. Of course, to compare a made-for-streaming creature feature and a horror sequel to some of the greatest films of all time is quite a hyperbole. To equate anything to The Godfather Part II would be enough to have my license as a cinephile revoked on the grounds of heresy. But the general sentiment is still true, with Derrickson exponentially raising the ceiling for two films that should have been lost to the swamp of nothingness. The Gorge was a dream come true for anyone who has longed for Call of Duty Zombies to come to the silver screen, with the PG-13 rating never barring Derrickson from getting down and dirty with some nightmarish creatures. Black Phone 2 drops the "the” from its predecessor’s title, yet never drops the terror or suspense. https://www.youtube.com/watch?v=v0kqkRZHqk4 Shifting a few years later to 1982, Finney (Mason Thames) is still haunted by The Grabber (Ethan Hawke) despite killing him at the end of the previous film. But that only marked a victorious battle in a war that mixes reality with dreams (or nightmares). His sister, Gwen (Madeleine McGraw, delivering one of the best performances of the year), has a series of dreams about children being gruesomely butchered at a Christian winter camp in the Colorado mountains, their corpses etching letters in the ice before sinking to the bottom. Similar to how she solved the mystery of The Grabber while Finney was locked in his dungeon, these dreams are visions of what’s happened, the murdered kids being a key to The Grabber’s past, and how he’s still able to be a threat to the living. With a runtime of 114 minutes, this film is not brisk. But Derrickson knows how to maintain a creepy atmosphere through pacing, an interesting story, and some stellar performances. All of these things are hard to come by in horror movies as gruesome as this one, and it's rarer to have them combine so harmoniously. I knew I was seeing something that was a cut above when we were forty minutes into the film, and I wasn’t bothered that Ethan Hawke still hadn’t shown up yet. But good things come to those who wait, and Hawke’s turn as this movie’s Freddie Krueger is quite memorable, reaching down into hell and relishing in his demonic presence. A Nightmare on Elm Street is the central influence, mostly out of necessity, since there’s not much of a grounded reason for this sequel to exist. Gwen is cut, beaten, and tossed around by a seemingly invisible enemy, her dreams being the only time she can see The Grabber. But he can still harm those who can’t see him, as he does on a frozen lake with some makeshift ice skates and an axe. It’s a lot less goofy to watch than it is to type and read aloud, although it’s not all perfect. There’s still plenty of blood to be chillingly spilled, most of which is conveyed through Derrickson’s signature Super 8 footage mixed with eerily scratchy sounds. This franchise only has a few more time jumps left before its titular payphones go completely out of style. Even here, almost all of them are out of order and targets of ridicule for their unreliability. I can already tell you that my Old Spice whistle ringtone won’t conjure up the same level of scares as the clangs of a rotary phone. It’s a good thing I haven’t taken my phone out of silent mode in almost a decade, as there might be a few calls from beyond the grave that I should probably miss. Universal Pictures will release Black Phone 2 in theaters nationwide on October 17th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Queer September 10, 2024 By: Button Hunter Friesen Desperation and desire go hand-in-hand within Luca Guadagnino’s Queer , an adaptation of the legendary William S. Burroughs’ early short novel. These are qualities that the famed workaholic Italian director has found a knack for expressing, doing so in opposing fashions this year with the stylishly Hollywood-y Challengers and this magnetically opaque, hedonistic journey. Everything is presented in its most sensual form through Guadagnino’s eyes and ears, with the destination this time being Mexico in the 1950s. World War II is over, and those returning from Europe and the Pacific are looking for a little rest and relaxation. The American public still (and will continue to for decades) looks upon homosexuality as a disease, forcibly creating the neighboring southern country as a haven filled with life’s great pleasures. https://www.youtube.com/watch?v=eknj5_0tF2s The streetlights cast beams of heaven down upon the men and women of the night, the bars are always open, and everyone’s thirst is perpetually unquenchable. But Guadagnino and production designer Stefano Baisi don’t stop there, replacing establishing shots with dreamy illustrations filled with miniatures and backdrops that seem much larger and more expressive than they ever could have been. This version of Mexico isn’t being viewed through an objective lens; it’s someone’s reconstruction of a long memory. That memory belongs to William Lee (Daniel Craig), one of those GIs who left America once he got off his Navy boat and never looked back. Donning a sharp outfit and an even sharper tongue, his days consist of bar trips, flirtations with the boys passing through, and consuming what drugs and alcohol he can get his hands on. It’s a fast and cheap lifestyle, one that comes to a halt once he lays eyes on fellow American Gene (Drew Starkey). The youngster arrives on the scene in slow motion and is engulfed by the blaring words of Nirvana’s Come As You Are . You can feel the temperature rising in the room rising just as much as it is within William’s loins, with this introduction being just the first of many moments where the anachronistic soundtrack and Sayombhu Mukdeeprom’s camera concoct some of the most potently erotic sequences put to celluloid. That dichotomy between the audio and the visuals translates to William and Gene’s relationship, with the former trying to play younger and the latter containing much more maturity than his fresh face lets on. They have a unique honesty with each other, which Guadagnino transfers to the bedroom with as much raw authenticity as he had with Call Me by Your Name and last year’s All of Us Strangers . Craig is at his most appealingly charming here, mixing the sexual power of James Bond and the eccentricities of Benoit Blanc. He sees what he is through the mirror that is Starkey’s performance, the enigmaticness of Gene being his most appealing and perplexing quality. Burroughs’ novel was published in its unfinished form, something that Guadagnino and screenwriter Justin Kuritzkes emulate within their project, even down to the literal runtime, which has been the subject of much scrutiny as it kept getting whittled down since its announcement. A question came to Guadagino during the North American premiere screening at the Toronto International Film Festival, asking if the initial three-hour cut would ever see the light of day. The director shyly laughed and said that this was the film that he made, the hesitation in his voice almost signaling that he has as much desire to share his undiluted version as much as audiences want to consume it. The current 135-minute version is a shaggy mini-beast, hypnotically blending reality and dreams as it traverses from the urban hustle to the isolated jungles. Comparisons to Bardo may be appropriate in terms of trying to understand the imagery and intention behind each scene. There are moments when everything is frustratingly translucent, just escaping your grasp, no matter how hard you try to grab hold of it. But even in its haziness, there’s an alluring power that prevents your ignorance from clouding the enjoyment. A24 will release Queer in select theaters on November 27th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

Dune: Part Two February 21, 2024 By: Button Hunter Friesen In my review of Dune , I said that the film “was an odd case of style over substance, in that the substance is there but intentionally left out for next time. It’s a gamble that may pay off once Part Two is released.” Well, that next time has come, and so has the cast of the die as part of that gamble. Luckily for me, those pangs of disappointment that clawed at my cinematic soul in 2021 are nowhere to be found in 2024, as Denis Villeneuve’s conclusion to Frank Herbert’s 1965 groundbreaking novel might be one of the best science-fiction films of the modern era. And it’s not just me who thinks this sequel far surpasses its predecessor. Speaking at a South Korean press conference in December , Villeneuve said, “For me, this film is much better than Part One … There’s something more alive in it. There’s a relationship to the characters. I was trying to reach for an intensity and a quality of emotions that I didn’t reach with Part One and that I did reach with Part Two .” The French-Canadian filmmaker wasn’t lying with that statement, as this latter entry is no longer a desert of humanity, but an oasis of philosophy and hard-earned emotion. https://www.youtube.com/watch?v=Way9Dexny3w “Power over spice is power over all” blares over the black screen before the studio credits fade in. Along with being a bold and instant attention grabber, it’s a startling reminder of what the political dynamics are on the planet of Arrakis. The Harkonnen family still rules with an iron fist, but enough disturbances to the spice production by the Fremen have tested the patience of Emperor Shaddam IV (Christopher Walken). Just as the battles rage on across the desert, so do they within the mind of Paul (Timothée Chalamet). Visions of death and destruction still ravage his dreams, with the unfolding event pushing the inevitable closer and closer. There’s also infighting within the Fremen, with the prophecy of Paul ascending to be their messiah being met with hostility amongst the younger members who would wish the Fremen to be led through a democracy comprised of its own people. Paul doesn’t know his place either. How can he be a savior for a threat he’s partially to blame for? No matter what he does, other people and the world itself make choices that lead him closer to the point of no return. Villeneuve and returning co-writer Jon Spaihts may have lost industry legend Eric Roth from their team for this sequel, but that doesn’t mean they’ve lost a step when it comes to wrestling with Herbert’s material. Every moment, from the biggest of setpieces to the smallest of character moments, is given an incredible amount of weight and importance. The dialogue is just as action-packed as the action itself, with the introduction of a deeper roster of characters building to that feeling of grandiosity. Austin Butler plays the psychotic bald albino Feyd-Rautha Harkonnen with devilish delight. Florence Pugh, Léa Seydoux, and Walken add gravitas to their scenes of imperial intrigue. I was reminded of James Cameron’s Avatar and Matt Reeves’ 2022 adaptation of The Batman several times while watching this. Similar to those properties, this is inherently silly material when you take a step back and look at everything on the surface level. There are giant sandworms, magic dust that fuels spaceships, and people flying around in jetpacks. One only has to look at David Lynch’s 1984 version to know that this story can be tonally jarring. But everything here is told with such care and respect that you immediately buy into all of it. Each new development is riveting, with the interactions between the returning characters being more potent thanks to the groundwork already laid. Chalamet and Zendaya’s romance blossoms over time, as does the plot over Paul’s prophecy by Lady Jessica (Rebecca Ferguson) and Stilgar (Javier Bardem). For all its meditative qualities, there are still several moments for Villeneuve to show off his brawn as a filmmaker. Chaos is often met with chaos as the action is more bombastic this time around, with rockets, lasers, and tips of knives being readily exchanged. The returning crew of Oscar winners includes cinematographer Greig Fraser, composer Hans Zimmer, editor Joe Walker, production designer Patrice Vermette, and costume designer Jacqueline West. Each does their part to increase the scale from the already gargantuan first part. It would come as no surprise if they’re all Oscar-nominated again, with a few potentially grabbing a second trophy. Just as he did with Blade Runner 2049 , Denis Villeneuve has accomplished what has long been thought to be impossible with Dune: Part Two . There’s no doubt that fans of the 2021 film will be overjoyed with what’s served here, and that previous detractors such as myself will be won over by the improved scale and direction of the saga. Fear is the mind-killer to all those on Arrakis. But there is no fear for those of us on Earth, as one of the best films of 2024 and of the science-fiction genre has been bestowed upon us. Warner Bros. Pictures will release Dune: Part Two in theaters nationwide on March 01st. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen

The Death of Robin Hood June 17, 2026 By: Button Hunter Friesen An unfortunate part of growing up is uncovering the truth that the adventures of many of your childhood heroes did not lead them to living out the rest of their days under sunshine and rainbows. No, they almost all exclusively became sad and embittered, with years of fighting corrupting their once optimistic morals. Luke Skywalker exiled himself and believed that the Jedi Order should end with him in The Last Jedi , Daniel Craig’s later James Bond films reckoned with his mortality in a modern world, and Rocky Balboa lived alone in the Creed films. No actor has capitalized on this trend better than Hugh Jackman. At the time, his seemingly final performance as The Wolverine in Logan was a fitting conclusion to the character. Blending both the history of the character with that of a Western, director James Mangold and Jackman examined the shattering consequences of what it means to be a hero. Visceral action and a touching story made it not just one of the best comic-book films of all time, but an altogether poignant human drama. Jackman’s scars may have healed while playing the adamantium-infused Logan throughout the years, but they do not in The Death of Robin Hood . Looking as grizzled as the famed comic book character, the body of the Prince of Outlaws tells a life full of violence without mercy, serving as the only way to separate fact from fiction. Like Batman, everyone in 1281 has a story about Robin Hood. Some say he killed hundreds for the fun of it, the charity work being an unintended benefit that covered for his many sins. Others say he died years ago, a victim of revenge from one of the many who would seek it. https://www.youtube.com/watch?v=tlSDDuWxO_0 In the frozen, windswept steppes of England, a death for his crimes would be the preferred choice by Robin. Instead, his superior fighting skills against his mostly peasant opponents force him to endure living with his regrets and increasingly decaying body. Eventually, he nearly meets his maker, becoming mortally wounded when he becomes embroiled in a revenge plot along with his longtime sidekick, Little John (Bill Skarsgård), who murdered a man and stole his identity to have a family. The first act of The Death of Robin Hood is as brutal and violent as a movie can be. Slashed throats spew with blood, heads are smashed in with rocks, arrows pierce flesh, and bones are bludgeoned. Reminiscent of Justin Kurzel’s 2015 adaptation of Macbeth , writer/director Michael Sarnoski paints everything with fire and brimstone, letting the blood flow heavily on already-soaked fields. PTSD is heavily implied for Robin, with his sunken eyes, scraggly beard, and weathered face constantly being captured in close-ups. Unluckily for Robin, he is saved from death by the prioress Sister Brigid (Jodie Comer). On her island, she runs an orphanage (not for gifted mutants, like Charles Xavier), taking in the young and decrepit. Robin fits closer to the latter, although the adoptive daughter of Little John is also on the island. Although feral to everyone else, she takes a liking to Robin, and he finds a comforting innocence in her. Sarnoski made his feature debut in 2021 with Pig, a brilliant subversion of revenge actioners that featured a mesmerizing performance from Nicolas Cage. Next came A Quiet Place: Day One , a director-for-hire job that netted him some nice box office points. As much as A24 sunk into this production, they’re unlikely to see much of it back. Once on the orphanage island, this story slows to a crawl. Conversations about the nature of legacy and the cycle of violence make up most of the runtime, each of them placed and delivered in an increasingly predictable manner. Thanks to its top-notch technical merits, such as Pat Scola’s 35mm cinematography or the period-accurate hair and makeup, the whole endeavor never fully becomes boring (although it does threaten that on multiple occasions). Jackman is obviously game for the part, but that also means there’s hardly anything surprising about his performance. Comer is compelling in a limited role, as is Murray Bartlett as a leper who opens his heart as he must constantly be bandaged up. Robin Hood has been many things over the years. For as much as this tries to recontextualize his legend, I don’t think it’s successful enough as a piece of entertainment to make a real difference. A24 will release The Death of Robin Hood in theaters nationwide on June 19th. More Reviews Primetime September 22, 2026 By: Hunter Friesen Unabomber September 24, 2026 By: Hunter Friesen Look Back September 16, 2026 By: Hunter Friesen Elsinore September 14, 2026 By: Hunter Friesen Hunter Friesen