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MSPIFF 2025 Recap April 16, 2025 By: Hunter Friesen There’s nothing like a film festival to rejuvenate one’s passion for cinema, especially after the first quarter of 2025 provided a less-than-stellar sampling of theatrical releases. One of the oldest film festivals in the country, the Minneapolis-St. Paul International Film Festival (abbreviated as MSPIFF, and pronounced “EM-spiff”) was a mini oasis, providing a vast lineup that stretched across every continent. The festival opened with the documentary Free Leonard Peltier , a close-to-home story about the titular Native American activist who was wrongly imprisoned for nearly five decades. While I personally did not attend the screening, those who did relayed many positive remarks to me in the subsequent days. My experience began on the first Saturday with a triple feature starting with the A24 title The Legend of Ochi . Writer/director Isaiah Saxon opened the film with a video message stating how he made the feature for children and that their intelligence deserves more credit than they normally get. Because I had just seen the overly juvenile A Minecraft Movie the weekend prior, those words greatly resonated with me. The film itself didn’t walk the walk as much as Saxon talked the talk, but it still deserves credit for its impressive technicals and willingness to explore adult themes. It’ll be released in theaters nationwide on April 25th. Following that was co-writer/director Andrew Ahn’s remake of the 1993 Ang Lee film The Wedding Banquet . The original premise of a gay man and a straight woman going through a fake marriage out of convenience has been shifted to modern-day Seattle and expanded to include two homosexual couples. The logicality behind the necessity for a fake marriage is even weaker now than it was thirty years ago, but Ahn is always precise with the emotional stakes and moments of humorous levity. The clear MVP was Youn Yuh-jung, the recent Oscar winner for Minari who makes a strong case for deserving a second trophy. It’s out this weekend in theaters. Capping off the night was a Midnight Mayhem screening of what will quite possibly rank as the funniest film I’ll see all year: Friendship . Tim Robinson brings the same laugh-out-loud absurdity from his Netflix sketch show I Think You Should Leave to the big screen in this story of a loser suburban dad getting in way over his head when he tries to win the approval of his cool new neighbor (Paul Rudd). Several jokes were drowned out by the roaring laughter from the soldout crowd, which I recommend seeing it with when it releases in theaters on May 9th. There were not just remakes of Ang Lee films at the festival. No, the director himself was present on the first Sunday to give a brief masterclass. He gave great insight into his transition from Taiwan to English-language films, and why he chose to hop across several genres throughout his storied career. Later that night he introduced a twentieth-anniversary screening of what is likely referred to as his magnum opus: Brokeback Mountain . After sentencing it to years on my neverending watchlist, it was great to see the film on the big screen. Lee said that he was miserable while making the film due to the recent passing of his father and years of exhaustive work on Crouching Tiger, Hidden Dragon and Hulk , and that he doesn’t deserve much credit for the film’s success. Of course, everyone disagrees with his sentiments, with his win for Best Director at that year’s Oscars being more than deserved due to the emotional maturity he granted to the actors in his wonderful cast. Things became more sporadic from there. Tuesday featured a screening of By the Stream by the incredibly prolific South Korean writer/director Hong Sang-soo, and When Fall Is Coming from France’s François Ozon. Also from a French creative was Misericordia , an entertaining small-town murder cover-up now out in theaters. I reverted to Asia for my final day of the festival. Caught by the Tides by the famed Chinese filmmaker Jia Zhang-ke is not a film for those unfamiliar with his work, incorporating deleted scenes and alternate takes from several of his previous films to craft a loose decade-spanning narrative of a man and woman falling in and out of love. Despite my perpetual confusion from having not seen the referenced films, I was marvelously fascinated by Zhang-ke’s ability to weave it all together. The film likely has no commercial prospects in the United States, so seeing it in a semi-crowded room and discussing it afterward with other attendees illustrated the importance that festivals possess in illuminating works that would otherwise go completely unnoticed. If you’d like a more thorough analysis of the film and the work of Zhang-ke, I highly recommend heading over to Deep Focus Review by my fellow critic and friend Brian Eggert, who recently concluded his “Filmmaker in Focus” series on the director. Other festival titles that are currently or soon to be released in theaters include the canine comedy-drama The Friend starring Naomi Watts and Bill Murray, the Southeast Asian adventure romp Grand Tour (April 18th), One to One: John & Yoko (April 18th), On Swift Horses (April 25th), and the Nicolas Cage Ozpoiltation thriller The Surfer (May 2nd). The MSP Film Society will be replaying several of the highest audience-scoring films at The Main Cinema over the next few weeks. To learn more about everything to do with the festival and the year-round programming, you can visit the MSP Film Society website . More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Sonic the Hedgehog 3 December 22, 2024 By: Button Tyler Banark As someone whose only connection to Sonic the Hedgehog growing up was Mario and Sonic at the Olympic Winter Games , the Sonic the Hedgehog movie franchise has surprised me. Since the first film’s release right before the pandemic, the series has proven to be a shining example of adapting a beloved video game series into a successful movie saga, a task Hollywood couldn’t overcome for decades. And to think the starting point for these movies was a poorly reviewed trailer featuring the infamously ugly character design. Unlike Marvel, DC, and Star Wars fanbases, Sonic fans get what they want and shut up about it (and they don’t ask for much). With Sonic the Hedgehog 3 , the series doesn’t just maintain its momentum—it rockets forward, delivering a cinematic experience that balances thrilling action, heartfelt storytelling, and fan service. It’s a film that manages to entertain longtime fans of the Blue Blur and newcomers alike. The plot picks up shortly after the events of the second film, with Sonic (Ben Schwartz) continuing to grow into his role as a protector of Earth. However, peace is short-lived as the film introduces Shadow the Hedgehog, a fan-favorite character from the games whose enigmatic presence brings a darker and more mature tone to the narrative. Shadow’s complex motivations and his morally ambiguous stance provide an intriguing contrast to Sonic’s upbeat and heroic personality. Their interactions are packed with tension and occasional glimpses of camaraderie, making for some of the film’s most compelling moments. Thanks to the pitch-perfect casting of Keanu Reeves, Shadow is easily the best character on screen as he brings his charisma to a character that could’ve been one-dimensional. As expected, Jim Carrey’s portrayal of Dr. Robotnik is again a highlight. His eccentric energy and comedic timing give the character a larger-than-life quality. However, this time around, his antics are more different than in previous films, as he also plays Robotnik’s long-lost grandpa through heavy prosthetics. Seeing Carrey come out of retirement to do this double-duty act is a sight to behold, as it brings back that charm and energy audiences couldn’t get enough of during his prime in the ‘90s. The returning characters also shine in their respective roles. Tails (Colleen O'Shaughnessey) remains the group's heart, offering unwavering support to Sonic. At the same time, Knuckles (Idris Elba) continues bringing comic relief and brute strength to the team, with his literal interpretations and warrior ethos providing some of the film’s funniest moments. Together, the trio forms a tight-knit group whose chemistry drives the story's emotional core. One of the most impressive aspects of Sonic the Hedgehog 3 is its ability to blend nostalgia with innovation. Fans of the games will appreciate the numerous Easter eggs and callbacks, from the inclusion of iconic locations to subtle nods to Sonic’s long history. At the same time, the film doesn’t rely solely on nostalgia. It pushes the story forward with high stakes, a more complex villain, and themes of identity, loyalty, and redemption that resonate beyond the confines of a family-friendly adventure. Visually, the film is nothing short of spectacular. The CGI has reached new heights, with Sonic, Shadow, and the rest of the cast looking more vibrant than ever. The action sequences are a standout, with high-speed chases and battles choreographed to perfection. The climactic showdown, involving the chaos emeralds, is a jaw-dropping spectacle that feels like it was lifted straight from the games and brought to life on the big screen. Despite its many strengths, the film isn’t without its flaws. While the humor is a key part of the series’ charm, a few jokes feel overly simplistic or aimed solely at younger audiences. However, the times when the jokes aren’t childish and out of leftfield, they’ll have the grown-ups laughing for minutes. Furthermore, some side characters, such as Tom (James Marsden) and Maddie (Tika Sumpter), Sonic’s human family, feel underutilized, which may disappoint fans who enjoyed their more significant roles in previous films. Nevertheless, these issues do little to detract from the film's overall enjoyment. Sonic the Hedgehog 3 is a more than worthy addition to the franchise and a must-see for fans of the series. It balances humor, action, and emotion with a narrative that feels both epic and personal. Whether you’re a longtime fan of the Blue Hedgehog or just looking for a fun, family-friendly movie, Sonic the Hedgehog 3 will leave you with a smile and a sense of anticipation for what’s next (the mid-credits scene will get fans going big-time, believe me). Every aspect is one-upped profoundly, making audiences want to go fast by the time the credits roll. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

I, Tonya March 7, 2018 By: Button Hunter Friesen Margot Robbie has had a pretty big climb to fame in the past few years. She kicked off her Hollywood career in 2013 with The Wolf of Wall Street , then made a splashy cameo in Adam McKay’s 2015 hit The Big Short . She then achieved A-list status in 2016 with Suicide Squad and The Legend of Tarzan . Now in 2017, she’s hitting the awards circuit with I, Tonya , in which she plays the infamous figure skater Tonya Harding. Her performance is the highlight of the film, which is a semi-autobiographical story about one of America’s most beloved and most hated athletes. The film opens with interviews from Tonya Harding (Margot Robbie), her ex-husband Jeff Gillooly (Sebastian Stan), and her mother LaVona Golden (Allison Janney). The interviews are taking place about a decade after the “incident” and are intended as a way for each of the characters to tell their version of what happened. In between the interviews we are treated to the story of how Tonya grew up as a redneck figure skater in Oregon. We witness her rough upbringing at the hands of her mother and how it affected her skating. After that, we see her meteoric rise to superstardom, all of which is constantly in jeopardy because of her rocky relationship with her simpleton of a husband, Jeff. And finally, the moment you’ve all been waiting for, the Nancy Kerrigan incident. We watch it go down, the due process immediately after, and how Tonya got caught up in a mess of stupidity. What I can say is that this film doesn’t do anything wrong, it just does everything adequately or well. The handling of the story through interviews and flashbacks does well at establishing the chaos and insanity since each character gives conflicting reports as to what actually happened. The film also uses the fourth wall to have Tonya interact with the audience and extend the autobiographical nature of the story. However, the interviews lose steam about halfway through and are left dormant until the very end. It felt weird since they were heavily used in the beginning and are made to seem like the central medium for telling the story. Director Craig Gillespie uses stylish editing and camera tricks to keep the story flowing at a quick and breezy pace. Some scenes are oversaturated with them, but overall the tricks serve their purpose well. The behind-the-scenes work does a nice job of establishing a feel for the 80s and 90s. The hairstyles and fashion are timely and will make anyone who lived in that period feel nostalgic. Last and most importantly, the performances carry this film all the way to the very end. Margot Robbie is astonishing as Tonya. She has the perfect mix of looks, personality, and skill to pull off the role. She plays Harding perfectly at every point in her career, especially at the lowest. Allison Janney is also great as Tonya’s cold and unloving mother, LaVona. Janney goes full-out in makeup and chain-smoking, giving an authentic portrayal of a mother that will never be satisfied with her children. Sebastian Stan gives a good, but not great performance as Jeff. He does his best to make Jeff his own, but unfortunately gets overshadowed by Robbie and Janney. On a positive note, Stan shows off a wide range of emotions as Jeff slowly turns from a dumb nice guy to a violent madman. I, Tonya delivers an entertaining and original way to tell a story that is well-known by almost everybody alive. While it’s a good film caught in a time of great films, Robbie and Janney give career-defining performances that make this film deserving of your time. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Captain Marvel March 14, 2019 By: Button Hunter Friesen Marking the twenty-first chapter in the ever-expanding Marvel Cinematic Universe, Captain Marvel has finally bowed out in theatres after a mountain of hype had built up for close to a year. Much like Black Panther was the first MCU film to feature a predominantly black cast, Captain Marvel is the first film to feature a female as the lead character. But unlike the huge critical success and cultural movement that the former was, Captain Marvel disappoints on both the levels of filmmaking and fan service. What should be an enjoyable and inspirational tale ends up being a tepid blockbuster that sorely lacks in the areas that have made the Marvel brand so entertainingly great. Captain Marvel is directed by partners Anna Boden and Ryan Fleck, who have previously worked on smaller indie films, most notably Half Nelson . Now with a budget of $152 million, the lack of experience that the pair have with tentpole films glaringly shows. Many of the action scenes are by the numbers as they devolve into a series of quick camera cuts and choppy editing. Not helping the action is the computer and practical effects. Apart from the de-aging of Samuel L. Jackson, which looks incredible, the visuals look a bit outdated, almost like the film was made ten years ago. To recreate the feel of the 1990s setting, Boden and Fleck rely heavily on nostalgic product placements and callbacks. Blockbuster Video, internet cafes, pagers, and an endless line of fashionable toys are paraded throughout the film to try and get a response from the audience. It reminded me of the same shallow technique that was used to death in Ready Player One where inessential references are repeatedly made instead of constructive jokes. Probably the biggest problem with Captain Marvel is the incoherent and bland story that offers the audience little to care about. Right away the film introduces the conflict between the Kree and the Skrull, two factions who have been at war for eternity. Basic facts are given such as a roster of important characters, but other relevant information such as the war’s importance and purpose is left out. Even as the conflict gradually becomes the main part of the narrative, these necessary explanations are never touched on. This lack of information strips the film of any real stakes within the MCU. Not that low stakes is an outright bad thing. Ant-Man has next to no overall effect on the other films within the universe. But the franchise still works anyway as it makes you care about its great characters. That central quality is also missing from Captain Marvel , which is surprising considering both Boden and Fleck have built their careers off of their prowess for layered human drama. Despite being her origin story, the character of Captain Marvel turns out to be the least interesting person in the film. Her storyline is quite straightforward and consists of a lot of on-the-nose messaging that feels shoehorned in. Tonally this film falls in line with the rest of the MCU. Comedy is mixed in with drama, but not as seamless as you would expect. Many of the jokes don’t land or feel too forced into awkward positions. A disappointing feeling repeatedly panged me every time a pivotal scene was undercut by a joke that really didn’t work. Brie Larson does a thoroughly average job as the titular hero. Her performance contains seldom amounts of energy, which can partly be blamed on the lackluster script she had to work with. Fortunately, Larson does show a ton of confidence and a knack for comedic timing in her limited number of quality scenes Samuel L. Jackson is great as Nick Fury, who at the moment is only an agent of S.H.I.E.L.D. He brings his usual boisterous flair to the role and is able to make up for the downbeat energy exuded by the rest of the cast. Jude Law, Ben Mendelsohn, and Annette Bening fill out the rest of the supporting cast. Each one of them does a fine job, but these roles are hardly anything compared to the other work they have done. Is Captain Marvel a good movie? No. Is it a bad movie? Also no. This is an average film that comes and goes while doing everything you expect and nothing more. In the grand scheme of things, this film is just a quick jolt of superhero energy to keep audiences satisfied until Avengers: Endgame. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Chappaquiddick April 26, 2018 By: Button Hunter Friesen The date is July 18, 1969. Senator Edward “Ted” Kennedy is speeding down the moonlit road on Chappaquiddick Island. In the passenger seat is 28-year-old Mary Jo Kopechne, who was a presidential campaign secretary for Robert Kennedy. After a few missed turns, the car eventually meets the infamous narrow bridge that connects the chain of islands. Ted doesn't react in time, and the car skids over the bridge and flips over into the water. A few minutes go by and Ted is back on land, but Mary Jo is still trapped underwater. She would eventually drown screaming Ted’s name for help, all while he stood from afar, muttering the line “I’m not going to be president.” This is the real-life incident that is explored in the new film Chappaquiddick . In addition to showing the incident, the story tells of the immediate actions taken by Ted and his aides to cover up and save his political career. The film is directed by John Curran, whose most notable previous work is The Painted Veil way back in 2006. Curran doesn’t dance around with the material and instead decides to give the facts in a straightforward manner. We frantically go from one event to another, watching and listening to every piece of information as it is given to us in a workmanlike routine. Curran does well at positioning the camera to create a film that is more focused on characters than events. He uses a mixture of close up and tracking shots to keep us focused on the leading players. A specific highlight comes when he expertly cuts between close-up shots of Mary Jo drowning and Ted lying in bed later that night. It’s a haunting sequence to watch as the different outcomes of the two characters are compared simultaneously. Unfortunately, Curran’s matter-of-fact storytelling style also weighs the film down and limits its potential. Having the narrative move quickly never really gives the characters enough time to open up and develop. It also never gives the audience enough time to reflect on what has just happened. Just like the directing, the script also helps and hurts the film's overall quality. Coming from first-time writers Taylor Allen and Andrew Logan, the screenplay is very focused on delivering the facts in the most efficient and simplified way possible. This helps the audience connect every dot as we always know what is going on and who is involved. The writing also shows every character as their true self, and not as glorified pieces of history. For instance, Instead of portraying Ted as a tragic figure, the writing shows him as the man everyone knew him as someone that will do anything to protect his name and career. The part where the script fails to deliver is the pacing and overall emotional weight. Allen and Logan’s need to deliver every possible fact quickly proves tiring and overloads the already cramped 106-minute runtime. There is also never an engaging hook or overall emotional theme, just a fact-based story being told in a flat tone. By the end, the film feels very average as everything is wrapped up in an unoriginal fashion. The performances in this film are the main attraction, which seems fitting considering both the directing and script put a large amount of emphasis on the characters. Jason Clarke does a great job as Ted Kennedy. Clarke perfects both the Kennedy voice and physical mannerisms. He also brings a large amount of insecurity as his character hopelessly tries to live up to the legends of his three deceased older brothers. Ed Helms, in a role completely different from type, was pleasantly surprising as Ted’s assistant and cousin Joe Gargan, who was also involved in the incident. Helms acts as a vessel for the audience as he reacts to Ted’s actions with bewilderment. Bruce Dern is probably the most memorable part of the film, even though he speaks less than ten words. He plays John Kennedy Sr., who is confined to a wheelchair and unable to speak because of a stroke. Dern’s veteran skill allows him to overcome his character's physical limitations and deliver a performance that is chilling to watch as he bullies Ted into following his every order. Finally, Kate Mara does well as Mary Jo Kopechne. While she doesn’t get enough time to stand out, Mara brings a strong amount of emotional depth to her doomed character. While the actors all give admirable performances, the so-so-directing and middling script restricts this film from reaching its true potential. Overall, this is a very conventional drama that is serviceable enough for those who are interested in what happened that fatal day in 1969. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Don't Worry Darling September 23, 2022 By: Button Hunter Friesen No film has ever pushed the quote “There’s no such thing as bad publicity” more to the limit than Olivia Wilde’s Don’t Worry Darling . So much has happened over the past few months that Cosmopolitan was able to make a full in-depth timeline , which is still ongoing. It wouldn’t be an understatement to expect the film to get its own Heart of Darkness: A Filmmaker’s Apocalypse sometime in the future. And it also wouldn’t be an understatement to think that Wilde wants that documentary to happen so people will have something to remember Don’t Worry Darling , because the movie itself is nothing more than middling. It’s a Mad Men world for Alice (Florence Pugh) and Jack (Harry Styles) as they start their new lives in the sun-drenched valley paradise known as Victory. Where it’s precisely located and how it got there is never explained, nor is it allowed to be questioned. The only strings attached to this haven are that you never ask anything, such as how the men spend their time, where the food comes from, or why everyone has the same memories before they got here. Your only duty is to conform, be supportive, and worship the project’s leader, Frank (Chris Pine), whose viewed and behaves like the second coming of Christ. For Alice, these duties unlock everything she’s ever wanted. She has a great husband, a great house, and great friends. It’s all so perfect. This is why things seem so odd when her neighbor, Margaret (KiKi Layne), begins questioning everything. Just as if she was transmitting the common cold, Margaret’s skepticism makes its way into Alice’s head, leading her down a dark path to learning the truth about this modern utopia. On a purely productional level, Don’t Worry Darling is quite the accomplishment for Wilde. The period-accurate clothes and needle drops are a far cry from the modern teenage angst she announced her auteur status within Booksmart . The influences of Stanley Kubrick and Darren Aronofksy are easy to spot with the impressive sound and camera work. Those qualities should come as no surprise considering Wilde recruited regular Aronofsky cinematographer Matthew Libatique to lens her film. As a director, she lets the hysteria build and builds, waiting for us to beg for it to be released. But when that moment comes for Wilde to make her big swing, she manages to only hit a single instead of the expected home run. Because just like the town of Victory itself, Don’t Worry Darling often comes across as empty despite being littered with pretty sights (there’s even an unintentionally fitting scene where Alice cracks eggs, only for it to be revealed they’re empty). Reteaming with her Booksmart writer, Katie Silberman, Wilde’s interrogation of women’s societal roles and the men that oppress them is nothing that hasn’t been done before. Hell, works such as The Stepford Wives , The Truman Show , and even WandaVision have asked similar questions using a similar concept. Even though it’s all impressively done, there’s always this nagging feeling of being there, done that. That feeling also permeates the casting of Harry Styles as Jack, who’s been written as British, most likely to cover over Styles' inability to pick which accent he should be using. A stunt cast such as this may help the box office numbers, but it doesn’t help Florence Pugh, who’s left all alone to keep this ship from sinking under the weight of its ill-advised ambitions. Pugh seemingly can do no wrong, whether it be large-scale work in Black Widow or on a smaller level in Fighting with My Family . And considering the impressive work she did pulling apart at the seams for Ari Aster in Midsommar , this performance comes across as child’s play for her. Luckily, she has an equal in Chris Pine as the charismatic Frank. Pine has always been an actor that was cursed by his good looks, as it meant he was forced to play leading parts when he works much better as a character actor. Brad Pitt is another actor in a similar situation. In the brief scenes he shares with Pugh, Pine brings that tech-guru/crypto-bro smarmy charm that makes you believe why people worship him, while at the same time, you just want to punch him in his perfect teeth. If your intention of seeing Don’t Worry Darling is to look at beautiful people in beautiful clothes living in beautiful houses, Olivia Wilde supplies that in spades. But if you intend to see something that digs a little deeper under the surface and provokes ideas that haven't been explored by numerous other (and better) films, then you may want to start worrying. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

The Predator September 20, 2018 By: Button Hunter Friesen The original Predator from 1987 was a film full of mindless action done in a smart way. Every other sequel, spin-off, and reboot following has just been mindless action done really dumb. The Predator , the new quasi-reboot/sequel, is no exception to that trend. The Predator tries to be a lot of things at once: an ultra-gory action thriller, a witty character comedy, and a relationship drama between family and friends. Instead, it’s none of these things as each piece is weighed down by the other until the whole thing falls apart into one lazy mess. The Predator comes as the first failure by director Shane Black, who previously did well with Iron Man 3 and The Nice Guys . Black’s trademark use of witty banter doesn’t go over well here as it has in his previous films. Most of the jokes are shoehorned in for the sake of having them and are delivered with little effort. They also seem really out of place. Dramatic scenes have jokes in them for no reason and scenes that are supposed to be comedic end up being dry. Also, the whole tone of the film just feels off. It never settles and constantly keeps seesawing between hard action and silly over-the-top fun, which jarringly contrast each other. When the film is hard action, it’s ordinary gory action that’s been done better by others. Specifically, the whole third act of the film feels like a generic shoot ‘em up. It’s a huge disappointment considering that the film had been building up to this moment throughout the first two acts. Along with Fred Dekker, Shane Black also serves as a writer. Similar to his directing, Black’s writing is lackluster and a letdown when compared to his previous work. The overall plot comes off as lazy. There really isn’t a big picture for the film and how it connects to the rest of the franchise. We do get some connectors and facts, but mainly they’re just cast aside in favor of more action set pieces. Another misstep is the introduction of the main character’s son, Rory, who acts as a link between the aliens and humans. Just like every other kid in an action movie, Rory’s only purpose is to artificially raise the stakes and force us to care for him just because he’s a kid. The biggest gripe against the writers is how they take the Suicide Squad approach towards the characters. We go around introducing each character and learn one trait about them. Then the characters only act on that one trait the whole movie, which quickly gets tiresome. Half of them don’t even serve a point until they die at the end in a desperate attempt to make us care for them. Stemming from the bad writing is some equally bad acting from the main cast. Boyd Holbrook plays our lead character, Quinn McKenna, an elite stealth sniper. Holbrook is very boring in the role and plays the same “conflicted army character with a heart of gold” that we’ve seen over and over. Just like Holbrook, Olivia Munn plays her character, Dr. Casey Bracket, like every other action movie scientist. She gives some science mumbo jumbo every few minutes and doesn’t do much else. Sterling K. Brown lacks his usual confidence here. He always looks unsure of himself as he doesn't know how to play his character. He wants to be a multi-layered villain but ends up being a cartoon. One slight nod can be given to Keegan-Michael Key. His manic energy allows for some of the jokes to not totally fail. Everybody’s heard the saying, “Shoot for the moon. Even if you miss, you'll land among the stars.” Most films embody this statement, shooting too high and coming out average. The Predator , on the other hand, does the exact opposite of this statement. It seems like the filmmakers didn't care enough to shoot for the moon. They shot for average at best and missed badly, leaving us with a film that feels like an empty shell of what it could have been. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Terminator: Dark Fate November 7, 2019 By: Button Hunter Friesen No matter what our differences maybe when it comes to politics and social issues, we as humans can all agree that the Terminator franchise has been nearly 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 into 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 that 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. 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 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 asset, 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. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Hustlers September 16, 2019 By: Button Hunter Friesen We all know how the Great Recession of 2008 affected the American economy. There are countless stories of large financial and automotive firms going under, taking thousands of employees with them. But one industry you may not have heard of that had one of the biggest direct impacts on workers: strip clubs. Based on a true story, Hustlers tells the story of four New York female strippers as they scam and crawl their way out of the financial crisis that left their usual Wall Street clients with no money to flaunt. Probably one of the most fun movies of the year, Hustlers flows with great kinetic energy that makes it endlessly entertaining. Director Lorene Scafaria takes a lot of influence from the works of Martin Scorsese and Adam McKay (also a producer on the film) as she effortlessly keeps the movie going at top speed. Watching this, you’re reminded of great films like The Wolf of Wall Street and Goodfellas . Scafaria also shows off her great productional talent as she makes use of several slow-motion montages mixed with a perfect soundtrack of mid-2000s R&B hits. Numerous moments of fluid camerawork that mix both quick cuts and long takes give the film a fresh and brisk pace. There’s one moment where all these great facets come together in a surprise meta-cameo from a well-known singer/dancer. The perfect music choice, the choreography of the dancers, and the blocking of the movement make it the most exciting and memorable scene in the film. In addition to directing, Scafaria also pens the script, imbuing the narrative with the themes of family and sisterhood. We see the four women come together and follow the journey of bonding through redemption. Sometimes it does get close to Fast & Furious levels of overdoing it, but the strong performances from the leads make it believable to watch. Scafaria also uses a flashback framework structure as the story cuts between the past and present with the quartet plunging deeper into the moral grey areas of their actions. There’s a constant feeling of having already seen this technique done before several times. However, it’s very interesting to see this kind of story told not from the demeaning point of view that plagues similar films, but from an unmalicious female perspective. Scafaria does slip up when it comes to the moral reasoning of the actions and character development as they are both put to the sideline in favor of more dancing scenes. In her defense, the dancing scenes are the best part of the film and a treat to watch. But they each start to become empty near the end as the lack of depth and ethical stakes become too obvious to ignore. Holding the story together are two excellent performances from the leading ladies of Constance Wu and Jennifer Lopez. After her breakout hit in last year's Crazy Rich Asians , Wu here turns in another star-making performance as Destiny. With the good material Scafaria gives her, she sinks deep into her character and shows off her more dramatic chops Jennifer Lopez, surprisingly fifty years old, plays Ramona and is the best she’s been in a long time. She struts that movie star glow that keeps your eyes always glued to her, especially during her more physical scenes that give off a sense of both grace and power. The rest of the supporting cast is stunt cast with the likes of Cardi B and Lizzo, who play themselves. They each don’t mean anything to the story apart from their name value on the poster. Hustlers is one of the sleekest and entertaining movies to come out this year. While its politics may be a bit skimp and misguided from time to time, the brilliant directing by Scafaria and powerhouse performances by Wu and Lopez make this a great time well worth your investment. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

The Upside January 31, 2019 By: Button Hunter Friesen In the film industry, January is usually the month that big studios dump films that they have lost confidence in. A large majority of these films come and go without anyone noticing they even exist. One of the biggest films of this January is The Upside , which tells the unlikely true story of a wealthy quadriplegic hiring an ex-con to be his caregiver. Starring Bryan Cranston and Kevin Hart, this film isn’t as bad as its release date would suggest, but it also isn’t anything special enough to justify your attention or hard-earned money. Directed by Hollywood workman Neil Burger, The Upside is both structured and shot in the typical fashion that one would come to expect from studio comedies. Everything feels like it was assembled from a template and has been done dozens of times before by more competent directors. Burger middlingly works with the more emotional aspects of the film as any moment of dramatic tension can be seen coming from miles away and follows the usual cues of the genre. Even the tonal shifts become quite predictable and create an endless cycle of half-hearted storytelling. While it may have been unintentional, the one thing that Burger does well at is letting the actors do what they do best. Hart and Cranston take over every scene they appear together in and use their chemistry to distract from many of the film’s faults. Being as this is a remake of the 2011 French film The Intouchables , the story very much follows closely with the source material. The biggest thing that the script lacks compared to the original is a sense of emotional weight between the main characters. This problem mainly stems from a thin plot with lofty intentions that only offers tepid results. The writers try to tackle the racial and economic divide between the main characters but end up putting in so little effort that it feels disjointed and a waste of time. Insightful commentary is tossed aside for one-liners and sly remarks that end up feeling overly safe and tedious. Despite being over two hours long, the film continually runs into the problem of having too little to work with, especially from the two weak subplots; one being Hart trying to reconnect with his son and the other with Cranston battling his limitations to find love. Both the side stories felt quite empty and gave each actor little to work with. This resulted in a muddied overall narrative that fought and tore itself down rather than building to something meaningful. Probably the biggest saving grace for the film (and the only reason anyone would watch it) is the performances of the two leading actors. Kevin Hart does what he does best as Dell and shows that he is still a master of comedy, whether it be physical or through his fast-paced banter. Even though the script is mostly to blame, Hart does struggle with the dramatic parts that require him to slow down and break away from his usual tricks. Acting as the dry humor to Hart’s energy is Bryan Cranston as the extremely wealthy and depressed quadriplegic, Phillip. While he does serve up some funny remarks from time to time, Cranston more or less just goes through the motions and knows that he is above a project of this quality. Lastly, Nicole Kidman intermittently shows up as Phillip’s executive assistant, Yvonne. Kidman really feels out of place as her skills go unused on a character whose only purpose is to be a disapproving foil to Hart’s shenanigans. Except for Kevin Hart or Bryan Cranston, there really isn’t much in this film to make things interesting. There are some comedic elements that incite some chuckles, but more times than not a feeling of emptiness will lay dormant in your head. Best described as a filler movie to waste some time, The Upside is something you’ll watch and most likely forget about twenty-four hours later. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

Inside March 14, 2023 By: Button Hunter Friesen Between the fishes in the aquarium and the pigeon with a broken wing on the patio, there’s plenty of on-the-nose symbolism surrounding Willem Dafoe’s character’s situation within Inside , a film that never lacks for imagery, but seldom brings it above the surface. “Cats die, music fades, but art is for keeps,” Dafoe narrates as he prepares to perform a high-stakes burglary within a luxurious Manhattan penthouse. The owner appears to be an uber-rich art collector, with several of his prized pieces fetching a high asking price on the black market. The initial snatch-and-grab goes off without a hitch, that is until Dafoe’s hacker accomplice mistakenly trips the alarm at the last minute. The apartment shuts down into defense mode, trapping Dafoe into a gilded cage filled with bountiful treasures, but no way to get them out. The resourceful thief must rely on his wits and resourcefulness to endure the isolation, as there’s no way to tell when he might be able to get out. In a cruel twist of fate, the apartment is filled with more paintings than food and running water, turning this once lavish paradise into a barren wasteland. With next to no other in-person cast members and taking place on entirely one set, Inside may as well be confused as a member of the pandemic-era club of tiny movies that were able to be filmed while abiding by the strict safety protocols. Such members include Sam Levinson’s misbegotten Malcolm & Marie , the James McAvoy & Sharon Horgan-starring Together , and Judd Apatow’s “I shed two tears every time I mention it,” The Bubble . Luckily, Inside is no nowhere near as infuriating or as limited as those films, but it may not be all that more memorable. Director/co-writer Vasilis Katsoupis, marking his narrative feature debut, displays a knack for crispy imagery. The sharp edges of the high-end furniture and décor give off the vibe of a cold prison, with the thief’s hierarchy of needs being changed by the day. The television has a CCTV feed, with one of the cameras being pointed at a cleaning lady eating her sandwich during her lunch break. The thief looks with lust toward the sandwich, with all the high-priced surrounding him worth nothing in comparison. Eventually, Inside becomes a game of Chekhov’s Symbol, as every perfectly framed image and use of color is required to profoundly mean something. It would have made for an interesting puzzle if the pieces weren’t so easy to put together and the ending picture was anywhere close to being worth more than the sum of its parts. Dafoe never lets the act of putting those pieces together seem dull, with his quiet intensity and surprisingly physical athleticism making for an interesting outwardly character study. Along with Cate Blanchett and Tilda Swinton, he has amassed one of the most interesting careers of the past few decades, seamlessly moving between large-scale Hollywood productions and offbeat indies. If anything, Inside serves as a nice appetizer of Dafoe before the main course is served by Wes Anderson and Yorgos Lanthimos later this year with Asteroid City and Poor Things / AND , respectively. The bluntness of Inside doesn’t make an immediately rewatchable experience, nor does the ho-hum narrative make for an immediate reason to see it in the first place. Katsoupis tries his best to make his film a work of art. But just like all the pieces hanging on the walls within the apartment, his work will quickly get tossed away in favor of anything that offers more sustenance. More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen

MSPIFF43 - Dispatch #2 April 25, 2024 By: Button Hunter Friesen The 43rd Minneapolis-St. Paul International Film Festival (MSPIFF) is currently going on from April 11-25, with over 200 films screened. Here are some quick-bite reviews of a few of the films I have watched, with more to come soon. The Convert Lee Tamahori’s lush period piece comes from good intentions, but falters under the weight of clichés and ho-hum filmmaking. Set within Tamahori’s native New Zealand during the first wave of British colonialism around the 1830s, the film follows lay preacher Thomas Munro (Guy Pearce) as he witnesses the brutal treatment of the local Maori tribe at the hands of its Western settlers. He develops a special connection with Rangimai, daughter of the chief of the tribe that leases its land to the British, and who’s currently fighting a war against an ultra-aggressive tribe. Comparisons to Dances with Wolves , The Last Samurai , and The New World will be inevitable, especially with Pearce - noble as he is - fitting the “white savior” trope to a tee. Tamahori gives considerable time to the Mahori characters, but he tries to have his cake and eat it too as the central throughline sees Munro’s pleas for peace ending in an inevitable bloody battle. Even more tonally baffling is the semi-uplifting ending, totally contradicted by the historical events that would soon follow. (3/5) Do Not Expect Too Much from the End of the World The only thing longer than the title and runtime of Radu Jude’s newest social satire is the list of ideas it's brimming with. (Mostly) taking place over a single day, Do Not Expect Too Much from the End of the World endlessly lobs grenades toward present-day Romanian life, ranging from government corruption to a generation growing up on Andrew Tate rhetoric. All of these ideas are communicated through Angela (Ilinca Manolache), an overworked production assistant who shleps around Bucharest to audition candidates to appear in a worker safety PSA. The 163-minute runtime doesn’t necessarily fly by, with Jude knowing no bounds with how he crafts his epic tale, always looking to break free from the preconceptions of the form. This includes multiple extended cutaways to scenes within the 1982 Romanian film Angela Goes On , harsh black-and-white photography, a 20-ish minute scene taking place within a single static shot, and a cameo from infamous bad boy director Uwe Boll about how the haters can go fuck themselves. You truly never know what’s going to happen next, or how much you should be laughing at the stark realities of these people’s lives. (3.5/5) Wildcat There’s a moment in Ethan Hawke’s biography of Flannery O’Connor where a character has a hallucination where Jesus gives them the choice to be reborn as white trash or an [n-word]. I didn’t have a problem with this scene on any religious or moral grounds, but it was just one of a handful where I had to ask what Hawke thought he was accomplishing. There’s an admirable quality to him not taking the traditional biopic route, but it’s not like going down this road was any more successful. There’s a dreary beauty to 1950s New York City and rural Georgia akin to Inside Llewyn Davis , with O’Connor (played by Maya Hawke) writing increasingly dark and depressing stories that bristle with conservative society. Hawke and co-writer Shelby Gaines mix reality and fiction through Flannery’s short stories, with the cast (Laura Linney, Steve Zahn, Vincent D’Onofrio) playing multiple differing roles. Aside from the poor performances and tacky makeup/costumes, the pretentiousness in the presentation comes across as amateurish. Still, there’s something about Hawke’s approach to the artistic process that drew me in. Granted, it was mostly due to my morbid curiosity about what batshit method he would try next. But there’s a heart and soul here in the right place, and it’s better to appreciate the strikeout if the batter went down swinging. (2.5/5) In Our Day South Korean auteur Hong Sang-soo has become legendary for his critical consistency while remaining as productive as ever. He’s been described as the “Korean Woody Allen,” churning out at least one to two new features per year that tend to pick up various pieces of hardware at major festivals (most likely the Berlin International Film Festival). In Our Day marks his 30th feature, with himself fulfilling the roles of writer, director, producer, cinematographer, composer, and editor. Two seemingly unrelated tales are told across the brisk 83-minute runtime: an actress returning from abroad stays with her friend and her cat, and an aging poet is interviewed by an aspiring student. In typical Hong fashion, each scene is comprised of a single take, with the actors nonchalantly trading semi-mundane dialogue. And like a Woody Allen film, you’re either a fan of the style, or you’re not. I found myself leaning more towards the latter camp, with nearly every conversation going in one ear and out the other. I’ve often warmly embraced films “where nothing happens,” but this one is almost too lowkey for its own good. (3/5) More Reviews Materialists June 11, 2025 By: Hunter Friesen Echo Valley June 9, 2025 By: Hunter Friesen The Life of Chuck September 8, 2024 By: Hunter Friesen Ballerina June 4, 2025 By: Hunter Friesen Hunter Friesen