“The Boy and the Heron” is a Return to Form for Hayao Miyazaki and Studio Ghibli (Review)

Legendary animation director Hayao Miyazaki has “retired” several times, most recently in 2013 after his historical masterpiece The Wind Rises hit theaters worldwide. Even though he supposedly reversed his decision after working on a short film in 2018 for the Ghibli Museum, it’s worth mentioning that many of those reversals happened after his son Goro Miyazaki made films for Studio Ghibli that are not as well-received as his father’s are. Goro’s Earwig and the Witch, the first 3D animated Ghibli feature, was harshly panned by critics and audiences alike, and thus, Hayao must come out of retirement once again to make another masterpiece.

Image courtesy of GKIDS

That masterpiece is The Boy and the Heron, Miyazaki’s first film in ten years and inspired by his experience reading the 20th-century novel How Do You Live?, which factors into the film’s story. I was lucky enough to see The Boy and the Heron at this year’s New York Film Festival, which marked its United States premiere, and as a Ghibli fan, I couldn’t have been more excited.

“Strange Way of Life” Couldn’t Convert Me to Into an Almódovar Fan (Review)

Pedro Almódovar did not direct Brokeback Mountain, and although he nearly did, his new short film Strange Way of Life proves he has the chops to make a great western.

Strange Way of Life, Almódovar’s second short-form English-language venture, stars Ethan Hawke and Pedro Pascal as ex-lovers who live a desert apart and have not seen each other for nearly 25 years. Hawke’s character Jake is the sheriff of a small town, and Pascal’s character Silva runs a nearby ranch with his son. A recent murder complicates their reunion, and their relationship takes a drastic turn with the potential to become a permanent roadblock.

We never saw Almódovar’s Brokeback Mountain…until now. Strange Way of Life was touted as his “answer” to the award-winning 2005 drama, and while it shares many similarities, it feels restrained. Its 30-minute runtime holds it back from being the western epic that it wants to be, which is frustrating because I want to like it. I even want to love it.

Stylistically Stellar “Wonderful World of Henry Sugar” Lacks Substance (Review)

You’d think that the quirk of Wes Anderson and Roald Dahl would be a match made in heaven, meshing perfectly and complementing each artist in turn, and yet it still feels like both refuse to compromise and let the other dominate the project — an odd thing, considering Dahl has been dead for over thirty years. I think that speaks to the testament of his writing and how unique his style actually is.

Image courtesy of Netflix

The Wonderful World of Henry Sugar is the first of a series of short films that Anderson had adapted from Dahl’s stories that will be released on Netflix this week. This particular short follows the eponymous Henry Sugar (Benedict Cumberbatch, who seems right at home in the signature Wes Anderson style), a rich man who learns about a guru (Ben Kingsley) who can see without using his eyes. Sugar sets out to teach himself the skill in order to cheat at gambling.

Risk-Averse “Indiana Jones and the Dial of Destiny” is Still a Home Run (Review)

The most recent three films in the Indiana Jones franchise have had perfect endings that could (and should) act as the closing moment of the series. But when there’s money to be made, there is sequel potential, no matter how many years pass in between.

I think, even though the film itself has been divisive, they could have done a lot worse than Indiana Jones and the Dial of Destiny, the franchise’s fifth entry, which has finally been released after years spent languishing in development hell (fifteen years after the last Indy adventure, Kingdom of the Crystal Skull). Dial of Destiny largely plays it safe, without explicit willingness to take risks, which does remove some of its efficacy — you might expect a legacy sequel in one of the more consistent long-running franchises to diversify itself in some unique ways, but Dial of Destiny sticks relatively closely to the script that has made the series successful for decades. I can’t fault it; after all, why mess with a winning formula?

“Nimona” is a Thrilling New Standard for Family Entertainment (Review)

As a queer, gender-fluid person with big thighs and a tendency to talk more than I should, I’ve always identified with cartoonist ND Stevenson’s work. Netflix’s futuristic fantasy Nimona, an animated adaptation of Stevenson’s 2015 graphic novel by the same name, is no exception.

Image courtesy of Netflix

Nimona follows the journey of Ballister Blackheart (voiced by Riz Ahmed of Rogue One and The Sound of Metal), a former knight misbranded as a villain, as he joins forces with a spunky shape-shifter named Nimona (Hugo’s Chloë Grace Moretz) to clear his name.

I was impressed with how the animators translated the 2D drawings from the graphic novel into 3D animation for the film. The art is unique and the animation feels very fluid. It’s a different spin on Stevenson’s characters in a new style, while preserving important parts of the character design. I loved seeing Nimona as a punky delinquent covered in piercings, but I also love that she retained her big thighs and partially shaved head from the comic. It feels fresh and new, while still true to the source material in the ways that matter.

“You Hurt My Feelings” is an Inoffensive, if Lackluster Relationship Dramedy (Review)

It can be tricky to know what type of story can sustain a film’s runtime, especially one with a basic premise that sounds more like a short film or a sitcom episode. Such is the case with You Hurt My Feelings, a new comedy-drama from A24 that makes no apologies for its capacity of brevity.

You Hurt My Feelings features Tobias Menzies (Game of Thrones) as therapist Don, husband to novelist Beth, played by Julia Louis-Dreyfus (who still finds time to star in more modestly-budgeted films, even as she begins to make her mark on the blockbuster Marvel movies). They have a near-perfect marriage, anchored by great communication, an adult son (Mrs. Fletcher’s Owen Teague) still in their life, and a close relationship with Beth’s sister’s family. But that begins to unravel when Beth inadvertently hears Don’s honest opinion of her latest book, which doesn’t align with what he had told her about it. A misunderstanding follows, and you might be able to figure out how the rest goes.

You Hurt My Feelings runs a tight 93 minutes, and packs every facet of relationship drama it can into the time it has. It’s the latest feature from Oscar-nominated writer/director Nicole Holofcener, who made her mark on the film scene with 2018’s Can You Ever Forgive Me?. Like that film, You Hurt My Feelings is driven by its central cast, all with commanding presences and the ability to expertly juggle comedy and drama, oftentimes in the same scene.

“Asteroid City” is a Methodical Filmmaker at the Top of His Game (Review)

Given time and opportunity, the best filmmakers are able to hone their craft and create a unique reputation for themselves within the cinematic sphere. It’s difficult to think of a modern director with a more recognizable visual style than Wes Anderson. A slew of AI-generated videos have recently attempted to capture said style, but what those lack are the soulful core of what Anderson imbues every frame of his films with, and that sort of thing is impossible to digitally replicate.

Anderson’s latest is Asteroid City, which I see as the culmination of years spent establishing and sharpening the aforementioned style. It features an impressive cast of both Anderson regulars and newcomers alike, all of whom are fully committed to the very particular way of speaking and acting that has come to define Anderson’s characters. What sets Asteroid City apart is that, while some of his other films occupy a specific world all their own, here there is a narrative purpose behind the strangeness, which brings a whole new dimension to what we’re seeing. There doesn’t always have to be a story-motivated reason behind the design, but in this case, I find it fascinating that Anderson has decided to go that route, and I wonder what it could mean for the stories he decides to tell in the future.

Go “Across the Spider-Verse” in an Astounding Multiversal Sequel (Review)

In 2018, Into the Spider-Verse blew away any preconceived notions of how a Spider-Man movie, and even a superhero film in general, should operate. It introduced Miles Morales, the first Black Spider-Man, to mainstream filmgoing audiences. It completely flipped the expectations of how animation can behave on the big screen.

Unsurprisingly, it also cleaned up at the box office. A sequel was inevitable, and after a hefty half-decade wait, Across the Spider-Verse is now upon us. Nearly half an hour longer than its predecessor with a monumental weight on its shoulders, this may be the most pressure a superhero sequel has ever been under (excepting, perhaps, Avengers: Endgame). It had to deliver in ways that were previously unprecedented.

“Book Club: The Next Chapter” is a Fluffy, Feel-Good Reunion with a Dash of Cheesy Charm (Review)

I was only a young, doe-eyed theater worker when Book Club was released in 2018, but it dominated my small community cinema. I myself saw it later in its run, and although my developing sense of film criticism appreciated its cheesy charm, I could not stop asking myself “how did this make over $100 million?!”

The (debatably) long-awaited sequel Book Club: The Next Chapter mostly abandons the titular element, instead taking the central ladies out of their comfortable homes and flying them to Italy, jumping from one unexpected adventure to the next. Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen all make a triumphant return (and no, even though it might seem like it, this is not the same crew from 80 for Brady — at least not entirely) as seniors seeking a new lease on life. And since this is a feel-good comedy, that’s exactly what they find across the pond.

“Crater” Transcends the Direct-to-Streaming Standard (Review)

Disney+ originals are quite hit or miss for me, with the ones I enjoy the most usually being complete surprises. I hadn’t heard much about Crater, so I didn’t expect much. But to my delight, the tale of Caleb, a newly-orphaned teenager living on the now-colonized moon, teaming up with his friends to explore a crater that was significant to his parents, was unexpectedly delightful and earnest.

At its core, the film is about friendship and adventure, but it surprised me by exploring some intense themes. There’s an emphasis on class inequality that borders on critique of capitalism (because no one hates the exploitation of workers more than Disney). The parents of the children in the film are essentially trapped in a form of indentured moon servitude, which was not what I was expecting from this Goonies-esque kids movie about a group of friends on an expedition. Watching a movie geared towards kids explore these real-world issues from the point of view of relatable adolescent characters was a refreshing treat.

“Guardians of the Galaxy Vol. 3” is an Emotionally Devastating Final Ride (Review)

Guardians of the Galaxy Vol. 3 is perhaps Marvel Studios’ most exciting project since Avengers: Endgame. It’s been long-delayed, and more newsworthy than most Marvel projects (especially considering writer/director James Gunn’s firing and subsequent rehiring), and as many consider the Guardians series to be among Marvel’s best sub-franchises, expectations are high.

Image courtesy of Marvel

I am one of those people who was absurdly excited for Guardians Vol. 3. It’s been my most anticipated Marvel movie since 2021’s No Way Home, and I (along with many others) were eagerly, and somewhat nervously, anticipating how Gunn would end his trilogy of wackos and weirdness. This is one of those rare Marvel films where anything can happen, and the stakes are exponentially higher than normal (after all, are they going to make any massive story swings in Ant-Man and the Wasp: Quantumania, or save the big moves for the next Avengers movie?). With unpredictability at an all-time high, it’s time to return to a cosmic corner of the universe for a grounded space adventure with the capability to absolutely destroy me emotionally.

“Peter Pan & Wendy” Fails to Recapture the Magic (Review)

Most mornings in the shower, since I hate being alone with my own thoughts for too long, I listen to a podcast. One podcast I listen to frequently is a Glee rewatch show, And That’s What You REALLY Missed, and for a few weeks, the same ad played during every episode, advertising for Disney+’s newest live action remake, Peter Pan & Wendy. “If you think you know the story, think again,” the ad claimed. It called the movie an “all new adventure.” My hopes were high. My interest in poorly-lit live action remakes of movies that were always intended to be animated has never been high, especially in the last few years.

Still, the Glee podcast had given me hope. Would this take the Cruella route of taking beloved characters and completely reimagining the story surrounding them? I thought perhaps. I was, sadly, disappointed. Instead of a creative new take on Neverland, I got yet another poorly-lit live action remake of a movie that was always intended to be animated.

“Are You There God? It’s Me, Margaret” is a Classic Adaptation Done Right (Review)

I should start out by saying I have never read the classic Judy Blume book that Are You There God? It’s Me, Margaret is based on. It was a valuable part of the childhoods of many, and so beloved that Blume was resistant for nearly half a century for the book to be adapted to film. It took the brilliant brain of legendary writer/director/producer James L. Brooks (The Simpsons, Broadcast News) and the keen eye of writer/director Kelly Fremon Craig (who burst onto the scene in 2016 with the marvelous coming-of-age story The Edge of Seventeen) to convince her that it deserves to be brought to life on the big screen.

This is Craig’s first film in seven years, and what a fantastic project this is to mark her return to the directorial landscape. Are You There God? tackles the struggles of a young pre-teen girl, and contextualizes them with other massive life changes happening, both at her age and in the early 1970s. It follows sixth-grader Margaret Simon, whose family moves from metropolitan New York to the suburbs of New Jersey, and who finds herself religiously torn within her family (one of her parents is Christian, while the other one is Jewish) and struggling with her oncoming puberty.

“Sisu” is a Wickian Action Story of Epic Proportions (Review)

I always respect when a film is willing to commit to a bare bones narrative. Not only does that instantly set it apart from most complex blockbusters of the modern era, but it allows the filmmaking team to focus on making the final product as aesthetically appealing and narratively satisfying as possible. This isn’t to discount complex stories (that umbrella comprises most of my favorite movies), but there’s something special about keeping things simple.

That is exactly what Sisu does. At risk of calling it “the Finnish John Wick” (especially because the studio is very content to promote it that way), I will say that Sisu shares only the broad strokes with its counterpart, and that is the arc — the mostly silent protagonist has a personal mission, and that mission involves killing several bad guys along the way. These two movies are proof that you can have a brilliant, incredibly simple story to work with, but you must have the filmmaking prowess to back it up and ensure that it gets told in a visually interesting way.

Little Richard Documentary “I Am Everything” Spares No Expense in the Life of a Superstar (Review)

I am ashamed to admit that before watching Little Richard: I Am Everything, my awareness of the rock and roll legend was limited to Kennedy Davenport’s portrayal of him on the Snatch Game during Season 7 of RuPaul’s Drag Race. When given the opportunity to watch this documentary about the life and influence of the queer, black icon, I was excited to expand my knowledge and regretful that it took so long for me to truly become aware of his legacy. To my surprise, the documentary eased my guilt, highlighting exactly how important Little Richard was to rock and roll while also acknowledging the lack of recognition he has received over the years. If the film’s primary goal was to convince the audience why Little Richard was a trailblazer despite never being given the credit he deserved, I would call it a success.

Little Richard’s complex relationship with his own sexuality, made even more complicated by his relationship with his father and with religion, is at the forefront of the documentary. In a tactful choice, the film chooses not to pass judgment on Little Richard’s later attempts to denounce his homosexuality, but instead contextualizes them and encourages the audience to empathize with his position. The discussion is not lacking in nuance however, with the ultimate conclusion being that even though Little Richard was unable to accept himself, his existence and self expression was liberating to so many.

“Renfield” is a Fun, Tonally Uneven Gore-Fest (Review)

Universal hasn’t been doing well with their monster-related cinematic universes since the 1950s, when the overlapping and screen-sharing came primarily in Abbott and Costello crossover movies. The “Dark Universe,” which was supposed to kick off with 2017’s The Mummy (a favorite of both critics and fans), was a catastrophic failure. It’s astounding when you think about it — you’d think that a studio that owns the rights to such iconic characters and stories would know how to handle them, and give them the films they deserve.

The solution? Begin again, of course — but not overtly. Start off with a film that establishes the world in a unique and exciting way, but could function as a one-off if it all goes south. Throw in Chris McKay, director of The LEGO Batman Movie, and Rick and Morty writer Ryan Ridley and you have a certifiably bonkers movie on your hands.

Disney+ Original “Chang Can Dunk” is What a Kids Movie Should Be (Review)

Whether or not Chang actually can dunk I will not reveal, but this movie is about what hard work can achieve in the abstract. It’s not about whether or not a miracle will occur, it’s about a boy working the hardest he possibly can to reach his goal. At least ten minutes of the runtime is just dedicated to Chang doing workouts.

Chang is one of the easiest-to-root-for protagonists I’ve seen in a while. Despite the classic “main character gets so overhyped on his success that he forgets to prioritize the people he cares about” trope that I tend to despise, Chang spends the majority of the movie effortlessly making you fall in love with him. He’s passionate, driven, and a little bit dorky about it. He’s articulate about his needs and his feelings, and he’s respectful of others (except for a notable few, but to be fair they are actively bullying him). He also does a fantastic job throughout the film of taking accountability and apologizing when he needs to, and then he follows those apologies up with actions that prove his sincerity.

Spy Comedy “Operation Fortune” Entertains Despite No Surprises (Review)

I have a special relationship with Operation Fortune: Ruse de Guerre. It was originally slated for release in January 2022, before a standard push-back two months to March. Then, for seemingly no reason whatsoever, it was “indefinitely delayed”…a sentencing with the potential to kill a film’s release entirely. I was assigned the review for SiftPop in December 2021, and I have been eagerly awaiting the film ever since.

It would eventually come out that Operation Fortune was locked back in the vault for a bit due to the presence of some notably Ukrainian bad guys, and its release may have seemed in poor taste (or, at the very least, badly-timed) due to the inception of the Russo-Ukrainian War, which began to dominate headlines on nearly every major news site.

But now, a year later, Operation Fortune, the latest from action director Guy Ritchie, is finally in theaters. Comparatively, a year’s delay isn’t too much (The King’s Daughter, the last film to feature William Hurt, was finally released in 2022, a full eight years after it was filmed), but I didn’t let the delays hinder my excitement. I like Guy Ritchie, and the cast seemed like nothing to scoff at. I kept my faith, and I was rewarded for it.

“Luther: The Fallen Sun” is a New Dawn for the BBC Crime Drama (Review)

Here’s a tip for watching a film continuation of a popular television series, that is probably even better left unsaid: watch the show first.

I watched Luther: The Fallen Sun, which picks up the story of the critically-acclaimed BBC crime drama Luther directly after its fifth season finale (which aired four years ago, in 2019), without having seen any of the show, and I was pleasantly surprised by how much it worked for me despite my unfamiliarity with the world and its characters.

Image courtesy of Netflix

To be entirely honest, it’s not that hard to understand — not to mention that some basic research told me everything I needed to know — but what’s missing is that connection that was built up in five seasons’ worth of story for the show’s fans. There are very likely some vital references and character moments that I either missed or did not fully appreciate, but from what I knew, this is a solid continuation of a well-thought-out continuing story.

Cult Hit “Winnie the Pooh: Blood and Honey” Ruins Childhoods with Murderous Glee (Review)

“Oh, bother.”

Unfortunately, Winnie the Pooh does not speak in this horror-themed reimagining of the classic Disney character, but if he did, I imagine he’d say his iconic catchphrase more than once — because this is a film which certainly deserves it.

Masterminded by English director Rhys Frake-Waterfield, Winnie the Pooh: Blood and Honey was announced in May 2022 and instantly gained notoriety and garnered significant controversy, but also stamped a permanent place in the minds of hardcore movie-goers such as myself. I wouldn’t say I was particularly excited, but I was intrigued, and sometimes, that’s enough.

In the world of Blood and Honey, Pooh Bear is no longer the cuddly teddy of Christopher Robin’s childhood — after the boy left Pooh and his pals in the Hundred-Acre Wood to go off to college, the friendly animals were left to their own devices and, naturally, descended into cannibalistic insanity. Now, Pooh (played in Blood and Honey by Craig David Dowsett) and Piglet (Chris Cordell) have become silent slasher killers — akin to Jason Voorhees or Michael Myers — a transformation I desperately do not wish for most iconic characters of my youth. While I didn’t necessarily grow up with Winnie-the-Pooh (that’s true, I had no childhood), his cultural impact is impossible to deny, and it’s infinitely jarring to see him depicted as a masked murderer.