KPop Demon Hunters was the Biggest Surprise this Summer

Now that the summer movie season has come to an end, and I've already ticked off watching most of the movies on my most anticipated movies of 2025 list, I figured it was as good a time as any to discuss what I and many others consider to be one of the biggest surprises of the year as a whole. This is not to be confused with my annual end of the year wrap up (which is still coming!), but rather, is my attempt to gather some of my thoughts and feelings well ahead of that post.

Before I get to the heart of the matter, though, I first need to acknowledge the fact that despite my half-hearted attempts, I haven't seen nearly as many movies as I would have liked this year. A few I missed off the top of my head are the live-action remakes of Lilo & Stitch and How to Train Your Dragon, and the hit horror movie, Weapons. The current plan is to find the time to watch all these in the weeks and months ahead, so fingers crossed that it happens sometime before the end of the calendar year.

That said, I have to admit that of all the movies I did happen to see, few of them have really managed to surprise me. This does not mean that it's been a downer year for moviegoing or streaming. Because, like most years, we've gotten various highs and lows, and for the most part, these fell pretty much where I'd expected on my barometer of satisfaction. In other words, there've been none that truly exceeded my expectations, or that fell egregiously short of meeting them. That is, of course, until I finally saw the Netflix animated film, KPop Demon Hunters.

It bears mentioning at this point that this is also not a review of KPop Demon Hunters, but rather, a postmortem of sorts, as I try to make sense of my feelings about the movie. So in lieu of the typical synopsis or plot summary, I will simply be jumping straight into what I thought about the film. I could also be touching upon some key plot details so consider this a spoiler warning.

There's no use in burying the lede any longer because I thoroughly enjoyed KPop Demon Hunters, more so than I dare to admit or could've possibly anticipated. This was despite all the buzz and hype that preceded me finally giving the film a chance, after being bombarded by news of its every milestone for what felt like years. But strangely enough, it was actually the music that made up the movie's soundtrack that gave me the final nudge that I needed.

I've never really been a fan of K-pop, to be honest, even though I enjoy the occasional dose of Blackpink and Psy. But after hearing the song "Golden" for the first time a few weeks back, I knew it had the potential to grow on me with its catchy lyrics and earworm melodies. And grow on me it did, so much so that my YouTube recommendations were soon taken over by other songs from the movie. 

So, just like that, I found myself binging song after song, until I could no longer fight the temptation to experience the whole thing as intended. It was finally time to log into Netflix and bite the bullet.

Heading into the movie, I already knew it had some very catchy, radio-friendly music. I could also see, from the videos I'd already watched, that the animation was top-notch, sporting what has quickly become Sony Pictures Animation's signature style ever since its introduction in Spider-Man: Into the Spider-Verse. But I still wasn't prepared for just how well these elements came together to elevate the viewing experience.

There were hidden depths to the movie's deceptively simple premise (think Buffy the Vampire Slayer meets K-pop), and the way it approached its depiction of Korean pop culture was equal parts parody and celebration, ensuring that noobs like me could still laugh at and, at the same time, appreciate the exaggerated excesses of the K-pop fandom. I was likewise won over by its use of anime flourishes, and while I couldn't be caught dead watching K-dramas, I could still recognize how it channels the over-the-top melodrama that makes them so endearing to many fans.

The filmmakers, songwriters, and animators alike definitely deserve all the credit for their attention to detail. It would have been too easy to mess things up in other, less competent hands, but their movie stays true to form from start to finish. As a result, they have successfully blended all the disparate elements of a musical, romance, and urban fantasy action movie to create something far greater than the sum of its parts.

All this high praise from me does not mean I think the movie is perfect, though, not by any stretch of the imagination. Its relatively brisk pacing, while great for kids with shortened attention spans, left this aging millennial wishing there was more depth to its story and worldbuilding. Mind you, I am not asking for Tolkien levels of backstory, just more character development for the other members of Huntr/x for starters.

I would have also liked to learn more about the previous generations of demon hunters, especially the Sunlight Sisters. What happened to their third, unnamed member, and how did Rumi's mother, Mi-Yeong Ryu, bite the dust? Likewise, I found myself wondering what the movie's overall K-pop landscape looked like. I imagine there are numerous musical acts active in its fictionalized version of Seoul, so why were there just two represented at the Idol Awards?

But the absence of these little tidbits of information is still not enough to dim what is clearly a diamond in the endless muck that is the Netflix catalog of streaming original movies. And with the movie's continued success, chances are high that at least some of my nitpicks might get addressed in the inevitable sequel.

So, to wrap things up, let me implore you to give KPop Demon Hunters a shot, assuming you haven't already. The last time I was this stoked for something so outside my wheelhouse was when I first saw The Powerpuff Girls on Cartoon Network, all the way back in the late 90s. And in some ways, there are more than a few parallels between that show and KPop Demon Hunters, from its colorful trio of superpowered heroines to the focus on balls-to-the-wall action and catchy tunes.

And that, right there, is the winning formula that might help explain how and why KPop Demon Hunters has grown beyond its primary audience of teenage girls. Because I genuinely believe that it has something for everyone, assuming, of course, that they can look beyond its bright pink, glitter and confetti-covered exterior.

The Fantastic Four: First Steps (Movie Review)

Phase Six of the Marvel Cinematic Universe is officially underway, except you'd be forgiven for not even realizing that transition, given how all over the place the prior two phases of its so-called Multiverse Saga have been. But with the promise of two new Avengers movies on the horizon, the time is nigh, nigh I say, for all that chaos to finally coalesce into something meaningful. So does The Fantastic Four: First Steps signal that nexus point, or is the Multiverse Saga well past salvaging?

Set in a parallel universe, the film centers upon the titular Fantastic Four, the primary protectors of Earth-828, whose members include The Thing (Ebon Moss-Bachrach), Human Torch (Joseph Quinn), Invisible Woman (Vanessa Kirby), and Mr. Fantastic himself (Pedro Pascal). It's been four years since they were first exposed to the cosmic radiation that imbued them with their abilities, and they have since grown to attain celebrity status for their heroic deeds. But when the Silver Surfer (Julia Garner) arrives on their Earth with news of its impending doom at the hands of Galactus (Ralph Ineson), the First Family will have to find a way to save all of humanity or watch everything and everyone they love get devoured.

As the MCU steamrolls its way towards the next big Avengers team-up, it is clear that the days of an intricately-plotted overarching narrative spanning several movies are well behind us. Nowhere is that more evident than in its latest entry, because of all the movies we've gotten in the franchise recently, The Fantastic Four: First Steps feels like the most self-contained. This itself is not an inherently bad thing, as it allows newcomers to jump in without the fear of needing to do some catching up first, while the rest of us can look forward to how it eventually ties into what came before. 

But when we are this late in the cinematic universe-building game, it feels somewhat odd to be introducing new characters and teams rather than fleshing out existing ones, especially considering all the dangling plot threads that are yet to be addressed. In any case, the First Family aren't exactly newcomers to the comic book movie scene. So after four prior attempts to adapt the Fantastic Four into live-action, I am pleased to say that this latest one is easily the best one yet. I know the bar for quality within the series isn't particularly high, but bear with me here.

The first thing that sets this adaptation apart from the others is its retro-futuristic aesthetic. Matt Shakman proves once again that he can handle period-specific settings like the one he brought to life in WandaVision. I loved the 1960s-inspired look of his film, with the various sets and costumes going a long way to sell that vision. This extends to the visual effects seen throughout the movie, as it makes use of a wide array of practical effects, which further help ground its action scenes in reality. I'd be remiss if I didn't also mention the rousing score by Michael Giacchino. The music in the film slowly grew on me as the movie progressed, twisting and morphing to fit the tone and mood of the onscreen action when needed.

But what I loved about the movie the most was the Fantastic Four themselves. There was definitely a lot of great chemistry between the cast members. I really enjoyed the playful banter between Johnny and Ben, and even though I had some reservations about Pedro Pascal as Reed Richards, especially since we just had John Krasinski in the role, he ultimately won me over with his performance. Each member of the team also gets to showcase their abilities in the movie's various action setpieces, especially Sue, who one might argue was the actual lead. And depending on who you ask, that could either be considered a pro or a con.

Speaking of cons, the biggest one I had walking out of the movie has to do with its connection to the wider MCU. Because aside from a post-credits scene that promises the return of the Fantastic Four in Avengers: Doomsday, the movie doesn't offer much in the way of connective tissue to that film, or its follow-up, Avengers: Secret Wars. Even worse, it doesn't shed light on the end-credits scene from Thunderbolts either, despite both stingers being directed by the directors of those forthcoming Avengers films, the Russo Brothers. 

This tells me that the script for the film was finalized well before the pivot away from Kang's Dynasty, and that these recent post-credits scenes were basically tacked on to their respective movies after the fact, without any real consideration for anything that came before them, and the most tenuous of connections with what is to come next. This is a shame and particularly frustrating for anyone who has been following along with the hope that the scattered events of the last two phases would receive any kind of payoff.

As such, we are still none the wiser about Robert Downey Jr.'s Doctor Doom, nor do we know how he is going to fit into the overall narrative. Yes, I realize these questions would most likely get answered during Avengers: Doomsday, but it still feels rather odd to have little in the way of a proper primer, heading into that film. By this same point in Phase Three, we'd already been introduced to Thanos and given a taste of the threat he posed. But right now, there is barely enough to get us excited for Doomsday and Secret Wars, the way we were all excited heading into Avengers: Infinity War, beyond the prospect of seeing RDJ back in the MCU.

The Fantastic Four: First Steps is another step in the right direction. But where it stumbles is in its inability or downright unwillingness to pave the way for Avengers: Doomsday. The little tease we got here felt superficial at best and somewhat predictable and ultimately inconsequential at worst. I guess time will tell just how much it is going to factor into the events of that film. Taken as a standalone, though, the movie offers the kind of joyous wonder the superhero genre is known for, and that the MCU definitely needs more of. 

Superman (Movie Review)

Comic book movies have come a long way since Richard Donner's Superman first wowed moviegoers in 1978. But ask any long-time superhero film fan today, and they would most likely decry the lack of that same wow factor in recent films. Still, if there's one director who has consistently delivered spectacular superhero movies, then it is surely James Gunn, with Guardians of the Galaxy and The Suicide Squad being regarded among the genre's upper echelon. So does his take on Superman breathe new life into the superhero genre, or are we truly within the cold, hard grasp of superhero fatigue?

Shortly after single-handedly stopping an invasion between two warring nations, the titular Superman (David Corenswet) is forced to deal with the consequences of his actions as the US government begins to question his ability to act with impunity. Meanwhile, his archnemesis, Lex Luthor (Nicholas Hoult), devises a plan to further hurt his reputation, which involves infiltrating his base at the Fortress of Solitude in a bid to gather some dirt. And with his hands already full trying to keep the city of Metropolis safe, Superman would need all the help he can get before he gets grounded for good. 

From the moment it was announced that the DC Extended Universe had come to an unceremonious end, many had wondered what the new vision for its specific pantheon of comic book heroes and villains would look like. After all, we were just coming off several years' worth of movies that made up the DCEU, including the three that comprise what is colloquially known as the Snyderverse. And as a self-proclaimed Zack Snyder fan myself, it was a bit sad to see that director's plans for the DCEU peter out the way they did. I guess his more somber take on the superhero mythos didn't resonate with enough people to make its continued pursuit commercially viable.

So enter James Gunn, with his quirky sensibilities and affinity for needle drops, and the first thing that immediately leaps off the screen in the first film of his newly-minted DC Universe, Superman, are the vibrant colors. Gone are the dull, muted tones of the Snyderverse, replaced instead with a full rainbow's worth of reds, greens, and blues. That vibrancy extends beyond just the color palette, as it also permeates the feel of the movie. There is no other way to say this, but the humor in it is quite goofy, so those looking for something more serious might find the jokes a bit grating.

Thankfully, I was onboard for all of it, especially the meta humor, of which there was plenty, and I had a smile on my face for most of the movie's 130-minute runtime. None of this should come as a surprise to anyone who enjoyed James Gunn's work on the Guardians of the Galaxy films, though, as he once again proves that he can deftly balance between the gags and the heavier subject matters his stories demand. And while the movie does have some political undercurrents like some have feared, it never truly approaches the realm of full-on political commentary and I didn't find it particularly preachy or one-sided. 

As for the new Superman himself, David Corenswet, he definitely gave a performance that channels the charm and overall campiness of those Christopher Reeve Superman films, although I can definitely see how some might take issue with his perceived ineptitude in the film. The other actors also successfully imbue their characters with that same energy, but the true standouts were Edi Gathegi as Mister Terrific and Nicholas Hoult as Lex Luthor; the former's dry humor often had me in stitches while Lex was just gloriously over-the-top. 

The area where Superman truly excels, though, is in its action sequences. Each setpiece in the movie was appropriately grand and wildly kinetic, showcasing the full gamut of superpowers at our heroes' disposal. Not since Zack Snyder's own work on films like 300 and Watchmen have the panels of a comic book been so faithfully brought to life on the big screen, calling to mind the sense of scale and excesses of the Silver Age era of comic books it is clearly drawing inspiration from. I say all that to implore you to watch this film in a theater with a screen big enough to soak it all in.

In terms of how well the movie sets up the new DC Universe, I'd say it does an admirable job. I appreciated the decision to start the story right dab in the middle with a world already populated by metahumans and Superman himself already three years into his tenure as Protector of Metropolis. This negates the need to spend time setting up the universe, and we instead get to learn about the characters as we go. And while some of those characters didn't get nearly enough screen time or character development, I still look forward to seeing them wherever they pop up next. This is doubly so for Krypto, who was the real MVP in my opinion.

Superman is precisely what every comic book movie should aspire to be. It delivers all the thrills and spectacle the genre is known for, but never at the expense of a story filled with hope and smile-inducing moments of tenderness. With this, James Gunn has shown that DC Studios is in more than capable hands and that the DCU is certainly off to a rock-solid start. So my hope going forward is that his movie finds all the success it deserves, to the disappointment of those who would want to see it do otherwise, and that he continues to steer the ship in a worthwhile direction.

28 Years Later (Movie Review)

If there ever was a case for why it was important to craft strong, compelling movie trailers, then surely it was made by the one for 28 Years Later. Easily one of the best trailers I've seen in years, it masterfully struck that delicate balance between showing just enough to entice prospective viewers without giving too much away. It evoked in me a sense of dread and tension that immediately had me on the edge of my seat, effectively taking a film that I was mildly interested in at best and making it one of my most anticipated of the year. But does the movie itself live up to that promise, or was it perhaps oversold by that trailer?

As the movie's title suggests, the film is set 28 years after the outbreak of the Rage virus, a zombielike infection that has since been confined to Great Britain. It follows the coming-of-age story of a young boy named Spike (Alfie Williams), who lives with his father (Aaron Taylor-Johnson) and mother (Jodie Comer) on the secluded island of Lindisfarne. As a rite of passage, he must accompany his father to the mainland in an effort to hone his hunting skills. But as they quickly grow to discover, the infected have taken on a few new skills of their own. Now they must both struggle to survive against increasingly stacked odds.

Ask any fan of zombie films, and they would most likely cite 28 Days Later as one of the most influential movies of that specific horror subgenre. Not only did the movie introduce concepts like fast, agile zombies, but it also managed to elevate the genre and post-apocalyptic fiction in general, with a story that focused more on character development than cheap kills or jump scares. And while its sequel, 28 Weeks Later, had opted to take things in a more action-oriented direction, with effects-laden setpieces and no shortage of gory kills, many still consider it a worthwhile follow-up.

So heading into 28 Years Later, I was hoping for something that landed somewhere between those two extremes. And to an extent, that is precisely what the movie delivers. Both Alex Garland and Danny Boyle return to write and direct the film, respectively, so one would expect a certain level of gravitas to the screenplay and direction from filmmakers of their caliber, except the amount of suspension of disbelief required to make sense of certain developments within the story is off the charts. I unfortunately can't get into specifics without going into spoilers, but suffice it to say that this is the one area of the film I felt they kinda dropped the ball.

Thankfully, nearly everything else about the movie is several notches above the standard horror fare or very nearly flawless. The movie is often striking to look at, with the beautiful scenery of its lush, green countryside setting often juxtaposed against the horrors of the infected inhabiting it. Danny Boyle often makes use of surrealist imagery in the movie, creating a dreamscape of light and color that is always mesmerizing, regardless of what is being depicted. One shot in particular that had our two leads being chased by the infected as the aurora borealis blares in the night sky remains seared in my memory even now.

Speaking of the infected, they are as much the stars of this particular enterprise as our would-be heroes, and we get to see just how much they've evolved since the early days of the outbreak. We now have several variants, none of which I would spoil here, and each is as deadly as ever. Gorehounds will be pleased to learn that the film never shies away from showing all the gory details. Ever wondered what it would be like to watch a bunch of soldiers get beaten to death with the severed head of one of their comrades? Well, now you know, because that is just one example of the kind of extreme violence on display. 

Admittedly, the herky-jerky editing employed by the film to show that violence did take some getting used to. It calls to mind Danny Boyle's earlier movies like Trainspotting, so fans of that specific style of adrenaline-fueled storytelling will have plenty to love about this one. The film also employed some rather cool tricks with its cinematography, using a grid of smartphone cameras to capture certain shots in an effect akin to the one employed in The Matrix to create its bullet time sequences. The overall result is a movie that demands to be seen on the big screen, assuming you have the stomach for it.

28 Years Later is a glorious gorefest that is just as bloody as it is visually stunning. Its ending does pull a bit of a fast one on viewers, though, which many might find cheap or unsatisfying. I mean, it is one thing for a film to end with a last-minute stinger, like 28 Weeks Later did, but another thing entirely to end on a full-on cliffhanger. I guess we will just have to wait till next year for its sequel, 28 Years Later: The Bone Temple, to find out what all that is about. But for now, the film we got certainly lived up to all my expectations, and it managed to leave a big smile on this often-jaded moviegoer's face.

Predator: Killer of Killers (Movie Review)

Despite a string of entries and crossovers of varying or downright questionable quality, the Predator franchise has remained quite resilient over the years. But for many fans, it didn't really enjoy the resurgence it deserved until its brilliant 2022 entry, Prey. So when it was revealed that we would be getting two new Predator movies in 2025, the hope was that those movies wouldn't end up squandering that goodwill. But is the first of those two movies, Predator: Killer of Killers, a worthy follow-up to Prey, or is it merely a stopgap before the main event that is Predator: Badlands?

The film has Dan Trachtenberg returning to direct what is effectively an animated anthology. Set across three distinct time periods, each story introduces a new protagonist and their experiences as they come face to face with the Hunters of the Yautja (or Predators as they are more popularly known). But like any good anthology, there is an overarching narrative that ties all three stories together, all while also tying into the world and narrative as already established in the prior films of the larger Predator franchise.

The first thing that stood out about Predator: Killer of Killers is its unique animation style. Reminiscent of Arcane, it occupies that same space between CG and hand-painted, giving the characters an expressive quality and their actions a cinematic flair. The reduced framerate did lend the animation a choppy feel, though, except I quickly became accustomed to this, and it ultimately never got in the way of my enjoyment of the movie.

This is because I was immediately invested in each character and engrossed by the narrative of their story. My favorite by far is the one with two brothers with a score to settle. It delivers all the beats and spectacle one would expect from a Predator film, set against the backdrop of feudal Japan, during the age of ninjas and samurai. And as I would imagine, it should satisfy the hunger of all those fans that have been clamoring for just such a setting following the one seen in Prey. 

One of the advantages of animation over live action is how it allows the filmmakers to truly push the boundaries, and Predator: Killer of Killers definitely made good use of that fact. The action scenes were spectacularly staged, with over-the-top stunts that strictly adhere to the rule of cool and nothing else, from the copious amounts of blood and gore to the implausible setpieces themselves. Thankfully, none of it felt too gratuitous, despite what the trailers had led me to believe.  

The only truly critical thing I can point out about Predator: Killer of Killers is its relative brevity. The film is about an hour and thirty minutes long, which is pretty standard for a film of this kind and the franchise in general. But considering it explores three stories that felt like they could've been fleshed out into full movies in their own right, that time doesn't seem nearly long enough to spend with the characters and their worlds. But I guess this itself is a testament to just how great the stories were, the fact that I didn't want them to end so soon. 

Predator: Killer of Killers is all shades of awesome. The movie lives up to the high bar set by Prey, even managing to surpass it in certain regards. It is clear, now more than ever, that Dan Trachtenberg understands the appeal of these Predator movies, and his take on the IP continues to breathe new life into it. So while it remains to be seen whether or not Predator: Badlands would be able to keep the momentum going, I can at least say that I am now even more excited for that movie than I was heading into this one.

Mission: Impossible - The Final Reckoning (Movie Review)

It's been nearly three decades since Tom Cruise first donned the mask of IMF agent, Ethan Hunt. And if, for some reason, you'd forgotten about most of his past exploits, you can rest assured that Mission: Impossible - The Final Reckoning would remind you of them at every given opportunity. It is not only the eighth entry in the long-running series, but the conclusion to the two-part story arc introduced in Dead Reckoning - Part One. But is the film the culmination of the entire franchise as it was marketed, or is it merely leaning on nostalgia to help sell some tickets? 

Set after the events of Dead Reckoning, the movie has Ethan (Tom Cruise) and the rest of his band of IMF agents once again on the trail of the rogue AI known as the Entity. Ever since their failure to contain it in the last film, the world has fallen into chaos and is on the verge of full-scale nuclear war. In order to stop this, they must seek the help of friend and foe alike. But with the odds stacked against them like never before, they will have to live up to the name of their unit as they struggle to complete their most impossible mission yet.

When it was first revealed that the seventh Mission: Impossible movie was the first of two parts, many were undoubtedly skeptical about having to wait an additional year or two before they would get the complete story. And following the muted box office reception of the first of those two parts, the fate of that second one seemed all but sealed. But if there's any actor who has earned enough goodwill to forgive an occasional underperformer, then it is certainly Tom Cruise.

And so the second part had gone ahead as planned, with only a minor changing of its title to The Final Reckoning being the clear concession to that original vision. This was no doubt done to make the movie pass itself off as a standalone feature. But don't be fooled into thinking that knowledge of the previous film isn't required to make sense of this one. I'd even go a step further and say that basic knowledge of all the movies in the franchise is a requirement. 

Thankfully, the filmmakers themselves seemed to know this, which is why they'd included numerous flashbacks to help give context to what was happening and how it related to what came before. This was particularly necessary because of how intricately connected the various plot threads and characters were, weaving a complex web of a story that stretched all the way back to the 1996 original. But for all of its complexities and various twists and turns, I was still able to follow along without too much hassle, and I imagine most others would as well.

One downside of that complex plot is how exposition-heavy it made the dialogue. So expect to hear more than a few characters launch into paragraphs worth of background information. The story itself is also what I would consider far-fetched and over-the-top, especially how we are meant to believe that entire nations could be so easily played like pawns by AI. Yes, I realize the irony of that statement considering how social media algorithms currently shape the beliefs and values of people in societies today, but seeing it on this scale, as depicted in this movie, just felt too far from reality in my opinion.

But aside from a story filled with twists and turns, the things these Mission: Impossible movies are perhaps best known for are the various action setpieces. And I think that The Final Reckoning delivers some of the more creative ones seen in the franchise thus far. The knowledge that Tom Cruise usually performs as much of these stunt sequences as is physically possible only adds to the thrill. So I found myself holding my breath while watching him dangling precariously from the flimsy frame of a biplane.

The one stunt that held me on the edge of my seat the longest, though, was a prolonged setpiece set in the bowels of a sunken submarine. Everything from the way the scene was lit, to the shifting orientations, to the ratcheting stakes as everything that could go wrong did, just had me in awe, as I wondered what was accomplished practically and what was done using CG. The sequence is certainly up there with the HALO jump from Fallout as one of the most awe-inspiring scenes in the franchise, and is another benchmark for action setpieces in general.

Mission: Impossible - The Final Reckoning is a thrilling conclusion to Dead Reckoning - Part One that also works as a potential coda to the Tom Cruise era of the franchise. It is hard to say what the future holds for the IP but I imagine a lot of that hinges on how well this current movie does at the box office. And while there is no denying that the movie lays it thick with the member berries, with frequent flashbacks and callbacks to previous movies, it at least does so with the requisite amount of care and respect for those older films. 

Thunderbolts* (Movie Review)

The MCU is back, baby! Or at least that's what you'd be led to believe, going off of the buzz from those early Thunderbolts screenings. But being the skeptic that I am, I still had doubts the film could possibly right the ship for a franchise that seems to keep careening off course with every other entry. And it was with that same skepticism that I ultimately went into Thunderbolts, cautiously optimistic and hoping to be won over. So, is the MCU truly back on track, or is this merely another sign of greater things to come?

The film features a ragtag team of antiheroes, some of whom might be recognizable if you've been keeping up with the MCU over the years. But in the quite likely scenario that you haven't, the team is comprised of Bucky (Sebastian Stan), Yelena (Florence Pugh), Red Guardian (David Harbour), John Walker (Wyatt Russell), Taskmaster (Olga Kurylenko), and Ghost (Hannah John-Kamen). Each one is a secret operative working for the director of the CIA, Valentina Allegra de Fontaine (Julia Louis-Dreyfus). But when her shady operations give rise to a new threat, the eponymous Thunderbolts are forced to work together for a shot at redemption.

As Phase 5 of the Marvel Cinematic Universe winds to a close, concerns for what is to come next are understandably high. After all, we've been promised two new Avengers movies in the form of Doomsday and Secret Wars, and we've gotten very little indication of what those films could be about within the MCU itself. So it is indeed high time we start to see the results of all those behind-the-scenes shakeups following the pivot away from Kang's Dynasty and the announced return of Robert Downey Jr. as Doctor Doom.

This is why I felt that Thunderbolts had its work cut out for it. But coming out of the movie, my initial reaction was perhaps more muted than I would have anticipated. This is not to say that the movie was not entertaining in its own right, or that it didn't deliver on the promise of its trailers. Far from it. In fact, it is easy to see why those early reactions were as gassed up as they were and how many would consider this a return to the glory days of the MCU. So while I did come out of it pleased overall, I still felt like it didn't hit as hard as I wanted. But I'm getting ahead of myself.

In terms of the things that I liked, I really appreciated the fact that the film does what those early MCU films managed to do so well, namely, building off of what came before while also building towards what's to come next. Gone are the frustrations from disconnected events like the ones that made up a large part of Phase 4. This film, by contrast, feels like a logical follow-up to the events of Captain America: Brave New World, with more than a few references to that other movie, while also laying the groundwork for what we can expect in Phase 6.

I also like that the stupid asterisk at the end of the film's name is finally explained, although you'll have to wait till the very end of the movie for that explanation. But how you feel about that revelation probably hinges on how much faith you have in Marvel Studios and their ability to honor any drastic changes to the direction of the franchise beyond the confines of this particular movie. The skeptic in me suspects they wouldn't, at least not for very long, and a huge reset is probably already planned to bring things back to status quo.

I know I'm being a bit cagey with details here, but trust me, you'll know what I mean once you see the film. One thing I can reveal, though, is my thoughts on the story. The plot was fairly predictable, especially if you're the type who watches every single trailer. Some of it was also a bit too heavy-handed for my tastes, especially when characters act in contrived and uncharacteristic ways. It did offer a good blend between the usual MCU humor and some deeper adult themes, exploring mental health and how to overcome past traumas in ways you typically don't see in a superhero movie.

The problem is, I was quickly turned off by how overly sentimental and on-the-nose the handling of those themes got. It felt like something out of a Pixar animated movie, and I don't mean that in a good way. But your mileage may very well vary, and I still have to give the writers kudos for eschewing the typical third-act superhero slugfest for something more emotionally resonant, although how much of that was purely out of necessity, given the power discrepancies between our heroes and the threat at hand, is anyone's guess.

But perhaps my biggest issue with Thunderbolts was just how safe the whole thing felt. A part of me can't help but wonder what a movie like this would've looked like in the hands of a writer or director like James Gunn, with his knack for fleshing out and elevating B and C-tier characters, as seen in Guardians of the Galaxy and The Suicide Squad. But in the absence of a James Gunn, it falls to reason that this is perhaps the next best thing, given the dire state of the overall MCU in recent years. And when I view things through that particular lens, the more I grow to appreciate the movie we got for the things it got right.

Thunderbolts is the soft reboot that the MCU desperately needs. The movie doesn't so much act as a course correction as it does a full-on retooling, and for the first time in a long time, it actually looks like the franchise is building up to something worthwhile. It remains to be seen how great that destination will turn out to be, but in the here and now, I'd be lying if I said I wasn't just a little more excited for what the future holds than I was before seeing the movie. So even though I still feel we are far away from Avengers: Endgame levels of hype, this is certainly another pivotal step in the right direction.

Sinners (Movie Review)

We are barely four months into 2025 and we are already getting phrases like "best movie of the year" thrown around. I am of course referring to the new Ryan Coogler horror film, Sinners, which initially landed on Rotten Tomatoes with a perfect 100% score and has since sparked early discussion about the film's Oscar prospects. So despite no prior plans to watch this one in theaters, I knew I had to see for myself what the hype was about. But is the film as good as that score might suggest, or is this another case of overinflated praise?

The film stars Michael B. Jordan in the dual role of twin gangsters, Smoke and Stack. The year is 1932 and the two brothers have just returned to their hometown in Mississippi, where they intend to open a juke joint with some of their accumulated wealth and loot. But on the opening night of their new establishment, their lives and those of their patrons become threatened when the place attracts the attention of a trio of vampires. Now they must fight to survive until sunrise or risk getting turned into vampires themselves.

If the above synopsis sounds familiar, it is probably because you've seen the 1996 film, From Dusk till Dawn. At least that was the first movie that came to mind as I watched the events in Sinners unfold. After all, both films feature a pair of criminals struggling to fight off a group of vampires in a bar of sorts. But for a movie that appears to ape a large portion of its premise, I was still impressed by what this one was able to accomplish within the confines of that framework.

The first thing that stood out to me about Sinners was just how great the cinematography looks. The movie is beautifully shot, showcasing the striking scenery that makes up most of its Jim Crow-era American South, with its sweeping vistas of cotton fields and old, dusty roads. Equally deserving of praise is the production and costume design on display, both of which were uniformly excellent and serve to immerse you in its surrealist vision.

Music also plays a huge role in the film, with a soaring soundtrack and score by Ludwig Göransson that used everything from banjos to electric guitars. And the way the music blended with the visuals further helped sell that surreal, otherworldly quality the filmmaker was clearly going for. Each song in the movie was a standout performance that wouldn't have been out of place in a full-blown musical, so you'll definitely want to see it on the biggest screen possible and hear those songs booming in full surround sound speakers.

On the acting front, the decision to have Michael B. Jordan in dual roles thankfully never got in the way of either performance. I never had trouble telling which twin brother was which, as each one was distinct enough in look and mannerism that I quickly forgot there weren't, in fact, two distinct actors playing the parts. But I do have to say that I had issues with the dialogue.

I initially had trouble picking up some words or phrases, owing to the thick southern accents the actors adopted for their roles. The biggest offender by far was Delroy Lindo, who was incidentally my favorite character, as he supplied most of the comic relief in the movie, which only further exacerbated my frustrations with the lack of subtitles. But the strength of his performance and those of the other actors still managed to shine through.

The true star of the show, though, was Ryan Coogler. Ever since his work on Fruitvale Station, he has continued to showcase his growing talents as a director. And while I still think he didn't exactly put his best foot forward in Black Panther: Wakanda Forever, he is certainly firing on all cylinders here, making this a pretty solid return to form. I wouldn't go as far as to call it his magnum opus, like some might, but it is certainly up there with the first Black Panther movie.

One area of Sinners that I think some viewers might take issue with is its pacing. It takes a while before the proverbial shit hits the proverbial fan, with the first half of the movie's two-hours-and-seventeen-minutes runtime being spent introducing the characters and setting the stage for that bloodletting. Some of the CGI used for the blood and gore effects also seemed too cartoonish, marring what is an otherwise well-put-together package.

I also found the ending a tad too over-the-top for my liking, veering into full-on torture porn territory for the sake of garnering some cheap cheers. But if you are someone who enjoys a good revenge story, then perhaps there's plenty of satisfaction to be had there. Either way, you'll definitely want to stick around for the credits because there's a hefty mid-credit scene that effectively serves as the film's epilogue, so don't say you weren't warned.

Sinners delivers on its promise of a bloody good time. But even more than that, it manages to transcend the trappings of the horror genre by offering a unique take within its familiar sandbox. Most of that is driven by Ryan Coogler's singular vision, which shines through with a kind of clarity seldom seen in Hollywood today. So even though it might not be his best work, it is still a must-see for any horror fans looking to satisfy their bloodlust.

Mickey 17 (Movie Review)

Heading into 2025, the film at the top of my most anticipated movies list was Mickey 17, the latest flick from acclaimed South Korean filmmaker, Bong Joon-ho. This was primarily because the director has consistently delivered some of my favorite movies over the course of the past decade. So coming off his Best Director, Best Original Screenplay and Best Picture wins at the Oscars for his 2019 film, Parasite, a lot of us fans were eager to see what he was cooking up next. But does his newest film live up to expectations or is it a rare stinker in an otherwise impeccable filmography?

Set in the distant future, the movie follows Mickey Barnes (Robert Pattison), a down-on-his-luck man who enlists to join a group of interplanetary colonizers as an expendable. As the job title suggests, he is basically considered fodder for all of the colony's dangerous missions and experiments. The catch is that each time he dies, a clone of his gets reprinted with all of his memories intact. But when they prematurely print out an extra clone, the titular Mickey 17 must contend with his new, more aggressive self, as well as the chaos surrounding the development.

At first glance, Mickey 17 appears to be nothing more than a rethread of the brilliant 2009 science fiction movie, Moon. After all, both movies feature a setup where a man is engaged in dangerous work off-world, and what happens to that man when he inadvertently meets a carbon copy of himself. But in truth, that is where the similarities end because Mickey 17 grapples with even more themes beyond the questionable ethics of human cloning.

Fans of Bong Joon-ho's other works would no doubt spot recurring motifs like a rebuke of the mistreatment of animals (Okja) or the widening divide between the haves and the have-nots (Snowpiercer). There were likewise allusions made to the modern-day political landscape, which served as an overall critique of the politicians themselves as well as the role the media plays in helping peddle their propaganda. But it is ultimately left to the viewer to draw out whatever message they happen to find most resonant, so I wouldn't be surprised if others picked up on even more themes.

Speaking of politicians, it wouldn't be a Bong Joon-ho production if we didn't get a cast filled with oddball characters. We of course had Tilda Swinton's Minister Mason in Snowpiercer, as well as Jake Gyllenhaal's Johnny Wilcox in Okja. And here, the one that would no doubt have people buzzing is Mark Ruffallo's turn as Kenneth Marshall, a performance that is so shamelessly derivative of Donald Trump, specifically his speech and mannerisms, that it might as well have been an SNL sketch. 

To be clear, I have no issue with parody in films, nor do I particularly care which politicians a filmmaker or actor chooses to ridicule in their movies. But when those jokes are this on-the-nose or heavy-handed, it is hard to find them to be anything other than distasteful. One joke in particular that took shots at Kenneth Marshall's failed attempts at getting elected didn't particularly age well, given the outcome of the last US elections, so you've got to wonder why it wasn't simply taken out of the film in light of that.

Thankfully, most of the other jokes and gags in the movie managed to land just fine without resorting to cheap, below-the-belt theatrics. Similarly, the other actors gave adequate performances, including Robert Pattison who showcased his broad range and great comedic timing as the various Mickeys. It also helps that the film looks great and is competently shot and edited, allowing for a relatively smooth viewing experience that never started to drag or overstay its welcome.

Mickey 17 is a funny and thought-provoking take on a well-worn science fiction trope. It could also be considered a political satire, although how much enjoyment you glean out of its gags probably hinges on what side of the political aisle you happen to fall. Bong Joon-ho has already shown that he has a deft handling of how to craft strong, resonant social commentary and there's certainly plenty of that to be had here. So while it might not be his strongest outing, Mickey 17 is nonetheless another essential watch for fans of his previous work.

Captain America: Brave New World (Movie Review)

After scaling things back in 2024, the Marvel Cinematic Universe is back with full force this year. I mean, you only need to take a look at its packed slate to see just how much content will be coming out of its production pipeline. And out of all those movies and TV shows, Captain America: Brave New World is among the most hotly anticipated by fans. But is the movie the return to form the franchise desperately needs, or is it yet another misstep in a long string of false starts?

Set 3 years after the events of The Falcon and the Winter Soldier, the film finds Sam Wilson (Anthony Mackie) well into his tenure as Captain America. But more notably, it picks up with Thaddeus Ross (now played by Harrison Ford) after his first hundred days as President of the United States. The president tasks Cap with rebuilding the Avengers, except those plans are put on hold following an assassination attempt. Both men are soon embroiled in a brewing global conflict, the outcome of which could very well shape the future of the world at large.

As a diehard MCU fan, I must admit that it was hard for me to muster any kind of excitement heading into Captain America: Brave New World. This was of course due to just how many times I'd been burnt already by the near-total slop Marvel Studios has been serving up of late. Because for every Deadpool & Wolverine or Guardians of the Galaxy Vol. 3, there seemed to be no shortage of Secret Invasions or She-Hulks. 

Then there was of course the news of the film having to be rejigged well into production, resulting in extensive reshoots. Such things are never a good sign, even though they don't necessarily spell doom for the film's critical and financial prospects either. So even though my expectations were as low as they could get, I still mustered enough cautious optimism to drag myself to the nearest movie theater, hoping for something at least half-decent. And in some respects, the movie delivers just that. 

Starting off with the positives, I was really happy to see some of the story threads introduced in movies like Eternals finally starting to pay off, with one of that movie's celestials serving as a central plot device in this one. In other words, the MCU is starting to feel like the MCU again, with what some might consider a good showing of some of the interconnected storylines fans have come to expect from the franchise.

Then there were the action scenes and the visuals that helped bring them to life. I was especially enamored by the climax, which had all the pyrotechnics one could hope for in the third act of a superhero movie. A lot of it was pure eye candy, for sure, and eagled-eyed viewers might even spot a few instances of egregious green effects here and there. But overall, I was pleased and appropriately thrilled by what was on display.

What I found less thrilling though was the film's hodgepodge storyline which was filled with plot contrivances and driven by yet another lackluster villain. I won't spoil who it was but I doubt anyone other than the film's writers would find the villain in question compelling. The same could be said about most of the supporting cast, who range from your stereotypical girl boss to the overexcited sidekick. These are archetypes we've seen a lot in the MCU already, and these ones bring nothing new to the table.

But I think perhaps my biggest grievance with the movie is just how criminally underutilized Giancarlo Esposito was. He barely got enough screen time to showcase his talents and the little time that he did get was let down by the cobbled-together storyline. The actor has already proven himself more than capable of portraying iconic villains in shows like Breaking Bad so I was disappointed that he didn't get to tap into any of that here. His inclusion felt like an afterthought or like a product of those extensive reshoots.

Captain America: Brave New World is another middle-of-the-road entry into the MCU that would have you pining for the good old days. Sure, its story might alternate between implausible and just plain dumb, but at least it is the fun kind of dumb, not the sludge that has been passing for entertainment with alarming frequency of late. And sometimes, that's all it takes to set itself apart or earn a reluctant recommendation.

My Top 10 Most Anticipated Movies for 2025

Happy New Year, dear reader. With 2024 now behind us, it is time to look forward to what 2025 has in store for us, specifically what movies you might want to have on your radar this year. Like most years, I am only considering those movies that already have firm release dates and have already received at least some form of promotion from the studios making them, be that a teaser trailer, production stills, or what have you. So with our parameters defined, here are my Top 10 Most Anticipated Movies for 2025.

10. Jurassic World Rebirth

To no one's surprise, the ever-green Jurassic Park franchise is set to receive another entry this summer. Dubbed Jurassic World Rebirth, this would potentially mark the start of yet another trilogy of films, with a new cast that includes Scarlett Johansson and Mahershala Ali. But we all know who the true stars are, namely the various dinosaurs from the eponymous Jurassic era.

9. Wolf Man

From the director that gave us The Invisible Man comes Wolf Man, Universal Pictures' latest entry into its Universal Monsters media franchise. And judging by how successfully Leigh Whannell had updated the former film for modern times, I am confident he can do the same here, which is why I am approaching his take on the classic werewolf IP with great excitement. So here's hoping that it delivers the thrills.

8. F1

Joseph Kosinski really outdid himself with Top Gun: Maverick, a movie that wowed viewers of all ages with its breathtaking cinematography, making it feel like we were right up there with the pilots in the cockpits of their fighter jets. So in F1, I am expecting to see that same level of immersion, except this time around applied to the various race cars taking part in the titular sport. And having Brad Pitt as the main lead is of course icing on an already-delicious cake.

7. How to Train Your Dragon

I am not particularly keen on the fairly recent trend of adapting beloved animated works into live-action. You can blame that on Disney I suppose, and the soulless eyes of the lions in that 2019 version of The Lion King. But ever since the first trailer for the live-action remake of How to Train Your Dragon dropped, I've found myself having to rethink that position. So I just might be giving this one a look-see.

6. Ballerina

Another position I find myself having to rethink this year is my stance on prequels. And we can attribute that to Ballerina, or more aptly, From the World of John Wick: Ballerina as it is formally marketed. Set between the events of John Wick: Chapter 3 - Parabellum and John Wick: Chapter 4, the film shifts its focus from the Baba Yaga to a younger assassin in the making played by the beautiful Ana de Armas.

5. Mission: Impossible - The Final Reckoning

Billed as the final film in the Tom Cruise line of Mission: Impossible movies, Mission: Impossible - The Final Reckoning has its work cut out for it. This is doubly so after the financial disappointment of the previous entry in the series, Dead Reckoning (or Dead Reckoning - Part 1 as it was previously known). But if there's one thing that movie can't be accused of, it is being dull or uninventive, so only time will tell if this second half would fare any better.

4. Avatar: Fire and Ash

The next film in James Cameron's Avatar series is currently slated for December this year. Emphasis on currently because if there's any movie that is likely to get bumped out of 2025 on this list, then surely this is it. But if by some miracle Avatar: Fire and Ash manages to keep that date, then I'd be a very happy camper indeed because I am curious and eager to see where next they take this visually stunning adventure.

3. 28 Years Later

The series that effectively reinvented the zombie genre returns in a big way in 2025. But instead of 28 Months Later, we are skipping right ahead to 28 Years Later since enough time has passed since its 2002 original apparently. And with Cillian Murphy expected to reprise his breakout role from that film, as well as Danny Boyle and Alex Garland returning to direct and pen the script respectively, there's plenty enough reason to hop aboard the hype train.

2. Superman

The DCU is set to begin in earnest in 2025 with the release of James Gunn's Superman, a film that is sure to top many people's most anticipated movie lists this year. And the reason for that is simple: no other film has as much riding on it as this one. The entire future of the DCU hinges on how well-received this movie is, so the pressure to knock it out of the park must be immense. But "In Gunn We Trust," a trust he has earned after a decade of greatness.

1. Mickey 17

Speaking of greatness and directors with impeccable track records, Bong Joon-ho is another whose work I've grown to admire over the years. His filmography includes Snowpiercer and Parasite, two films that had gone on to become my favorite movie in their respective year's of wide release. So there's a strong chance Mickey 17 would be in my Top 10 Movies for 2025 when it is all said and done, which is why it ranks as my most anticipated heading into the year.