Black Adam (Movie Review)

The DCEU continues the expansion of its cinematic universe with Black Adam, the latest comic book hero to join the likes of Wonder Woman and Aquaman on the big screen. This is following a lengthy development that had many fans wondering if the film was ever going to see the light of day. But with Dwayne Johnson starring as the titular antihero, there is no doubt that he must have been instrumental in getting the project off the ground. Now that the film is finally out for all to see, the question arises of whether or not it managed to live up to the hype.

Set in the fictional city of Kahndaq, the film centers upon the origins of Black Adam, a man who is bestowed with godlike powers by the Council of Wizards during his people's time of need. But after he misuses those powers in his pursuit of revenge, he gets imprisoned by the group for his actions. Flash forward 5,000 years and Black Adam is set free into a world that is very different from the one he knew. 

 

However, his resurrection also draws the attention of a group of heroes known as the Justice Society of America, who also believes he is too dangerous to be let out of his prison. Meanwhile, his city has since fallen under the subjugation of Intergang, a crime syndicate that rules over its people with brute force. And so Adam must choose whether or not to become the hero the city needs, or the villain some already see him as.

The DCEU has been on a roll of late with a string of crowd-pleasing entries, from last year's The Suicide Squad to its TV show spinoff, Peacemaker, earlier this year. So the hope going into Black Adam was that the film would continue that winning streak by delivering another worthwhile superhero romp. But even more than that, fans in the know have been edged on by The Rock himself into believing that this could very well lay the groundwork for something bigger. And while most people might be eager to learn more about that aspect of the film specifically, I am not here to reveal if or how well the movie sets up that epic showdown.

 

Instead, I am only going to be speaking on how well the movie works on its own merits. That said, you'll definitely want to stick around to watch the mid-credits scene in all its glory. All teasing aside, Black Adam is what I would call yet another middle-of-the-road entry in the DCEU. It does everything it can to tick all the requisite boxes that make such movies enjoyable. There's plenty of action of the excessive CGI-all-over-the-screen variety, as well as your typical moments of levity and comic relief. The problem comes in how all of this is delivered to the audience. 

The dialogue often fluctuates between hamfisted and laughably bad, even though the actors themselves are clearly doing what they can with the material that was given. Most of it is just heavy exposition dumps anyway, as they try to fill us in on all the requisite lore and backstory. Except they seem to forget that they needed to have some lines left over that would work to endear us to these characters. This effectively takes away any feelings of dread or fear for their safety that I might have had, and even the big emotional moments that came later on in the film couldn't help but feel flat as a result.

 

The members of the Justice Society of America barely leave any kind of impression, which is a far cry from the rich characterization we had in The Suicide Squad last year. The same thing could be said about the film's villain, who was just as forgettable and cookie-cutter as they come. Then there was Black Adam himself, who was basically the same character Dwayne Johnson had played in other films, only nowhere as funny or charismatic. He did have some of the best lines in the film overall, but none of that was enough to save what felt like a phoned-in performance.

 

Black Adam is yet another DCEU movie that fails to reach its full potential. The film can be described as average at best, and even borderline mediocre at worst. All of that is not to say that there isn't enjoyment to be had with the movie, as I can easily see it pleasing crowds of moviegoers who simply want to have a good time at the movies. But for those wanting more, they'll just have to look ahead to future DCEU projects like The Flash and Aquaman 2 and hope that those manage to deliver the goods.

Halloween Ends (Movie Review)

Michael Myers returns to terrorize horror fans in Halloween Ends, the third and final film in the new Halloween trilogy. And much like the previous film, Halloween Kills, Universal Pictures has chosen a hybrid distribution model that sees the film debut simultaneously in theaters and on their streaming service, Peacock. Whether this is reflective of their faith in the movie's financial prospects is anyone's guess. But the more important question is how well does the new film bring the aging franchise to its supposed close.

Set four years after the events of the previous film, Halloween Ends finds the residents of Haddonfield still struggling to heal from the most recent killing spree wrought by Michael Myers. This is despite the fact that the masked psychopath had not been sighted since that last round of bloodshed. And with the townsfolk somehow blaming his favorite victim, Laurie Strode, for all that has happened, it is clear that they'll be no moving on, at least not while everyone was still living under the fear of his potential return. But when he eventually does so, Laurie must do all that she can to bring an end to his reign of terror once and for all. 

If that plot synopsis sounds suspiciously like the one from the last film, then that is because the two films effectively share the same basic premise. This is not to say that the new film does not throw a few curve balls along the way. But to discuss any of that here will be to risk immediately failing into spoiler territory. The film's marketing had itself played coy with the full scope of events in the film, so I'll be respecting their wishes by not saying more about the plot than I already have. Not that any of it means anything, since the film itself is just as nonsensical as the last one.

Despite what could be considered a relatively strong start, it takes forever before things truly kick into gear. And even when they finally do, you'll be assaulted by all the typical cardinal sins seen in most low-brow slasher films. This includes people acting dumb and putting themselves in compromising situations, simply because the script dictates that they do so. The story defies all manner of logic, making the characters very hard to root for or ultimately care about.

Not even Jamie Lee Curtis herself is spared from this. It is clear that the actress is putting everything she can into the material that was given, but her talents can only carry the film so far before the whole thing gets bogged down by its own ridiculousness. At least she doesn't get relegated to the sidelines like she had during the bulk of the previous film. I wish I could say the same thing about Michael Myers though, who was pretty much MIA for more than half of the film, which no doubt contributed to its overall lack of excitement.

Like the two films that preceded it, there are plenty of callbacks to the original 1978 movie. But unlike those films, this one simply lacks the thrills needed to sustain its nearly two-hour runtime. Instead, the movie attempts to take a more philosohical approach by trying to dissect the very nature of evil itself. Is it a result of one's unique experiences or something that was always there to begin with, just bubbling under the surface? Sadly, it fails to tackle the very question it posits in any meaningful way, resulting in a story that simply falls flat in its execution.

But chances are you aren't here for any of that. In fact, most of the storytelling shortcomings in such films can be forgiven if the film itself manages to deliver on the promise of its trailers and the overall expectations of the genre. And to a degree, it does, earning its R rating with kills that range from somewaht creative to fairly pedestrian, all of which culminates in a decent final showdown that could very well satisfy long-time fans. Except it takes too long to get there and there weren't enough of those kills to sustain the movie's momentum along the way.

Halloween Ends fails to live up to the promise of its title through its failure to bring the aging franchise to a satisfying close. This is not due to a lack of trying though, as the filmmakers clearly had their sights set on something that could be considered greater than the sum of its parts. It is just unfortunate that their movie is neither thrilling enough to be considered a good slasher film, nor is it clever enough to satisfy anyone asking for more than that. One way or the other, we can all rest with the knowledge that it is all over now, at least pending when next someone else cooks up an idea for another sequel or reboot.

Werewolf By Night (Movie Review)

As we prepare for Black Panther: Wakanda Forever to bring the fourth phase of the Marvel Cinematic Universe to a close next month, many are left wondering what direction the once-universally-beloved franchise would be taking going forward. We've had everything from new alien threats and multiverses introduced in the last couple of films, making it unclear what exactly Kevin Feige and crew are currently building towards. But just when we thought we'd seen all the MCU had to offer in the current phase, it hits us with what is probably its most puzzling addition.

In Werewolf By Night, a group of seasoned monster hunters gathers at the mysterious Bloodstone Manor for a chance to claim the Bloodstone, a magical artifact that would imbue its wielder with supernatural abilities. These include Jack Russell (Gael Garcia Bernal), a man whose quiet demeanor is only betrayed by his impressive kill count, as well as a woman named Elsa Bloodstone (Laura Donnelly), the heirloom's rightful inheritor. But as they begin the hunt that would determine who gets to keep the Bloodstone, it soon becomes clear that not all who are gathered there are who they claim to be.

Michael Giacchino takes the director's chair for Werewolf By Night. This is following his work as a composer on films such as Spider-Man: No Way Home and more recently Matt Reeves' The Batman. Presented in stunning black and white, his film is at once a love letter to the classic monster films from the first half of the 20th century. And while that in itself might be a turn-off for viewers with more modern sensibilities, you'd be doing yourself a disservice by dismissing it based on its looks.

In fact, one might argue that it is its throwback presentation that immediately helps to set it apart from everything else that came before it. The TV special (as it is being billed) has some of the most satisfying horror-infused thrills seen in the MCU since its inception, even managing to surpass the likes of Doctor Strange in the Multiverse of Madness in certain aspects. It is also the most creatively audacious the MCU has been since those early episodes of WandaVision, employing every trick in the book to replicate the look and feel of classic monster films.

But aside from its gorgeous cinematography and impressive practical effects, it also manages to tell a surprisingly heartfelt story. To say more about this would be to risk spoiling its eventual outcome, but I can at least say that at the core of that story is one of the best bromances I've seen in the MCU. And so my main criticism would be that I wished we had gotten to spend more time with these characters, as the film barely clocks in at 52 minutes in length. On the flip side, this ensures that the movie never overstays its welcome, while leaving room for more stories to be explored in the future, should they choose to do so.

Werewolf By Night is the Marvel Cinematic Universe at its most daring. It takes viewers on a wild adventure that proves that the franchise has space for the occasional standalone endeavor. So while it might not serve to steer the MCU in one direction or the other, it still acts like a breath of fresh air as it shakes up a formula that many have begun to find stale. And even more than that, it captures the spirit of countless horror classics, which should undoubtedly go a long way in helping you get in the mood for the festivities this spooky season.

Anikulapo (Movie Review)

Kunle Afolayan is a name that carries a lot of weight in the Nigerian film industry. This is primarily because he is one of the few directors working to push the envelope for the quality of our films. And while his movies might be hit or miss depending on who you ask, you can at least bank on the fact that they will be well put together, at least on the production front. The same attention to detail doesn't always extend to his stories though, which is why I had approached Anikulapo with a healthy dose of skepticism.

The movie cold opens with a dead man being brought back to life by a magical bird, immediately setting the stage for its supernatural backdrop. That man is named Saro, an ambitious fabric maker from a far-off village. We spend much of the film going over the events that eventually led to his demise. But then we also learn that the encounter with the bird had left him with the ability to bring others back from the dead, and now he seeks to use those powers to make a name for himself.

I have had this long-held belief that our traditional Yoruba films, while often lacking in the production department, usually tell stories that tend to be far more compelling than their English counterparts. So I indeed had some measure of excitement at the prospect of a film like Anikulapo, which was being helmed by Kunle Afolayan of October 1 fame. My hope going into the movie was that we would finally get one that merges some of that great storytelling with the kind of budget and production that those stories deserve.

However, it doesn't take very long into his latest film before those expectations are brought back to reality by some questionable-looking special effects. The film does look good overall though, with some creative shot compositions and excellent cinematography across the board. But Hollywood-level visuals do not a great movie make, which brings us to the story itself.

Like most Nollywood productions, Anikulapo is of the leave-your-brain-at-the-door variety, requiring you to suspend your disbelief during several nearly implausible scenarios. It is not immediately clear who we are supposed to be rooting for, because even though the bulk of the story centers upon the plights of Saro, his actions are far from heroic. He gets swept from one questionable situation to another, with very little agency on his part, which makes the character come across as weak and almost spineless.

And while Kunle Remi was himself competent enough in the role, I still found it hard to believe that his character was as desirable as depicted, with multiple women shown throwing themselves at him in the early portions of the film. All that aside, it is the fact that I felt he lacked the redeeming qualities that would have at least made him an intriguing antihero that created the biggest disconnect between myself and his story.

The movie is also plagued by pacing issues. It takes forever before anything remotely interesting happens. And when things finally kick into gear, it glosses over details that would have helped enrichen the narrative. Instead, we get several drawn-out scenes that, while beautifully shot and generally pleasing to look at, do very little to move the actual story forward.

Then there was the ending of the film, which was nearly incomprehensible and filled with flashbacks to earlier scenes, some of which were never even shown before then, all in the name of lending needed context to emotional scenes that otherwise felt unearned. The fact that it ends with a scene that felt like it was tacked on during post-production only shows how cobbled together the entire third act was.

Such shortcomings are generally what keep our Nollywood films from achieving true greatness, and they appear particularly glaring here, especially coming in the wake of The Woman King, which I thought was excellent. I know it is unfair to compare both films considering one had a $50 million production budget but I still hold on to the belief that you don't need all the money in the world to tell a story competently.

Anikulapo is yet another Kunle Afolayan production that leaves a lot to be desired with its storytelling and characterization. The film leans heavily into melodrama, even becoming heavy-handed with the message and morals of its overarching narrative. All that should go without saying for anyone that enjoys watching these Nollywood movies of course, but I still expected more from this particular one. And while it could be considered an overall improvement over the likes of Citation, it still doesn't move the needle enough to earn a recommendation from me.

The Woman King (Movie Review)

Long before the Dora Milaje would grace the pages of fictional comic books, we had the real-life Agojie, an elite squad of women soldiers in the West African kingdom of Dahomey. And in The Woman King, those warriors are brought to life with all the flair one might expect from a summer blockbuster. But does the film actually deliver on the promise of the thrills seen in its trailers, or is it yet another example of Hollywood trying to cash in on an ongoing trend?

Set during the height of the rivalry between Dahomey and the Oyo Empire, the film follows Nawi (Thuso Mbedu), a new recruit of the Agojie undergoing training under the tutelage of their formidable leader, General Nanisca (Viola Davis). The women serve a young king named Ghezo (John Boyega), whose efforts to keep the peace with both the Oyo Empire and European slave traders grow increasingly strained. And when tensions go beyond his control, his loyal Agojie must prepare to face off against the forces of the Oyo Empire, led by the ruthless general, Oba Ade (Jimmy Odukoya).

It is clear that a lot of care must have gone into crafting a film like The Woman King. From its opening battle scene, you are immediately thrust into the harsh realities of its brutal world. Except it is one where there exists a lot of beauty as well, shown through the culture of the Dahomey. But none of that would mean anything if the film didn't also tell a compelling story, which, thankfully, it manages to do over the course of its 135-minute runtime. And while that story might take a lot of creative liberties and deviations from actual history, it never felt superficial or implausible.

The comparisons to Black Panther are inevitable of course, especially coming out just two months before its highly-anticipated sequel. But while the former had depicted its female warriors as nearly infallible killing machines, this one takes a far more realistic approach to its depiction by not shying away from showing its warriors take some painful licks and blows. That said, you can still expect plenty of action scenes that require some level of suspension of disbelief, none of which was enough to take me out of the movie.

This is because the film is anchored by truly great characters, and those characters were generally driven by solid performances across the board. Nawi serves as an appropriate surrogate for viewers to follow, allowing us to learn about the Agojie and their way of life. Despite her hotheaded ambition, I was quickly endeared to her desire to prove herself. Viola Davis was as well as captivating as ever, but it was actually John Boyega who garnered the most cheers in the theater where I saw the movie. I suspect that had a lot to do with his nigh-on perfect Nigerian accent and overall charm.

 

If I had any criticism to give about The Woman King, then it would be that its ending didn't quite resonate with me as strongly as I wanted it to. This is not to say that the film had ended on a downer, but just my way of expressing my disappointment at the fact that a certain plot thread hadn't been fleshed out more. I obviously can't get into what that was without also getting into spoilers, but I can at least say that it was a minor detail in the grand scheme of the movie, and chances are you might not even have the same problems that I had with it.

The Woman King is a historical epic that plays like a summer blockbuster. Its story and well-choreographed action scenes are sure to please moviegoers, but it is its excellent characters that work to elevate the movie above your typical popcorn fare. This is a movie that deserves to be seen by as many people as possible, irrespective of what you think about Hollywood trends or its so-called "woke agenda." Plus it is sure to scratch some of that Black Panther itch for those waiting for Wakanda Forever.

The Next 365 Days (Movie Review)

All good things come in threes. Or in the case of the 365 Days trilogy on Netflix, they at least come to an end. That is indeed the promise of The Next 365 Days, the third and hopefully final film in the series of erotic thrillers. Whether or not you've been eagerly anticipating this conclusion, you've got to admire the filmmakers for sticking with the same tired formula over the course of three movies. But does the new film manage to salvage what is left of its worn-out premise, or does it further succumb to the laws of diminishing returns?

Much like the previous films in the series, The Next 365 Days centers on the evolving relationship between our two leads, Massimo and Laura. For those keeping track, the latter had been shot at the end of the last film and the new film's opening moments lean heavily into that cliffhanger ending, with Massimo shown mourning the loss of someone at their graveside. The scene is juxtaposed against another showing a meeting between the two rival crime families established in the prior films, as Massimo promises bloody retribution should his rivals continue their push to encroach into his family's territory.

Laura only manages to stay dead for all of five minutes though, before it is revealed that she is once again miraculously alive and well on her way to full recovery from her bullet wound. But the events of the last film had taken an emotional toll, and it is immediately clear that she is still harboring feelings for Nacho, aka Massimo 2.0, despite his allegiance to the rival crime family. So as you can imagine, this puts an even greater strain on her relationship with Massimo, thus setting the stage for the film's central conflict.

All of that is of course just set dressing, because the filmmakers clearly know what their target audience wants. So you can expect even more steamy sex scenes with very little bearing on the film's overall plot, all of which are set to generic pop music from artists no one has heard of. This is all familiar territory at this point, as we've pretty much all come to know what to expect with these lowbrow erotic movies. So anyone going into The Next 365 Days expecting anything other than what is given only has themself to blame.

That said, the fact that something has already established itself as being mediocre by design doesn't then excuse its further descent into mediocrity. And The Next 365 Days certainly feels like a new all-time low for the series with its poor dialogue, acting, story, and lack of direction. Its biggest crime in my opinion, however, is an overriding feeling of saminess. You can only watch so many sweeping slow-mo shots of lavish interiors and beautiful locales before the whole thing starts to blur together. At least the last film tried to shake things up with the introduction of a love triangle and some truly meme-worthy dialogue.

But this one can't help but feel lazy or like a downgrade by comparison, like the writers have simply run out of ideas and the cast and crew are merely going through the motions of churning out another film through mere obligation. The film meanders for most of its runtime, clumsily stumbling from one sex scene to another along the way. I realize that some of that might come directly from the source material itself but also believe it is the filmmaker's job to have a tighter script. And just like the larger film trilogy, this one stretches what little actual story it has to tell too thin and suffers as a result. 

I could think of a few choice words to try to convey just how bad The Next 365 Days is, but trust me when I say none of them will do the film justice. Its failure to respect the viewer's time makes it extremely difficult to recommend to anyone, except those that are already committed to finding out how the story ends. Even then, you'd be better served by waiting to read a plot summary on Wikipedia instead because there is very little satisfaction to be had here. The one silver lining I guess is the fact that they've finally run out of source material to adapt, this being based on the last one in the book trilogy. So hopefully this is the last we are going to see of Massimo and Laura and their questionable love for one another.

Day Shift (Movie Review)

The streaming wars appear to be waging on as another big-budget film makes its exclusive debut online. Having only just been blessed with the brilliant Prey on Hulu last week, we now turn to Netflix for Day Shift, an action comedy anchored by Jamie Foxx. His latest film carries a hefty $100 million production budget, a sum that is incidentally half that of last month's The Gray Man. And while many might rightfully question the continued viability of these films, the more important question is whether or not this particular one manages to put that budget to good use.

The film stars Jamie Foxx as Bud, a man who struggles to balance his time between his job as a vampire hunter and being there for his daughter. But when he is given only seven days by his ex-wife to raise the money he needs to pay her tuition, he is forced to turn to the Vampire Hunters Union for assistance. And there he gets saddled with a rookie named Seth (Dave Franco), who is to ensure that he works within the boundaries of the Union's rules, even as he is relegated to the less lucrative day shift.

On the surface, Day Shift is a buddy cop comedy with supernatural horror elements. So instead of drug dealers and street-level thugs, our duo must deal with the vampires that call the San Fernando Valley area home. And while that might sound like an interesting enough concept to carry an action film, it is actually the inherent charm of its two leads that serves as its crutch. 

Jamie Foxx is no stranger to starring in these high-profile Netflix films, having previously worked with the streamer on Project Power. But unlike that film centered on drugs that gave its users superpowers, no explanation is ever truly given for his ability to go toe-to-toe with multiple vampires in this one, other than a throwaway line about him once serving in the military. So needless to say, some suspension of disbelief would be required for you to truly get on board with the movie.

Thankfully, the film never takes itself too seriously, which is reflected in both the plot and its overall tone. Dave Franco provides most of the comic relief, even though he doesn't make an appearance until about 30 minutes into the film. Snoop Dogg also channels his inner OG as the film's resident badass, a seemingly infallible vampire hunter that seems capable of doing no wrong. 

Your enjoyment of these particular elements could very well hinge on your tolerance for its kind of humor, which is often of the gross-out variety. The film also wears its R rating like a badge of honor, so expect plenty of decapitations and copious amounts of blood. This is of course lightened by its comedic nature, and while not every one of its jokes land, the ones that don't are made up for by some genuinely thrilling action sequences.

Day Shift provides more than enough dumb fun for anyone craving a late summer action comedy with plenty of blood and guts. Just don't go into it expecting anything more than what was promised by its trailer. For better or worse, this is yet another overpriced Netflix film that skates by on the strength of its high-profile leads, and watching both Jamie Foxx and Dave Franco riff off of one another remains this one's biggest highlight.

Prey (Movie Review)

Following an amazing feature film directorial debut with 10 Cloverfield Lane, Dan Trachtenberg returns to direct Prey. His latest film is set in the Predator universe, taking place nearly 300 years before the original film. And while that movie remains one of the most iconic sci-fi releases from the 1980s, its various sequels have struggled to match its thrills and overall inventiveness. So my hope going into this prequel was that we would finally get an entry that was worthy of the Predator name.

The film follows the exploits of a young Native American woman named Naru, as she prepares to undergo a rite of passage that involves hunting one of the indigenous predators in the forest near her home. But she feels both overshadowed and undermined by the men in her tribe, who believe she has no place on the hunting grounds. Determined to prove her worth as a skilled hunter, she sets off with her dog to investigate some strange tracks she had spotted during their last hunt. But little does she know that the predator she is tracking is of an alien origin.

To say that Prey is a marked improvement over all the other Predator movies that came before it is an understatement. From its opening frames, you can pretty much tell that this one is a class above the others. The film is at once beautiful to look at, with sweeping shots of the vast forest landscape that serves as its setting. And that setting is used to great effect throughout the film, to create a heightened sense of dread as the cloaked predator moves around unseen.

These are old tricks from the previous films and the wider sci-fi horror genre, to be sure, but never have they looked this good, or worked this well. And the same thing can be said about the special effects, which strike a nice balance between looking retro and modern. I particularly enjoy films where most of the effects are achieved through practical means, and it was nice to see the same reflected here.

The film is not just about the predator of course, which brings us to Amber Midthunder as our lead, Naru. I am not familiar with much of her prior work, so it was indeed a pleasant surprise to see her anchor the film with a strong, heartfelt performance. Dog lovers are bound to be instantly endeared to her through the depictions of her interactions with her canine partner. I had my reservations about the character when I first saw the trailers but I'm pleased to say she had won me over by the end of the film.

Speaking of reservations, it is worth noting that the film is a bit on the graphic side, with some cool-looking gore effects. Fans of the franchise shouldn't be surprised to hear this of course, but casual viewers or the more squeamish among us might find some of it a bit excessive. It also takes a while for things to really kick into gear, as the filmmakers take the requisite time needed to set the stage. But once they do, you'll be cheering along in what is one of the most satisfying showdowns I have seen all year.

Prey infuses the Predator franchise with some much-needed class. But even more than that, it is a great standalone movie in its own right, making effective use of its limited scope and bag of old tricks. It is anybody's guess why, despite being solidly crafted, it has wound up on a streaming service instead of playing in theaters like it deserves. But here's hoping that it signals a fresh, new direction for subsequent films in the franchise to emulate or follow.

Bullet Train (Movie Review)

As the summer movie season begins to wind down, one could be forgiven for thinking we've run out of worthwhile movies to go out and see on the big screen. But as astute moviegoers no doubt know, the back half of the season typically serves as fertile ground for smaller-scale genre films to shine, away from the shadow of the larger tentpoles. And Bullet Train definitely fits that category, the new action comedy by Deadpool 2 director, David Leitch. The question, however, is whether or not this particular train is worth catching in the first place.

The film stars Brad Pitt as Ladybug, an aging assassin whose latest job aboard the titular bullet train quickly goes awry. What was supposed to be a simple snatch and grab of a high-value briefcase descends further and further into chaos when it turns out that several other assassins, with varying ties to one another, were also there on conflicting assignments. Now he must not only struggle to piece together why they were all gathered there but also fight or outsmart the others long enough to make it off the train alive.

It doesn't take very long into Bullet Train to realize what type of movie it is, a stylish action comedy that seems derivative of other works. This is mainly because the film is not afraid to wear its influences on its sleeves, borrowing from the likes of Guy Ritchie and Edgar Wright with a visual style and nonlinear storytelling structure that immediately calls to mind movies like Snatch and Baby Driver. But what helps to set this one apart is its director's own background as a stunt coordinator.

Having worked on films like Atomic Blonde and John Wick, David Leitch continues to show his flair for stylized action and tightly-choreographed fight scenes. Most of it is thankfully easy to follow despite the high-octane nature of the narrative itself, which is a relief in a genre that is becoming increasingly reliant on fast cuts and shaky cameras. His latest film also makes the most of the confines of its single location setting, much like the similarly-set Snowpiercer, even though this one relies a bit more heavily on flashbacks to fill in the details of its back story. 

None of that would mean anything of course if the film didn't also give us characters worth caring about. And on that front the movie shines with one of the most stacked casts I have seen all year. Brad Pitt once again takes the place of the charismatic lead, but it is actually the duo of Brian Tyree Henry and Aaron Taylor-Johnson that proved to be most endearing. They play a pair of ruthless fruit named assassins who provide most of the movie's gags and heart. There were also a number of surprise cameos sprinkled throughout the film, none of which I am going to spoil here. But it was nice seeing so many recognizable faces, even if quite a few of them felt criminally underutilized.

It is also worth noting that the film did take a considerable while before all the pieces of its overarching narrative fall into place. So less patient viewers might find all the earlier narrative hopping and character shifts a bit hard to follow. But at just over 2 hours in length, the whole thing never started to run out of steam or wear thin.

Bullet Train is another B-tier action flick that is sure to satisfy genre fans with its endless thrills and many twists and turns. The narrative does threaten to go off the rails atimes, as its overlapping subplots and implausible scenarios veer ever so close to teetering off the track. But everything is kept humming along thanks to a stellar ensemble and often clever script, as it builds to an explosive climax that is just as big as it is audacious.

The Gray Man (Movie Review)

Netflix has been in the news a lot lately, as the company continues to struggle amidst an evolving streaming landscape. It hasn't all been bad news or lost subscribers though, with the streamer managing to score some major viewership wins through the most recent season of Stranger Things. And now it is once again making a play for theater quality thrills with its latest spy thriller, The Gray Man. But considering a price tag that ranks the film as one of its most expensive, the question becomes whether or not this new blockbuster even manages to justify its existence.

The film stars Ryan Gosling as Sierra Six, a black ops mercenary working for the CIA. He soon finds himself becoming the agency's latest target after he comes into possession of some incriminating evidence. In a bid to stop him, the agency resorts to enlisting the services of a former agent named Lloyd Hansen (Chris Evans). But Lloyd proves to be a little more than they can handle, after he shows his willingness to go to any lengths to bring down his target, with no regard for collateral damage.

If it sounds like you've heard that synopsis before then it's probably because you have. Because for all its blockbuster ambitions, The Gray Man is yet another cookie-cutter spy thriller about the shady dealings of intelligence agencies. That is not to say that its derivativeness is an immediate death sentence to the film's prospects, but it surely won't be scoring any points for originality. Where it does attempt to set itself apart from those that came before it though is in its scope and execution.

Much like the novel it is based upon, the movie finds our lead embroiled in an adventure of international espionage. And Ryan Gosling slips into the role of Sierra Six like a glove, with a performance that strikes the right balance between stoic and self-aware. Ana De Armas is likewise very badass as his partner, Dani, although her turn in this film was nowhere as scene-stealing as the one she'd given in No Time to Die. But the biggest standout was of course Chris Evans, who fully embodies the unhinged nature of the film's main antagonist with a performance that could be considered mustache-twirling but comically so.

The movie also looks good for the most part, although I suspect that might depend on your tolerance for its overreliance on drone shots and shaky cam footage. It is also well-paced, never seeming to lose any steam during its two-hour runtime. The Russo brothers clearly know how to keep viewers engaged as they've proven time and time again in their MCU offerings, and they know just when to drop the big setpiece moments that have since grown to define their work.

Some of the action sequences in their latest film are genuinely thrilling to watch, especially if you like over-the-top stunts of the Michael Bay variety. There was one particular chase scene involving a train that is guaranteed to have action junkies at the edge of their seats, showcasing where most of the $200 million production budget went. But anyone expecting thrills of a more cerebral kind would be best off tempering those expectations beforehand.

The Gray Man is ultimately let down by an all-too-familiar story that is just serviceable enough to see it through to the finish line. Its three main stars help to pick up some of the slack, while its action scenes at least give viewers something bright and shiny to ogle at. But none of that is enough to save what essentially feels like another soulless action film being churned out by Netflix in a bid to pad out their growing library of on-demand movies.