“MaXXXine” review — Score: 6/10

Mia Goth returns to finish Ti West’s horror trilogy with the release of “MaXXXine,” completing the story told by “X” and “Pearl.”

Set in the 1980s, the film follows Maxine Minx (Mia Goth) as she attempts to make the jump from adult films to horror movies to further increase her stardom. After landing the role, she must balance the demands of director Elizabeth Bender (Elizabeth Debicki) while outrunning past traumas that come back to haunt her in the form of PI John Labat (Kevin Bacon).

The cast also includes Maxine’s friend Leon (Moses Sumney), coworker Tabby Martin (Halsey) and her agent Teddy Night (Giancarlo Esposito).

While the movie tries to follow the magic of “X” and “Pearl,” it fails to create the tension that a horror movie needs to stay exciting. Even scenes that should have felt scary or unnerving fell flat due to strange editing choices.

The film is a clear attempt to emulate the slasher genre of the 80s. The music and lighting throughout the movie paid homage to the decade through synth-pop and neon glows.

However, the editing follows the same style, creating moments that feel silly rather than scary. In particular, one gruesome death with a knife involved constant jump cuts to a black-gloved hand slowly bringing the knife down. It broke the scene’s tension and made the entire moment seem like a bad parody of slasher films.

There were plenty of moments like that throughout the film, feeling awkward rather than comedic or scary. Others have compared “MaXXXine” to Giallo films, a style of movie that focuses on creepy killers, gorgeous women and filthy urban streets — which all fit the movie’s setting extremely well.

But style isn’t an excuse for poor horror. “X” and “Pearl” utilized unique styles while retaining the audience’s attention and fear. Those movies mixed comedy and horror well, while “MaXXXine” seems to struggle to find its ground.

The story also doesn’t feel fulfilling. Without giving too much away, the movie’s climax seems too ridiculous as an end for the series. The killer’s reveal is confusing and makes the entire plot seem pointless. It feels stylized to fit a certain movie genre, at the expense of the tension.

Of course, there are a lot of positives, mostly in the form of the acting. Once again, Goth knocks it out of the park. As Maxine, she delivers a performance that truly fits the insanity of a woman in Hollywood willing to do anything to get the fame she wants. Even in scenes with the legendary Giancarlo Esposito, Goth retains focus as the most intimidating character on screen.

Ti West’s “MaXXXine” does a good job of finishing Maxine’s story. It shows just how far one woman will go to achieve her desired fame. However, without the weight of the past movies in the trilogy, “MaXXXine” doesn’t deliver very well. It’s exciting to imagine what’s next for Mia Goth, but until then, we can watch her figuratively — and literally — crush killers under her heel.

nalluri4@dailyillini.com

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Rating: 9/10

The post-apocalyptic horror sci-fi movie series, “A Quiet Place,” returned to theaters this June with a third installment — “A Quiet Place: Day One,” a prequel to the two-part series. 

“A Quiet Place” tells the story of a young deaf girl and her family as they fight to survive in a world where predatory aliens run rampant. 

In the newly-released prequel, viewers get a first-hand look at the initial “Day One” of the alien invasion, following the main characters, Samira (Lupita Nyong’o), a terminally ill cancer patient and her cat Frodo, along with Eric (Joseph Quinn), a lonely law school student. The characters quickly realize that the aliens are blind and hunt using their adept hearing abilities. 

The movie, like its predecessors, is primarily silent. While the first movie in the franchise relies on American Sign Language (ASL) as its primary mode of communication, the prequel adds a method of conflict, as the characters struggle to communicate without a non-spoken language. 

As the story progresses, the couple ventures through the city, avoiding aliens and near-death experiences at every turn, accompanied by what may be the world’s smartest cat. 

Determined to save her cat, Sam carries him on the journey inside of a tote bag. He becomes a wholesome addition to the cast, with entire scenes following his misadventures. Much to the audience’s surprise, Frodo plays a key role in the story and adds to the tension in the already high-stakes film. 

The movie does a phenomenal job of evoking the sense of fear and uncertainty that horror fans crave without using many extremely violent or gory scenes. With the movie’s setting being in a crowded city, viewers witness the destruction and panic the aliens cause — something that is not as present in the more rural environment of the first two installments. This makes for enjoyable action scenes and more complex attacks. 

The film makes use of similar scare tactics as the first in the series, with moments of intense suspense accompanied by dramatic sound effects and jump scares. The aliens’ ability to quickly run to the source of any slight noise leaves the audience waiting with bated breath at each move that the characters make. 

The movie also delves into deeper themes of life and death alongside the main story. Sam, who has, until this point, essentially been waiting to die in hospice, sees the apocalypse as a way out. However,  Eric is clearly terrified of dying, especially alone. Their opposite outlooks work well together, showing two strong sides of human nature as they embark on their journey. 

Underneath the intense action scenes, the film adeptly builds up the relationship between Eric and Sam as they make their way through the city. With Eric gaining a new appreciation for life, and Sam remembering what it’s like to feel alive again, the film grapples with complex themes of loneliness, fear and loss.

Viewers can easily relate to the fear Eric displays, not wanting to be left alone in the uncertainty of whether or not he will live another day, while also understanding the determination of Sam to die on her own terms. Through this, the film shows the complexity of human desires and motivations and pushes beyond the ‘jump scare’ factor that many horror films profit from. 

Both actors were well-cast for their roles and displayed intense emotions throughout the film despite their limited spoken lines. As the characters progress and learn more about each other, so does the audience, resulting in a genuine emotional connection which only adds to the movie’s powerful drama aspect. 

Overall, the movie serves as a worthy addition to the well-established series. Fans of the original movie and its sequel will no doubt be infatuated with this film as well. With its surprising emotional aspect, viewers will leave the experience not only scared but wiping tears from their eyes. 

jahzara2@dailyillini.com

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Rating: 4/10

The original “Despicable Me” movie was released almost 14 years ago. The original plot involved the heartfelt story of a villain learning to be a good father to three orphans while balancing his evil work. With a funny cast of characters, a heartwarming story and, of course, the Minions, it’s clear why the movie was such a success.

The newest installment of the franchise is “Despicable Me 4,” a movie that struggles to hold onto the original film’s magic while languishing in a dull plot and few funny jokes.

The film follows Gru (Steve Carell) as he continues his Anti-Villian League activities and attempts to stop the newest villain in the series, Maxime Le Mal (Will Ferrell). After Gru’s family is threatened, they’re moved to the seaside town of Mayflower, where they take up new identities and attempt to follow normal lives.

The rest of Gru’s family, including Gru’s wife, Lucy (Kristen Wiig) and the children, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Madison Polan), all try but fail to fit into normal lives. Gru is also facing a new problem in the form of Gru Jr., his new baby who seems to despise him.

Maxime isn’t the only villain in this film, as Gru’s new neighbor Poppy Prescott (Joey King) blackmails him into some evil plans of her own. And of course, the Minions are up to their antics, including the formation of an X-Men parody team called the Mega-Minions, who cause mayhem in their own way.

The soundtrack is well done, with Pharrell Williams releasing another single for the franchise: “Double Life.” The song, playing over the opening scene, is catchy, fun and adds life to a film that mostly uses pop hits from the past few years for the rest of its runtime.

In a golden era of animation, it’s easy for the film’s animation studio Illumination to fall short. Movies like “Puss in Boots: The Last Wish” and “Spider-Man: Across the Spider-Verse” have set a new standard for how animated movies should look and feel. With animation as a market growing fast, studios need to keep up with the rising popularity.

In this regard, the movie does a surprisingly good job of meeting its competitors. Many unique angles and perspectives make the film seem original while still retaining the rubbery, soft style that Illumination films are known for. 

But those same industry standards are also chock-full of rich and engaging stories that kids and adults can enjoy, something that this movie severely and noticeably lacks.

The movie seems to be a series of shorts cobbled together into a movie, rather than a full feature film. Different members of the cast are engaged in their personal vignettes as the plot attempts to progress, and very little is done to connect their stories. Even the climax of the film seems to only feature Gru, Gru Jr., Maxim and Poppy actively fighting.

These constant jumps in focus are what make the movie feel fragmented and incomplete. Rather than starting with a plot and building funny scenes around it, the movie puts its all into making comedic bits that also happen to advance the plot.

The comedy in the movie isn’t terrible. The Minions are, as in past movies, the funniest characters, providing a slapstick comedy that manages to not feel outdated or overly childish. A particular standout is a montage of the Mega-Minions attempting to help civilians, which charmingly parodied classic comic scenes and superhero cliches. 

And of course, there are still jokes aimed mostly at children and those specifically for adults. But the jokes do little to distract from the slow, painful pace of the plot. Instead, they seem to amplify just how little the story matters in a movie that is mostly short films put together.

“Despicable Me 4” wasn’t terrible. It had some good animation and a few funny scenes; but altogether, it barely resembles the magic the original once had. Illumination, obviously chasing the success of previous films, continues to push out more “Despicable Me” content and, hopefully, this film will finally be the sign to lay the series to rest. 

nalluri4@dailyillini.com

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June 18, 1999, marks the release date of “Tarzan,” a coming-of-age Disney animated film. This year is its 25th anniversary.

Following the story of a child raised by wildlife creatures surrounding him — mainly gorillas and one elephant — “Tarzan” is a comical, childlike-wonder creation that certainly lived up to previous productions like “Hercules” (1997) and “Mulan” (1998).

Although seemingly absurd, the storyline portrayed can resonate with all audiences no matter the age — just ignore the talking animals and an elephant that can see through its trunk as if it were a pair of binoculars.

The intense opening scene follows a couple escaping from a burning, broken-down ship, with the woman holding a baby in her arms as they row away from danger. They venture to an island unmarked by humankind and are met with a residing gorilla troop, with the human family mirrored in this gorilla form.

Music by Phil Collins narrates the scene — and the rest of the movie, for that matter — with lyrics from “Two Worlds” excruciatingly detailing what viewers are witnessing. 

This song is the first one Collins worked on with composer Mark Macina for the film, and it’s woven throughout the score, earning a callback numerous times while simultaneously depicting the theme.

“A paradise untouched by man/ Within this world blessed with love/ A simple life, they live in peace/ Softly tread the sand below your feet now/ Two worlds, one family,” Collins sings as the humans reach the shore.

Unfortunately, the gorilla family, composed of Kala (Glenn Close) and Kerchak (Lance Henriksen), loses their child to the ferocious leopard, Sabor. Devastated by this loss, Kala hears cries from a distance and is immediately entranced by the sound.

Within the residence rests Tarzan (Tony Goldwyn), his cries quieting and eyes lighting as they rest upon Kala. Destruction is evident throughout the space as Sabor slashes at Kala while she fearlessly escapes with the baby in her clutches.

Throughout the following years, Tarzan is raised to be an ape-man but never completely accepted by his “father” Kerchak, who repeatedly says, “He will never be one of us.” Tarzan doesn’t meet another like him until the audience is introduced to Jane (Minnie Driver), Clayton (Brian Blessed) and Professor Porter (Nigel Hawthorne).

While a weirdly forced attraction begins to unfold between Jane and Tarzan, which seems nonsensical considering he can barely function as a human, Clayton malignantly schemes in the background to capture the gorilla troop.

The climactic action ends with the vine-hanging death of Clayton, his knife plummeting into the ground — a death that is hopefully lost upon children viewers — and the death of Kerchak, which causes Tarzan to rise as the group leader.

As the film naturally ends happily, it remains the same old conventional Disney tale overall: good vs. evil, with the protagonist saving the day after being the reason it needed saving.

However, the animation style, and most importantly the score, elevate “Tarzan” to be a picturesque film encapsulating themes of identity and family, questioning whether the biological side matters or not.

After its establishment, some believed the movie motioned for the end of Disney’s decade-long animated creations; six years later, studios began switching to computer animation.

With the arrival of its 25th anniversary, it’s no surprise that “Tarzan” remains a classic Disney hit among all generations. Talking animals, memorable sing-along lyrics and childlike humor enhance the film, even as decades pass.

chloeb4@dailyillini.com 

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Dearest gentle reader, the middle of the night marked the release of the second part and the end to this frightful season of Bridgerton. The lusty period piece has become highly popular since the release of its debut season in December 2020. 

Despite following the same storyline of entangling conflict and romance as the previous seasons, certain changes have been made.

This season focuses on recurring characters Penelope Featherington and Colin Bridgerton and the romance that long-time viewers have been anticipating since the series began. 

Their story is sweet, detailing how they first met each other but it also dives into the complexities of their relationship — complexities caused by Penelope’s secret alter ego that will temporarily plague their relationship. The season is a realistic portrayal of how all relationships are not always smooth sailing.

Despite the endearing plot of the main story, it is the underlying factors that are truly the most anxiety-inducing. 

This season not only focuses on love, but on friendship. Penelope saw her friendship with Eloise Bridgerton fall into jeopardy at the end of season two because of the reveal of her gossiping alias.

Eloise and Penelope’s relationship perfectly shows what it’s like to be wounded by a companion and the hardships that come along with that, especially when the one who betrayed you suddenly becomes betrothed to your brother.

Penelope is one of the most well-written characters in the series because of the power that she obtained from building an empire off of the weaknesses of high society. Her story dives into how her work jeopardizes her relationships — platonic and romantic — and vice versa. It shows how great success can also have great moral implications.

Adding to the suspense, producers of the show decided to split the season into two parts with a month in between each release. Certainly an odd choice considering that this was the first season of Bridgerton released in this manner. 

Viewers of the historical drama know that writers and producers do not shy away from diverse representation. The inclusion of LGBTQ characters in this season is something to be applauded and not ignored. 

An intriguing subplot is found within the life of Benedict Bridgerton when Paul Suarez is introduced as a bisexual character. Benedict is seen accepting Paul for who he is and also experiments with his own sexuality, showing the first homoerotic relationship involving a main character in the series. 

The season also includes relationships that are seemingly perfect. Will Mondrich and his wife, Alice, inheriting a large sum of money and being thrown into a new life is certainly heartwarming, as is the budding romance between the season’s shrinking violets, Francesca Bridgerton and John Stirling.

Intricacies such as the classical covers of modern songs are essential in the Bridgerton universe and add a contemporary touch to the show. This season included instrumental covers of “Jealous” by Nick Jonas, “pov” by Ariana Grande, “Yellow” by Coldplay and more. 

Overall, this season of Bridgerton is definitely one for the books. The suspenseful storylines and complexities definitely make this story worth watching. 

mkw@dailyillini.com

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Rating: 6.5/10

Released on April 12, the new “Civil War” movie explores various themes through the perspectives of journalists during a mass civil war in the United States.

Starring Kirsten Dunst and Wagner Moura, the film captures the hard reality of a dystopian future where bloodshed is at the forefront for Americans. 

Though the film was primarily commercialized as a movie depicting civil war, it does not focus solely on the conflict.

The film follows a group of four journalists on a trip to get a story on the president during the war.

The film opens with a shot of the president (Nick Offerman) announcing an expected victory for mankind. The president being a primary target during the debut sets him up to appear as a controversial persona later in the movie.

Switching between the president and photos of the war, the movie establishes photography as an essential piece of the film and central characters.

The initial look into the violence and intensity of the setting provides minimal context for the war and remains the same for the duration of the movie. 

The audience can recognize that there is a war going on, but the lack of context makes it difficult to understand why it started to begin with. 

“Civil War” emphasizes the job of journalists and the important role that they play in carrying out emotion, truth and the overall picture of events. 

Lee (Kirsten Dunst) is a war photographer who puts her life at risk for her job as a journalist. Her character is portrayed very seriously, which is later learned to be due to her years of involvement with violent events.

As the viewer learns more about the characters, the movie touches on the message of people becoming accustomed to war and the terrors that come with it. 

The journalists — although they still get a rush — are habituated to the emotional drainage that their job can bring. Dunst’s character in particular demonstrates how being a journalist comes with needing a cold front to get the job done successfully.

A fresher and older perspective on journalism is seen through an experienced press team accompanied by a younger aspiring war photographer, Jessie (Cailee Spaeny). 

Through a range of characters, “Civil War” shows journalism as a worthwhile passion crucial for capturing people and life in real-time. 

The movie does an exceptional job of evoking emotion through the plot which gives the audience time to take in every cinematic detail.

With the time given, it is noteworthy to mention that the movie was slow-paced, making it difficult to stay engaged at times. 

It seemed to take a while for the movie to get to the point.

Time was filled with insignificant features such as additional characters with minimal screen time, shots of nature and brief interactions between the main and background characters.

Some may consider this a strength, but the stillness as you moved through a big portion of the movie encouraged a craving for more of an adrenaline rush for the audience.

“Civil War” managed to find a balance between its slow-paced movement and emotion-provoking scenery. 

Additionally, the film did not steer away from displaying explicit shots and images of the brutality executed during a war. Discomfort and disturbance were brought forward with the cinematography, making the film even more impactful.  

Viewers of the film shared that the movie evoked thoughts about how “Civil War” reflects the possibility of a near future for America and what it may look like. Actors such as Dunst, Moura and Spaeny gave a realistic portrayal of the fear and fearlessness that comes up during a time of war. 

It was found to be a great movie for some, but others think its production was too inspired by previous works, taking away from its originality.

The performances were well done; the unanticipated style of the sequence and distribution of the plot matches the mixed responses that “Civil War” received. 

smuri2@dailyillini.com

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Rating 9.5/10

Following the shocking ending of its first season, Amazon Prime’s adaptation of “Invincible” finally returned after almost three years of waiting.

The show adapts the comic book series of the same name originally released in 2003 by Image Comics. This second season picks up soon after the ending of the first, which saw Omni-Man (J.K. Simmons) leave the planet and his son Mark, also known as Invincible (Steven Yeun), after not being able to conquer Earth for the empire of his home planet, Viltrum.

Season two of “Invincible” finds Mark dealing with what his father has done while balancing his life as a superhero and his grounded relationships with his girlfriend, family and college.

What stands out with this season’s storyline is how it manages to be grounded in some bases of reality while still showing a plethora of universes and dimensions full of life.

Although it’s highly unlikely that any student could relate to Mark’s superhero struggles, they might see themselves in the same situation that Mark is in with college and his girlfriend and how occasionally he simply cannot dedicate enough time to either factor, thus making him feel bad for not being able to be there enough.

This relatability to the characters allows “Invincible” to stand out among a sea of other superhero content.

However, one of the biggest highlights of the show is, without a doubt, how visceral it can be with its content. Not only does this help keep the story engaging, but it keeps viewers on the edge of their seats, all while maintaining the consistency of great storytelling.

For anyone unfamiliar with “Invincible,” the series is known for its occasionally gruesome moments, regardless if it’s toward the most random background characters or the more mainline characters such as Invincible and his allies or adversaries.

Multiverses are also a huge aspect of this season of “Invincible,” creating not only variety in the characters we meet but also setting up the story beats of the possible third season.

The voice acting in “Invincible” not only reinforces the show’s strong repertoire but gives the show an immediate status of incredible craftsmanship due to the truly remarkable performances from the show’s actors.

Without a doubt, Yeun shines the brightest amongst the show’s stars as he plays the role of Mark in the most realistic way possible — despite the show being animated.

When the scene requires Mark to be sad, Yeun pulls at the viewer’s heartstrings, and if Mark needs to be angry, Yeun will erupt in a blaze of fury.

As impressive as much of the work that went into “Invincible” is, slight controversy plagued the show surrounding its release schedule.

Whereas all of the episodes in season one were released across the span of eight weeks back in 2021, half of season two’s episodes were released over four weeks in November of 2023.

In an interview with Collider, series creator Robert Kirkman said, “It was something that was somewhat of a practical thing because it was taking so long to get the show done” regarding the series’ schedule.

Not only did this decision leave fans perplexed about why there was a long break from the show, but it ultimately caused a rift between fans and general audiences that seemingly lowered the hype for the return of the series.

By the time the series ended, there seemed to be a severe lack of buzz around the show and its finale, despite it adapting one of the most memorable panels from the comic book series.

With season two of “Invincible” now over, fans are speculating that season three, which is greenlit, will hopefully be released sometime next year.

However, in the meantime, “Invincible” fans will be more than entertained and pleased with what Amazon Prime’s series has pulled off and achieved thus far. 

nroacho2@dailyillini.com

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Rating: 5/10

“Immaculate” is the newest horror film produced by independent film company NEON and directed by Michael Mohan.

The movie opens with a strong cold open that effectively sets up the film’s threat while engaging viewers for what appears to be a thrilling ride.

However, the film takes a major pause over the next hour as we follow Sister Cecilia (Sydney Sweeney), who moves to a convent in Italy following an incident that she sees as God saving her and a call to serve the church. She soon learns the convent has more nefarious activities underneath the religious facade.

Without going into spoilers, there is both a plot twist and development that reinvigorates the movie’s story and pacing.

With this development, the movie seemingly slips in a message about abortion out of nowhere. While this point could be important to bring up in modern times, it feels a little forced and unplanned on behalf of the movie’s writers.

Between the setup of both the setting and the story, “Immaculate” slowly burns its way to its more tense and upbeat moments. 

However, by the time the film regains traction around the end of the second act, most of the movie’s runtime had already passed.

The movie does not know when to pick up the pace surrounding its storytelling, leaving you wondering if the means justify the ends. 

The lack of real scares doesn’t help the film, since most of the horrifying moments mainly come from shock value and generic jumpscares.

If you’ve seen any horror film that takes place in a church or has religion-heavy themes such as “The Pope’s Exorcist,” “Prey for the Devil” or just about any movie with the word “exorcism” in its title, then you’ve already seen a lot of what “Immaculate” has to offer.

Despite these issues, there is one light at the end of the tunnel. The movie’s practical effects are not only well-made but are sure to make some horror newcomers a little squeamish.

Questionable lighting also plagues much of the movie, since most scenes that occur in the dark are extremely hard to see. It’s important to mention that this could have resulted from the movie theater that screened the movie, so your viewing experience may vary.

The setting of “Immaculate” is also a huge factor in the movie’s feel; in that department, the movie succeeds at establishing a convent that exudes beauty despite housing terrible secrets.

“Immaculate” brings a lot of fresh ideas to the table, along with some beautiful visuals and set design. But it doesn’t do much to keep its audiences engaged.

Sure, the last 20 minutes of the film slightly make up for the majority of the film, but does that make the movie any better than the rest of the church-themed schlock?

Spoiler alert — it doesn’t.

nroacho2@dailyillini.com

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Rating: 5/10

“Ghostbusters: Frozen Empire” is the newest film in the long-running “Ghostbusters” franchise, directed by Gil Kenan, following 2021’s “Ghostbusters: Afterlife.”

The film follows the new Ghostbusters, who are now located in New York, taking care of the paranormal activities plaguing the city. 

A new threat begins to loom around in the form of Garraka, a spirit hellbent on taking over the human dimension with the power to control ghosts and lower the temperature to absolute zero.

The film is very much targeted towards fans of the series, as much of the film’s backbone relies on the power of nostalgia brought on by almost 40 years of support.

However, there’s one issue with how “Frozen Empire” tackles the idea of nostalgia: At what point does nostalgia become too much?

Sure, it’s nice to see the original Ghostbusters return for another fight against evil spirits, but the main point of this new series — to pass the torch to the new crew — seems to have been somewhat lost.

Both Finn Wolfhard and Celeste O’Connor’s characters have minimal screen time even though they were major characters in the previous installment.

The performances in the film are nothing to write home about, however, it’s important to note Paul Rudd’s performance as Gary Grooberson. Rudd exudes a fun energy unmatched by any other actor in the film, as he truly makes the most out of the script he was given.

For what it’s worth, the film has its fun moments and keeps the audience entertained enough, but the actual progression of the story completely drags down the pace of the movie.

The movie spends too much time on the wacky shenanigans that each member of the crew goes through, leaving one question to plague the viewer — where’s the plot?

Similar to “Ghostbusters II” (1989), the biggest issue plaguing this film is the lack of any real or severe threat.

In that film, most of the main threat comes from an evil ooze fueled by the anger of the citizens of New York. There’s a slight enemy presence every now and then, but for the most part, Garraka is not present until the final moments of the film. 

Unlike the original “Ghostbusters” from 1984, the film simply relies on moving everyday items and the ghosts from past films, causing the movie to experience a severe lack of originality in a world where the impossible is possible.

“Ghostbusters: Frozen Empire” is by no means a bad movie, but by the time the credits roll, what’s left is not so much a “Frozen Empire” but more of a “Clammy Inconvenience,” leaving viewers wishing they were watching a better film.

The movie ultimately suffers from not knowing how to balance its stories. As a result, it simply banks off both the recognizability of the franchise and fans who hoped this would swing the Ghostbusters into the status they had 40 years ago.

nroacho2@dailyillini.com

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Rating: 6/10

“Godzilla x Kong: The New Empire” is the newest entry in Warner Bros.’ and Legendary’s “Monsterverse” franchise and a direct sequel to 2021’s “Godzilla vs. Kong” directed by Adam Wingard.

Unlike some of the Japanese-produced entries of the “Godzilla” franchise by Toho, the “Monsterverse” franchise takes itself much less seriously, aiming simply to entertain the audience. 

The film oversees three major storylines — Kong finding his home, Godzilla absorbing power to fight an imminent threat and the human characters going into the hollow earth to investigate an apparent distress call.

These storylines fight over the spotlight over the first hour of the film, which causes the movie to feel extremely cluttered as it tries to piece everything together in the second half. 

What this movie does better than “Godzilla vs. Kong” is it takes itself less seriously and embraces the sillier side of both characters.

The greatest thing that “Godzilla x Kong: The New Empire” has going for it is that it’s reminiscent of the clumsier moments of Godzilla’s Shōwa era, such as “Godzilla vs Megalon,” “Invasion of Astro Monster” and, of course, “King Kong vs. Godzilla.”

This might sound like a hindrance for the film, but in the case of this movie, it acts as more of a benefit, as the overall premise boils down to a giant lizard and monkey banding together to fight another giant lizard and monkey.

“Godzilla x Kong: The New Empire” also benefits from the fact that it spends more time on the monsters instead of trying to force the humans’ story into the plot — at least for the most part.

While the human side of the plot is still very contrived and tackled almost out of nowhere, the movie learns to balance the screen time of both the humans and the monsters.

The film is a Kong story at heart, as the majority is spent with Kong finding others like himself. As a result of this, Godzilla feels underutilized, leaving him to appear alongside Kong in the final act of the film.

The severe lack of Godzilla almost makes you feel cheated on. In an interview with Empire, Wingard stated “The buddy-cop dysfunctional relationship dynamic is probably the best one to describe Godzilla and Kong.”

It’s a shame there wasn’t much interaction between the two monsters, as the film is at its best when the duo finally team up to stop the villains of the film, Skar King and Shimo.

The addition of the two adds a nice variety in villains, seeing as they are almost reflections of both Kong and Godzilla respectively. Skar King aims to control the surface land to gain power, while Shimo is forced to use her ice power for Skar King’s benefit.

Following the braindead dialogue in “Godzilla vs. Kong,” it could be argued that expectations were low for the quality of lines the humans would have in this film. However, the movie surpasses all of these expectations, even if it’s by a slight margin.

The dialogue between all of the human characters still has a level of cheesiness that can make the movie a struggle to listen to. However, since the tone of the film is far lighter than previous entries, the dialogue fits in.

This is mainly apparent with the character of Bernie (Brian Tyree Henry), whose quirky and eccentric nature from “Godzilla vs. Kong” gets dialed up to a whole new level, causing him to be a little annoying for many of the scenes he’s in.

Henry definitely sells the role, but the film’s writing makes him suffer from a lack of personality as he’s stuck as mainly being the “comic relief” character.

“Godzilla x Kong: The New Empire” doesn’t break new ground in sci-fi kaiju films, but it adopts most of the charm and characteristics that older entries of both the “Godzilla” and “King Kong” franchises are occasionally known for.

However, the questionable story setup and laughably cheesy dialogue make this movie a struggle at times to sit through. When looking past these setbacks, “Godzilla x Kong: The New Empire” is an entertaining blockbuster flick where you can just turn your brain off and have fun.

nroacho2@dailyillini.com

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Oscar-winning director Christopher Nolan and his wife, film producer Emma Thomas, are to receive a knighthood and damehood.

According to the BBC, Nolan and Thomas are being honored for their services to film.

Nolan recently won his first Oscar for directing “Oppenheimer,” which Thomas also produced.

The film won a total of seven Oscars, which included Best Picture, Best Actor in a Leading Role and Best Cinematography.

The couple met at University College London as students and married in 1997. They currently live in Los Angeles and have four children.

Since then, the two have co-founded the film production company Syncopy and worked together on films directed by Nolan such as “Tenet,” “Interstellar” and the “Dark Knight” trilogy.

nroacho2@dailyillini.com

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Rating: 1/10

Released on March 1 to NBC’s streaming service Peacock, “Megamind vs. the Doom Syndicate” is a shameless cash grab that attempts to capitalize on the nostalgia many hold for a fondly remembered childhood classic.

The film currently holds a resounding 7% audience score on Rotten Tomatoes and a 2.3/10 on IMDB. “Megamind vs. the Doom Syndicate” is plagued with several issues that hold the film back.

The first, and most obvious, is the lackluster animation quality. This is especially prominent within flashback clips from the original 2011 “Megamind” film. The quality of animation in the original film is significantly better, and the movie’s use of the original film’s footage only makes this difference more apparent. The animation looks slow and clunky, and the quality of the 3D models is noticeably worse.

Poor writing and lackluster storytelling make the plot a boring direct sequel to the first movie. In the film, Megamind’s old criminal gang, the Doom Syndicate, comes back to him after escaping from prison. However, after the end of the first film, Megamind transitions from a villain to a hero — a fact his old gang is unaware of. Megamind must defeat his old gang to prevent them from launching Metro City into space. This plot lacks tension, and the emergence of the Doom Syndicate out of nowhere feels unnatural and forced.

Additionally, there is a noticeable change in voice actors for the main characters. In the original, Megamind is voiced by Will Ferrell, and the reporter Roxanne Ritchi is voiced by Tina Fey. In the new film, Ferrell has been replaced by Keith Ferguson and Fey by Laura Post. While both Ferguson and Post are experienced voice actors, neither of them works well in the role. Ferrell and Fey’s voices are too easily recognizable, and the switch in voice actors creates a weird feeling of unease and discomfort.

However, not all of the performances were bad. Talon Warburton voices the villain Lord Knighty Knight, who is a knight clad in medieval armor and has the ability to harness shadows to create weapons. Warburton gives a sense of life and character to the villain, whereas the other enemies are comparatively boring and flat.

Despite this one notable performance, the film as a whole fails to deliver. What makes this film particularly disappointing is the fact that it is a sequel to a well-regarded film. The poor writing, change in voice actors and lackluster animation quality all point to a soulless film designed to be a lazy cash grab capitalizing on childhood nostalgia. 

Fortunately, this fact was not lost on most, and the film has been subsequently panned by critics and viewers alike. Hopefully the poor showing of “Megamind vs. The Doom Syndicate” will be a warning for studios in the future who seek to make cheap films that attempt to capitalize on childhood nostalgia.

“Megamind vs. the Doom Syndicate” is a perfect example of a lazy animated project cheapening the genre as a whole. Movies like this are why the belief that animation is “for kids,” and therefore should be held to a lower standard compared to other forms of media persists. While it is true that these films are often designed for a younger audience, we should be cautious when lowering our standards. 

Children deserve quality entertainment just like adults, and the release of straight-to-stream slop like “Megamind vs. the Doom Syndicate” sets low expectations for both children’s entertainment and animation as a whole. Entertainment should be educational, thought-provoking and a source of inspiration for young children — not just something you throw in front of them to keep them entertained while you cook dinner.

gkedz2@dailyillini.com  

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Rating: 4.5/10 

“Kung Fu Panda 4,” released on March 8, marks the next movie in the iconic animated film series following 2016’s “Kung Fu Panda 3.” Unfortunately, the film did not keep up with the same level of consistency and quality that the series is known for.

The movie follows Po (Jack Black), who must find a successor for his role as the dragon warrior. However, as a new threat comes around in the form of the Chameleon (Viola Davis), Po must trust a sneaky convict Zhen (Awkwafina) to help take her down. 

The movie has a generic theme of making sure you do things for the right reasons, no matter your background.

On the bright side, the animation is at an all-time high for the series. The new style is still very much similar to that of the first three films but far flashier and more fluid in terms of the movements and expressions of the characters.

Action scenes are one of the main aspects the series is known for, and “Kung Fu Panda 4” continues that tradition and even improves in that aspect.

The animation took inspiration from other recent movies, specifically Sony’s “Spider-Verse” films, as detailed in an interview from Total Film. 

Black is the highlight of the film, as he is a great example of just how memorable a performance can be when an actor gives it their all.

Unfortunately, there is one major issue with “Kung Fu Panda 4”: the lack of subtlety. 

Most kids aren’t clueless when it comes to understanding a movie’s message, especially when it’s a kids’ movie. However, it seems like the screenwriters for this film figured it would be better to throw the message in the viewers’ faces instead of letting them figure it out on their own.

Because of this, whenever the same message of  “do the right thing” gets brought up, the movie feels dumbed down, even for the youngest of audiences.

The jokes are also very dependent on the kind of humor that the viewer finds entertaining, but there seems to be less of a focus on keeping all viewers engaged and more of an aim toward younger audiences with potty humor and food jokes.

This results in a film experience that feels like jingling a set of keys in front of the face of an infant.

The movie also sees issues with its pacing. The film’s first half is rushed, leaving no time for audiences to meet new characters and take in the world around them.

The film is at its very best when it slows down and takes its time to establish new settings. It’s a shame that it doesn’t do this enough and instead focuses on speeding through the story.

Unfortunately, this is mainly seen with the main villain of the film. Davis as the Chameleon does great with the work she is given — however, viewers don’t get nearly as much time as they need to care about her character and be worried about her actions.

“Kung Fu Panda 4” deserved better treatment than it received, which is likely to leave long-time fans of the series disappointed at what eight years of waiting had to offer.

nroacho2@dailyillini.com

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Late-night talk show personality Jimmy Kimmel hosted the 96th annual Academy Awards last night live from Hollywood’s Dolby Theatre. 

The evening started off with Kimmel telling jokes, with each being the equivalent of a coin flip as some landed with laughs while others made the audience visibly uncomfortable in their seats.

Kimmel went as far as to joke about “Oppenheimer” actor Robert Downey Jr.’s history with drug use, causing the actor himself to signal to move on.

The night was littered with star-studded performances and appearances, starting with Billie Eilish and Finneas O’Connell’s “What Was I Made For?” from “Barbie,” which was nominated for Best Original Song. 

The emotional performance pulled on some heartstrings, earning a standing ovation from the crowd.

Soon after, actor and professional wrestler John Cena took the crowd by surprise with his presentation for the award for Best Costume Design seemingly in his birthday suit. After reading out the nominees, he magically appeared once again with a long dress.

Ryan Gosling’s highly anticipated performance of “I’m Just Ken” from the “Barbie” soundtrack came to fruition with the best choreography of the night. The performance was bright, colorful and full of life as Gosling paraded his way through the stage and crowd. 

Notable wins included Da’Vine Joy Rudoplh taking home Best Actress in a Supporting Role for her performance in “The Holdovers,” Cillian Murphy’s first-ever Academy Award win with Best Actor for his lead role in “Oppenheimer,” Christopher Nolan’s win for Best Director with “Oppenheimer” and Emma Stone’s win of Best Actress for her portrayal of Bella Baxter in “Poor Things.”

The night made history for Godzilla fans as “Godzilla Minus One” won Best Visual Effects, making it the first Academy Award the franchise received in almost 70 years of its existence.

Nolan’s “Oppenheimer” dominated the night, taking home seven Academy Awards, including Best Picture. “Poor Things” followed up with four.

Below is the complete list of this year’s winners.

BEST PICTURE

American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Oppenheimer – WINNER
Past Lives
Poor Things
The Zone of Interest

BEST DIRECTOR

Jonathan Glazer, The Zone of Interest
Yorgos Lanthimos, Poor Things
Christopher Nolan, Oppenheimer – WINNER
Martin Scorsese, Killers of the Flower Moon
Justine Triet, Anatomy of a Fall

BEST ACTRESS IN A LEADING ROLE

Annette Bening, Nyad
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomy of a Fall
Carey Mulligan, Maestro
Emma Stone, Poor Things – WINNER

BEST ACTOR IN A LEADING ROLE

Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer – WINNER
Jeffrey Wright, American Fiction

BEST ACTRESS IN A SUPPORTING ROLE

Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
America Ferrera, Barbie
Jodie Foster, Nyad
Da’Vine Joy Randolph, The Holdovers – WINNER

BEST ACTOR IN A SUPPORTING ROLE

Sterling K. Brown, American Fiction
Robert De Niro, Killers of the Flower Moon
Robert Downey Jr., Oppenheimer – WINNER
Ryan Gosling, Barbie
Mark Ruffalo, Poor Things

BEST ORIGINAL SCREENPLAY

Justine Triet and Arthur Harari, Anatomy of a Fall – WINNER
David Hemingson, The Holdovers
Bradley Cooper and Josh Singer, Maestro
Samy Burch, May December
Celine Song, Past Lives

BEST ADAPTED SCREENPLAY

Cord Jefferson, American Fiction – WINNER
Greta Gerwig and Noah Baumbach, Barbie
Tony McNamara, Poor Things
Christopher Nolan, Oppenheimer
Jonathan Glazer, The Zone of Interest

BEST INTERNATIONAL FEATURE

Io Capitano
Perfect Days
Society of the Snow
The Teacher’s Lounge
The Zone of Interest – WINNER

BEST ANIMATED FEATURE

The Boy and the Heron – WINNER
Elemental
Nimona
Robot Dreams
Spider-Man: Across the Spider-Verse

BEST DOCUMENTARY FEATURE

Bobi Wine: The People’s President
The Eternal Memory
“Four Daughters”
To Kill a Tiger
20 Days in Mariupol – WINNER

BEST CINEMATOGRAPHY

El Conde
Killers of the Flower Moon
Maestro
Oppenheimer – WINNER
Poor Things

BEST EDITING

Anatomy of a Fall
The Holdovers
Killers of the Flower Moon
Oppenheimer – WINNER
Poor Things

BEST COSTUME DESIGN

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things – WINNER

BEST HAIR AND MAKEUP 

Golda
Maestro
Oppenheimer
Poor Things – WINNER
Society of the Snow

BEST SOUND

The Creator
Maestro
Mission: Impossible — Dead Reckoning Part One
Oppenheimer
The Zone of Interest – WINNER

BEST VISUAL EFFECTS

The Creator
Godzilla Minus One – WINNER
Guardians of the Galaxy Vol. 3
Mission: Impossible — Dead Reckoning Part One
Napoleon

BEST PRODUCTION DESIGN

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things – WINNER

BEST ORIGINAL SONG

“What Was I Made For?”, Billie Eilish and Finneas, Barbie – WINNER
“I’m Just Ken,” Mark Ronson and Andrew Wyatt, Barbie
“The Fire Inside,” Diane Warren, Flamin’ Hot
“It Never Went Away,” Jon Batiste, American Symphony
“Wahzhazhe (A Song For My People),” Osage Tribal Singers, “Killers of the Flower Moon”

BEST ORIGINAL SCORE

American Fiction
Indiana Jones and the Dial of Destiny
Killers of the Flower Moon
Oppenheimer – WINNER
Poor Things

BEST LIVE-ACTION SHORT

The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar – WINNER

BEST ANIMATED SHORT

Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War Is Over! Inspired by the Music of John & Yoko – WINNER

BEST DOCUMENTARY SHORT

The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop – WINNER
Nai Nai & Wai Po

nroacho2@dailyillini.com

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Rating: 8/10

Water, earth, fire and air: These are the ever-famous elements that are telekinetically manipulated in the Asian- and Arctic-inspired world of Aang and the other avatars before him. 

“Avatar: The Last Airbender” premiered on Feb. 22 and racked up over 22.2 million viewers within the first four days of its release. 

There’s a reason the show received so much attention. The story builds on the beloved 2005 animated Nickelodeon series of the same name, making it the first addition to the “Avatar” series since the polarizing 2010 movie. 

Fortunately for lovers of Aang’s world, Netflix’s live-action show delivered where the movie fell flat. Consisting of eight one-hour-long episodes, fans of the series are treated to a truly binge-worthy series for the first time since 2008, the release date of the last season of the original series.

Adapting a similar — almost exact — storyline to the classic series, Netflix’s “Avatar: The Last Airbender” excels in multiple fundamentals of creating a good television series.

A primary strength of the series lies in its pacing of the narrative. The show closely sticks to the original storyline, but also has space for further development when exploring different characters. There is a respectful balance between the classic show and new innovation. 

The show follows Avatar Aang (Gordon Cormier) as he learns to master the Avatar state in order to protect and keep balance in the universe against the Fire Nation. 

Cormier captures the bubbly and clever personality of the young Avatar, who battles the pressure of his responsibility to upkeep the peace among the four elemental nations. 

On his journey, he is kept company by waterbender Katara (Kiawentiio) and her brother Sokka (Ian Ousley) as they face the fire nation prince Zuko (Dallas Liu) and Uncle Iroh (Paul Sun-Hyung Lee). However, the real enemies are the feared Fire Lord Ozai (Daniel Dae Kim) and Azula (Elizabeth Yu). 

The casting is almost spot-on when compared with the animated series, showing much improvement on the failed 2010 film. With the newly added Best-Casting Oscar for the following Academy Awards, this show could very likely be in the running for its top-notch cast selection.

When comparing the animations from the Nickelodeon series, the real-life cast looks almost identical with a few natural differences. Sometimes, it would feel like watching the animated series. 

The story starts with the initial attacks on the water, earth and air nations by the Fire Nation on the behalf of Fire Lord Sozin. The graphics and technology used in the action sequences are detailed and emotional while still being appropriate for younger audiences. 

It is a testament to the advanced technology used in today’s films, allowing audiences to truly enjoy the wholesome series without getting too realistic with the injuries depicted on screen.

With its stellar cast, breathtaking visuals and faithful storytelling, it offers both longtime fans and newcomers alike an opportunity to embark on an epic journey through the four nations. 

tamanar2@dailyillini.com 

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Last Saturday, the Knight Auditorium at the Spurlock Museum played host to four of the most groundbreaking and acclaimed short films of the last few years as part of the CU International Film Festival.

This was the second iteration of the festival, which aims to create a space for filmmakers from around the world to showcase their creations to film lovers in the Champaign-Urbana area.

The festival was founded and directed by Max Libman, a senior at Academy High in Champaign, who has possessed an interest in filmmaking from a young age.  

“My passion for storytelling and films inspired me to provide a platform for other filmmakers to share their stories,” Libman said. “So, about two years ago, I founded CU International Film Festival, which is a 501(c)(3) nonprofit whose mission is to showcase films from around the world that entertain, educate and elevate.”

The event kicked off with a red carpet gala. The crowd was then ushered into the auditorium for a welcoming address by Terrence “TAT” Taylor, the official DJ for the Fighting Illini, and followed by some words from Libman.

The event was kicked off with a virtual address from Emmy-nominated actor Ed Begley Jr., who spoke about the evolution of filmmaking and cinema he has witnessed throughout his career. 

“There was a camera for TV shows and movies that was the size of a large kitchen appliance, almost half of a refrigerator-size,” Begley said. “Now you’ve got people making wonderful movies on their cell phone, and they’re actually good movies.” 

The film selections were meticulously chosen by a jury to reflect the aforementioned three Es: entertain, educate and elevate. 

“We have a panel of judges and jurors of industry experts go through the films, and the top ones that they select are the ones we show at our festival,” Libman said.

There was a total of four movies showcased on the night, each belonging to one of the following divisions: High School, College and Short Film.

The first movie was called “nothing, except everything,” directed by Wesley Wang. The film explores the psyche of a graduating high schooler (David Mazouz) trying to find meaning and purpose in the chaos of this stage of life. 

Tackling the universal anxieties and reflections high school students undergo as they look toward the next chapter of their lives with an entertainingly maximalist flair, Wang’s short was uniquely bold and relatable. 

The next movie screened was “Pink Mountain,” a stop-motion animated film directed by Greek filmmaker Thomas Kunstler. The film, told without dialogue, follows a florist who attempts to court a Pasha’s bride. 

According to the festival’s program, the film adapts an ancient Ottoman fairy tale. Kunstler’s film succeeds in the detail and intent that went into building the world. The specificity with which the director framed his shots, alongside the lushness of the scenery and location made the film a joy to watch. 

If perhaps a fairly traditional tale of a woman confined by royal structure and a lower-class hero seeking to free her, Kunstler foregrounds personal emotion and an interesting sadness that makes the film feel unique. 

The stop-motion animation was particularly striking. The movement of all the characters felt fluid, and the environment felt alive. Bolstered by well-realized colors and atmospheric sound design, the film’s craft stood out. 

The third movie in the showcase was English filmmaker Chris Overton’s Oscar-winning short film “The Silent Child.” The film, the longest of those screened at 20 minutes, follows the story of a deaf child (Maisie Sly) who lives in a hearing family. 

As the child prepares to start school, the family hires a social worker (Rachel Shenton) to help her prepare and acclimate. As the film goes on, the social worker and the girl form a strong connection while tensions grow within the family. 

Overton’s film, the recipient of the Best Live Action Short Film at the 2018 Oscars, works to emotionally communicate its message. Much of the film follows the liberation of Libby, the child, as the social worker Joanne teaches her to express herself through sign language. Libby’s journey is played at odds against Sue (Rachel Fielding), the family matriarch, who insists Libby sticks to lip-reading at the behest of Joanne. 

The film excels at illustrating Libby’s separation from her family and how her family’s lack of understanding of her deafness only furthers this isolation. Contrasting the isolation with the warmth she feels towards Joanne, Overton was able to wring strong emotional impact with the film’s ending calling awareness towards deaf children who live in hearing families primarily through this emotion. 

The film was followed by a short clip of the team behind “The Silent Child” as they reacted live to their Oscar nomination.

The final film screened was “Team Dream,” a short documentary that depicts Black senior swimmers Ann Smith and Madeline Murphy Rabb on their journey to compete at the National Senior Games. Directed by Luchina Fisher, the film is entertaining and motivational. 

Fisher’s direction highlights the personality of Smith and Rabb well, allowing their charisma and passion to bridge the audience closer to their ambitions. 

In leading up to the National Senior Games, the film introduces us to the characters and the motivation behind Team Dream and emphasizes what a prolific life Rabb lived outside of her swimming pursuits. Fisher succeeds at showing how exceptional these women are and the amount of work and training that goes into realizing this passion. 

The final stretch of the film documents all four days of the National Senior Games and engages in how it portrays the thrill of the event. Fisher films either in overarching drone shots or tight shots that place us in the water or on a bench with the rest of the participants. In feeling like you are there, the film connects you further with Smith and Rabb’s positivity as they deal with their victories and defeats. 

The film concludes with a satisfying and breezy look into the legacy of the women and how vital it is to stay motivated. 

The film was given the festival Centerpiece award. The screening of the film was followed by a ceremony where the coach of Team Dream, Derrick Q. Milligan, accepted the award in person. 

The second annual CU International Film Festival proved to be an infectious celebration of filmmaking. With a strong selection of films that entertained and educated on personal topics, the festival joyfully conveyed the humanity that makes film and filmmaking uniquely powerful. 

baronia3@dailyillini.com

saagark2@dailyillini.com

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Rating: 9/10

What is hope? Is it a beacon of light for those who are lost or a false belief for those who cannot accept the truth? That is the question that “Dune: Part Two” and its characters seemingly try to answer.

“Dune: Part Two” is the sequel to 2021’s “Dune,” directed by Denis Villeneuve, and continues the film adaptation of Frank Herbert’s “Dune” book series, which started in 1965.

Without going into specifics, the film follows Paul Atreides (Timothée Chalamet) as he learns the ways of the Fremen people to free them by taking revenge on the Harkonnens. 

Additionally, Paul sees a future that is full of destruction and despair, leaving him to take on the mantle of a prophecy he may not even believe in to stop it.

The movie has a slight theme of religion and provides perspective on the beliefs that come with following a fulfillment of prophecy. We see the majority of characters fall on one of two sides of a coin, with one side fully believing the prophecy to its fullest extent and the other side seeing the prophecy as a means to enslave their people.

Hope is a double-edged sword in “Dune: Part Two,” as many characters find themselves clinging to hope as a way to guide them in a time when they may need it. However, when that hope is cut short, or doesn’t meet expectations, anger and sadness are the only remaining factors.

One of the highlights of the film is the talented — and large — cast of actors, which includes Timothée Chalamet, Zendaya and Rebbeca Ferguson. 

Each of these actors not only fully understands and respects the characters they play, but portrays them with a level of complexity that feels as if they were ripped directly from the books.

Another great aspect of “Dune: Part Two” is its catalog of villains and the conflicts they bring forth for Paul and the Fremen. 

These conflicts add a great amount of tension and suspense, which make the movie’s villains more compelling as well as threatening.

Throughout the two-hour-and-46-minute runtime, the movie would have benefited from more time with its villains and the world they came from, as the film shines the most when it shows off the lives of not only Paul and the other protagonists but the lives of those going against him.

More action sequences were also included in this sequel, which was not only entertaining and engaging but also demonstrated the amazing choreography in each sequence.

Alongside the addition of action, there was also an increase in the franchise’s worldbuilding, which gave an interesting insight into the politics and ideals seen within this complex universe.

By increasing the level of action and world-building in “Dune: Part Two,” viewers were more likely to be enamored with the story and setting at hand, placing them in the shoes of Paul and the rest of the cast.

“Dune: Part Two” also had the privilege of being filmed entirely for IMAX. If you have access to a local IMAX theater, you can watch the film the way it was intended to be shown, with roughly 26% more of the picture being shown compared to a standard showing of a movie.

The digital IMAX cut of “Dune: Part Two” alternates between the IMAX-standard 1.43:1 ratio and 1.90:1 ratio. 

This essentially means that, unlike standard showings of “Dune: Part Two” with the two black bars above and below the screen, the IMAX version will not only be played on a bigger screen but will show more — if not all — of what was originally filmed.

This is crucial to keep in mind, as one of the key factors of “Dune: Part Two” and the rest of the series as a whole is the overall scale and magnitude of the story. There are many moments in the movie where the beauty of what is happening on-screen is jaw-dropping.

The cinematography in the film is immaculate. Even then, it feels like an understatement to just summarize it in one word. Cinematographer Greig Fraser perfectly captures the beauty of the world around the characters, all while portraying the essence of what makes “science fiction” a science fiction.

IMAX theaters and auditoriums are additionally known for having powerful and dynamic sound systems, and this film knows how to make the most of it. The movie already has a rich and powerful sound design, but when you pair that with the IMAX speakers, the result is pure, aural bliss.

The speakers also helped out the score of the film, which was composed by Hans Zimmer. The compositions are not only fitting for intense moments, but they also light up the auditorium making people shake in their seats as the powerful music vibrates the theater to its core.

“Dune: Part Two” is without a doubt one of the best pieces of sci-fi media ever, as it brings a level of spectacle that is not seen with other franchises and stories. 

Only time will tell how long it’ll be until we see the next chapter in the “Dune” story, but for now, fans and newcomers alike will enjoy the world brought to life in “Dune: Part Two.”

This is a movie that deserves and almost demands you to watch it on the biggest screen possible — it very much earns that viewing experience. 

Visit your local theater, grab your exclusive “Dune: Part Two” popcorn bucket and watch one of the best movies 2024 has to offer so far.

nroacho2@dailyillini.com

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Rating: 8/10

The girls who get it, get it, and the girls who don’t, don’t. 

“Drive-Away Dolls” is a comedy road film centered around Jamie (Margaret Qualley) and Marian (Geraldine Viswanathan), two friends whose road trip south takes an unexpected turn when mobsters begin chasing after them in search of a briefcase in their unknowing possession.

Based on the small synopsis, this might seem like just another road trip flick. However, not even five minutes into the movie, audiences will understand that’s not the case.

While “Drive-Away Dolls” uses quintessential elements from road trip pictures, it ultimately revitalizes the genre. The tagline — “A story of two ladies going south” — creates an expectation for the movie that the film ultimately delivers on. 

Directed by Ethan Coen of the Coen brothers — the filmmaking duo behind classics like “Fargo,” “The Big Lebowski” and “Raising Arizona” — “Drive-Away Dolls” is only the second film directed by Coen alone, which he calls “filthy fun” after 2022’s documentary “Jerry Lee Lewis: Trouble in Mind.”

Like most of the Coens’ movies, “Drive-Away Dolls,” is set in the American South — specifically, in Tallahassee, Florida. Of course, this sets up multiple jokes about the setting.

Qualley plays Jamie, a free spirit with a thick Southern accent, and it’s so funny it works. 

Qualley is best known for the TV show “Maid” and the movies “Once Upon a Time in Hollywood” and “The Nice Guys.” Most prominently, perhaps, she’s known for being the muse behind Lana del Rey’s “Margaret.” 

Opposite her is Viswanathan, the “straight man” to the eccentric Jamie. Viswanathan, who will star in Marvel’s upcoming film “The Thunderbolts,” keeps up with Qualley throughout the movie without missing a beat.

The duo has surprising chemistry, an odd couple that makes the twists and quips more enjoyable. Although the film relies a bit on absurdist comedy, it manages to pull off an enticing story without taking itself too seriously. 

What makes “Drive-Away Dolls” captivating is exactly that — the movie has fun with itself. There’s no male romantic interest, as both Jamie and Marian are lesbians, and it’s anything but afraid about sex. Although this might not be on the Letterboxd Four Favorites of Coen’s “No Country for Old Men” fans, it invites new audiences to enjoy an off-the-wall story.

The ensemble cast works wonders, with each oddball character adding more to Jamie and Marian’s wacky adventures.

Pedro Pascal is featured — or at least part of him is, take that as you will. Matt Damon plays a Republican senator convincingly well. Beanie Feldstein is Jamie’s cop ex-girlfriend, who is clearly not over their breakup. There’s even a fierce little chihuahua. This movie has it all.

Another major part of what makes “Drive-Away Dolls” work so well is the soundtrack. Whenever not distracted by the action happening on screen, audiences are treated to various cuts, from Funkadelic to Linda Ronstadt.

The movie captures a particular aesthetic with the set on the eve of Y2K, which does not take from its timelessness. There’s a magic aura that envelops the film from start to finish that will leave audiences on the edge of their seat and probably wondering if they’re hallucinating.

“Drive-Away Dolls,” although not family movie night material by any means, is a refreshing and truly fun film different from anything on the silver screen. As the movie itself says: “Buckle up!”

mquez3@dailyillini.com 

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Rating: 8/10

“The Taste of Things,” directed by Trần Anh Hùng, is a satisfying and emotional look at how the artistry of cooking reflects itself in the metaphysical composition of our lives. 

The film follows the relationship of Eugénie (Juliette Binoche), a chef for Dodin (Benoît Magimel), a notable gourmet. Light on plot, the film is far more interested in exploring the romance and affection between the two characters through the ethereal lens of food and nature. 

The result is uniquely affecting, if hard to fully comprehend. “The Taste of Things” is foregrounded by the senses. 

Hùng foregrounds the atmosphere of the remote 19th-century French countryside over the traditional constraints of narrative. From the sizzle of meat in a hot pan to the chirping of birds off-frame, the film’s character is conveyed through a powerful sense of place. 

A scene midway through the film clearly evokes this feeling. As Dodin and Eugénie walk lovingly following a celebration, the two comment on their relationship and their lives. Dodin claims they are in the autumn of their lives, while Eugénie proudly retorts that even to her death she will be in the summer of her life. 

The two stay fairly small within the frame, surrounded by the sea of flowers and nature bathed in a warm golden light. With such a simple compliment, Hùng says so much about the two and the ultimate reason they care so deeply for each other. 

Food is the star of “The Taste of Things,” maybe even more so than the two fantastic leads. The opening stretch of the film, playing out over the course of a half hour, is entirely dedicated to the preparation and execution of a multi-course meal among friends.

We watch as Dodin, Eugénie, assistant Violette (Galatea Bellugi) and Violette’s nièce, Pauline (Bonnie Chagneau-Ravoire), work simultaneously, creating dish after dish. Hùng emphasizes the painstaking detail and engineering that goes into each dish’s recipe while never letting go of the inherent beauty that comes from this creation. 

Throughout these sequences, the camera moves around the space with grace and fluidity. Compositions organize themselves within the process of cooking such that they always feel natural and expressive, never forced. 

By interspersing the scenes in the kitchen with a gathering of friends joyfully reacting to each new dish that is served, Hùng shows the palpable impact resulting from the work that went into each aspect of the meal. 

Part of the miracle of “The Taste of Things” is that the film maintains such a virtuosic pedigree for most of the running time. 

A scene later in the movie, in which Dodin cooks a romantic dinner for Eugénie, echoes and expands on the opening. Transposing the weight of the couple’s romance into the physical preparation of the meal, the sequence is uniquely intoxicating. The end of the scene is a perfect encapsulation of how the film singularly identifies how something as abstract as love manifests itself so physically into food. 

Binoche and Magimiel are also marvelous; Hùng conveys so much from the actors’ body language. Some of the most powerful shots of the film come from the tangible emotion you feel looking at their facial expressions. They also embody the role of the chef in such a specific and detailed way that you fully accept that you are watching people operating at the top of their craft. 

Surprisingly, the film is played largely without music. Given the setting and nature of the film’s aesthetic, the decision seemed like a strange one at first. Yet, through the way Hùng uses the absence and presence of the ambient noise from nature and cooking, it becomes clear a traditional film score would have only clashed with the inherent beauty of the setting. 

The film does leave some to be desired. Though certainly intentional and undeniably effective, the final act felt distant and difficult to engage with. Though the ultimate resolution is certainly emotionally impactful and well-earned, the straightforward drama of the film’s final stretch feels slightly at odds with the context of the film’s earlier expressiveness.

That’s not to say that a more heightened sense of melodrama would have been more appreciated. In fact, the film’s dedicated efforts to present a real and textured world only amplify its ambition. Compared to films of a similar period or subject, “The Taste of Things” is excitingly subtle and composed. Nevertheless, the film’s ending, though resonant, falls short of the transcendent standard set before it.

Gorgeously made with stunning sequences of cooking and romance, “The Taste of Things” is a movie worth experiencing. The film is a unique and unconventional presentation of how emotion can be expressed through the culinary arts. An ode to cooking just as it is an ode to being in love, “The Taste of Things” impresses. 

saagark2@dailyillini.com

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Rating: 6/10

After over 40 years since his untimely death, the story of Bob Marley’s rise to fame is told in the new film “Bob Marley: One Love,” which debuted in theaters on Feb. 14.

Before the movie began, an interview clip with one of Marley’s sons, Ziggy Marley, explained his involvement in the filming and production of the film to ensure that his father’s story was executed well. 

According to Ziggy Marley, the film’s goal was to introduce audiences to the personality and life of Marley while displaying the complexities of the icon’s life.

However, due to poor execution, “Bob Marley: One Love” fell flat on reaching that goal.  The plot was too convoluted, with different storylines making the film difficult to follow. 

The film began by displaying text that provided very minimal information about the tense Jamaican political climate which was occurring simultaneously with Marley’s rise to fame. The political conflict throughout Marley’s life was quite complicated, so the lack of context made the story too complex for the average viewer to fully grasp. 

To add to the confusion of the plot, the film used a lot of flashbacks to help explain Marley’s childhood and past, which were often abrupt and hard to understand.

The flashbacks were, in theory, supposed to help the audience get a better understanding of who Marley was before and during his peak. However, they ended up trying to accomplish too much, causing the moments to fall flat.

The first flashbacks attempted to give context to Marley’s childhood and his relationship with his father. However, they attempted to accomplish this by using metaphors and highly dramatic scenes, which were not able to tangibly depict Marley’s childhood. 

Another set of flashbacks showed Marley’s relationship with his wife but only briefly alluded to an affair Marley had. The affair caused tension in his marriage that added to the conflict in the film, which begs the question as to whether or not the audience truly got the full picture of Marley’s personal life. 

The third set of flashbacks made the most sense in the context of the plot, as they explained Bob Marley and the Wailers’ beginnings as recording artists. Since the screenplay was so heavily focused on the making of music and Marley’s world tour, these flowed best with the rest of the plot.

Despite the messy composition of the story, “Bob Marley: One Love” was still able to highlight the message of peace and unity that Marley stood for.

Kingsley Ben-Adir, who played Marley in the film, did an excellent job of replicating the singer’s mannerisms and energy. This helped the struggling plot at least remain accurate to Marley’s personality and his beliefs in peace. 

The end of the film, which used real footage of Marley, brought the movie full circle and emphasized the impact that Marley had on Jamaican politics and the culture that fosters unity.

fabbott2@dailyillini.com 

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